Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.07
F. Giusti
While the transmedia reception of Dante's Commedia in a globalizing world is immediately visible, his lyric poetry might at first seem unsuited to the digital age. This article explores Lamberto Pignotti's 2016 re-creation of Dante's Vita Nova in his New Vita Nova, focusing on how, by engaging with Dante's libello in both verbal and visual terms, the Florentine artist and poet, one of the fathers of visual poetry, emphasizes three aspects which are latent in the medieval text: its nature as a language game, the fusion of traditionally separate aesthetic domains, and the “virtuality” of lyric gestures. Digital technology, in fact, seems to allow for the full realization of the “virtualissimo amore” that Pignotti sees enacted in the libello, and Pignotti's verbo-visual re-creation prompts reflection on how lyric gestures can move through different media.
{"title":"Lyric Gestures Between Written and Visual Poetry: Lamberto Pignotti's New Vita Nova","authors":"F. Giusti","doi":"10.5406/23256672.99.4.07","DOIUrl":"https://doi.org/10.5406/23256672.99.4.07","url":null,"abstract":"While the transmedia reception of Dante's Commedia in a globalizing world is immediately visible, his lyric poetry might at first seem unsuited to the digital age. This article explores Lamberto Pignotti's 2016 re-creation of Dante's Vita Nova in his New Vita Nova, focusing on how, by engaging with Dante's libello in both verbal and visual terms, the Florentine artist and poet, one of the fathers of visual poetry, emphasizes three aspects which are latent in the medieval text: its nature as a language game, the fusion of traditionally separate aesthetic domains, and the “virtuality” of lyric gestures. Digital technology, in fact, seems to allow for the full realization of the “virtualissimo amore” that Pignotti sees enacted in the libello, and Pignotti's verbo-visual re-creation prompts reflection on how lyric gestures can move through different media.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85479484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.11
Kristina Varade
{"title":"Portrait of the Artist and His Mother in Twentieth-Century Italian Culture","authors":"Kristina Varade","doi":"10.5406/23256672.99.4.11","DOIUrl":"https://doi.org/10.5406/23256672.99.4.11","url":null,"abstract":"","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88250185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.08
G. Annovi
This article discusses the relationship between two seminal figures of the 1960s Italian experimental art scene: composer Luigi Nono and neo-avant-garde poet Nanni Balestrini. In particular, it focuses on their collaboration, in 1968, on Contrappunto dialettico alla mente (Dialectical Counterpoint for the Mind), a composition for two-channel magnetic tape based on Adriano Banchieri's 1608 madrigal Contrappunto bestiale alla mente (Bestial Counterpoint for the Mind). On the one hand, this essay provides a contextual analysis of Balestrini's four original poetic texts, which Nono elaborated electronically at the RAI's Studio di Fonologia in Milan. On the other, it demonstrates how the compositional technique used by Nono for Contrappunto dialettico alla mente inspired the later creation of Balestrini's eponymous poem published in 1969. Finally, this article argues for a novel reading of Balestrini's poem as the linguistic attempt at transposing to writing Nono's electronic montage and sound manipulation of the human voice.
{"title":"Dialectical Counterpoints: Luigi Nono and Nanni Balestrini's Collaboration","authors":"G. Annovi","doi":"10.5406/23256672.99.4.08","DOIUrl":"https://doi.org/10.5406/23256672.99.4.08","url":null,"abstract":"\u0000 This article discusses the relationship between two seminal figures of the 1960s Italian experimental art scene: composer Luigi Nono and neo-avant-garde poet Nanni Balestrini. In particular, it focuses on their collaboration, in 1968, on Contrappunto dialettico alla mente (Dialectical Counterpoint for the Mind), a composition for two-channel magnetic tape based on Adriano Banchieri's 1608 madrigal Contrappunto bestiale alla mente (Bestial Counterpoint for the Mind). On the one hand, this essay provides a contextual analysis of Balestrini's four original poetic texts, which Nono elaborated electronically at the RAI's Studio di Fonologia in Milan. On the other, it demonstrates how the compositional technique used by Nono for Contrappunto dialettico alla mente inspired the later creation of Balestrini's eponymous poem published in 1969. Finally, this article argues for a novel reading of Balestrini's poem as the linguistic attempt at transposing to writing Nono's electronic montage and sound manipulation of the human voice.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"501 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80155715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.05
R. Binetti
As highlighted by Andrea Cortellessa, Laura Pugno's poetry has its generative sparkle in photographic images. This is particularly relevant in Il colore oro, a poetry collection published in 2007, which sees a collaboration with the artist and photographer Elio Mazzacane. Mazzacane's photographs do not simply function as a complement to the poetic texts, as a sort of illustration of what happens within the collection nor of what the lyric subject sees or envisions, but it provides a parallel series of signifiers that own an intrinsic signifying power. This article will focus on the intermedial dialogue between Mazzacane's photography and Pugno's poetry with the aim to investigate to what extent this dialectical exchange determines the structure of the collection, both at a macrostructural and microstructural level. In particular, it will be shown how this photographic process of subjectification impacts both on the internal organization of the book and on the syntactical patterns that are employed by Pugno and Mazzacane.
{"title":"“Non appaio io”: Photographic Lyricism and Self-Othering in Laura Pugno's Il colore oro","authors":"R. Binetti","doi":"10.5406/23256672.99.4.05","DOIUrl":"https://doi.org/10.5406/23256672.99.4.05","url":null,"abstract":"\u0000 As highlighted by Andrea Cortellessa, Laura Pugno's poetry has its generative sparkle in photographic images. This is particularly relevant in Il colore oro, a poetry collection published in 2007, which sees a collaboration with the artist and photographer Elio Mazzacane. Mazzacane's photographs do not simply function as a complement to the poetic texts, as a sort of illustration of what happens within the collection nor of what the lyric subject sees or envisions, but it provides a parallel series of signifiers that own an intrinsic signifying power. This article will focus on the intermedial dialogue between Mazzacane's photography and Pugno's poetry with the aim to investigate to what extent this dialectical exchange determines the structure of the collection, both at a macrostructural and microstructural level. In particular, it will be shown how this photographic process of subjectification impacts both on the internal organization of the book and on the syntactical patterns that are employed by Pugno and Mazzacane.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"50 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78699327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.19
Ilaria Serra
{"title":"Geographies of Myths and Places of Identity: The Strait of Scylla and Charybdis in the Modern Imagination","authors":"Ilaria Serra","doi":"10.5406/23256672.99.4.19","DOIUrl":"https://doi.org/10.5406/23256672.99.4.19","url":null,"abstract":"","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88236408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.04
Adele Bardazzi
By looking at intermedial works of the poet Elisa Biagini and the artist Sabrina Mezzaqui as well as their most recent collaboration for the Galleria Continua's exhibition c’è qui nell'aria la parolaramo, this article investigates the relationship between poetic texts and textiles. The “intra-action,” to use feminist physicist Karen Barad's term, between the language of poetry and that of textile emerges through a paradigm of entanglements that expands the semantic capacity of both words and textiles. The verses displayed by Biagini in Mezzaqui's installations belong to Da una crepa (2014), which weaves imaginary dialogues with Emily Dickinson and Paul Celan. Da una crepa will be central to this paper's investigation together with Le ossa non sono poi così solide exhibited at Museo della Specola in 2010 and poems from Biagini's most recent work, significantly entitled Filamenti (2020). In this collection, the thread emerges as a key tool not only to recompose a body that is represented as fragmented and disjointed, but also as a “filo memoria” that can reconstitute an identity understood in highly corporeal terms (especially in the section “Moto perpetuo (un'autobiografia)”. A reflection on identity and autobiography is also central to Mezzaqui's practice, especially in Appunti per autobiografia del rosso (2017–2018), where through 33 woven and decorated books, she attempts to weave an autobiography. In both Biagini's and Mezzaqui's intermedial textile poems, the viewer/reader engages with a thread endowed with a strong vitalistic, almost biological power able to weave together identity, biography, and memory.
通过观察诗人Elisa Biagini和艺术家Sabrina Mezzaqui的中间作品，以及他们最近在Continua画廊的展览c ' è qui nell'aria la parolaramo的合作，本文探讨了诗歌文本与纺织品之间的关系。用女权主义物理学家凯伦·巴拉德(Karen Barad)的话来说，诗歌语言和纺织品语言之间的“内作用”，是通过一种纠结的范例出现的，这种范例扩展了文字和纺织品的语义能力。比亚吉尼在Mezzaqui的装置作品中展示的诗句属于《Da una crepa》(2014)，它编织了与艾米丽·狄金森(Emily Dickinson)和保罗·策兰(Paul Celan)的想象对话。Da una crepa将与2010年在Museo della Specola展出的Le ossa non sono poi così solide以及比亚吉尼最新作品中的诗歌一起成为本文研究的核心，其作品名为《细丝》(Filamenti, 2020)。在这个系列中，线作为一个关键的工具出现，不仅重新组合了一个支离破碎和脱节的身体，而且作为一个“filo记忆”，可以重构一个高度肉体化的身份(特别是在“Moto perpetuo (un’autobiografia)”部分)。对身份和自传的反思也是Mezzaqui实践的核心，尤其是在《Appunti per autobiografia del rosso》(2017-2018)中，她试图通过33本编织和装饰的书来编织一本自传。在Biagini和Mezzaqui的中间纺织诗歌中，观众/读者都参与了一种被赋予强大生命力的线索，几乎是生物的力量，能够将身份，传记和记忆编织在一起。
{"title":"Displacing Autobiography and Intermediality: Elisa Biagini and Sabrina Mezzaqui","authors":"Adele Bardazzi","doi":"10.5406/23256672.99.4.04","DOIUrl":"https://doi.org/10.5406/23256672.99.4.04","url":null,"abstract":"\u0000 By looking at intermedial works of the poet Elisa Biagini and the artist Sabrina Mezzaqui as well as their most recent collaboration for the Galleria Continua's exhibition c’è qui nell'aria la parolaramo, this article investigates the relationship between poetic texts and textiles. The “intra-action,” to use feminist physicist Karen Barad's term, between the language of poetry and that of textile emerges through a paradigm of entanglements that expands the semantic capacity of both words and textiles. The verses displayed by Biagini in Mezzaqui's installations belong to Da una crepa (2014), which weaves imaginary dialogues with Emily Dickinson and Paul Celan. Da una crepa will be central to this paper's investigation together with Le ossa non sono poi così solide exhibited at Museo della Specola in 2010 and poems from Biagini's most recent work, significantly entitled Filamenti (2020). In this collection, the thread emerges as a key tool not only to recompose a body that is represented as fragmented and disjointed, but also as a “filo memoria” that can reconstitute an identity understood in highly corporeal terms (especially in the section “Moto perpetuo (un'autobiografia)”. A reflection on identity and autobiography is also central to Mezzaqui's practice, especially in Appunti per autobiografia del rosso (2017–2018), where through 33 woven and decorated books, she attempts to weave an autobiography. In both Biagini's and Mezzaqui's intermedial textile poems, the viewer/reader engages with a thread endowed with a strong vitalistic, almost biological power able to weave together identity, biography, and memory.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"59 4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85050942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.06
Chiara Portesine
Since he was a young poet, Antonio Porta has always shown a strong interest in visual arts, in particular for abstract and conceptual painting. Porta began to experiment with collage in 1959, attending some key exhibitions at the Galleria Blu (Milan) and at the Galleria Arco d'Alibert (Rome) together with other Novissimi poets, including Alfredo Giuliani and Nanni Balestrini. This creative phase is often overlooked by critics and scholars. From this viewpoint, this article will show how these works brightly anticipate some crucial stylistic strategies that Porta will adopt in his linear poems later on in his poetic career—especially as regards the assembly of verses and lines. The contribution aims to investigate the connection between these earlier artistic projects and Porta's later works (focusing in particular on La palpebra rovesciata and L'enigma naturale). Lastly, thanks to archival materials stored at the Centro APICE, attention will be given to the profound relationship between these works and the private art gallery of the Paolazzi's family. From some unpublished bills of sale and artist agreements, I will rebuild this form of patronage and the links between paintings hanging on the domestic wall and pictures that Porta describes in his poetical verses. From this viewpoint, the article will investigate the pivotal relationship with Piero Manzoni—whose Achromes were formerly in Porta's father's collection—and Carlo Ramous—a Milanese painter related to his family by an official Atto di accordo, signed in January 1960. In the same year, Ramous drew the cover of La palpebra rovesciata and Porta, for his part, described one of his sculptures (Di fronte alla luna) in the homonymous poem of Rapporti. This philological approach will enable a better understanding of the poems that contain seemingly nonsensical elements but which actually depend on artistic sources.
{"title":"Poems in the Shape of Collage: The Case of Antonio Porta","authors":"Chiara Portesine","doi":"10.5406/23256672.99.4.06","DOIUrl":"https://doi.org/10.5406/23256672.99.4.06","url":null,"abstract":"\u0000 Since he was a young poet, Antonio Porta has always shown a strong interest in visual arts, in particular for abstract and conceptual painting. Porta began to experiment with collage in 1959, attending some key exhibitions at the Galleria Blu (Milan) and at the Galleria Arco d'Alibert (Rome) together with other Novissimi poets, including Alfredo Giuliani and Nanni Balestrini. This creative phase is often overlooked by critics and scholars. From this viewpoint, this article will show how these works brightly anticipate some crucial stylistic strategies that Porta will adopt in his linear poems later on in his poetic career—especially as regards the assembly of verses and lines. The contribution aims to investigate the connection between these earlier artistic projects and Porta's later works (focusing in particular on La palpebra rovesciata and L'enigma naturale). Lastly, thanks to archival materials stored at the Centro APICE, attention will be given to the profound relationship between these works and the private art gallery of the Paolazzi's family. From some unpublished bills of sale and artist agreements, I will rebuild this form of patronage and the links between paintings hanging on the domestic wall and pictures that Porta describes in his poetical verses. From this viewpoint, the article will investigate the pivotal relationship with Piero Manzoni—whose Achromes were formerly in Porta's father's collection—and Carlo Ramous—a Milanese painter related to his family by an official Atto di accordo, signed in January 1960. In the same year, Ramous drew the cover of La palpebra rovesciata and Porta, for his part, described one of his sculptures (Di fronte alla luna) in the homonymous poem of Rapporti. This philological approach will enable a better understanding of the poems that contain seemingly nonsensical elements but which actually depend on artistic sources.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"37 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74565237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.16
Irene Hatzopoulos
{"title":"Italian Neorealism: A Cultural History","authors":"Irene Hatzopoulos","doi":"10.5406/23256672.99.4.16","DOIUrl":"https://doi.org/10.5406/23256672.99.4.16","url":null,"abstract":"","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"73 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77202013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/23256672.99.4.17
Simone Gugliotta
{"title":"L'immagine del Burattino: Percorsi fra teatro, letteratura e cinema","authors":"Simone Gugliotta","doi":"10.5406/23256672.99.4.17","DOIUrl":"https://doi.org/10.5406/23256672.99.4.17","url":null,"abstract":"","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74939019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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