Pub Date : 2022-11-01DOI: 10.1177/00145858221110502
Savannah Cooper-Ramsey
as “a powerful absent-presence” in the novella (p. 226). Following the maritime cycles analyzed by Fernand Braudel, Morosini focuses on the structural elements of the Mediterranean in the narrative. The Orientalizing depiction of the dogana and the public bagno in Palermo represents the cultural tensions of the seaport; Iancofiore is constructed as the conflation of both the classical Sirens and the Homeric Circe, as mediated through their medieval exegetes; and Salabaetto’s mercantile guile is modeled as “a modern Ulysses” (p. 237) in the final denouement. The insightful and erudite readings of the authors manage to balance their hermeneutical effort with an exact assessment of previous scholarship. The interdisciplinary focus of the scholars—from legal discourse, to medical thought, to socio-economic policies, and metaliterary analyses—breathes fresh air into the critical debates, making the volume a fundamental contribution to the field of Boccaccio Studies that will open new directions for research and teaching on the Decameron.
{"title":"Book review: David Bowe, Poetry in Dialogue in the Duecento and Dante","authors":"Savannah Cooper-Ramsey","doi":"10.1177/00145858221110502","DOIUrl":"https://doi.org/10.1177/00145858221110502","url":null,"abstract":"as “a powerful absent-presence” in the novella (p. 226). Following the maritime cycles analyzed by Fernand Braudel, Morosini focuses on the structural elements of the Mediterranean in the narrative. The Orientalizing depiction of the dogana and the public bagno in Palermo represents the cultural tensions of the seaport; Iancofiore is constructed as the conflation of both the classical Sirens and the Homeric Circe, as mediated through their medieval exegetes; and Salabaetto’s mercantile guile is modeled as “a modern Ulysses” (p. 237) in the final denouement. The insightful and erudite readings of the authors manage to balance their hermeneutical effort with an exact assessment of previous scholarship. The interdisciplinary focus of the scholars—from legal discourse, to medical thought, to socio-economic policies, and metaliterary analyses—breathes fresh air into the critical debates, making the volume a fundamental contribution to the field of Boccaccio Studies that will open new directions for research and teaching on the Decameron.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87023203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/00145858221110499
S. Ziolkowski
ideas about being and impermanence. Fabio Camilletti takes yet another novel angle, analyzing a well-known—and quite literal—conceptualization of the posthuman: zombies. Tracing their history in literature, film, and music, Camilletti outlines the numerous uses and interpretations of zombies—from a disenfranchised proletariat, to a corporeal shell devoid of being, solely existing. Alienation from the human realm is a common thread shared by both his and Paolo Saportito’s (“New Materialism, Female Bodies and Ethics in Antonioni’s L’avventura, La notte, and L’eclisse”) arguments, showing how the exploration of the nonhuman tends to follow the disillusionment with the human. Posthumanism in Italian Literature and Film will serve as an invaluable resource for a reader who wants to explore the multifaceted nature of posthuman studies. Situated among other recent publications in the burgeoning field such as The Posthuman Imagination: Literature at the Edge of the Human (2021) by Sarker Kindu and Transhumanism and Posthumanism in Twenty-First Century Narrative (2021) by Sonia Baelo-Allué and Mónica Calvo-Pascual, Ferrara’s volume establishes itself squarely within the confines of Italian culture, literature, and film. But what really makes this volume unique is its point of departure. Ferrara and her collaborators examine the posthuman subject keeping in mind that both the reality which we experience and the worlds we construct in literature and film are merely linguistic, malleable byproducts. Therefore, the overarching question that all of the authors seek to answer is: How can one possibly overcome the Anthropocene using an established and purely anthropocentric language?
{"title":"Book review: Giani Stuparich, One Year of School and The Island","authors":"S. Ziolkowski","doi":"10.1177/00145858221110499","DOIUrl":"https://doi.org/10.1177/00145858221110499","url":null,"abstract":"ideas about being and impermanence. Fabio Camilletti takes yet another novel angle, analyzing a well-known—and quite literal—conceptualization of the posthuman: zombies. Tracing their history in literature, film, and music, Camilletti outlines the numerous uses and interpretations of zombies—from a disenfranchised proletariat, to a corporeal shell devoid of being, solely existing. Alienation from the human realm is a common thread shared by both his and Paolo Saportito’s (“New Materialism, Female Bodies and Ethics in Antonioni’s L’avventura, La notte, and L’eclisse”) arguments, showing how the exploration of the nonhuman tends to follow the disillusionment with the human. Posthumanism in Italian Literature and Film will serve as an invaluable resource for a reader who wants to explore the multifaceted nature of posthuman studies. Situated among other recent publications in the burgeoning field such as The Posthuman Imagination: Literature at the Edge of the Human (2021) by Sarker Kindu and Transhumanism and Posthumanism in Twenty-First Century Narrative (2021) by Sonia Baelo-Allué and Mónica Calvo-Pascual, Ferrara’s volume establishes itself squarely within the confines of Italian culture, literature, and film. But what really makes this volume unique is its point of departure. Ferrara and her collaborators examine the posthuman subject keeping in mind that both the reality which we experience and the worlds we construct in literature and film are merely linguistic, malleable byproducts. Therefore, the overarching question that all of the authors seek to answer is: How can one possibly overcome the Anthropocene using an established and purely anthropocentric language?","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90381289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/00145858221110505
Nino Famà
life, and the second part comprehends a close reading of several sonnets. In Chapter Six, Humor and Evil in Dante’s Global Invective, Applauso’s critical read of invective poetry in the Divine Comedy reveals the way that Dante “directs his invective not merely toward single individuals, parties or groups, but to the entire political institutions and their leaders” (p. 231). Dante’s poetry, the author argues, fits in with the others he includes in the monography, and “the Commedia invective could be still perceived as comic poetry while containing a serious ethical charge” (p. 231). The Cantos analyzed by Applauso (Inferno XIX, Purgatorio VI and Paradiso XXVII) are the perfect examples in which “the aggressive verbal surface and overt rhetorical strategies” are working to engage Dante’s readers “offering them possible responses in the face of wrongdoing” (p. 234). The last chapter serves as a brief conclusion and an invitation for further research in the form of a question: The Ethics of Invective Poetry in Wartime: An Act of Aggression or Encounter with the Other? Applauso suggests both a reevaluation and revival of the genre. In the case of the former, he urges a “strong ethical project behind the genre of vituperation and his notion of calling upon the other” (p. 297), and, for the latter, he writes that we should “revive the numerous authors who are currently still labeled as minori” (p. 299). Through Dante’s “Comedy” and the Ethics of Invective in Medieval Italy: Humor and Evil, scholars of medieval studies (including those in history, literary criticism, and linguistics) will benefit from the larger vantage Applauso’s work has opened up.
{"title":"Book review: Antonio Catalfamo, La rivolta dei demoni ballerini (poesie 2014–2021)","authors":"Nino Famà","doi":"10.1177/00145858221110505","DOIUrl":"https://doi.org/10.1177/00145858221110505","url":null,"abstract":"life, and the second part comprehends a close reading of several sonnets. In Chapter Six, Humor and Evil in Dante’s Global Invective, Applauso’s critical read of invective poetry in the Divine Comedy reveals the way that Dante “directs his invective not merely toward single individuals, parties or groups, but to the entire political institutions and their leaders” (p. 231). Dante’s poetry, the author argues, fits in with the others he includes in the monography, and “the Commedia invective could be still perceived as comic poetry while containing a serious ethical charge” (p. 231). The Cantos analyzed by Applauso (Inferno XIX, Purgatorio VI and Paradiso XXVII) are the perfect examples in which “the aggressive verbal surface and overt rhetorical strategies” are working to engage Dante’s readers “offering them possible responses in the face of wrongdoing” (p. 234). The last chapter serves as a brief conclusion and an invitation for further research in the form of a question: The Ethics of Invective Poetry in Wartime: An Act of Aggression or Encounter with the Other? Applauso suggests both a reevaluation and revival of the genre. In the case of the former, he urges a “strong ethical project behind the genre of vituperation and his notion of calling upon the other” (p. 297), and, for the latter, he writes that we should “revive the numerous authors who are currently still labeled as minori” (p. 299). Through Dante’s “Comedy” and the Ethics of Invective in Medieval Italy: Humor and Evil, scholars of medieval studies (including those in history, literary criticism, and linguistics) will benefit from the larger vantage Applauso’s work has opened up.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64959058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/00145858221110506
Katja Liimatta
Francesca Melandri’s Eva Sleeps, and Hans von Trotha’s Pollak’s Arm, have also appeared and been translated into English. The translation of Stuparich’s stories is part of an increased scholarly and popular interest in borders, particularly those between Italy and Austria, and their literatures. The brief preface roots Charles Klopp and Melinda Nelson in a history of people from outside Italy or Austria who are fascinated by Trieste, a list that ranges from James Joyce to Jan Morris to Veit Heinichen. Klopp’s introduction provides clear and comprehensive context for understanding Stuparich’s engaging stories and ends by mentioning that “One Year of School” has already been translated into French, Croatian, German, Spanish, Catalan, Portuguese, and Dutch. Translations into English often lag behind others. With their careful and fluid prose, Klopp and Nelson bring Stuparich’s Triestine views of Europe and early 20th-century life to an anglophone audience. The work should interest both scholars of Trieste and broader readers of fiction, especially literature from borderlands.
{"title":"Book review: Angelo Spina, Le lettere di Angelica: romanzo epistolare/ibrido","authors":"Katja Liimatta","doi":"10.1177/00145858221110506","DOIUrl":"https://doi.org/10.1177/00145858221110506","url":null,"abstract":"Francesca Melandri’s Eva Sleeps, and Hans von Trotha’s Pollak’s Arm, have also appeared and been translated into English. The translation of Stuparich’s stories is part of an increased scholarly and popular interest in borders, particularly those between Italy and Austria, and their literatures. The brief preface roots Charles Klopp and Melinda Nelson in a history of people from outside Italy or Austria who are fascinated by Trieste, a list that ranges from James Joyce to Jan Morris to Veit Heinichen. Klopp’s introduction provides clear and comprehensive context for understanding Stuparich’s engaging stories and ends by mentioning that “One Year of School” has already been translated into French, Croatian, German, Spanish, Catalan, Portuguese, and Dutch. Translations into English often lag behind others. With their careful and fluid prose, Klopp and Nelson bring Stuparich’s Triestine views of Europe and early 20th-century life to an anglophone audience. The work should interest both scholars of Trieste and broader readers of fiction, especially literature from borderlands.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82266885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/00145858221111801
Matteo Pace
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Pub Date : 2022-10-25DOI: 10.1177/00145858221129766
Filippo Pecorari
L’articolo indaga le forme del disaccordo nei commenti alle pagine Facebook di quattro politici svizzeri di lingua italiana, concentrandosi sugli indicatori della reattività verso uno o più turni precedenti. Il contesto comunicativo in esame impone di operare una distinzione preliminare, fondata sulla selezione di un target singolare o plurale per la mossa di disaccordo. Le due opzioni manifestano diversi intrecci tra l’uso di indicatori tecnici largamente mediospecifici, come la menzione e il formato grafico del testo, e l’uso di indicatori linguistici di carattere più generico, come nomi propri e pronomi allocutivi. Il disaccordo rivolto verso un target singolare si rivela nettamente più frequente e in gran parte determinato dalla facilità di accesso all’opzione “Rispondi”, che consente all’utente di costruire in maniera immediata un legame dialogico con un precedente turno conversazionale. Il disaccordo verso un target plurale, molto più raro, dipende dall’uso di specifici indicatori linguistici di pluralità, che producono un riassestamento del participation framework disegnato dall’interfaccia di Facebook. Nel complesso, l’analisi conferma la necessità – ormai riconosciuta dalla maggior parte degli studi – di andare oltre una valutazione onnicomprensiva della lingua del web, e di restringere il fuoco su singoli ambienti comunicativi della rete con attenzione alle loro specificità.
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Pub Date : 2022-10-11DOI: 10.1177/00145858221130046
Arianna Mazzola
Il presente saggio ridefinisce i rapporti di Paolo Valera con la Scapigliatura democratica e propone la forte influenza del Naturalismo francese sull’autore. Inoltre, l’analisi si concentra sulla forma del reportage narrativo e la scrittura giornalistica rintracciando, per analogie e differenze, uno studio del genere letterario e l’ibridazione tra descrizione, narrazione e invenzione che anticipa tendenze di scrittura successive alla pubblicazione de I miei dieci anni all’estero.
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Pub Date : 2022-10-09DOI: 10.1177/00145858221129893
Francesca D'alfonso
My essay intends to demonstrate the significance of the Abruzzi region in Edward Lear's artistic vision. In particular, it aims to show that, in a certain sense, two contrasting personalities coexisted in Lear, and determined his attitude towards the many places he visited in his horseback excursions of the Abruzzi, a region quite far from the main routes of the Grand Tour. On the one hand, Lear was greatly inspired and fascinated by the landscapes he had the opportunity to admire almost everywhere in the Abruzzi and, as a landscape painter, he responded to this visual experience enthusiastically. On the other hand, as a British traveller, he was shocked to see that the notables he met in Chieti, Villalago, Sulmona and Città Sant’Angelo, lived in old, dilapidated houses with terrible hygienic conditions and pervasive uncleanliness. In this respect, Lear’s attitude seems to oscillate between that of an artist with a romantic view of people and cultures, and a pragmatic Briton who regards his country’s ways as a sort of model for the rest of the world.
{"title":"Edward Lear, the Illustrated Excursions in Italy and the Making of a Tourist Imaginary","authors":"Francesca D'alfonso","doi":"10.1177/00145858221129893","DOIUrl":"https://doi.org/10.1177/00145858221129893","url":null,"abstract":"My essay intends to demonstrate the significance of the Abruzzi region in Edward Lear's artistic vision. In particular, it aims to show that, in a certain sense, two contrasting personalities coexisted in Lear, and determined his attitude towards the many places he visited in his horseback excursions of the Abruzzi, a region quite far from the main routes of the Grand Tour. On the one hand, Lear was greatly inspired and fascinated by the landscapes he had the opportunity to admire almost everywhere in the Abruzzi and, as a landscape painter, he responded to this visual experience enthusiastically. On the other hand, as a British traveller, he was shocked to see that the notables he met in Chieti, Villalago, Sulmona and Città Sant’Angelo, lived in old, dilapidated houses with terrible hygienic conditions and pervasive uncleanliness. In this respect, Lear’s attitude seems to oscillate between that of an artist with a romantic view of people and cultures, and a pragmatic Briton who regards his country’s ways as a sort of model for the rest of the world.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48594865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-05DOI: 10.1177/00145858221128785
Daria Bozzato
Agli inizi del Novecento, grazie alla frequentazione di fucine esoteriche come la Biblioteca Filosofica di Firenze e il caffè delle Giubbe Rosse, Giovanni Papini alimentò il suo interesse nei confronti della tradizione esoterica, dal momento che questa permetteva un allontanamento dall’eccesso razionale proprio del positivismo e, di conseguenza, una trasformazione della sensibilità umana. Come evidenziato in alcuni articoli pubblicati nella fase finale del Leonardo, Papini ammirava, però, solo alcuni aspetti dell’occultismo e ne criticava la mancanza di metodo e la superficialità di osservazioni. Il rapporto ambiguo di Papini con l’occulto rafforza, di fatto, i tratti non lineari e ossimorici del suo pensiero, tratti che saranno caratteristici anche del periodo post conversione. A differenza di precedenti studi sul rapporto tra Papini e l’occulto che si soffermano soprattutto sulla fase iniziale del Leonardo, l’obiettivo di questo saggio è evidenziare come l’intellettuale fiorentino, anche nella fase successiva alla conversione del 1919, continuò a parlare di maghi ed occultisti in maniera ambigua. Questo è ben evidente in un manoscritto inedito scoperto presso l’archivio Papini della Fondazione Primo Conti di Fiesole dal titolo Occultisti, che il seguente articolo esaminerà e citerà per la prima volta in maniera parziale.
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