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Presentazione della sezione “«We Should Never Write Without Feelings». Studi su William T. Vollmann”. Introduction to the monographic section “’We Should Never Write Without Feelings.’ Studies on William T. Vollmann”., ENTHYMEMA, No 23 (2019)

El objetivo de este artículo es el estudio de las arengas almohades pronunciadas en un contexto de guerra santa. Se analizarán estos discursos no solo desde la óptica de su funcionalidad militar, sino también desde las perspectivas de la ritualización del ŷihād puesta en marcha por el movimiento unitario, la legitimación del poder mu’miní a través de la conducción de la guerra santa, y la transmisión que el califato bereber realizó de las ideas dominantes de su discurso de ŷihād.

espanolDesde la Antiguedad clasica fue recurrente el debate de si eran mas importantes las acciones humanas o su recreacion por escrito, en forma de historia. Salustio destaca quiza por encima del resto en este debate. La dicotomia entre 'agere historiam' y 'scribere historiam', que sirve al historiador para justificar y ponderar su labor situandola al mismo nivel o incluso por encima del protagonista de los hechos, se convirtio en un topico literario repetido en la historiografia posterior, y de manera particular en las historias latinas del Renacimiento. Tras este debate se esconde el concepto de 'industria', en cuanto actividad frente a la inaccion, un concepto que se repite con relativa asiduidad en los proemios historiograficos renacentistas, para reflejar, al hilo de Salustio, la importancia de la labor del historiador en cuanto transmisor de los hechos del pasado a las generaciones futuras, con todas las implicaciones practicas y pedagogicas que ello conlleva. Analizamos la presencia del termino 'industria' en los prefacios de algunos historiadores neolatinos, como Poggio Bracciolini, Sanchez de Arevalo o Arnoul Le Ferron. EnglishIn classical antiquity the debate arose about what was more important: human actions or their recreation in writing, in the form of history. Sallust perhaps stands out above the rest in this debate. The dichotomy between agere historiam and scribere historiam, which serves the historian to justify his work by placing it at the same level or even above the protagonist of events, became a recurring literary topic in later historiography, and particularly in Renaissance Neolatin historiography. Underlying this debate is the concept of industria, as an activity opposed to inaction, a concept assiduously repeated in the prefaces of Renaissance historiography, to reflect, in line with Sallust, the importance of the historian’s work as a transmitter from past events to future generations, with all its practical and pedagogical implications. We analyze the presence of the word industria in the prefaces of some Neo-Latin historians, namely Poggio Bracciolini, Sanchez de Arevalo or Arnoul Le Ferron .

espanolCronica de la edicion llevada a cabo por Patricia Osmond y Robert Ulery del comentario a los primeros seis libros de los Anales de Tacito escrito por el historiador ingles Edmund Bolton. Se analiza la lectura que los editores realizan del tratado de Bolton en el contexto historiografico, politico y social de la Inglaterra jacobina. EnglishThis review examines the edition of Edmund Bolton’s commentary on the first six books of Tacitus’s Annals by Patricia Osmond and Robert Ulery. The editors’ reading and interpretation of Bolton’s treatise within the historiographic, political and social context of Jacobean England are also described

Review of Johanna Hanink (ed.), How to Think about War: An Ancient Guide to Foreign Policy. Thucydides Speeches from The History of the Peloponnesian War, Princeton y Oxford: Princeton University Press, 2019. Pp. 276. ISBN 9780691190150

Gli Elogi degli uomini illustri di Paolo Giovio costituiscono un valido esempio di quell’uso attualizzante del passato, specie di quello antico, proprio della prima età moderna. Attraverso il ricorso alla storiografia antica, sia greca che latina, sapientemente rielaborata in maniera autonoma, e con la mediazione dell’immagine, l’umanista comasco presenta i due fondatori di Roma, Romolo re-guerriero e Numa re-sacerdote, come figure archetipiche nonché modelli a cui attingere per trarne lezioni utili a riportare l’Urbe al centro dello scacchiere politico internazionale.

Recensione di Le parole necessarie. Tecniche della scrittura e utopia della lettura, di Giuseppe Pontiggia, a cura di Daniela Marcheschi. Review of Le parole necessarie. Tecniche della scrittura e utopia della lettura, by Giuseppe Pontiggia, edited by Daniela Marcheschi., ENTHYMEMA, No 23 (2019)

Meteoesce nel 1996: è una silloge poetica di Andrea Zanzotto, i cui caratteri sono quelli della frammentarietà, della provvisorietà, dell’ibridazione. L’obiettivo è dare forma, nello spazio dei versi, alla rappresentazione di un mondo devastato, che evoca gli oggetti e i luoghi dell’infanzia per capovolgerne la valenza, che annulla il tempo storico e cronologico, attraverso una lingua che è a sua volta scomposta, e violata nelle norme grammaticali e sintattiche. Meteois published in 1996: it is a book of poetry by Andrea Zanzotto, whose main characteristics are fragmentism, precariousness, hybridism. The aim is to give form, within the textual space of verses, to the representation of a devasted world, that evokes childhood’s objects and places in order to overturn its significance, and erases historical and chronological time, through a broken down language., ENTHYMEMA, No 23 (2019)

This paper sets out to re-approach the famous leptêacrostich in Aratus’ Phaenomena (783-87) by confronting it with other early Greek acrostichs and the discourse of technê and sophia,which has been shown to play an important role in a gamut of Greek literary texts, including texts very much relevant for the study of Aratus’ acrostich. In particular, there is a tantalizing connection between the acrostich in Aratus’ poem that poeticized Eudoxus’ astronomical work and the so-called Ars Eudoxi, a (pseudo-)Eudoxian acrostich sphragisfrom a second-century BC papyrus., ENTHYMEMA, No 23 (2019)

William T. Vollmann frequently asserts that his ideal reader will appreciate the functionality and beauty of his sentences. This article begins by taking such claims seriously, and draws on both literary and rhetorical stylistics to explore some of the many ways that his texts answer to his intention to find “the right sentence for the right job.” In particular, this article argues that Vollmann’s stylistic decisions are most notable when they most directly satisfy his effort to produce texts that foster empathetic knowledge, serve truth, resist abusive power, and encourage charitable action. Extended close analyses of passages from an early and from a mid-career text (The Rainbow Storiesand Europe Central) illustrate Vollmann’s consistency across two decades of his career regarding choices in the areas of figuration (including schemes and tropes of comparison, repetition, balance, naming, and amplification), grammar, deixis, allusion, and other compositional strategies. Particular attention is paid to passages that display the stylistic mechanisms underlying Vollmann’s negotiation of his texts’ moral qualities, including both the moral content of the worlds represented in the texts, and the moral responsibility the texts bear with regard to their audience. The results of my analyses demonstrate that Vollmann typically prioritizes openness, critique, and dialogue not only in terms of incident and character, but also on the scale of the phrase, clause, and sentence. Ultimately, this article shows how Vollmann’s sentences serve his declared intentions and allow readers to recognize compatibilities between Vollmann’s works and the characteristic features of post-postmodernist writing in general., ENTHYMEMA, No 23 (2019)

Il contributo intende prendere in rassegna le principali traduzioni italiane dell’Eneide nel Novecento (con l’inclusione di due prove recenti), soffermandosi in particolare su alcune fasi della storia traduttiva del poema. Se le traduzioni realizzate durante il Fascismo concorrono a presentare, in chiave nazionalistica, l’opera di Virgilio come «prima luminosa giornata della letteratura italiana», dopo la guerra, mutati i paradigmi traduttivi e le coordinate culturali, il ritorno all’Eneideavviene nel segno di una ritrovata vicinanza al «doloroso penare» del suo eroe. Si realizza quindi un «recupero romanzesco» del poema di Enea, con un cambiamento di prospettiva che incide in maniera netta sulle caratteristiche stilistiche (soprattutto lessico e sintassi) delle traduzioni allestite in questo periodo. Tra gli anni Ottanta e Novanta, infine, compaiono numerose nuove versioni del testo epico virgiliano, improntate a criteri di leggibilità e chiarificazione del testo di partenza, al quale si subordina quello che Fortini chiamava «il tasso d’ispirazione, d’appropriazione, di “genialità” del traduttore». Si distinguono, nel quadro di sostanziale omogeneità che contraddistingue questa fase, due recenti e antitetiche prove di traduzione (Sermonti e Fo), analizzate in chiusura del contributo. La ricognizione, ancorché lacunosa e non esaustiva, si propone di evidenziare il fondamentale ruolo della traduzione nel percorso della ricezione del testo classico. This article aims to present a detailed review of Italian translations of the Aeneid during the Twentieth and early Twenty-first Century. Translations help to explain how and why Aeneid has been interpreted in particular times and contexts. During Fascism, translations played a large part in bringing Virgil and his poem into Italian literature and culture: according to this view, translators of the Aeneid made the connection with Italian literary tradition clear and explicit. After World War II, Virgil was seen as a source of humanity and as a reflection on human grief: translations of this time reflected this important shift using a language which became less grandly majestic, more reflective and plain. After 1980, translations of Virgil’s work have incredibly increased in number and have become more and more devoted to the ideal of the “invisible” translator, with two remarkable and very recent exceptions (Sermonti and Fo). In conclusion, this article aims to show how the activity of translation has contributed to interpretation and reception of the Aeneidin Italy throughout the century., ENTHYMEMA, No 23 (2019)

A partire dalla Grecia arcaica gli enigmi e gli indovinelli trovano la loro collocazione ideale nell’istituto del simposio. In epoche più recenti si sviluppano teorie e classificazioni ad opera dei retori. Oggi possediamo un buon numero di indovinelli antichi e anche diverse testimonianze che, malgrado il più delle volte sembrino indirizzarci verso un’idea dell’enigma legata al gioco e alla sfida tra due o più contendenti, restano tuttavia saldamente ancorate alla tradizione artistica e letteraria da cui dipendono. Questo studio è finalizzato a comprendere se e in che misura dalle testimonianze antiche si possano ricavare tracce di veri e propri contesti agonali al di fuori dello spazio letterario dei Greci e dei Romani. Starting from archaic Greece, enigmas and riddles find their ideal place in the symposium. In more recent times ancient theories and classifications were developed by rhetoricians. Today we have a good number of ancient riddles and also numerous testimonies. Although the latter often seem to lead us towards an idea of the enigma linked to the game and the challenge between two or more contenders, they remain firmly anchored in the artistic and literary tradition on which they depend. This study is aimed at understanding whether, and to what extent, from ancient evidence we can derive traces of real agonal contexts outside the literary space of the Greeks and Romans., ENTHYMEMA, No 23 (2019)

The article compares the representation of Asian sex workers in William T. Vollmann’s Butterfly Stories(1993) and Michel Houellebecq’s Platform(Plateforme, 2001). Both the novels are set in South-East Asia, and both involve an apologetic and romanticised description of the sex trade. By comparing the two novels, I argue that both authors’ treatments of the sex industry develop a critique of Western Orientalism, and at the same time sympathy for and complicity with the colonial power dynamics that regulate the relationships between Asian countries and the West., ENTHYMEMA, No 23 (2019)

Attraverso il confronto fra Let Us Now Praise Famous Men di James Agee e Walker Evans e Poor People di William T. Vollmann, l’articolo si propone di mostrare come quest’ultimo rifletta e cerchi di risolvere i problemi etici, politici e formali della rappresentazione documentaria. In particolare, si analizzano le modalità attraverso le quali viene problematizzato il processo di mediazione e di fruizione e lo specifico della retorica adottata da Vollmann per rendere conto dell’esperienza di un’alterità subalterna. Through the comparison between James Agee’s and Walker Evans’s Let Us Now Praise Famous Men and William T. Vollmann’s Poor People, this essay focuses on ethical, political and aesthetic problems concerning documentary representation. Namely I analyse the ways in which Vollmann puts the mediation process into question and the rhetoric through which the experience of otherness is depicted in a work of literary non-fiction., ENTHYMEMA, No 23 (2019)

Recensione di Ezra Pound e l’arte italiana, di Andrea Mirabile (Olschki, 2018). Review of Ezra Pound e l’arte italiana, by Andrea Mirabile (Olschki, 2018)., ENTHYMEMA, No 23 (2019)

"Se una notte d'inverno un viaggiatore" quarant'anni dopo. Atti del Seminario MOD, Università IULM, 17-18 ottobre 2019. A cura di Filippo Pennacchio e Silvia T. Zangrandi

L’intervento si basa sull’ipotesi che la presenza di congegni automatizzati di lettura e scrittura presenti in Se una notte d’inverno un viaggiatore si possa proiettare non solo alla luce delle previsioni avanzate dall’autore in “Cibernetica e fantasmi” ma anche a ritroso, ovvero inseguendo il legame di Calvino con la tradizione letteraria cinque-settecentesca (si pensi ad esempio alla macchina per generare discorsi in Swift o alla fissazione e scomposizione delle ‘parole gelate’ in Rabelais). Tale prospettiva punterà a verificare come l’immaginario calviniano, nel suo dualismo intrinseco, mantenga salda la propria impostazione fantastico-fiabesca, anche quando tratta di «macchine di ferro che obbediscono ai bitsenza peso»., The article proposes a focus on the reading and writing machines in If on a Winter’s Night a Traveler by Italo Calvino. This aspect of the novel reflects Calvino’s prediction of a literary automaton we find in his essay “Cybernetics and ghosts”. It’s also true that Marana’s writing machine has the same combinatory system and parodist aim of the device described in the 3th book of Gulliver’s Travels. Moreover, the reading machine in Calvino’s novel dissolves the book in a dust of melted words, an image that may trace back to Rabelais’ myth of parolles gelées. These references give us the possibility to explore the fabulous element of If on a Winter’s Night a Traveler.

Interpretatio nominis was certainly one of Italo Calvino’s interests throughout his writer’s life, as witnessed by the different pseudonyms he adopted for himself over the years, the hermeneutic investigations he conducted about his name, and above all his arguments on the topic. Within the onomastic potential offered by If on a Winter’s Night a Traveler, the reader is struck by the accumulation of proper names that identify the characters: among these, some tell-tale names have been chosen at random. In the novel Calvino also maintains a dialogue with meta-onomastic, in harmony with the metanarrative orientation developed in the novel. Along the story, in fact, there are several considerations on the importance of nominatio. Calvino seems to tell us that everything revolves around the name because it is through it that we are recognized. It is therefore easy to conclude that the onomastic investigations can provide another way to delve into this novel., L’interpretatio nominis è da sempre tra gli interessi di Italo Calvino: spie sono i diversi pseudonimi che lo scrittore adottò per sé nel corso degli anni, le indagini ermeneutiche da lui condotte attorno al suo nome, ma soprattutto i ragionamenti riguardanti l’argomento. All'interno del potenziale onomastico offerto dal romanzo Se una notte d’inverno un viaggiatore, non sfugge a chi legge l’accumulo di nomi propri che identificano i personaggi: tra questi sono stati scelti a campione alcuni nomi-spia. Nel romanzo Calvino intrattiene un dialogo anche con la metaonomastica, in consonanza con l’orientamento metanarrativo sviluppato nel romanzo. Lungo la narrazione, infatti, si incontrano diverse considerazioni sull’importanza della nominatio. Calvino pare dirci che tutto ruota attorno al nome proprio perché è attraverso di esso che si viene riconosciuti. È quindi facile concludere che le indagini onomastiche possono indicare un’altra modalità per addentrarsi in questo romanzo.

Review of Baroni, Raphaël, I meccanismi dell’intreccio. Introduzione alla narratologia funzionale, Effigi, 2020., Recensione a Baroni, Raphaël, I meccanismi dell’intreccio. Introduzione alla narratologia funzionale, Effigi, 2020.

In narratological terms, If on a Winter’s Night a Traveler is a you-narrative, that is, a narrative revolving around a ‘you’. This article aims at explaining both the way in which Calvino employed this formal device, and its importance within the textual construction. After focusing on the enunciative dynamics underlying the novel, I will reflect on the choice of a ‘you’ as part of a wider discourse concerning the relationship between author and reader, as well as the broader textual experience that Calvino aims to represent., In termini narratologici, Se una notte d’inverno un viaggiatore è una you-narrative, cioè un racconto in seconda persona, che ruota intorno a un ‘tu’. Da un lato, questo articolo intende soffermarsi su tale aspetto, mettendo in luce la peculiarità nell’uso della seconda persona da parte di Calvino. Dall’altro lato, intende invece spiegare perché il ‘tu’ si rivela decisivo nell’economia del romanzo. Dopo aver descritto le dinamiche enunciative che ne sono alla base, si ragionerà su come la scelta del ‘tu’ si inserisca in un discorso più ampio, relativo al rapporto fra autore e lettore e all’esperienza del testo che Calvino sembra voler rappresentare.

L’intervento si concentra su alcuni aspetti del dattiloscritto di Se una notte d’inverno un viaggiatore. Dopo una breve descrizione delle caratteristiche che determinano la complessità del documento, si propone, in particolare, una lettura di alcune correzioni d’autore, e a partire da queste ultime si suggeriscono alcune ipotesi circa la possibile collocazione di questo testimone all’interno della storia del testo., ENTHYMEMA, N. 26 (2020)

L’articolo propone un itinerario attraverso i tanti personaggi lettori disseminati nell’opera narrativa di Italo Calvino per approdare infine al Lettore protagonista del Se una notte d’inverno un viaggiatore. Se da questo confronto è possibile dedurre il riemergere nel Viaggiatore dell’esigenza, prioritaria nella prima stagione, di una correlazione tra mondo scrittoe mondo non scritto, i termini di questo nesso sarebbero, tuttavia, ormai del tutto sbilanciati a favore del mondo scritto, ultimo baluardo contro quelle «cose vaghe come i sentimenti, come il senso della vita» che inficiano la leggibilità del mondo reale., ENTHYMEMA, N. 26 (2020)

The figure of the interpreter in history has always oscillated between visibility and invisibility. Although today there is a tendency to give it increasing recognition, some categories (cultural mediators, war and sign interpreters) still remain in a poorly recognized situation and often operate in precarious working conditions. The interpreter as a subject of study has been present in world literature for years. We will investigate what has become the interpreter as a subject in world cinema. What is the semiotic process for which a given image of the interpreter communicates a certain cliché or suggests certain characteristics that the director (or the screenwriter) wanted to highlight. Will the cinematographic fictional representation tend to distort, between myth and stereotype, the working reality of the interpreter? In which cases and why? These are some of the questions we will try to answer through our study based on a representative corpus of international films., La figura dell’interprete nella storia ha sempre oscillato fra visibilità e invisibilità. Nonostante oggi si tenda a conferirgli sempre maggiore riconoscimento, alcune categorie (mediatori culturali, interpreti di guerra e dei segni) rimangono ancora in una situazione di scarso riconoscimento e spesso operano in condizioni di lavoro precarie. L’interprete come oggetto di studio è da anni presente nella letteratura mondiale. C’è da chiedersi cosa ne sia dell’interprete come soggetto nella cinematografia mondiale. Qual è il processo semeiotico per il quale una data immagine dell’interprete comunica un certo cliché o ne suggerisce determinate caratteristiche che il regista (o lo sceneggiatore) ha voluto mettere in evidenza. La rappresentazione fizionale cinematografica tenderà a distorcere, fra mito e stereotipo, la realtà lavorativa dell’interprete? In quali casi e perché? Queste sono alcune delle domande a cui tenteremo di rispondere attraverso il nostro studio basato su un corpus rappresentativo di film internazionali.

Recensione di Mattia Mossali, Storie di perdono. Percorsi tra letteratura e psicoanalisi (Mimesis, 2020), ENTHYMEMA, N. 26 (2020)

Recensione a Galvagno, Rosalba. Leopardi tra antico e moderno. Un’elegia triste di Ovidio. La moda e la morte. Il sogno della caduta della luna. Sinestesie 2019., ENTHYMEMA, N. 26 (2020)

La mitología contemporánea -creada en los últimos siglos o producto de una relectura de los mitos clásicos en el presente- se ve condicionada por la lengua y la cultura donde se forja y es recibida. Ello se agudiza cuando existe un intercambio de mitos entre Oriente y Occidente. Entonces la traducción actúa como elemento fundamental en la transmisión. Además, la traducción comporta una tensión entre los significados en la lengua original y en la terminal, muy compleja cuando se abordan culturas diferentes. Según estos planteamientos, se estudian revisiones actuales de mitos producidas en la literatura del mundo árabe que han llegado al lector occidental, y específicamente al de lengua española. En concreto, se atiende a la reinterpretación y ruptura del mito de Superman que lleva a cabo la escritora Joumana Haddad (Beirut, 1970) a través de la aplicación de los rasgos de tal figura al hombre árabe actual., &nbsp, Contemporary mythology - created in recent centuries or the outcome of a reinterpretation of classical myths in the present - is conditioned by the language and culture in which it is developed and embraced. This becomes more acute when there is an exchange of myths between East and West. Then the translation acts as a fundamental element in the transmission. Furthermore, translation involves a tension between meanings in the original and the final language, which is very complex when different cultures are involved. According to these approaches, current revisions of myths produced in the literature of the Arab world that have arrived at the western reader, and specifically at the Spanish language one, are studied. Specifically, it deals with the reinterpretation and rupture of the myth of Superman by the writer Joumana Haddad (Beirut, 1970) through the application of the features of this figure to the current Arab man.

In questa sezione si riportano gli interventi esposti durante la tavola rotonda che ha chiuso il seminario, assieme al dibattito che ne è seguito., In this section, we present the transcription of the talks presented in the round table that closed the seminar, as well as the debate in the Q&A session.

The text introduces the proceedings of the Workshop MOD, which took place in IULM University on 17-18 October 2019. The title of the event mentions the forty years distance underlying the different receptions, by different generations, of Calvino’s novel If on a Winter’s Night a Traveler. Nowadays, a writer-oriented interpretation substitutes a previous (and maybe necessary) reader-oriented interpretation. The peculiar ‘voice’ adopted by Calvino, moreover, is a critical and theorical issue, liable to be discussed in future essays., Sono introdotti gli atti del Seminario MOD svoltosi all’Università IULM il 17-18 ottobre 2019. I «quarant’anni dopo» del titolo segnalano l’esigenza di mettere a fuoco le ricezioni ‘generazionali’ di Se una notte d’inverno un viaggiatore. In particolare, emerge la difficoltà di cogliere la specificità ‘lettoriale’ del romanzo, di cui oggi si mettono a fuoco soprattutto le problematiche legate alla figura dell’autore, persino della sua esperienza privata. La voce narrante particolarissima escogitata da Calvino pone infine problemi narratologici che forse richiedono ulteriori approfondimenti.

– L’hétérotopie est un concept forgé pour la première fois par Michel Foucault et représente une localisation physique de l’utopie, liée à deux autres concepts : l’hétérologie et l’hétérochronie. L’hétérologie, c’est un discours sur l’« autre », tandis que l’hétérochronie est une sorte d’utopie temporelle. La littérature offre des exemples innombrables d’hétérotopies qui donnent la possibilité de réfléchir sur l’idée d’« altérité ». Cet article montre que le concept foucauldien d’hétérotopie peut être appliqué à La Nausée de Sartre, et se concentre sur une hétérotopie particulière qui est présente dans l’œuvre de Sartre : le jardin public. Abstract – The heterotopia is a concept forged for the first time by Michel Foucault and it is a physical localization of the utopia, linked to two other concepts: the heterology and the heterochrony. The heterology is a discourse about the “other”, while the heterochrony is a kind of temporal utopia. Literature offers innumerable examples of heterotopias which give the possibility to meditate about the idea of “otherness”. This article shows that the foucauldian concept of heterotopia can be applied to La Nausée by Sartre, and focuses on a particular heterotopia that is present in Sartre’s work: the public garden., ENTHYMEMA, N. 26 (2020)

Introduction to the annual supplement “Volti del tradurre” by Helena Aguilà Ruzola and Donatella Siviero, containing a selection of articles based on some of the research presented at the VI Giornata internazionale sulla traduzione (Università di Palermo, 5-6 December 2019, in partnership with Universitat Autònoma de Barcelona and Università di Messina., Introduzione al supplemento annuale “Volti del tradurre” a cura di Helena Aguilà Ruzola e Donatella Siviero, che contiene un’antologia di articoli sviluppati a partire da alcune ricerche presentate in occasione della VI Giornata internazionale sulla traduzione (Università di Palermo, 5-6 dicembre 2019, in collaborazione con l’Universitat Autònoma de Barcelona e l’Università di Messina).

If on a Winter’s Night a Traveler represents the natural outcome of a creative path that, from a certain point on, exhibits a marked metaliterary inclination: the original narrative experiment of 1979 brings this tone to saturation, collecting multiple complex metatextual strategies that confuse the levels of reality (to use the title of a Calvino’s essay) and at the same time the identity of author, narrator and character. The result is an elaborate and flooring structure which, while taking up re-elaborating and combining procedures already present in some texts by Borges and Nabokov (authors admittedly dear to Calvino), identifies its closest precedent (even temporally) in La tia Julia y el escribidor (1977) by Mario Vargas Llosa., Se una notte d’inverno un viaggiatore rappresenta l’esito naturale di un percorso creativo che, soprattutto da un certo momento in avanti, esibisce una marcata inclinazione metaletteraria: l’originale esperimento narrativo del 1979 porta infatti a saturazione questa tendenza, sommando plurime e complesse strategie metatestuali che confondono i livelli della realtà (per usare un celebre titolo calviniano) e insieme lo statuto identitario di autore, narratore e personaggio. Il risultato è una struttura elaborata e spiazzante che, mentre riprende rielabora e combina procedimenti già presenti in alcuni testi di Borges e Nabokov (autori dichiaratamente cari a Calvino), individua il suo precedente più prossimo (anche temporalmente) nella Tia Julia y el escribidor (1977) di Mario Vargas Llosa.

espanolNuestro trabajo intenta una aproximacion a los mecanismos argumentativos de la Historia general del Peru de fray Martin de Murua y sumar asi nuevas luces en torno a la obra del mercedario. Demostraremos como este desliza una decidida critica al orden colonial desde el que escribe recurriendo a la tradicion ejemplar y como, ademas, plantea un arquetipo de administracion. Por otro lado, debemos advertir que la censura de la epoca provoca un texto sinuoso, una cuidadosa red argumentativa que juega a su vez con algunos topicos reelaborandolos para su beneficio. EnglishThis article intends to provide a new approach to the discursive mechanisms of the General History of Peru by Friar Martin de Murua, shedding light on his work. We will show how he slips a clear criticism of the colonial order from which he writes resorting to the exemplary tradition and also how he sets a model for the administration. On the other hand, we must notice that the censorship existing at the time produces a convoluted text, with a carefully weaved argumentative web that plays on several topics by reworking them to the author’s benefit .

En este artículo se tratan algunas de las dificultades que se presentan al traductor cuando no hay equivalencias entre las culturas de las lenguas que intervienen en el proceso de la traducción. Se aborda el caso de los mitos, que pueden ser propios de una cultura distinta a la árabe y que son ajenos al sistema de creencias del Islam. Se explican ciertos aspectos de esta cuestión, ya que algunos inconvenientes que pueden surgir nacen de las propias características de la terminología del discurso religioso., This article deals with some of the difficulties that arise for the translator when there are no equivalences between the cultures of the languages ​​involved in the translation process. The case of myths is addressed, which may be typical of a culture other than the Arab and which are foreign to the Islam belief system. Certain aspects of this question are explained, since some inconveniences that may arise stem from the characteristics of the terminology of religious discourse.

Quinto Orazio Flacco è fra i più tradotti auctores latini nelle culture letterarie d’Europa, soprattutto nei secoli XVI, XVII, XVIII. La ricostruzione repertoriale e critica delle traduzioni che hanno avuto per oggetto il suo corpus si offre, quindi, come documento particolarmente significativo della fortuna traduttoria di un mito letterario, in quanto attesta il rapporto di imitatio/aemulatio che numerosi autori hanno stabilito con il modello nel momento in cui hanno deciso di assimilarlo, attraverso le traduzioni, alle lingue e alle culture nazionali cui essi appartengono., Quinto Orazio Flacco is among the most translated Latin auctores in Europian literary cultures, especially in the 16th, 17th and 18th centuries. The repertory and critical reconstruction of the translations that have been the subject of its corpus is therefore offered as a particularly significant document of the fortune of the translation of a literary myth, as it attests to the relationship of imitatio/aemulatio that many Authors established with the model at the time when they decided to assimilate it, through translations, to the National languages and cultures to which they belong.

Obituary. In Memoriam Charles F. Fraker (1923-2020)

Il personaggio-artista è una figura ricorrente nella produzione narrativa italiana degli ultimi decenni, a dimostrazione della lunga durata della tradizione del romanzo dell’artista e anche di una sua centralità nell’immaginario contemporaneo. A fronte di questa presenza continua, mancano però in Italia studi dedicati in maniera specifica all’analisi di questo personaggio, che richiede un ricorso a strumenti metodologici differenti in virtù della sua collocazione all’incrocio tra diversi piani della costruzione del senso di un testo. Le nozioni cardine elaborate nell’ambito dei visual studies – oggi dominanti nell’ambito delle interazioni tra letteratura e arti visive – necessitano infatti di essere integrate con l’indagine di aspetti narratologici e anche sociologici che la sua figura chiama in causa. Contestualizzando il problema e analizzando le implicazioni che questo carattere determina all’interno di una narrazione, in questo intervento si propone un primo, embrionale tentativo di elaborare i fondamenti di una teoria del personaggio-artista nel romanzo italiano contemporaneo, allo scopo di dare una base metodologica per futuri approfondimenti., The artist-character is a recurrent figure in Italian fiction in recent decades, demonstrating the long tradition of the artist’s novel and also its centrality in the contemporary imaginary. In spite of this continuous presence, however, in Italy there is a lack of studies specifically dedicated to this character, which requires different methodological tools due to its location at the intersection of different levels of the construction of the text meaning. The key notions elaborated in the field of visual studies – today dominant in the interactions between literature and visual arts – need to be integrated with the investigation of narratological and sociological aspects that his figure calls into question. By contextualizing the problem and analyzing the implications that this character determines within a narration, in this paper we propose a first, embryonic attempt to elaborate the foundations of a theory of the character-artist in the contemporary Italian novel, in order to give a methodological basis for future insights.

Noticia y comentario de libros recibidos 2016

Noticia y comentario de libros recibidos (2020)

Il romanzo del lettore si presenta anche come un ‘inventario di effetti’ del leggere, ritratti nei modi del racconto di diversi stili di lettura (nella cornice, soprattutto) oppure – soprattutto negli incipit – in quelli di una simulazione di esperienze di ricezione (e dell’incubazione, ideazione dello scrivere); secondo una pluralità di modelli di genere, ma più ancora secondo una pluralità di tipi di esperienze mentali-sensibili, ossia delle varie forme del coinvolgimento emotivo-razionale del lettore nel lavoro di costruzione dei mondi di finzione. La struttura d’esperienza che Se una notte d’inverno un viaggiatore offre ai suoi diversi tipi di lettori reali è imperniata su un sistema di tensioni binarie (protagonismo/spossessamento, immersione/distacco, corposità/dissolvenza), in alterno equilibrio. Calvino ci mette a disposizione un oggetto estetico ambivalente, marcatamente ambiguo, di una piacevolezza irritante, insoddisfacentemente appassionante, che a fine lettura lasci un disagio del piacere, un nitido senso delle potenzialità e dei limiti dell’espressione letteraria., The reader’s novel presents itself as an ‘inventory of effects’ of the reading activity, represented through different reading styles (in particular in the frame story) or through the simulation of reading experiences, as in the ten incipits of the novels within the novel. Moreover, the ‘inventory of effects’ is represented through a plurality of literary genres, and especially through a number of mental-sensitive experiences, that is, of the various forms in which the emotional-rational involvement of the reader in constructing fictional worlds takes place. The sort of experience that If on a Winter’s Night a Traveler offers its real readers revolves around a system of binary tensions (protagonism/dispossession, immersion/detachment, embodiedness/ fading out), in alternating balance. Calvino creates an ambivalent aesthetic object, markedly ambiguous, which can be the source of an irritating and unsatisfactorily pleasure. At the end of the novel, the reader feels a sense of both uneasiness and pleasure, experiencing the potential as well as the limits of the literary expression.

Alors que la notion d’acceptabilité sociale s’impose comme critère décisif pour l’évaluation de projets d’infrastructure, cet article interroge les modalités de mobilisation de régimes de rationalités éthiques en matière d’environnement à partir de la controverse suscitée par le projet d’un port pétrolier dans les eaux du fleuve Saint-Laurent au Québec. Partant d’une conception des régimes de rationalité comme « façons » de raisonner qui s’appuient sur des actes d’évaluation, l’étude aborde les stratégies discursives par lesquelles promoteur et opposants incarnent la même valeur éthique de la protection de l’environnement et l’articule à d’autres valeurs, révélant des rationalités anthropocentrique et biocentrique qui s’entrecroisent et se répondent. De fait, si certains registres axiologiques sont définitoires d’une position particulière (affective, pour les opposants ; technique, pour le promoteur) et d’autres sont partagés (éthique, épistémique, économique), ce qui inscrit la controverse dans une logique de dissensus, c’est leur articulation et leur hiérarchisation en discours. Whereas social acceptability is emerging as a decisive criterion for evaluating the impact of infrastructure projects, this article examines the ways in which regimes of ethical rationalities can be mobilized in an environmental issue surrounding the proposed oil port in the St. Lawrence River, Quebec, Canada. Starting from a conception of these rationality regimes as "ways" of reasoning based on acts of valuation, the study addresses the discursive strategies by which promoters and opponents embody the “same” ethical value (associated with the protection of the environment) and articulate it with other values, revealing intertwining and responding anthropocentric and biocentric rationalities. In fact, if some axiological registers are of a particular position (affective, for the opponents; technical, for the promoter) and others are shared (ethical, epistemic, economic), what places the controversy in the logic of dissensus is, in last resort, their articulation and hierarchization in discourse.

1. La question des régimes de rationalités : état des lieux La question des modes de rationalité qui président à la communication verbale est une question qui a fait couler beaucoup d’encre, et qui reste encore largement ouverte. La pluralité des façons de raisonner, et les incompréhensions mutuelles qui en résultent, posent des problèmes à la fois pratiques et théoriques. Elles possèdent des enjeux de taille, sur lesquels on reviendra plus loin. Ces questions sont explorées par diverses dis...

L’article étudie la diversité des raisonnements contrefactuels – spécialement ceux avancés par des historiens et des essayistes face aux aléas des événements historiques. Il analyse quelques exemples-clés, de Robespierre en l’an II au nazisme et à l’effondrement de l’URSS, il esquisse une typologie et cherche à expliquer les contextes où de tels raisonnements apparaissent, leur pertinence et le rôle qu’ils jouent. Il revient sur les notions disputées de monde possible, de probable et de vraisemblable, de contingence et de nécessité. This paper deals with the diverse types of counterfactual reasoning – particularly those one encounters in historiography and more generally in essays dealing with historical events. A number of key examples from Robespierre, the French Revolution and the Terror of 1794 to Nazism, and to the Collapse of the USSR are analyzed. The author sketches a typology and attempts at explaining the contexts where such arguments will appear relevant and significant. It summarily discusses the much disputed notions of Possible world, probability, verisimilitude, contingency, and necessity.

Le recours à la « Théorie généralisée de l’argumentation » cherche à dégager les règles et les structures de l’argumentation dans la controverse dite du « Grand Rituel » autour de la titulature impériale. Notre analyse montre que le Proposant et l’Opposant adhèrent tous deux à l’ancien système politique et aux traditions culturelles anciennes et se réfèrent aux classiques et à des événements historiques du passé afin de défendre leurs thèses. L’argumentation concernant cette question est démontrée via ces règles. En résumé, cet article montre que : 1) la Théorie généralisée de l’argumentation et sa méthode acceptent le pluralisme culturel (culture dominante incluse) ; 2) il est possible de décrire et d’évaluer des arguments en recourant à une interprétation socio-culturelle. By using the Generalized Argumentation Theory, this paper tries to reveal the rules and structures of the argumentation about the imperial title issue in the Great Ritual Controversy. Our analysis shows that both the protagonist and the antagonist follow ancient Chinese political system and cultural traditions, and appeal to ancient classics and historical events in order to defend their claims. With these rules, the argumentation about the issue is demonstrated. Finally, this paper shows that: 1) Generalized Argumentation Theory and its methods are tolerant of cultural pluralism (including mainstream culture); 2) it is feasible to describe and evaluate arguments through socio-cultural interpretation.

Cette étude offre une analyse systématique des pratiques discursives de deux Juifs ultraorthodoxes qui étudient des textes talmudiques dans une Yeshiva – un centre d’étude traditionnel – dans un contexte dyadique appelé la chavruta. Des analyses du texte talmudique ont déjà mis en lumière le caractère hautement dialectique et la rationalité dialogique qui caractérisent les discussions entre Sages du Talmud. Nous explorons ici la nature de l’argumentation mise en œuvre par deux étudiants expérimentés qui étudient un thème talmudique au cours de sessions successives, et cherchons à identifier le régime de rationalité qui se dégage de leur démarche. Nous y identifions plusieurs formes d’argumentation collaborative, et montrons que, bien que la rationalité dialogique et pratique propre aux discussions du texte talmudique lui-même fasse défaut dans le cadre de la chavruta, leur quête de vérités par le biais de discussions critiques autour des textes qui invitent à les découvrir révèle une rationalité ancrée dans des croyances religieuses, et dans une éthique existentielle. The present study offers a systematic analysis of talk practices of ultraorthodox Jews learning Talmudic texts in Yeshivas – traditional Houses of Study, in a dyadic setting called Chavruta. We investigate about the nature of these talk practices and about the kind of rationality which deploys in Chavruta learning. Analyses of the Talmudic text already stressed its highly dialectical character and the dialogic rationality that characterizes the discussions among Sages of the Talmud. We observe here two experienced students learning a Talmudic theme in a Chavruta setting in consecutive sessions. We identify various forms of collaborative argumentation in their learning, and show that although the dialogic and practical rationality that appears in the Talmudic text are missing in the Chavruta setting, the quest for truth of the learners around the Talmudic text reveals a rationality anchored in religious beliefs and in existential ethics.

Cet article propose d’analyser les phénomènes de la post-vérité et du conspirationnisme comme relevant d’un nouveau régime de rationalité. Ses causes à la fois politiques et épistémologiques produisent des changements radicaux dans notre façon de débattre et dans notre rapport à la raison. À partir d’un exercice pédagogique autour du « complot de la lune », l’article a pour ambition de montrer en quoi les outils de la rhétorique peuvent aider les citoyens à mieux comprendre l’ensemble de ces phénomènes. This article proposes to analyze the phenomena of post-truth and conspiracy as part of a new regime of rationality. Its causes, both political and epistemological, are producing radical changes in the way we debate and in our relationship to reason. Based on a pedagogical exercise around the "conspiracy of the moon", the article aims to show how the tools of rhetoric can help citizens to better understand all these phenomena.

Présentée comme l’égérie de la grève de l’école pour le climat, Greta Thunberg s’est fait connaître à travers ses déclarations à la COP24 ou devant des assemblées, parlementaires ou non. En France, l’annonce de sa venue le 23 juillet 2019 à l’Assemblée Nationale, sur invitation d’un député et accompagnée notamment de la climatologue Valérie Masson-Delmotte, a polarisé à l’égard de la militante plusieurs critiques, commentaires et discours sceptiques. Dans les productions numériques médiatiques francophones (journaux, magazines, pureplayers, blogs, etc.), des auteurs ont décidé d’afficher publiquement leurs critiques. C’est dans ce contexte que nous proposons d’observer la manière dont les détracteurs de la militante suédoise argumentent au sein des discours qu’ils mobilisent et produisent, d’analyser les critiques qu’ils émettent, et de comprendre les structures argumentatives qui les sous-tendent. Greta Thunberg, the champion of the school strike for climate, is well-known for her declarations at the COP24 or in front of various assemblies and parliaments. From the moment a member of parliament invited her to speak at the French National Assembly on Friday, July 23rd, 2019, with other French climatologists among whom Valérie Masson-Delmotte, many people have publicly produced negative comments and sceptical discourses about her. Such utterances have been published in French speaking media such as newspapers, magazines, pureplayers and blogs, to name but a few. In this context, I propose to examine how the opponents to the Swedish activist have structured their viewpoints within the discourses they produce, to study their opinions and counter-discourses, and to understand the argumentative structures underlying them.

Here we document how college students responded to a canonical book of Korean poems, Kim Sowol’s 1925 Jindallaekkot (Azaleas), presented in a variety of formats: as part of a 2014 printed facsimile, a 2007 printed scholarly edition, a reading text articulated as a web page on a tablet, and a radical refiguration as a virtual reality forest. We asked students to describe if they enjoyed and felt inspired by their encounters with Kim Sowol’s poetry in these different formats. We also asked if they felt their experiences were educational and if they engendered a desire to share Kim Sowol’s poetry with international peers. Student responses suggest that encounters with novel forms of canonical texts are enjoyable, inspiring, and created a desire to share them with international peers, especially if novel presentations are complemented by more familiar textual idioms, which students found the most educational., ENTHYMEMA, N. 26 (2020)

espanolEsta nota resena la nueva traduccion del De Anima y los Parva Naturalia de Aristoteles firmada por Fred D. Miller Jr. A proposito de los textos, se analiza la importancia de estos tratados psicologicos para la investigacion retorica interdisciplinar, tanto en la critica aristotelica como en los estudios centrados en las artes de memoria desde la Antiguedad hasta la primera mitad de la Edad Moderna. EnglishThis note reviews the new translation of Aristotle’s De Anima and Parva Naturalia by Fred D. Miller Jr. Against its backdrop, the importance of these psychological treatises for inter disciplinary, rhetorical research is also analyzed, with special emphasis on both Aristotelian criticism and the arts of memory from Antiquity to the early modern period .

Questo articolo si pone l’obiettivo di interpretare la particolare forma romanzo elaborata da Elsa Morante nel contesto letterario novecentesco europeo. Attraversando le dichiarazioni di poetica d’autrice raccolte in Pro o contro la bomba atomica e focalizzando l’analisi sul romanzo d’esordio, Menzogna e sortilegio (1948), si intende mettere in luce la funzione strutturante della trama nelle opere di questa scrittrice, come tensione a un dominio logico-temporale della realtà e come volontà comunicativa rivolta al lettore. Una simile eredità realista – secondo l’interpretazione che di realismo dà G. Lukács – viene osservata nel suo intrecciarsi a modi tipici della letteratura popolare e considerata in relazione dialettica con gli aspetti novecenteschi della scrittura di Morante., This paper aims to interpret the peculiar form of novel elaborated by Elsa Morante throughout the european literary scenario of the XXth century. Spanning her statements on poetics gathered inPro o contro la bomba atomicaand setting the analysis on her debut novel,Menzogna e sortilegio(1948), the purpose is to highlight the structuring function of the plot in her works, as a tension aimed to master the time logic of reality and as will to communicatewith the reader. Such a realistic heritage - following the definition of realism given by G. Lukács - has been observed in its interweaving with typical forms of popular fiction and in its dialectic relation with the modernist characteristics of Morante's style.