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Stagioni (2006) is the last work by the Italian writer Mario Rigoni Stern and it is like an autobiography that delves into the most important phases of his life and explains his relationship with history and, above all, with nature, the focal point of his literary production. In this contribution, starting from an overview of some theoretical fundamentals of ecocriticism, such as Pastoral and Wilderness, and considering the relationship between ecocriticism and literary studies, we intend to analyze Rigoni Stern’s environmen-talist approach, placing Stagioni in the more complex ecological discourse that the writer built in his long literary career.

This article aims to analyse the reasons for the unexpected absence of Greece in Mario Rigoni Stern’s works about the Italian military campaign against Greece during the winter of 1940-1941. As a young soldier, Rigoni Stern fought in that terrible war in the Albanian mountains, close to the Greek line, and recounted those events many years later. I focus in particular on Quota Albania (1971), in an attempt to show that the novel is not only a memoir, but rather a Bildungsroman, in which he recounts his personal life, his disillusionment with Italian disorganisation and the difficult conditions he endured, the cold and hunger. Furthermore, I would like to explain that the surprising indifference to Greek events is linked not only to the author’s narrative intention, but also to the fact that in the final battle Rigoni Stern did not go to Greece, and never returned thereafter. On the other hand, his unfamiliarity with the Mediterranean justifies the lack of descriptive details of the Greek landscape.

Tous les récits de Mario Rigoni Stern sont une invitation au voyage, qu’ils aient pour cadre ses montagnes natales ou les paysages qui ont marqué de manière indélébile l’histoire de toute une génération de jeunes gens envoyés sur le front russe. Les voyages de la mémoire occupent ainsi une place majeure dans l’œuvre de l’auteur et sont, à ce titre, partie intégrante du devoir de mémoire dont il se sent investi. Ritorno sul Don, voyage-pèlerinage vers cette Russie dont l’évocation est omniprésente dans l’œuvre rigonienne, marque le retour du sergent vers ces espaces de guerre à la recherche de son passé et dans une démarche introspective propre à le réconcilier avec cette terre non plus fantasmée mais finalement retrouvée.

Identité et différence sont des notions dont l’essence rejaillit en temps de guerre. Mario Rigoni Stern (1921-2008) a vécu la seconde guerre mondiale corps et âme. Ce thème névralgique, prétexte et toile de fond, est l’écho qui retentit continuellement dans les textes de cet écrivain italien même si celui-ci n’entend aucunement cautionner les conflits et leurs horreurs. Groupes et espaces d’appartenance sont bousculés mais la guerre, monde de l’altérité, permet à Rigoni Stern de construire, de réélaborer son identité. Il découvre la richesse des brassages culturels forcés et l’espace de la macro histoire en récupérant une capacité de fraternité possible même avec ses « ennemis », terme qui, du reste, est totalement banni de son vocabulaire. La singularité de cette grande expérience vécue semble lui offrir l’opportunité de déceler des valeurs étonnamment universelles. Nous nous proposons ainsi d’analyser comment les combats réellement endurés par Rigoni Stern engendrent des combats intérieurs qui le poussent à se poser des questions existentielles que son profond optimisme alimente de réponses, l’amenant à croire en l’homme et en l’humanité en général et qui font que la toute puissance de la guerre se résorbe.

Connecting to the recent geographical debate on «literary GIS» and the wide potentialities of the cartographic analysis applied to literature, this paper presents the first results of a hefty work of cataloging and mapping of over 700 place names in the fiction of Mario Rigoni Stern (Il sergente nella neve, Quota Albania, Storia di Tönle, L’anno della vittoria, Le stagioni di Giacomo, L’ultima partita a carte). The analytical potential of a synoptic view through several maps is here highlighted, with reference to three main themes among the many possible: the pattern of distribution of the place names from the local context to the global scale, the historical depth which always characterizes the reference to space and places, and the crucial role carried out by the memory of places and the «elsewhere’s geographies» in the author’s literary works.

La Trilogia dell’Altipiano di Mario Rigoni Stern può essere considerata un’opera coerente per diversi motivi: le tre storie raccontate hanno una comune ambientazione geografica, la piana di Asiago, che presenta un legame molto forte con la popolazione locale; le vicende narrate si pongono in consequenzialità cronologica e mostrano figure che tornano in tutti e tre i testi, comprendendo anche personaggi della famiglia dell’autore. Tale coerenza narrativa si riflette nel messaggio della Trilogia, che è un messaggio di pace e di denuncia della guerra come elemento di distruzione della comunità umana, raffigurata emblematicamente dall’allegoria del ciliegio che torna in tutte e tre le narrazioni. Finita la guerra, alla comunità e alla natura si oppone il consumismo moderno, che cancella le tracce dell’antica civilità alpina e contro cui Rigoni Stern si impegna come custode della memoria attraverso la parola narrata.

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Stagioni (2006) is the last work by the Italian writer Mario Rigoni Stern and it is like an autobiography that delves into the most important phases of his life and explains his relationship with history and, above all, with nature, the focal point of his literary production. In this contribution, starting from an overview of some theoretical fundamentals of ecocriticism, such as Pastoral and Wilderness, and considering the relationship between ecocriticism and literary studies, we intend to analyze Rigoni Stern’s environmentalist approach, placing Stagioni in the more complex ecological discourse that the writer built in his long literary career. [ABSTRACT FROM AUTHOR]

Abstract

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For several years, scientific literature in the field of education and training has highlighted the opportunity to include disciplinary elements within school projects. That is, in addition to knowledge transfer and the training of technical skills. That entails a holistic approach to the individual and to their human and relational development. Hence, the need arises to provide new educational stimuli and instruments, especially for fragile youths, which experience high dropout rates. This paper illustrates the “points-based licence” mechanism, which is an assessment tool devised by CIOFS FP FVG of Trieste—a VET provider. The “licence” system arises from the need to convey students a sense of responsibility for their own actions by monitoring whether they abide by the rules or not, yet without acting exclusively as an impersonal punishment tool. That is, it is effective inasmuch as it works in parallel with well-designed student careers and the push towards self-realization.

Copyright of Carte Italiane is the property of UCLA, Department of Italian and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)