The Revolt of the Scribe in Modern Italian Literatureoffers a perceptive re-assessment of Italian literary culture, focusing on the nature of modernity through the literature of those who revolt ...against established norms and expectations.
Centuria, il metaromanzo di Giorgio Manganelli apparso nel 1979, è (usando le parole di Italo Calvino) un’enciclopedia aperta. Scaturita al tempo stesso da un evidente scetticismo epistemologico e da ...un’idea di elaborazione letteraria più problematica, l’enciclopedia aperta si regge sull’equilibrio precario tra una forza centrifuga, fonte di una pluralità di storie e vicende potenzialmente infinite; e una forza centripeta, che si occupa al contrario della loro sistemazione all’interno di una rigida struttura. Questo saggio si propone di isolare i due poli di questo congegno narrativo paradossale, rispettivamente mettendo a fuoco: per le forze strutturanti, il rapporto con alcune opere di consultazione (dizionario, enciclopedia); per le forze disgreganti, la ricorrenza di specifici ‘meccanismi di pluralizzazione’ narrativa quali il ri-uso di materiale mutuato da opere precedenti, un’istanza enunciativa ipotetica e congetturale, la predilezione per i temi dell’attesa e della potenzialità degli eventi, e infine la ricorrenza dei concetti di elenco, schema e catalogo.
In view of the XXVI National Congress of the Association of Italianists Contemplare/abitare: la natura nella letteratura italiana, are offered two unpublished papers by Ezio Raimondi dedicated to ...this theme. The first, The Environment and Landscape in Italian Literature, dates back to 1998; the second, The Lexicon of Sustainability, is from 2001.
The incipit of Claudio Achillini’s sonnet, composed in 1629 to pay homage to King Louis XIII of France, is possibly the most renowned verse in seventeenth-century Italian literature. Over the ...centuries, it has been quoted by all those who attacked Baroque poetry, becoming an anti-exemplum for both aesthetic (pompous style, excessive rhetorical figures) and ethical reasons (servility towards a foreign monarch). This article offers an overview of the writers who have quoted, criticised or parodied Achillini’s verse from its first publication to the first half of the twentieth century.
Focusing on some quotations from Guido Gozzano (La signorina Felicita e In casa del sopravvissuto) in Giorgio Bassani’s Il giardino dei Finzi-Contini, this essay shows that the novelist offers a far ...from obvious reading of the Turinese poet. Bassani’s reading of Gozzano is, indeed centred on the connection between the experience of death and the choice of literature. Even though both novelist and poet have a similar attitude towards literature, Gozzano aims to remove the vital content of existence. Bassani, instead, tends to ensure the persistence of life beyond the horror.
One of the most interesting aspects of Luigi Meneghello’s novels is the presence of poetic quotations (Dante and Eugenio Montale) in the linguistic tissue. Analysing some examples from Libera nos a ...malo, this study shows how the poetic citations interact with the prose. There are different ways of inserting poetry into prose: on the one hand, Meneghello uses explicite fragments; on the other, he conceals quotations as dissimulated citations.
This book relates developments in the visual arts and printing to humanist theories of literary and bodily imitation, bringing together 15th- and 16th-century frescoes, statues, coins, letters, ...dialogues, epic poems, personal emblems, and printed collections of portraits. Its interdisciplinary analyses show that Renaissance theories of emulating classical heroes generated a deep skepticism about self-presentation, ultimately contributing to a new awareness of representation as representation.Hollow Men shows that the Renaissance questioning of "interiority" derived from a visual ideal, the monument that was the basis of teachings about imitation. In fact, the dedecline of exemplary pedagogy and the emergence of modern masculine subjectivity were well under way in the mid-15th century, and that these changes were hastened by the rapid development of the printed image.
La prohibición de las obras de Maquiavelo en España fue posterior a su inclusión en el Índice romano de 1559, pero terminó siendo tan absoluta como en el resto del mundo católico. No obstante, a ...pesar de la censura, los textos del secretario florentino se encuentran en las bibliotecas españolas de los siglos XVI y XVII, lo que demostraría los fallos en los sistemas de control llevado a cabo por la Inquisición, así como la gran influencia del pensamiento de este autor.
El género dialogístico, connatural con el Renacimiento desde los humanistas del siglo XV, conoce un gran éxito editorial debido, al parecer, a que no son obras exclusivamente de ficción que tan solo ...procuran el delectare del lector, sino que su carácter didáctico las convierte también en obras muy provechosas. El carácter cosmopolita de la época de Carlos V se refleja en los diálogos editados a partir de 1525 en los que aumenta de manera considerable la influencia de Erasmo y de los autores italianos. Así mismo, en la década de 1550 se dieron ya una serie de indicios que anunciaban un cambio radical en el incremento de la actividad censoria respecto a las tres décadas anteriores. Esta presión inquisitorial fue mayor sobre los géneros que tendían a la divulgación del pensamiento, entre los que se encuentra el diálogo. En el presente estudio, escueto por necesidad, nos centraremos en tres casos concretos del abundante corpus de prestigiosos diálogos italianos renacentistas censurados, que van desde la traducción de los Dialoghi d’amore (1593) de León Hebreo, que tratan de la naturaleza y esencia del amor, de su universalidad y de su origen a los seis diálogos sobre cultura política que componen los Discorsi de’ principii della nobiltà de Marco de la Frata Montalbani (1551), que apuestan por que la política es un medio de perfección individual y colectivo, para terminar con los Dialoghi de Sperone Speroni (1546), testimonio de su concepción filosófica del mundo y cuyos contenidos de estética y filosofía eran de común conocimiento entre los círculos letrados de la época y aludidos con relativa frecuencia en la literatura.
