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Quale statuto accordare alla «verità» della finzione rispetto alla memoria dei campi di concentramento? L’articolo riprende il dibattito scatenato dalla celebre interdizione adorniana sulla poesia dopo Auschwitz, per mettere in luce come il romanzesco venga indicato, tanto da alcuni sopravvissuti ai campi (come Antelme e Semprun), quanto dagli scrittori del dopo-Shoah (da Perec a Camille de Toledo), come la sola via d’uscita da una forma di memoria divenuta ormai quasi “patologica”, perché ossessiva, istituzionalizzata e svuotata della sua vera essenza. L’epoca contemporanea, segnata dall’emergenza Covid-19 e dalla guerra in Ucraina, che hanno risvegliato paralleli oscuri con la Shoah e nuovi negazionismi, manifesta più che mai il bisogno di un passaggio ad una “memoria creativa” (Imre Kertész) – pacificata, comunitaria, rinnovata nella transitività del suo messaggio, in grado di raccontare quello che è stato, senza dimenticare di dare nuove forme al futuro.

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Le teorie della metafora elaborate da Max Black e Paul Ricœur sono tra le più rilevanti nella filosofia novecentesca. Poiché entrambi hanno criticato la riduzione della metafora a orpello stilistico, affermandone la funzione cognitiva e l’importanza filosofica, c’è la tendenza a privilegiare gli elementi di continuità tra le loro prospettive. Ma è proprio così? Black e Ricœur non incarnano forse due punti di vista opposti sulla metafora: il punto di vista che ne enfatizza la forza euristica (Black) e quello che ne enfatizza piuttosto il potere creativo (Ricœur)? Approfondendo le riflessioni dei due filosofi al riguardo e il confronto che ciascuno di essi attiva con l’altro, questo contributo mette in luce come le loro posizioni tendano ad ampliarsi e arricchirsi, includendo anche l’aspetto inizialmente meno considerato. L’analisi delle prospettive di Black e Ricœur fornisce così l’occasione per interrogarsi sulla possibilità, nel dibattito filosofico odierno, di tenere insieme la natura sia linguistica che concettuale della metafora così come il suo valore sia euristico che innovativo. The theories of metaphor developed by Max Black and Paul Ricœur are some of the most relevant in 20th century philosophy. Since both criticised the reduction of metaphor to a stylistic ornament, claiming its cognitive function and philosophical importance, there is a tendency to favour the elements of continuity between their perspectives. But is this really the case? Don't Black and Ricœur embody two opposite points of view on metaphor, namely the point of view that emphasizes heuristic power (Black) and the point of view that emphasizes creative power (Ricœur)? Deepening the thought of the two philosophers in this regard and the comparison that each of them engages with the other, this contribution highlights how their views tend to widen and enrich themselves, including the aspect that was initially less considered. The analysis of Black and Ricœur's perspectives thus provides an opportunity to question the possibility of holding together, in today's philosophical debate, both the linguistic and conceptual nature of the metaphor as well as its heuristic and innovative value. Keywords: metaphor, knowledge, semantic innovation, fiction, reference, creativity Abstract en français Dans le milieu philosophique du XXe siècle, les théories de la métaphore développées par Max Black et Paul Ricœur figurent parmi les plus remarquables. Puisque tous les deux ont critiqué la réduction de la métaphore à des pièges stylistiques, affirmant sa fonction cognitive et son importance philosophique, on a tendance à privilégier les éléments de continuité entre leurs perspectives. Mais est-ce vraiment le cas? Black et Ricœur n'incarnent-ils pas deux points de vue opposés sur la métaphore: le point de vue qui met l'accent sur sa force heuristique (Black) et le point de vue qui met plutôt l'accent sur sa puissance créatrice (Ricœur)? Approfondissant les réflexions des deux philosophes à cet égard et la comparaison que chacun d'eux active avec l'autre, cette contribution met en évidence comment leurs positions ont tendance à s'étendre et à s'enrichir, y compris également l'aspect initialement moins considéré. L'analyse des perspectives de Black et Ricœur est ainsi l'occasion de s'interroger sur la possibilité, dans le débat philosophique d'aujourd'hui, de tenir ensemble à la fois la nature linguistique et conceptuelle de la métaphore ainsi que sa valeur heuristique et innovante. Mots-clés : métaphore, connaissance, innovation sémantique, fiction, référence, créativité

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Questo saggio analizza lo spettacolo Discorso grigio della compagnia teatrale Fanny & Alexander. La performance del gruppo ravennate porta in scena la retorica del discorso politico contemporaneo, operando uno scivolamento molto sottile tra verità e finzione, ovvero tra la realtà dei discorsi della media politics (la politica condotta attraverso i media) e il loro straniamento grottesco. Facendo leva su una precisa cornice teorica, che convoglia studi di comunicazione politica e di sociologia dei media, la nostra analisi anzitutto mette in luce i principi compositivi di ‘finzionalizzazione’ intorno a cui si organizza la drammaturgia dello spettacolo. Successivamente, con un aggiornato approccio teatrologico, si ricostruiscono e interpretano la grammatica della scrittura scenica e la tecnica della recitazione, votate a mettere in cortocircuito realtà e finzione-spettacolo dell’oratoria pubblica. I risultati dell’analisi di Discorso grigio illustrano la sua capacità di disvelamento degli artifici retorici della media politics, dimostrando come lo slittamento semiotico tra realismo e metacommento finzionale produca una qualità conoscitiva e rivelatoria della performance teatrale.

Nel 2012 Orhan Pamuk inaugura a Istanbul il Museo dell’innocenza, di cui lo scrittore ha curato in dettaglio l’allestimento e il criterio di disposizione degli oggetti. La mostra trova il proprio nucleo originario nel romanzo Il Museo dell’innocenza del 2008. In quell’opera del 2008 il protagonista Kemal, evidente proiezione autoriale, sopperisce all’impossibilità di una relazione con la giovane Füsun attraverso la collezione dei cimeli a lei appartenuti, gli stessi che pochi anni dopo verranno esposti nel museo ideato da Pamuk e che saranno riprodotti nel catalogo L’innocenza degli oggetti. La realtà, pertanto, discende dalla finzione letteraria e offre un’ulteriore declinazione di quell’ “invenzione del vero” di cui Federico Bertoni ha affrontato i nodi teorici nel suo Realismo e letteratura. Partendo da un confronto tra la dimensione metatestuale del Museo dell’innocenza e i modi in cui si esplica il congenito scambio tra lo statuto della realtà e quello della finzione ne L’innocenza degli oggetti, il contributo intende proporre un focus sul rapporto che questo segmento della produzione di Pamuk intrattiene con il referente e sulle implicazioni memoriali e identitarie espresse dall’universo immaginato, e forgiato, dallo scrittore turco.

The essay analyzes the relationships between the fictions of eros and, especially, of adultery, and the “fictional worlds” of literature (Pavel), focusing on the period from late Humanism (Boccaccio's Decameron and Chaucer's Canterbury Tales) to Shakespeare. The aim is to show how in the adultery scenes – or, in general, through the lens of passions, and mainly in Shakespeare – the rhetorical construction of the images provided by characters either anticipates or crosses the pictorial technique of the anamorphosis, with the effect of suggesting multiple meanings behind the individual apprehension of reality, its subjectivism and relativism (see Hillman 2007).

This article presents an imaginary phenomenology of working with a young adult in psychotherapy. It is presented in two parts: Part 1 is a retrospective of meaning, and Part 2 is the case itself. The case indicates the intertwining and uncertainty of experience in therapy through the subjectivity of the therapist, a phenomenon which gives rise to something therapeutic. In Part 1, what emerges after reading the case over are some aspects of how we attach meaning in retrospect, which are explored through senses of differend, alienation, repression, fiction, and death. The young client especially it appears needs to find his own language of experience, without being crushed by the words (and presence) of others, but how this is possible seems fraught with difficulty How do we provide a safe space for a young person to speak and find their own way without imposing the co-ordinates of our own lives upon them? Perhaps one way is to be prepared to let go of our firm beliefs and ideas, without rancour, in the face of the energy and curiosity of youth. [ABSTRACT FROM AUTHOR]

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In this work the author, on the basis of a study upon an artwork taken in its stylistic and formal features, deepens his knowledge about the poem Autopsicografia by Fernando Pessoa. The Portuguese poet is able to bring who read into the land of psyche, where the thought is formulated, through the discourse upon heteronyms and the need of fiction. It is about following the course of movements of thought which are internal to the poem itself, in the articulation of the experience of the poet meeting the flux of his same work. This flux will give birth to a metaphorical image, resulting of the activation of the transcendental function following Jung's theorizing. [ABSTRACT FROM AUTHOR]

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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.)

Il proposito del presente articolo è quello di mettere in luce la presenza e il ruolo della città, non tanto come spazio urbano contrapposto a quello rurale-bucolico, ma di una città che assume una posizione privilegiata, da protagonista o, quanto meno, da coprotagonista, in romanzi prodotti tra la fine del secolo scorso e l’attualità nel panorama letterario brasiliano. Storia, finzione, mito, memoria sono aspetti già presenti nella città descritta durante il Modernismo da autori come Carlos Drummond de Andrade, Manuel Bandeira e Vinicius de Moraes, ma anche, in tempi diversi, da Lima Barreto, João do Rio, Rubem Fonseca, testimoni delle trasformazioni di Rio de Janeiro. Dal canto suo Mário de Andrade con l’opera Paulicéia Desvairada rivela, conciliando estetiche differenti, i cambiamenti di São Paulo dovuti anche alle forti immigrazioni. Tuttavia, l’obiettivo principale di questo testo verte sull’importanza attribuita alle città di Manaus e di Brasilia rispettivamente nei romanzi di Milton Hatoum e João Almino. Questi autori non si inseriscono nel filone del regionalismo, così marcato nella tradizione brasiliana, ma, piuttosto, fanno agire le presenze umane in un contesto cittadino che assume vita propria, quasi personificandosi.

In 2012 Orhan Pamuk inaugurated in Istanbul the Museum of Innocence, treated in detail, from the preparation to the disposition of objects, by the author. The exhibit arises from the novel The Museum of Innocence (2008), in which the protagonist Kemal, evident authorial projection, provides for the impossibility of a relationship with the young Füsun through the collection of the objects belonged to her. They are the same ones that will be exposed in the Museum created by Pamuk and that will be reproduced in the relative catalogue The Innocence of Objects. The reality, therefore, derives from literary fiction and offers a further declination of the 'invention of truth' theoretically analyzed by Federico Bertoni in his book Realismo e letteratura. Starting from a comparison between the metatextual dimension of the Museum of Innocence and the reality and fiction exchange in The Innocence of Objects, the contribution will focus on the relations of this part of Pamuk's production with the referent and on memorial and identity implications expressed by the universe imagined and shaped by the Turkish writer. [ABSTRACT FROM AUTHOR]

La ricerca iseriana di un’antropologia della letteratura cerca di innestare la riflessione sulla narrazione in un campo multidisciplinare molto più ampio del tradizionale settore della critica. Concentrandosi sui concetti di fiction e di fictionalizing, di finzione e del finzionalizzare, Iser prova a mostrare il carattere strumentale della letteratura, intesa quale dispositivo universale d’interpretazione e di creazione di significato. Non c'è dubbio che l’idea iseriana della letteratura come grimaldello esperienziale abbia trovato terreno fertile negli Stati Uniti, seppur in maniera indiretta e probabilmente solo coincidenziale. Qui, infatti, grazie soprattutto a Joseph Carroll, è nato e si è diffuso il cosiddetto Literary Darwinism che, come Iser, ritiene che la letteratura – e quindi la finzione – sia un tratto radicalmente caratteristico dell’essere umano. Altrettanto chiaro però è che le assonanze tra le due visioni finiscono qui, almeno nella misura in cui è possibile riscontrare una prima divergenza sul modo in cui esse intendono il termine “finzione”: mentre per Iser, infatti, la finzione è limitata esclusivamente all’ambito letterario, per i darwinisti letterari il termine arriva a includere un macrocosmo di fenomeni – tra i quali, ad esempio, il sogno e le finzioni del “quotidiano”, due realtà che Iser, viceversa, esclude dal regno finzionale. Ora, è innanzitutto su questo punto di divergenza che il presente contributo intende riflettere, sforzandosi, in primo luogo, di mettere in evidenza le diverse accezioni che i concetti di finzione e finzionalizzazione assumono nelle visioni prese in considerazione. Ma non solo. A differenziare le due prospettive, infatti, c'è soprattutto la diversa ambizione che le caratterizza. All’atteggiamento spregiudicato dei darwinisti letterari, pronti ad affermare l’origine evolutiva dello storytelling e quindi più tesi verso un’antropologia evoluzionistica, si contrappone il carattere strettamente culturale dell’elemento antropologico ricercato da Iser. In questo senso, pur nella consapevolezza della comune condivisione dell’ideale di un’antropologia della letteratura, si cercherà di mostrare, in seconda battuta, la radicale diversità in cui tale ideale si colloca. Così, pur nella convinzione che sia corretto vedere le tesi del darwinismo letterario come un ampiamento e un potenziamento di quelle iseriane – se si vuole una loro potenziale evoluzione – il presente contributo proverà a indicare alcuni limiti della posizione evoluzionista mostrando come, almeno per il momento, la bilancia della riflessione sulla narrazione penda decisamente a favore di una prospettiva antropologica più cautamente culturale.

Micla Petrelli has a dialogue with Ercole Giap Parini on the occasion of the publication of his book Il cassetto dei sogni scomodi. Ovvero, quel che della letteratura importa ai sociologi (The drawer of awkward dreams. That is, what literature matters to sociologists - Mimesis, 2017). Parini explores the relationship between the sociologist and the literary object defining it a "relationship with a strong value of knowledge”, decisive in providing the keys to reading for the difficult understanding of reality, moving from the idea that both the writer – the novelist – and the sociologists practice fiction and produce representations of reality, draw landscapes, sometimes real frescoes. What emerges is an ethos of research based on intuition, curiosity, imagination, categories that surpass the strictly logical dimension of thought and test the method of the sociological inquiry.

Utopia and political science are not sharply antithetical models of approach to politics. As Hans Blumenberg points out, they were born at the same time as alternatives to the model of the Platonic philosophical inquiry, and have continued to develop in parallel. Their diversity will be illustrated by examining the role of fiction in Thomas Hobbes's Leviathan and James Harrington's Commonwealth of Oceana. Describing the different role it plays in these works, the essay shows how they both use this concept to solve the problem of the uncertainty of knowledge and the intransparency of the world.

The paper suggests a theoretical re-reading of Utopia. Usually dismissed as a pathological form of politics, it deals with the borders of modern political semantics and raises important issues about contemporary political theory. Bloch’s notion of Utopia helps to reframe the discussion about the ambiguous meaning of this term and introduce philosophical interpretations of this concept. Drawing from heterogeneous philosophical material (in particular Ernst Bloch’s theory of the «Possible» and Hans Blumenberg’s theory of «Fiction of Possibility»), it is argued that the problem of the death of Utopia arises when a particular form of subjective cognition, confronting contingency, is asked to open up for the prospect of progressive and democratic expectations. Utopia thus acquires an ambivalent position by articulating contemporary political reason.

The thematic section of this issue of «Scienza & Politica» focuses on the problem of utopia. Though in the last decades Utopian Studies have developed significant analyses of this issue, their concept is still poor in reflexivity. The historiographical reconstructions and conceptual investigations operate through meanings of a concept which escape the control of their users: the many, and even incompatible, meanings of Utopia available today are often loosened from each other, with the result that scholars very often give rise to dialogues that run the risk to be only apparent, since they develop through different semantics. The purpose of a research that engages today in an attempt to elaborate reflexively this category cannot be to look for a unifying meaning of the term: this, in fact, would add up a single definition to the others available on the marketplace of ideas. On the contrary it seems more promising to build an accurate repertoire of meanings in use, in which the concept of Utopia shows its varying boundaries and the contradictions characterizing its long tradition

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 Scienza & Politica is the property of University of Bologna, Department of Political & Social Sciences Alma Mater Studiorum 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 Scienza & Politica is the property of University of Bologna, Department of Political & Social Sciences Alma Mater Studiorum 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 Scienza & Politica is the property of University of Bologna, Department of Political & Social Sciences Alma Mater Studiorum 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 Annali d'Italianistica is the property of Annali d'Italianistica, Inc. 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.)