Focusing on Eugenio Montale’s “La casa dei doganieri” (Le occasioni, 1939), this article explores the nature of the poet’s mourning for Arletta and how it challenges traditional views on elegy. ...Although this poem displays several of the conventions of classical elegy, Montale ultimately disregards what Jahan Ramazani calls the “consolatory machinery” common to that genre, a post-loss experience aiming to achieve complete forgetfulness and replacement of the lost object of love. Furthermore, Montale’s mourning for Arletta deviates from the traditional binary distinction between “healthy” finite mourning and “unhealthy” melancholia as initially presented by Freud in his “Mourning and Melancholia” (1917). Mourning in Montale’s poetry is intermittent, but nevertheless unending. By considering the relationship between Montale’s poetry and mourning from the Derridean perspective of “demi-deuil” I contribute an original viewpoint to the study of Montale’s “care ombre” (“Proda di Versilia,” La bufera e altro, 1956), whereby subjects of mourning are no longer considered to be negatively dominated by the Other’s death, but rather devoted to preserving the affect relationship with the dead, as opposed to the Freudian notion of “moving on” after loss. From this standpoint, elegiac poetry, in Montale’s rendition of it, assumes the key responsibility of passing on traumatic knowledge and, in so doing, affirms its centrality in the creation of a space where death and the experience of mourning can be framed and processed.
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.
The paper deals with the analysis of the rhetorical morphology and of the semantic functions of various emersions of ‘aposiopesis’ (or ‘reticence’) in The Occasions (1939) by Eugenio Montale, poetic ...collection characterized by an important ‘silence strategy’ (“to omit the occasion-spur”). The theory and the praxis of the non-said and the non-finite efficaciously outline, between inventio and dispositio, an original and coherent definition and explanation of some recurring stylistic patterns of Montale’s poetry. Moreover, the critical recognition allows to clarify the essential role of the rhetorical use of silence and “textual scars” in the lyrical creation of negative or positive epiphanies and, more generally, in the poetic construction of memory, transfiguration and meaning.
The article discusses the presence of matter (organic as well as inorganic) in twentieth-century Italian poetry. The paper ofers a diachronic survey of some exemplary authors and texts (Marinetti, ...Gozzano, Montale, Giudici, Caproni, and Sereni), highlighting the different utilisations of objects and things within literary texts. Objects and things define spaces and places in subjects’ lives, support their identity, and document various ages and generations. The death of their owners makes things and objects lose their original purpose and find different functions with new subjects. In this context, they appear as miniature eternities always ready for a connection with new subjects.
En este texto se examina la irrupción en el concierto de la vanguardia de la poesía ecuatoriana y latinoamericana de la década del 30 del siglo XX de un jovencísimo Dávila Andrade, con un poema cuya ...madurez y audacia no deja de asombrar a propios y extraños hasta la fecha; también el impacta que su temprano y lúcido ejercicio poético produjo en el medio social y cultural de su ciudad de origen, Cuenca, así como su condición en tanto un sujeto que siempre supo moverse en lo que el autor del artículo, citando a Eugenio Montale, define entre “el poeta-sujeto y el sujeto empírico”
L'opera di Antonia Pozzi (1912-1938) - morta suicida a 26 anni- ha ricevuto, soprattutto nell'ultimo decennio, grande attenzione critica. La mia analisi evidenzia come Pozzi abbia difeso strenuamente ...la propria vocazione poetica, approfonditasi in un ambiente intellettualmente stimolante come quello dell'Università Statale di Milano, ma al contempo maschilista e incline a privilegiare la prosa e il romanzo rispetto alla lirica. Fedele alla propria vocazione e guidata da un'intensità del sentire che la porta verso un'oltranza da cui si difende con accanita e pervicace attenzione alla forma, Pozzi trova in Montale un critico d'eccezione. Il poeta segnalerà positivamente i suoi versi, avendone colto le potenzialità. Un'ultima disillusione amorosa, l'approvazione delle leggi razziali, l'incupirsi della situazione politica, nonché la percezione di un'oppressione sociale e culturale a cui è ormai impossibile sottrarsi, confluiranno nella sua drammatica scelta.
http://dx.doi.org/10.5007/2175-7917.2015v20n1p276 Web End =http://dx.doi.org/10.5007/2175-7917.2015v20n1p276 Universidade Federal de Santa Catarina A poesia tudo aquilo que no cabe dentro do poeta, ...essa afirmao foi confidenciada certa vez pelo escritor paraibano Ariano Suassuna e essa seria uma das inmeras interpretaes que poderamos implicar ao pensar a poesia; contudo, a poesia se faz e se define a partir daqueles que a criam; um organismo que se funda sobre a percepo de limites e terminaes1 como bem explicita o filsofo Giorgio Agamben. Esta obra est licenciada sob umahttp://creativecommons.org/licenses/by-nc-nd/2.5/br/ Web End = Licena Creative Commons . ISSNe 2175-7917 ARQUIVOS, IMAGENS E PERCURSOS EM ABLATIVO Monique Bione* http://creativecommons.org/licenses/by-nc-nd/2.5/br/ Web End = 276 veem diante de si nem a si mesmos.
The memory of anti-Jewish persecution intersected the work of prominent authors in Italian twentieth century poetry, often following oblique and unexpected trajectories that touch authors such as ...Montale, Sereni, Fortini, Pasolini, Saba, Levi, Quasimodo. This essay intends to probe a genealogical juncture in this poetic history, bringing into purview a series of poliperspectival models of poetic writing about the Shoah elaborated by Salvatore Quasimodo, Umberto Saba and Eugenio Montale in the early postwar years. If Quasimodo’s poesia civilepaved the way to a literary monumentalization of memory, such poetic configuration ultimately might be seen to hinge on what Friedrich Nietzsche critically termed a “spiritualization of cruelty.” Thus it was progressively identified as a potential anti-model for Italian poetry dealing with the memory of the persecution – as a reading of Montale’s treatment of this theme reveals. On the other hand, Saba condesned his afterthoughts about the “cannibalism” of racial persecution in Scorciatoie e raccontini(Shortcuts and Very Short Stories): a book of poèmes en prosethat possesses “the accent of poetry and the rigor of aphorism.” These uncanny and ironical shortcuts raise corrosive doubts about the value attached to a purported monumental memory of the Shoah and bring to attention the existence of genealogical complexity in Italian poetic writing about the Jewish genocide that calls for adequate critical recognition.
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