Search

This article examines the cultural and literary review Officina to show how, between 1955 and 1959, the editors (Roberto Roversi, Pier Paolo Pasolini, Francesco Leonetti, Gianni Scalia, Angelo Romanò and later Franco Fortini) worked to construct a non-party communist poetic tradition. These authors used Antonio Gramsci's recently published-Prison Notebooks in order to re-read the Italian literary tradition (from Giacomo Leopardi to Giuseppe Ungaretti), through re-considering the relationship between intellectuals and society and between poetry and politics. The article uses the activities of the Officina group to analyse the cultural dominance of the notionally apolitical models then in force: in particular, Crocean idealism, novecentismo and Hermetic poetry. Through a direct reading of the editors' articles and their correspondence, the fundamental traits of this new poetic tradition that Pasolini defines as 'Neo-experimentalism' are outlined. Analysis of the magazine's development is intertwined with discussion of the events of 1956 and the effects in Italy of the Twentieth Congress of the Communist Party of the Soviet Union. The article argues that the shift in the cultural-political debate in 1956 marked a turning point in Officina's work. From here on it became more involved in intellectual protests, but failed to reach a larger audience and to join forces with parties or with the masses. [ABSTRACT FROM AUTHOR]

The study concerns a sample of poems with bulleted or numbered lists. The analysis, led by way of comparison, focuses on texts from the early 1980s (Erba, Sanguineti, Valduga) and the early 2000s (Benedetti, Dal Bianco, Giovenale, Targhetta), compared with more recent samples (Borio, Guatteri, Martini, Mazzoni, Pacini, Patrizio, Pusterla). I introduce the notion of a ‘taxonomic gaze’ in poetry, which consists in visualizing a previously carried out division on a graphic level, so as to establish an order or a hierarchy in the form of a list. Finally, I propose that the taxonomic gaze can manipulate the strategies of reading, inviting a critical and technical revision of the point of view within a poem.

The present article aims to dwell on the evolution of judicial process forms in contemporary Italian poetry through the analysis and comparison of three poems that chronologically cover a century: L’Incendiario [The Firefighter] (1910) by Aldo Palazzeschi, Il giudice [The Judge] (1963) by Mario Luzi and Piccola anamnesis dell’insonnia [Little Anamnesis of Insomnia] (2008) by Carlo Bordini. The use of the dialogical expedient that associates the three texts allows us to measure the distance between the model of communication in court (Galatolo 2002) and the lyrical episodes that refer to it, declining it in various forms: it is highlighted, in particular, how the representation of the process is dislocated in increasingly private and virtual places: from the «central square | of the town» (Palazzeschi) to the bedroom (Bordini), in line with a progressive disqualification of the judicial institution and its highest representative, the judge.

Copyright of L'Ospite Ingrato is the property of Quodlibet S.r.l. 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.)

This study surveys the poetry written in Piedmontese today. It identifies the main trends as well as the principal centers of production and provides a profile for some of the most significant voices. It concentrates on the work of poets Remigio Bertolino and Giovanni Tesio, the latter a scholar of Piedmontese and Italian literature who recently turned writer. [ABSTRACT FROM AUTHOR]

Visual studies have legitimized the concept of icon-text, a practice based on the principle of insubordination of the text-image relationship. This article investigates the dynamics of Antonella Anedda's The Life of Details (2009), of one of the best icon-textual examples in contemporary Italian literature. Her rejection of the traditionally subordinate role of the visual is combined with a challenge to the methods of iconology--the reader-viewers are therefore not invited to embrace the traditional practice of "attribution"of a painting but rather to focus on the relation between images and their own reality. By shifting from an author-oriented to a reader-oriented perspective, Anedda engages us in a collective exploration of loss and mourning. [ABSTRACT FROM AUTHOR]

Recensione di Andrea Zanzotto, la natura, l’idioma. Atti del Convegno internazionale, Pieve di Soligo, Solighetto, Cison di Valmarino, 10-11-12 ottobre 2014, a cura di Francesco Carbognin, Canova Edizioni, 2019. Review of Andrea Zanzotto, la natura, l’idioma. Atti del Convegno internazionale, Pieve di Soligo, Solighetto, Cison di Valmarino, 10-11-12 ottobre 2014, edited by Francesco Carbognin, Canova Edizioni, 2019.

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw 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 Romanica Olomucensia is the property of Palacky University in Olomouc 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.)

This paper examines the first three collections of poetry by Hungarian-born author and Holocaust survivor Edith Bruck, which were recently reprinted in the volume Versi vissuti: poesie (1975-1990), edited by Michela Meschini. It does so in the context of a discussion on her poetic endeavors and the way her work is marketed in Italy. After a brief biobibliographical introduction this study transitions to a close reading of a selection of her lyrics that stand out for their urgency, their impact on readers, and the universal, ubiquitous nature of the message they convey - one that is just as relevant today as it was when they were first released. In other words, analyzing this new edition of Bruck's poems highlights Meschini's objectives in bringing them "into" the third millennium: to allow readers to revisit some of the most significant translingual poems ever published in Italian. [ABSTRACT FROM AUTHOR]

In the history of European philosophy and culture, women have been both linked to nature and excluded from writing. Because of this, feminist poets face the task of rethinking the two realms together. This essay argues that Biancamaria Frabotta's poems experiment with alternative stories of women's intimacy with "nature." Her poems include an expansive natural world together with distinctive narratives of a woman writer's selfhood. The language and style for both loving and eschewing nature derive from Frabotta's attentive gatherings from literary history. The complexity especially of the world of plants and the intricacies of gendered cultural traditions are best read together as discourses that mirror each other in Frabotta's work. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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.)

This paper examines how Those Who from Afar Look Like Flies, a recent anthology of Italian poetry, possesses an avant-garde - and yet pragmatic - approach to the art of anthologizing. It does so by briefly discussing the current state of contemporary anthologies of Italian poetry and their unwillingness to tackle important theoretical issues. It then addresses these issues by drawing a homology between cartography, semiotics, and literary historiography. In order to better grasp the particularity of Italian literary historiography and the issues contained therein, it then provides a succinct excursus on its history and development. This allows to shed light on the break with the Desanctisian paradigm initiated by Dionisotti amid the turmoil of the Sixties, as well as the subsequent call to a return to a pre-Risorgimento model in Tiraboschi. An overview of the various responses to this paradigm shift is then provided, setting the stage for The Flies and the novel way in which this most recent anthology manages to synthesize these various theoretical axioms of literary historiography. [ABSTRACT FROM AUTHOR]

The Italian poet Giovanni Giudici (1924-2011) translated and published an anthology of Robert Frost's poems titled Conoscenza della notte in 1965 and re-edited it in 1988. The contrasting critical opinions on the book prompt the initial research question on the main stylistic features of Giudici's translation of Frost and lead us to further reflections on the reasons behind the adoption of certain translation solutions and strategies. By relying on the theoretical discourse developed in the field of stylistics applied to literary translations, we focus on the contrastive linguistic analysis of source text (above all on Robert Frost's fictional orality) and target text to single out the recurrent stylistic patterns that can be attributed either to the translator or to the source text author. In order to understand better these stylistic patterns in the target text, interpreted as mainly conscious (but also partly unconscious) choices of the translator, we contextualize them by taking into account a diachronic perspective that stresses their genesis and development in Giudici's translation work. The results shed light on the stylistic features of Giudici's translation of Frost and on Giudici's style as a translator and as a poet in general. They also confirm that the analysis of style in translation can be an effective tool for the interpretation and criticism of literary translations and literary texts. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid 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.)

A turning point in Italian poetry was the publication of the controversial anthology La parola innamorata (1978), which showcased some of the most important poets today (Conte, Cucchi, De Angelis, Magrelli, Viviani). Some of them, Cucchi and De Angelis in particular, chose the figure of the father as an allegorical meter for their poetry in an attempt to measure, so to speak, the distance separating the self from poetry. A poet from the following generation, Antonio Riccardi, gives a new spin to this poetic strategy in his two collections of poems. The article discusses works by the three poets Cucchi, De Angelis and Riccardi, and examines their own elaborations of the father-stance, one of the aspects of poetry and poetics running throughout their collections. [ABSTRACT FROM PUBLISHER]