Hasil untuk "Oratory. Elocution, etc."

Ondřej Sládek

Obituary of Professor Peter Steiner.

Mattia Bonasia

In his essay La letteratura circostante Simonetti identifies in speed the predominant formal aspect of contemporary Italian novel. A case in point is Ammaniti’s Che la festa cominci, which is strongly influenced by the rhythm of Hollywoodian film editing, translating movie’s structure in the novel through the parataxis and the plot. The paper wants to study the rhythm of Ammaniti’s narration through one of the most famous screenplay manuals: Snyder’s Save the Cat. The paper aims to compare this type of narration with Lahiri’s In altre parole. This autobiographical translingual novel narrates the encounter and learning path with Italian language of the protagonist /narrator. We intend to question the links between an Italian author who searches his narrative models in the Hollywood cinema, repudiating the Italian literary tradition, and a translingual writer who fulfills the opposite path: she abandons American form and language to write in a minor literature.

Nicoletta Brazzelli

Nelle narrazioni contemporanee della migrazione e della diaspora, l’intersecarsi di memoria e racconto restituisce i traumi della dislocazione, facendo emergere il passato personale e collettivo. In The Last Gift (2011) di Abdulrazak Gurnah la ricostruzione memoriale avviene attraverso una struttura narrativa che privilegia il non detto, e attribuisce al silenzio, articolato in varie forme, dall’afasia al mutismo, passando attraverso l’amnesia, un ruolo centrale. Il graduale dispiegarsi della storia di Abbas viene evocato dallo scrittore attraverso un narratore onnisciente e una focalizzazione multipla, che raffigurano un microcosmo famigliare i cui segreti sono infine rivelati solo parzialmente. Il romanzo intreccia frammenti di storie, appartenenti a tempi e spazi diversi, per farle confluire in una registrazione su nastro che costituisce l’ultimo dono offerto da un padre originario di Zanzibar ai suoi figli inglesi. La questione identitaria si traduce in un racconto che ha un forte impatto emotivo e lascia ai lettori la possibilità di diverse interpretazioni.

Riccardo Socci

abstract

Valeria Invernizzi

This paper aims to discuss the phenomenon of Lolita’s hypertexts in the light of the issues of trauma and the unspeakable, adopting the framework offered by psychiatry and psychoanalysis on pedophilia. In the first chapter I will be particularly concerned with three revisionary texts, namely Kim Morrissey’s Poems for Men Who Dream of Lolita, Christophe Tison’s Le Journal de Lolita and Emily Prager’s Roger Fishbite, whereas the second one will provide a close analysis of another revisionary text, Diario di Lo, written by Pia Pera.

Laura Vallortigara

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.

Alessandro Ceteroni

Recensione di Pontiggia, Giuseppe. La lente di Svevo, a cura Daniela Marcheschi, EDB, 2017. Review of Pontiggia, Giuseppe. La lente di Svevo, edited by Daniela Marcheschi, EDB, 2017.

Valentina Conti

Recensione di Calabrese, Stefano. Storie di vita. Come gli individui si raccontano nel mondo. Milano: Mimesis, 2018. Stampa. Review of Calabrese, Stefano. Storie di vita. Come gli individui si raccontano nel mondo. Milano: Mimesis, 2018. Print.

Matthias Somers

As models of academic literary study, it would appear that elocution and New Criticism could not be further apart. While elocution (the theory and art of reading aloud) supposedly belonged to a pre‐modernist, genteel type of criticism derived from traditional rhetoric, New Criticism is considered the quintessentially modern, serious, and professional type of criticism. Yet, a close look at the elocutionary tradition by means of two concise case studies – those of turn‐of‐the‐century elocutionists Samuel Silas Curry and Solomon Henry Clark – shows more similarities than differences. It is therefore argued that the demise of elocution as a mode of literary study was not caused by the revolutionary action of the New Critics, but by impersonal, institutional factors that played into the hands of New Criticism. The focus on elocution helps to raise the right questions about the complex relation between modernism and rhetoric, and about the delineation of a modernist canon by the New Critics, who supposedly adopted the anti‐rhetorical aesthetic dicta of high modernism. Yet, this article argues that the exclusion of the American “New Poets” from the modernist canon can only be explained by the same pressure of academic professionalization that had advantaged New Criticism in academia.

Amanda Morris

Indigenous feminist bloggers weave an intersectional, rhetorical story that lances the core of American popular culture and misinformed imaginations. The Native American women bloggers introduced in this essay are unknown to most non-Native Americans, most rhetoric scholars, and most feminists, but should be on our radar because of their refusal to be constrained by colonialist binaries, single rhetorical forms, or imposed boundedness to the margins. These Indigenous feminists practice in the digital space to reinforce and reclaim rhetorical sovereignty as an outcome for themselves and their communities. Once the weaving is complete, the resultant warmth of rhetorical sovereignty provides some protection from the cold colonial stories of erasure and absence.

Francesco Giusti

Psychoanalytic Nachträglichkeit appears to be the temporality that structures the canzonieri in morte, that is to say, collections of poems devoted to the poet’s dead beloved. In fact, a similar process of (self)-interpretation that is both retrospective and progressive at the same time can be found much earlier in European poetry. The article starts from certain theoretical reflections and an overview of the two fundamental models provided by Dante’s Vita Nova and Petrarch’s Canzoniere in order to focus on some poems from two contemporary Italian canzonieri in morte: Eugenio Montale’s Xenia (in Satura, 1971) e Milo De Angelis’ Tema dell’addio (2005). The intent is to show how the complex temporality that Freud named Nachträglichkeit can perform different essential functions: to organize the lyric macro-text; to construct a new meaning for poems previously composed; to reconsider the poet’s own personal and poetic past; and to contribute to the creation of a new author. Certain features delineated in the canzonieri will finally lead to reflect upon the ‘self-anthology’ as a form, that is to say, an anthology of the poet’s work selected and organized by the poet him/herself.

Stefano Calabrese, Sara Uboldi

The Narratology of new generation shows renewed heuristic scenarios, providing an intense dialogue among Humanities, Cognitive Neuroscience and Computer Technology. The suspense case is emblematic: its spread and the pleasure exercised by this rhetorical strategy on the human mind can be precisely explained by identifying the mechanisms of reward provided by neurological and Imaging studies. At the same time, patterns of automatic generation of narrative highlight the profound implications of a heated debate between Narratology and Computer Technology, in order to understand the processes of reception and inference during the narrative immersion in storyworlds. At the end of overview on of a cross-disciplinary approach of suspense analysis, the authors repost a case study considered of interest, provided by the North Caroline State University researchers group, called Liquid Narrative Group.

Maria Pia Pagani

Questo contributo porta alla luce vari articoli usciti sulle principali testate italiane con l’annuncio della morte di Eleonora Duse, avvenuta a Pittsburgh il 21 aprile 1924. Essi racchiudono intensi ricordi che vanno ben oltre il necrologio tradizionale, e sono accomunati da un implicito ma pulsante desiderio: offrire un ritratto dell’attrice che vinca la sfida del tempo e l’effimero del teatro. Ne emerge un’immagine più viva che mai, destinata a consolidare ulteriormente il mito della Duse, a omaggiare il suo talento unico e a tramandare la sua straordinaria arte ai posteri.   This article focuses on a series of articles published on the main Italian newspapers announcing Eleonora Duse’s death, which occurred in Pittsburgh on April 21, 1924. The memories that they contain actually exceed the traditional form of the obituary and they share the same strong desire: to offer a portrait of the actress able to challenge time and the fleeting dimension of theatre. The result is a particularly vivid image, one destined to consolidate Duse’s myth, to pay homage to her unique talent and to hand down her extraordinary art to posterity.

Gabriela Tucan

The present study seeks to explore some of the major assumptions made by cognitive linguists regarding language in an attempt to see how various language processes can participate in the emergence of literary meaning. Also, this is an attempt to bridge the gap between linguistics and literary studies. For that purpose, linguistic work with a cognitive orientation can open the floor to one highly debatable question in critical literary theory: the question of interpretation. The primary step in order to meet my objectives is the presentation of a model of analysis that investigates the processes of meaning formation in literary texts – the theory of blending seems to be extremely suitable for an account of meaning formation. I believe that my article can profit substantially from the wide array of instruments provided by the blending theory in order to understand the nature of the reader’s mind while reading literary (short) stories. The study of the basic mental operation of blending is motivated by the general relationship of cognitive poetics and narrative theories. To this end, I will be extensively making use of the blending framework in order to address its narrative implications in two of Hemingway’s already canonical short stories – Big Two-Hearted River and Soldier’s Home. What I hope to demonstrate is that the conceptualization of the narrative mental spaces in these two short stories always has counterfactuality available and uses it as a valuable mental resource. Also, I will try to show that conceptual integration/ blending plays a central role in the self-construal of characters’ identity.

Stefano Calabrese, Stefano Ballerio

Si presenta la sezione monografica di cognitive poetics.

Sara Sullam

Come si configura il campo di ricezione della letteratura inglese novecentesca nell’Italia del secondo dopoguerra? Quali sono le linee di continuità con la stagione dell’entre deux guerres e quali i fattori di innovazione?

Sabrina Ovan

Situating the novel within the cultural, literary and political milieu of the period, this article provides a reading of Italo Calvino‟s 1979 hypernovel If on a Winter’s Night a Traveler and its relation to the French literary group Oulipo. It analyzes the work‟s link to questions of authorship and collectivity at the core of 1970s literary, philosophical, and political discourse both in Italy and France. In particular, the analysis concentrates on the function of names in the novel as signifiers of individuality and/or collectivity

Guglielmo Feis

In questo articolo presento i contenuti del Manifesto del nuovo realismo di Maurizio Ferraris. Dopo una disamina dei contenuti e una illustrazione sia della pars construens sia della pars destruens del Manifesto, cerco di valutarlo criticamente. Alla pars destruens si può obiettare che la ricostruzione usa una definizione non neutrale di «ontologia» e, parlando di spettacolarizzazione, presenta un punto di vista troppo pessimista sull’accesso all’informazione. Per quanto riguarda la pars costruens pongo invece il seguente interrogativo: la proposta filosofica di Ferraris si può ancora considerare filosofia? Se è così, perchè è così difficile benificiare di que- sti insegnamenti in una facoltà di filosofia?

Kombola Ramadhani Mussa

La recensione dei due documentari La quarta via: Mogadiscio, Pavia e Aulò: Roma Postcoloniale è finalizzata a metterne in luce il valore testimoniale. Il racconto orale di Kaha Mohamed Aden, originaria della Somalia, e Ribka Sibhatu, originaria dell’Eritrea, due scrittrici da tempo risiedenti in Italia, attraverso la memoria e la condivisione delle loro esperienze personali, permette di recuperare il passato coloniale italiano, mettere in discussione il presente e, in particolare, le questioni relative alla migrazione italiana. I due documentari, inoltre, forniscono interessanti chiavi di lettura per comprendere e prepararci con una nuova consapevolezza critica a quello che verrà.