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Riječka književnost na talijanskome jeziku, posebice na njenom narječju, fijumanskome dijalektu, dugo je vremena bila zapostavljana i tek se u posljednjim desetljećima ovo bogato područje riječke kulturne baštine podvrgnulo dubinskom sustavnom izučavanju. Neki su riječki znanstvenici i štovatelji riječke kulture kroz proučavanje i znanstvenu valorizaciju raznorodnih segmenata prisutnih u njenom multikulturalnom ozračju, utrli put fijumanologiji, odnosno fijumanistici, usmjerenoj ka revalorizaciji bogate riječke kulturne baštine na talijanskome jeziku i njenom lokalnom izričaju, fijumanskome dijalektu. Namjera nam je nastaviti s analizom riječke književnosti na talijanskome jeziku, slijedeći misao riječkih znanstvenika koji su od osamdesetih i devedesetih godina prošloga stoljeća pa nadalje počeli provoditi intenzivniji istraživački rad na riječkoj multikulturalnosti. Ovim člankom o dijalektalnom segmentu talijanske riječke književnosti želimo doprinijeti proučavanju njenog korpusa u sklopu pogranične književnosti koja je iz povijesnih i drugih razloga predugo bila marginalizirana, te prinijeti pozornosti i sudu naših znanstvenika jedan vrijedan segment riječke književnosti, koja je možda i zbog jezične barijere nedovoljno istražena i vrednovana. Ujedno to smatramo svojim skromnim prinosom u kontekstu hrvatsko – talijanskih kulturno – književnih veza. Dijalektalni pjesnici okupljeni u tzv. „antejskoj konvenciji / tradiciji” mahom potpisuju svoje uratke neobičnim, šaljivim i autoironičnim umjetničkim imenima kao npr. Mario Schittar (Zuane de la Marsecia), Arturo Caffieri (de Rocambole), Gino Antony (Cavaliere di Garbo) i Oscarre Russi (Russeto). Najbitnija odrednica i zajednički nazivnik pjesnikovanja u sklopu konvencije je uporaba ironije, autoironije, humora, satire i persiflaže., Rijeka’s literature in the Italian language, especially in its dialect, the Fiuman dialect, has been neglected for a long time, and it is only in recent decades that this rich area of Rijeka’s cultural heritage has undergone in-depth systematic study. Some Rijeka scholars and admirers of Rijeka’s culture, through the study and scientific valorisation of various segments present in its multicultural atmosphere, have paved the way for fiumanology and fiumanistics, aimed at revaluation of Rijeka’s rich cultural heritage in the local Italian dialect. We intend to continue with the analysis of Rijeka’s literature in the Italian language, following the thought of Rijeka scholars, who, since the eighties and nineties of the previous century, began to conduct more intensive research into Rijeka’s multiculturalism. With this article on the dialectal segment of Italian Rijeka literature, we want to contribute to the study of its corpus within border literature that has been marginalized for too long for historical and other reasons, and to draw the attention of our scholars to a valuable segment of Rijeka’s literature. At the same time, we consider it our modest contribution in the context of Croatian - Italian cultural and literary ties. Dialect poets gathered around the so-called “Antaean convention / tradition” mostly sign their works with unusual, humorous, and self-ironic artistic names such as Mario Schittar (Zuane de la Marsecia), Arturo Caffieri (de Rocambole), Gino Antony (Cavaliere di Garbo) and Oscarre Russi (Russeto). The most important determinant and common denominator of poetry within the convention is the use of irony, self-irony, humour, satire, and persiflage.

Questo intervento dà conto dei primi risultati di una serie d’indagini portiane, sollecitate dal ritrovamento di parte delle carte manoscritte di Giovanni Antonio Maggi. In particolare, l'avvio dell'indagine parte dall'evidenza documentaria del fatto che il 'Lament del Marchionn di gamb avert' già circolasse alla fine del giugno 1816, anche se in una veste ancora ben lontana da quella assunta nella sua prima edizione., This paper gives an account of the first results of a series of Portian investigations, prompted by the discovery of part of Giovanni Antonio Maggi's manuscript papers. In particular, the investigation starts from the documentary evidence that the 'Lament del Marchionn di gamb avert' was already circulating at the end of June 1816, even if in a form still far from that assumed in its first edition. &nbsp

Vlasta Vrandečić Lebarić (1953.) plodna je dijalektalna pjesnikinja koja, osim standardnim jezikom, piše idiomom Pučišća na otoku Braču. Cilj je njene poezije oslikavanje intimnih obiteljskih zgoda iz djetinjstva, socijalnih prilika maloga otočkoga mjesta koje živi od kamena i prikaz njegova bogatoga leksika. Ovaj rad, prije svega, ističe jezične posebnosti dvije zbirke s početka autoričina stvaralaštva - Pučȉške piturȅške (1998.) i Doletȋ buletȋn (1999.). Mjesni govor Pučišća pripada južnočakavskome dijalektu, koji je sačuvao brojne čakavske osobine, a do sada nije detaljnije proučavan. Pučiška čakavština, koja se nalazi u pjesmama Vlaste Vrandečić Lebarić, može, barem u neku ruku, pridonijeti boljem poznavanju pučiškoga govora i uistinu je zanimljiva za daljnje proučavanje. Vlasta Vrandečić Lebarić (1953) is a fertile dialectal poet and most of her poetry consists of Chakavian poems written in the local dialect of Pučišća, small village on the island of Brač. Purpose of her poetry is to paint intimate family situations from her childhood, social opportunities of a small insular place, whose people survive because of stone industry, and the display of its rich lexis. Above all, this search puts emphasis on linguistic features of two poetry books from the beggining of author's writing career - Pučȉške piturȅške (1998) and Doletȋ buletȋn (1999). The local idiom of Pučišća belongs to the South Chakavian dialect, which has preserved numerous Chakavian traits, and so far has not been studied in detail. Chakavian dialect, which can be found in poems written by Vlasta Vrandečić Lebarić, can, at least in some ways, contribute to a better understanding of local idiom of Pučišća and is really interesting for further dialectal studies.

Vlasta Vrandečić Lebarić (1953.) plodna je dijalektalna pjesnikinja koja, osim standardnim jezikom, piše pučiškim idiomom. Cilj je njezine poezije oslikavanje intimnih obiteljskih zgoda iz djetinjstva, socijalnih prilika maloga otočnog mjesta koje živi od kamena i sl. U radu se ističu jezične posebnosti dviju zbirki s početka autoričina stvaralaštva – Pučȉške piturȅške (1998.) i Doletȋ buletȋn (1999.), koje su vrijedne s dijalektološkoga gledišta. Naime, mjesni govor Pučišća na otoku Braču do sada nije detaljnije proučavan, pa pučiška čakavština koja se nalazi u pjesmama ove autorice, može, barem nekim dijelom, pridonijeti boljemu poznavanju pučiškoga govora., Vlasta Vrandečić Lebarić (1953) is a prolific dialectal poetess who writes poetry in standard Croatian but also in the local dialect of the town of Pučišća on the island of Brač. The aim of her poetry is to portray intimate family situations from childhood and everyday life and struggles of a small insular community existentially dependent on the local quarry and stone masonry. This paper focuses on the language distinctiveness of two books of poetry from the author’s early phase– Pučȉške piturȅške (1998) and Doletȋbuletȋn (1999), which are very valuable from the dialectal point of view. Namely, the local speech of Pučišća on the island of Brač has not yet been the subject of extensive research, and the Chakavian dialect of Pučišća found in the work of this poetess can thus, at least to some extent, contribute to better understanding of the speech of Pučišće., Vlasta Vrandečić Lebarić (1953) è una feconda poetessa dialettale che, oltre a scrivere in lingua croata standard, si serve dell'idioma di Pučišća. Scopo della sua poesia è raffigurare eventi intimi legati alla sua infanzia, circostanze sociali del paesino di un'isola che vive della lavorazione della pietra e sim. Nell'articolo si mettono in risalto le particolarità linguistiche di due collezioni risalenti alla prima creatività dell'autrice – Pučȉške piturȅške (1998) e Doletȋ buletȋn (1999), valide dal punto di vista dialettologico. Infatti, la parlata locale di Pučišća sull'isola di Brač (Brazza) non è stata studiata nei dettagli fino ad oggi , e il ciacavo di Pučišća che si trova nelle poesie dell'autrice, può, almeno in parte, contribuire a una migliore conoscenza della parlata di Pučišća.

republié par P. Bonte et H. Claudot-Hawad (éds) dans les Cahiers de l'IREMAM, n° 13/14 (« Elites du monde nomade touareg et maure »), 2000, Aix-en-Provence, pp. 167-184; International audience; Dans la Mauritanie contemporaine, la revendication de l'arabe fait figure de principe fondamental de l'entité maure. Pourtant les populations sahariennes du Sahara occidental furent longtemps berbérophones et mirent sans doute plusieurs siècles à changer de « langue maternelle ». C'est d'abord sur cette arabisation dialectale que je m'interroge, en montrant qu'on ne peut pas la couper complètement du mouvement d'islamisation qui l'a précédée et qui semble avoir influé fortement sur l'image que ces populations pouvaient se faire d'elles-mêmes. Si, à partir du 18ᵉ siècle, l'arabité culturelle de cette région prend des contours plus nets, il faut prêter attention au fait que, derrière l'unité apparente du terme « arabe », se cache une dualité mouvante — ce qu'on appelle la diglossie arabe littéraire/dialecte —, à laquelle correspondent deux formes culturelles distinctes. Je propose ici de caractériser la culture savante des zwâye comme « aurale » (par delà la dichotomie écrit/oral) par opposition à l'oralité de la culture populaire en dialecte, telle qu'elle s'incarne notamment chez les musiciens-chanteurs. Dans la dernière partie, j'étudie l'évolution récente de la diglossie et les tentatives faites pour échapper aux difficultés posées par cette opposition, qu'elles restent à l'intérieur du domaine arabe ou qu'elles choisissent d'en sortir. Là encore le poids de l'idéologie se fait sentir et les représentations des locuteurs influent sur leurs productions langagières.

Gino Antony (Antoni ili Antonj) (Trst, 1877. – Casalecchio sul Reno, 1948.) bio je pjesnik, prozaist i dramski pisac. Premda se rodio u Trstu, smatrao se adoptivnim Riječačninom, jer je u Rijeci proživio gotovo cijeli život. Još je kao student u Sieni izdao zbirku novela Fiori di campo (1899), a u Rijeci je započeo objavljivati u La Voce del Popolo gdje je kao vrstan poznavalac gradskih prilika i uspješni pisac elzevira obrađivao različite teme iz gradskog života. Njegov glavni interes bio je vezan uz kazalište i glazbu. Bio je animator kulturno- -umjetničkog društva Società Filarmonico-drammatica, središta iz kojeg je isijavao riječki kulturni iredentizam. Napisao je pet komedija na talijanskome jeziku: Eroi senza gloria (1904), Poveri illusi (1905), La prima e l’ultima (1905), Aria nuova (1905) i Anime schiave (1906). Također je napisao dvije dijalektalne komedije (El ritorno i El zogo) koje nažalost nisu nikada izdane. Antony je, međutim, bio poznatiji kao dijalektalni pjesnik. Tako je preuzeo pseudonim „Cavaliere di Garbo” i kod tiskara Battare (1907) objavio dijalektalnu zbirku Sonetti fiumani koji predstavljaju njegov najvažniji doprinos povijesti riječke književnosti. Njegovi soneti često su objavljivani u riječkome tisku toga doba i velik dio njih nadahnut je dnevnom politikom. U njima autor vješto koristi različite registre: opisni, sentimentalni, nostalgični i kritički, u nekoj vrsti iskrivljenog ili pročišćenog dijalekta. Budući da nam danas nisu dostupna sva pisana djela Gina Antonyja, cilj je ovoga rada pružiti uvid u stvaralački opus toga pisca kroz presjek riječkoga tiska tog razdoblja., Gino Antony (Trieste, 1877 – Casalecchio sul Reno, 1948) was a poet, prose writer and playwright. Although he was born in Trieste, he was considered an adoptive of Rijeka as he had lived there almost all his life. As a student in Siena he published a collection of poems Fiori di campo (1899). In Rijeka he started publishing texts in ‘La Voce del Popolo’ in which he described urban conditions and he was a successful writer of ‘elzevirs’ dealing with different topics of urban life. His main interest was related to the theatre and music. He was an animator of the arts club Società Filarmonico-drammatica, the centre from which Rijeka cultural irredentism radiated. He wrote five comedies in Italian: Eroi senza gloria (1904), Poveri illusi (1905), La prima e l’ultima (1905), Aria nuova (1905) and Anime schiave (1906). He also wrote two dialectal comedies (El ritorno and El zogo) that, unfortunately, were never published. However, Antony was better known as a dialectal poet. So he took the pseudonym ‘Cavaliere di Garbo’, and the editor Battara (1907) published his dialectal collection Sonetti fiumani which represents his most significant contribution to the history of Rijeka literature. His sonnets were often published in the Rijeka press of that time, and a great many of them were inspired by the daily politics. In them, the author masterfully uses different registers: descriptive, sentimental, nostalgic, and critical, in a kind of distorted or purified dialect. Since not all of Gino Antony’s works are available today, the aim of this paper is to provide an insight into his works through a press section of Italian periodicals from this period.

Humaynī poetry is a kind of semi-dialectal poetry found in Yemen, and strongly related to the music and traditional San ‘ānī singing. It is especially interesting because of its use of dialect as a stylistic ornament. These poems have been composed and singed from the XVth century and are the greatest and most appreciated heritage of Yemeni culture and Yemeni people. The aim of this article is to present a conclusion about the use of dialect in this kind of poetry thought the analysis of six poems still singed nowadays, but composed in different periods of this poetry. La poesía humaynī es un tipo de poesía semi-dialectal presente en Yemen fuertemente ligada a la música y al canto tradicional San ‘ānī. Su interés radica en el uso que hace del dialecto como elemento estilístico.