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Among the various relationships Leonardo Sciascia cultivated with Italian publishers, his connection with the Laterza publishing house in Bari stands out, notably due to its association with the publication of his initial venture into prose writing: Le parrocchie di Regalpetra. Drawing from this relationship, which has been recently documented through the publication of correspondence between Vito Laterza and Sciascia, my paper delves into the meticulous exchange between author and publisher. Specifically, it focuses on the editorial evolution of the work, examining various paratextual elements, ranging from the toponym chosen to signify the title, to the alignment of the title with the cover's iconography, and the overall layout of the mise en page. [ABSTRACT FROM AUTHOR]

This paper delves into the interplay between naming, Deep Time, and Deep Space (i.e., spacetime on a cosmogeological scale and from an evolutionary perspective) in the latest compositions by Italian poets Bruno Galluccio, Antonella Anedda, Andrea De Alberti, Lorenzo Vilei, Luigi Severi, and Franco Buffoni. I will examine the various strategies employed to evoke the incomprehensible depths of spacetime within poetic texts: firstly, the theme of the unnameable (explored by Anedda and Galluccio), followed by the anthropomorphization of evolutionary processes through the use of proper names like Lucy and Luca (as seen in De Alberti and Vilei's works). By comparing these compositions with other contemporary poetry collections, I will identify a recurring pattern, discernible in De Alberti, Anedda, Galluccio, and Enrico Testa's works (all published by Einaudi), characterized by alliterations and the compression of the macroscopic into the microscopic, accentuated by vast differences in scale. Lastly, I will highlight a distinct approach: the personification of celestial bodies and their names (referred to here as cosmonyms) by Buffoni and Severi. [ABSTRACT FROM AUTHOR]

This paper aims to delve into a relatively uncharted territory within scholarly inquiry: the realm of sound-symbolic literary onomastics. It meticulously scrutinizes 100 names and nicknames spanning from the 18th to the 21st century across diverse textual genres, with a specific focus on those found in children's language or texts, as well as dialect varieties. The objective is to establish a classification system for the names and nicknames of literary characters, facilitating the identification of their motivational factors, formation mechanisms, and predominant linguistic structures employed. [ABSTRACT FROM AUTHOR]

The translation of proper names (PN) in literary works poses significant theoretical and practical challenges for researchers. This article presents a case study focusing on the comparative analysis of 13 different translations of the Lithuanian national poem Metai ('The Seasons') by Kristijonas Donelaitis, a seminal text in 18th-century Lithuanian literature that profoundly influenced the development of the literary language. The poem is notable for its extensive use of proper names. In this paper, a typology of PNs is proposed for translation analysis, categorized based on parameters such as authorship, intentionality, transparency of the PN in the source language, and the potential presence of equivalents in the target language. The findings indicate that translators' choices, while diverse, are influenced by the type of PN being translated. The efficacy of this analytical model could be further tested by applying it to translations of other literary works in the future. [ABSTRACT FROM AUTHOR]

This paper focuses on translating the anthroponymic repertoire of Adam Mickiewicz's Polish national epic, Pan Tadeusz. The research examines how proper names and nicknames serve as essential lexical elements, fulfilling various functions such as character delineation and the transmission of identity and cultural values. The objective is to spotlight the strategies employed in translating these anthroponyms, illustrating how they influence the perception of Mickiewicz's poem in Italy and reflect broader trends in onomastic translation within the contemporary Italian literary landscape. [ABSTRACT FROM AUTHOR]

The paper delves into the realm of onomastics within the context of migration by analyzing Shi Yang Shi's autobiographical novel, Cuore di Seta. Through the protagonist's journey from China to Italy, the narrative unveils the profound significance of names in the process of identity reconstruction, as experienced through memory. The Chinese onomastic system is carefully elucidated for readers, providing insight into its cultural nuances. Throughout the story, the evolution of the protagonist is mirrored in the evolution of his nicknames, which reflect both personal growth and societal challenges encountered along the way. As the protagonist grapples with conflicts between Confucian traditions and his dual identity as a Chinese migrant in Italy, the narrative chronicles his quest for self-discovery. Ultimately, he embraces his plural nature by employing the act of renaming as a symbolic gesture of acceptance and integration. [ABSTRACT FROM AUTHOR]

This paper aims to illustrate the evolution of the name 'Chominowa' within Polish collective consciousness. Initially mentioned in a poem by Zuzanna Ginczanka as the woman who reported the poetess to the Nazi authorities in 1942, this name gradually came to symbolize all Poles who collaborated with the German occupiers. Its evolution into an antonomasia reached its zenith in 2020 with the unveiling of Adam Rzepecki's art installation - a yellow neon composition featuring the name 'Chominowa'. The controversies surrounding this installation can be attributed to the tabooization of Polish collective memory, which often glosses over the darker aspects of history such as collaborationism, in an attempt to portray a purified national identity free from culpability. [ABSTRACT FROM AUTHOR]

Feminist culture has been intensively dealing with the semantic density and profound anthropological value of Greek tragedy, offering several critical interpretations and creative rewritings. This paper analyzes two writers that belong to different phases of feminist theory: Hélène Cixous, philosopher, writer and translator, represents the so-called theory of sexual difference and dealt with Aeschylus’ Oresteia from various perspectives, shared in Arianne Mnouchkine’s revolutionary mise-en-scene. Kae Tempest stands for contemporary post-feminist queer thinking: the recent Paradise is an innovative re-interpretation of Sophocles’ Philoctetes. [ABSTRACT FROM AUTHOR]

The paper analyzes Pier Paolo Pasolini’s Medea (1969), starting from a comparison with Pasolini’s different drafts and with Euripides’ hypotext. The analysis highlights the fundamental opposition between two antithetical civilisations – one, from which Medea comes, archaic, ‘barbaric’, defined by sacredness and ritual; the other, to which Medea arrives, marked by rationality and the negation of the sacred. This duality deflagrates in Medea’s dreams, Pasolini’s true great innovation with respect to the monologues of Euripides’ tragedy: Pasolini’s Medea arrives at the project (which is also desire) of revenge through contact with the Sun, a figure to which Pasolini gives much more space as the fulcrum of the eternal circuit of death and rebirth, and who makes vengeance somewhat human, guiding Medea towards the re-appropriation of her own roots and of the archaic civilisation from which she had distanced herself. [ABSTRACT FROM AUTHOR]

Building on an insight by Kenneth Dover, this paper proposes a comparative reading of the finale of Aeschylus’ Eumenides and that of Aristophanes’ Frogs: in both texts, a torch-lit procession accompanies a character (the Semnai in the tragedy, Aeschylus in the comedy) who must ensure the well-being of the city. In this performative, structural, dramaturgical and thematic similarity, we find Aristophanes’ intention to revive not only Aeschylus as a character, but also Aeschylus as a playwright, espousing a qualifying point of his ideology, the call for the city harmony. [ABSTRACT FROM AUTHOR]

The defence of Athens by king Erechtheus against an invasion led by Eumolpus, son of Poseidon and commander of a Thracian army, was the theme of Euripides’ Erechtheus, staged around 420 BC and preserved only in fragments. In this paper, I suggest that there were two versions of the invasion myth, and that in Erechtheus Euripides made use of both. The poet retains the central idea of the original myth, namely that the city’s salvation was due to a female figure. In the myth it was the altruistic suicide of the parthenos Aglaurus, in the tragedy the decision of queen Praxithea to sacrifice her own daughter. From the more recent version of the myth Euripides draws the combination of the conflict between mortals with one between gods (Poseidon challenges Athena as the patron goddess of the Athenians; Eumolpus’ attack is motivated by his intention to replace Athena with Poseidon). From the recent version of the myth Euripides also takes the motif of the three dead daughters: the suicide of a parthenos, present in the original myth, is extended to the two girls not immolated by Praxithea, and Aglaurus’ heroic motivation is transformed into a sentimental one (the two girls want to follow their dead sister). The heroine Aglaurus serves Euripides as a model for his Praxithea (as saviour of the homeland and as the first priestess, instituted by Athena herself) and for the suicidal sisters. Staged after the first decade of the Peloponnesian War, therefore, Euripides’ Erechtheusthematises the fact that war – any war – involves everyone, even women, even girls. [ABSTRACT FROM AUTHOR]

This paper aims to reconsider and reassess the character of Deianeira in Sophocles’ Trachiniae. Despite her bashful and elusive personality, she ranks among Sophocles’ heroes and heroines standing out as noble characters, who are totally committed in achieving their goals, and are destined for isolation, mistake and self-punishment. Beyond the forces at work in other tragedies, such as the inescapability of the fate and the illusory nature of human condition, Women of Trachis is characterized by the power of eros in its most devastating, brutal, and even wildest aspects. Such violent power, even in the form of sexual assault, struck and persecuted Deianeira from her early age, causing deep trauma. Not only does she yearn for the distant and innocent age when she was a girl, but she also seems anchored there due to some traits of her character. One feature makes her special among the tragic heroines. Her tragedy is full of grief but does not go through rage. [ABSTRACT FROM AUTHOR]

The fact that Tolkien's stories were primarily linguistically inspired is evidenced not only by his meticulous attention to anthroponyms and toponyms to ensure they fully described characters or places, but also by the musicality and connection between sound and the named object. The toponyms in The Lord of the Rings create a political and geographical world: the locations in the novel, reprised and quoted in the various languages of the peoples of Middle Earth, refer to a shared history and make the fictional world more vivid and real. For Tolkien, anthroponyms and toponyms were so crucial to the correct experience of his universe that he devised a guide for translators. Given its status as a literary classic, The Lord of the Rings has undergone numerous retranslations. This contribution aims to investigate the retranslation of place names by examining the two Italian versions: the first by Vittoria Alliata and Quirino Principe, published in 1970; the second by Ottavio Fatica, published between 2019 and 2022. The contrastive analysis of this contribution aims to: 1) explore the different interpretation introduced by the retranslated toponyms; and 2) understand how toponyms reflect the translation strategies of the two translations. [ABSTRACT FROM AUTHOR]