In his religious and philosophical persuasion, Amechi Akwanya seeks to reconceptualize the concept of human suffering, an idea that is validated in the representation of cosmic warfare in the first ...sequence of his poetry collection, Pilgrim Foot: A Collection of Poems. Interestingly, this sequence of Akwanya's poetry shares common philosophical ideation with Leopardi's "Dialogue between Nature and an Icelander" in their interrogation of the history of human experience, an observation not yet captured by critical scholarship. Thus in its attempt to cover up this critical space, this article seeks to juxtapose Akwanya's poetry and Leopardi's dialogue to illuminate how art subjects Nature to cross-examination for her alleged hostility toward man. Working within the framework of the Hegelian concept of cosmic contradiction, of the end having already been determined at "the beginning," and Nietzsche's Heraclitean theory, the paper offers a critical examination of not only Nature's burden of guilt in human plight but also how art serves as an outlet for transcending cosmic warfare.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Leopardi draws up an anthology of Italian prose entitled Crestomazia italiana della prosa where the educative purpose is very evident. The poet intends to educate the readers to national literature ...and to a good writing, but he proposes also a moral education, as the content of many extracts proves.
This article pushes at the interdisciplinary boundaries of literary ecocriticism to suggest a new rhetorical figure: the "geometaphor." The geometaphor is a metaphor that is not only geographically ...marked, but also rooted in a specific territory. In short, it is a poetic metaphor with a specific address. This article defines this concept through references spanning from the medieval Francis of Assisi to the nineteenth-century poet Giacomo Leopardi, and through a sample of geometaphors in three Northern coastal areas: Liguria, the Veneto, and Friuli. They are the enclosed gardens of the Cinque Terre in Eugenio Montale's collection Ossi di seppia (Cuttlefish Bones); the harbor and hills of Trieste in Umberto Saba's Trieste e una donna (Trieste and a Woman); and the amphibious streets of Venice in Anna Toscano's Doso la polvere. The technological component of this research is indispensable, and it grew out of a pedagogical need to present Italian poetry to an audience of students on the other side of the ocean with the help of Google Earth. In this essay, the omino facilitates a visualization of poetical terms. It is "dropped" in specific places on the Italian map to trace the contours of its poetic geography.
This work aims at investigating the way in which, both in spoken and written language, human beings go back to what they have just said or written. This is the phenomenon of correctio or editing, so ...that we correct what we say or write, we substitute one form with another, we operate transformations, paraphrases etc. appealing to our metalinguistic skills of reflection /control. In this study we investigated in detail the way in which such activities of correctio or editing occur in an exemplary text in Italian literature and culture, i.e. the Zibaldone of Giacomo Leopardi. In this text the author – in his writing “a penna corrente” and applying the principle of liaison des idées – goes back to what he has already written to explain it better, to rework its content, to modify it, to amend it and so on. In this regard, we have selected the most used connectives that, in Italian, introduce these “revisions”, i.e. glosses of various types Leopardi uses to explain, reword, exemplify etc. what he has previously said.
Leopardi's pedagogical ideas are influenced by cultural milieu of Recanati. Leopardi opposes this little, narrow reality, but there he also observes humanity (children in particular), with ...theoretical outcome. The context of Recanati is fundamental in examining Leopardi's pedagogy.
Summer Requiem (review) Sen, Sudeep
World Literature Today,
03/2016, Letnik:
90, Številka:
2
Journal Article, Book Review
Recenzirano
In a cleverly constructed single poem, "Haiku," many individual stanzas can work as freestanding haiku with its 5-7-5 syllabic-count tercets, while the agglomeration of fourteen haiku that form the ...whole poem paints Seth's sleeplessness on a Delhi winter night: "a mosquito's here - / out of season, out of tune, / homing in on blood." ...Seth returns to a familiar personal theme of love gained and love lost.
Eccetto l’Ariosto Piperno, Martina
I Tatti studies,
10/2017, Letnik:
20, Številka:
2
Journal Article
Recenzirano
An irreducible and never resolved conflict between a lost sphere of the "ancient" - whose boundaries and characteristics are not always traceable with exactness - and the present age, corrupt and ...disenchanted, dominates the philosophical system of Giacomo Leopardi. This conflict has a direct influence on the poet's opinions on the history of literature. For Leopardi, in fact, only the "ancients" were poets that were rightly said, because they were capable of deceiving themselves.On the other hand, moderns are speculators and philosophers, aware of their condition of infectiousness on earth, and therefore inadequate to compose real poetry.
It is a commonly held view that, in the absence of an overt locative or temporal phrase, broad focus subject inversion in Romance requires a null locative in preverbal position, thus being comparable ...to locative inversion (Benincà 1988 and subsequent work). The (in)compatibility of a number of verbs and verb classes with this construction, however, has not yet received a principled explanation. Analysing the event structure of the predicates that occur in bare broad focus subject inversion in Italian, we argue that this construction requires a covert Subject of Predication, and this requirement can be satisfied by a thematic goal argument of the verb or a non-thematic situational argument that is inferred when a bounded eventuality is predicated. We explain which predicates take which type of Subject of Predication, and we make falsifiable predictions on the relative compatibility of different verb classes with the construction under investigation. Our predictions are cogent in the null-subject SVO languages that allow broad focus in VS order and rule it out in VOS/VSO order (Leonetti 2017). With our study, we shed light on the lexical-semantic underpinnings of this restriction. Following Bianchi (1993) and Bianchi & Chesi (2014), we propose that this is a thetic construction, in which the postverbal DP remains in its first-merged thematic position. In our analysis, the silent Subject of Predication takes Cardinaletti’s (2004) SubjP position, satisfying Rizzi’s (2005) Subject Criterion.
This book challenges critical approaches that argue for Giacomo Leopardi’s and Samuel Beckett’s pessimism and nihilism. Such approaches stem from the quotation of Leopardi in Beckett’s monograph ...Proust, as part of a discussion about the removal of desire. Nonetheless, in contrast to ataraxia as a form of ablation of desire, the desire of and for the Other is here presented as central in the two authors’ oeuvres. Desire in Leopardi and Beckett is read as lying at the cusp between the theories of Jacques Lacan and Emmanuel Levinas, a desire that splits as much as it moulds the subject when called to address the Other (inspiring what Levinas terms ‘infinity’ as opposed to ‘totality,’ an infinity pitted against the nothingness crucial to pessimist and nihilist readings).
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