Hasil untuk "Oratory. Elocution, etc."

Piotr F. Piekutowski

This article introduces characterisation of the tender narrator concept by Polish writer Olga Tokarczuk, which was a central point in her Nobel Prize lecture (2019). During the identification, three key elements of Tokarczuk’s project are specified: the bond of diegetic forms with climate and environmental crisis of the Anthropocene; dynamically changing, fragmented collective and individual perspectives; and the titular narrative tenderness manifested in sensitivity to more-than-human voices, networks, and relations. Through this, the potential of this idea is included in the repertoire of econarratological research and, more broadly, non-anthropocentric narrative theories. To detail the manifestations of the fourth-person narrative, as the tender narrative is also called, this paper problematises spatiotemporal experiences based on the example of Tokarczuk’s novel The Empusium (2024). In the analysis of how representations of time and space are mediated in the tender story, aspects such as interdependencies, despatialisation and fragmentation are brought to the fore.

Guido Scaravilli

Recensione di Concetta Maria Pagliuca e Filippo Pennacchio (a cura di), Tempora, i tempi verbali nel racconto Vol.1. Biblion, 2023; Francesco De Cristofaro, Paolo Giovannetti e Giovanni Maffei (a cura di), Tempora, i tempi verbali nel racconto Vol. 2. Biblion, 2024.

Eleonora Lima

This article examines Levi’s treatment of eugenics in “I sintetici” and “Procacciatori d’affari” from Vizio di forma. The study builds upon Francesco Cassata’s analysis, which established that Levi held complex and conflicting views on the topic. These views mirrored his strong belief in avoiding limitations on scientific research while also revealing his ethical concerns. To further understand this predicament, the study reads Levi’s stories against the debate on eugenics that took place in England in the 1920s-1930. This debate engaged scientists and writers who significantly influenced Levi beyond this subject, including the Huxley brothers and Bertrand Russell. In this intellectual milieu, science fiction emerged as a favoured genre for exploring the intricate facets of eugenics and its ethical ramifications. By undertaking a comparative analysis between these antecedents and Vizio di forma, this study investigates how and why Levi turned to science fiction to articulate his conflicting thoughts on eugenics.

Younes Poorghorban, Bakhtiar Sadjadi

The present inquiry endeavors to scrutinize the process of identity formation with regard to the Culture/Nature dichotomy within the milieu of Lois Lowry's post-apocalyptic dystopian narrative, The Giver. The antipodal forces of Culture and Nature are instrumental in shaping the social subjectivities of individuals. Lowry's post-apocalyptic dystopia portrays a society in which these antitheses are comprehensively epitomized. Our objective is to explicate the genesis of post-apocalyptic identities and to elucidate the representation of Nature/Culture within the social context of the aforementioned literary work. Furthermore, the polarity between power and resistance, which is of notable import to cultural studies, is nonexistent within this post-apocalyptic dystopia. Consequently, the establishment of identities transpires not at the site of contention between power and resistance, but exclusively through the ascendency of the imperializing power. As a corollary, the elimination of the recollections of those individuals who are unable to oppose the imperializing power is integral to the construction of homogeneous identities.

Olga Bogdanova

The article analyzes the novel of the modern Russian writer A. Potyomkin Man is canceled (2007), which received a wide public response. The main idea of the work is the need for a radical change of the “mass man” of the turn of the XX-XXI centuries at the psychosomatic level. The ideological and compositional center is the specially built Rimushkino estate in the Oryol province, where the serf spirit of the Russian Empire at the turn of the XVIII-XIX centuries is reproduced. To answer the question of why the estate space of Russia is becoming the most representative field for anthropological experiments of the beginning of the XXI century, we consider the estate neo-myths of the Silver Age (the lost paradise on earth) and the Soviet period (the camp hell living in the mentality), as well as the imperial-colonial concept of the postmodern era (the estate as a frontier in the process of class-oriented internal colonization of the country). The multidimensional semiotics of the estate sets a new relationship between “metropolitan” and “provincial” concerning the other loci of the novel.

Simone Carati

Recensione di Babbi, Anna Maria e Comparini, Alberto (a cura di). Letteratura e altri saperi. Influssi, scambi, contaminazioni. Carocci, 2020.

Franca Sinopoli, Stefania Sini

Una sintetica contestualizzazione teorica degli interventi presentati al seminario “Teorie della narrazione a confronto” tenutosi all’Università Sapienza di Roma il 14 e 15 febbraio 2018. In this presentation, the readers will find a short theoretical contextualization of the interventions read on the occasion of the seminar “Teorie della narrazione a confronto”, held at Sapienza University of Rome on 14th and 15th February 2018.

Mattia Di Taranto

Scopo del presente saggio è offrire una succinta ancorché accurata analisi del romanzo brodiano, piccola perla letteraria scarsamente nota al di fuori delle ristrette cerchie di specialisti, e al contempo spiegare le ragioni della scelta di David Reubeni, pseudomessia ebreo del XVI secolo destinato ad oscura fama, quale protagonista della narrazione. Il contributo si propone, in particolare, sulla scorta dell’indagine critica di alcuni dei passi più rilevanti dell’opera, di evidenziare come il contesto storico-culturale in cui il romanzo vide la luce – la città di Praga all’indomani del crollo dell’impero asburgico e l’animato dibattito in seno al movimento sionista – possa fornire una probante chiave ermeneutica utile a decodificarne il segreto messaggio.   It is the aim of the present essay to offer a brief albeit accurate analysis of Max Brod’s novel, a little literary gem scarcely read outside of narrow circles of specialists, as well as to explain the reasons behind the choice of David Reubeni, an almost entirely forgotten Jewish pseudo-Messiah of the XVI century, as the main character. By closely examining some of the novel’s most salient passages, this paper particularly intends to show how the historical and cultural context in which it was composed – the city of Prague in the wake of the dissolution of the Habsburg Empire, the heated debate within the Zionist movement – can provide us with a persuasive key to understanding its hidden message.

Laura Neri

Un’operetta morale di Leopardi, la Proposta di premi fatta dall’Accademia dei Sillografi, adotta il linguaggio tecnico di un bando di concorso per proporre tre premi agli inventori di tre macchine umane perfette: l’amicizia, la magnanimità, la fedeltà coniugale sono gli obiettivi delle invenzioni scientifiche. Il tono serio cela in realtà la  polemica contro l’antropocentrismo e soprattutto contro l’ottimismo del suo tempo.  One of Leopardi’s Operette morali, Proposta di premi fatta dall’Accademia dei Sillografi, adopts the gergon of a competition notice to propose three prizes to the inventors of three perfect human machines: friendship, magnanimity, conjugal fidelity are the aims of scientific inventions. The serious tone really conceals the controversy against anthropocentrism and above all against the optimism of its time.

José Angel García Landa

Este artículo expone la noción de plagio por anticipado desarrollada por el crítico francés Pierre Bayard, así como sus precedentes, y la sitúa en el marco de una teoría narrativa de la experiencia humana y una teoría hermenéutica de la lectura entendida a través de los fenómenos de la retroprospección y la retroacción. This paper expounds the notion of plagiarism by anticipation, put forward by the French critic Pierre Bayard, as well as its precedents, and situates it within the framework of a narrative theory of human experience and a hermeneutic theory of reading based on the phenomena of prospective hindsight and retroaction

Marco Trainini

Recensiamo il libro Philip Roth, Nemeses 2006-2010 – Everyman, Indignation, The Humbling, Neme- sis, Edited by Ross Miller, The Library of America, New York, 2013.

Paul Ricoeur

Si presenta in queste pagine la prima traduzione italiana della prefazione che Paul Ricœur scrisse per il libro di poesie in prosa: L. Saffaro, Théorie de la poursuite, L’Alphée, Paris 1985. Il testo, pubblicato con l’autorizzazione del Fonds Ricœur, è impreziosito da grafiche di Lucio Saffaro, pubblicate con l’autorizzazione della Fondazione Lucio Saffaro. Il testo è inoltre corredato, a seguire, da un’introduzione di Gisella Vismara all’opera poetica, grafica e pittorica di Lucio Saffaro.

Grazia Pulvirenti, Renata Gambino

Abstract Our work bases on the hypothesis of an existing interconnection between the symbolic and the metaphoric elements of the text responding to a series of mind patterns compressing perception and experience through the emerging process of conceptual blending triggering the semantic process during the creative act of poiesis. This enquiry focuses on the use of a peculiar rhetorical figure in an exemplar literary text of the famous German poet Goethe. We will try to point out the allegorical function of the scene dedicated to the «Mothers’ Kingdom», in his Faust II as a powerful poetical meta-reflection on imagination, cognition and poetics itself.

Maria Pia Pagani

Questo contributo porta alla luce alcuni problemi relativi a traduzione e allestimento de I bassifondi (L’albergo dei poveri) di Maksim Gor’kij – l’unico dramma russo che Eleonora Duse riuscì a includere nel suo repertorio. La grande attrice lo portò in scena due volte, a distanza di pochi giorni, al Théâtre de l’Oeuvre di Parigi con la compagnia di Aurelien Lugné-Poe (23 ottobre 1905), e al Teatro Manzoni di Milano con la compagnia Talli-Gramatica-Calabresi (28 ottobre 1905). Il critico Gaio (pseudonimo di Adolfo Orvieto) assistette a entrambe le rappresentazioni e scrisse un’attenta recensione per «Il Marzocco» evidenziandone le differenze.

Marco Trainini

Review of DeLillo, Don. The Angel Esmeralda. Nine Stories. New York: Scribner, 2011. Print.

Luca Daino

Cinzia Scarpino

This essay attempts to read Joan Didion’s work in the 1970s (Play It As It Lays, A Book of Common Prayer and The White Album) as resulting from an increasingly sharp aesthetic awareness of the modes, limits and possibilities of literature as personal and political testimony. Claiming a sceptical attitude towards any given ideology, Didion places her two novels (Play It As It Lays, A Book of Common Prayer) and non-fiction book (The White Album) within the history of that decade as filtered through an overtly autobiographical and idiosyncratic story. Out of a personal experience and understanding of that decade – of its collective imagination, its shared or unshared events and symbols – as one dominated by a sense of loss Didion creates women characters who survive both the ‘abject’ of their female bodies and the irreversible impoverishment of the last (and lost) frontiers in which their stories are set. Late-modern versions of a long-abiding and well-established American literary tradition, the character-narrators of Play It As It Lays, A Book of Common Prayer and the witness-persona of The White Album respond to Didion’s aesthetic insight into the testimonial mode, its limits and potentialities, and a narratological strategy which, not unlike the postmodern narratives of the same decade, moves toward the dissolution, scattering, and reassembling of narrative functions (author, narrator, character, and reader).

Antonio Sotgiu

Review of Alan Palmer. Social Minds in the Novel. Columbus: The Ohio State University Press, 2010.

Stefania Sini

Stefania Sini presenta «Enthymema».

Sara Sullam

Il capitolo tratto da Unspeakable Sentences (1982) presenta un'ipotesi circa la nascita e lo sviluppo dello stile narrativo e in particolare dello stile indiretto libero. In opposizione alle teorie che ritengono che quest'ultimo si sia diffuso per imitazione, Banfield – lavorando all'interno del paradigma generativista – propone una teoria per cui esso sarebbe una pos- sibilità innata del linguaggio, che si realizza per la prima volta, e già nella sua forma compiuta, con la nascita del genere romanzo.