Pub Date : 2020-07-02DOI: 10.1080/01614622.2020.1840098
Matthew Reza
This article explores the function of the asylum in Italian fantastic literature, considering three examples by Ugo Tarchetti, Matilde Serao, and Giuseppe Tonsi. I argue that the asylum is a space that serves to delegitimize the extraordinary claims of patients and that thus confines the subversive potential of fantastic literature. In this way, the asylum also allows for the fantastic to exist without upsetting the social order. I look at how patient testimonies are framed and at the crimes committed that factor into incarceration. I conclude that the subversive potential of the fantastic is considered more important than the violence that is committed by the patients, but that the fantastic itself is always elsewhere, at a remove from the alleged perpetrators and witnesses who are locked up.
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Pub Date : 2020-07-02DOI: 10.1080/01614622.2020.1848101
P. Falchetta
{"title":"“Per desiderio di vedere…”. Viaggi e narrazioni di viaggio tra Cinque e Seicento","authors":"P. Falchetta","doi":"10.1080/01614622.2020.1848101","DOIUrl":"https://doi.org/10.1080/01614622.2020.1848101","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"202 - 204"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1848101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47973755","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 : 2020-07-02DOI: 10.1080/01614622.2020.1842647
D. Kelly
{"title":"Dante’s Prayerful Pilgrimage: Typologies of Prayer in the Comedy","authors":"D. Kelly","doi":"10.1080/01614622.2020.1842647","DOIUrl":"https://doi.org/10.1080/01614622.2020.1842647","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"191 - 193"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1842647","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59230801","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 : 2020-01-02DOI: 10.1080/01614622.2020.1751996
S. P. Hill
A passionate personal and intellectual encounter with literary and audiovisual texts and their authors lies at the heart of Rebecca West’s scholarly work. This article takes the author’s own encounter with Rebecca and the literary and filmic worlds to which she introduced her students as a starting point for considering Rebecca’s contributions to illuminating the encounters of word and image in our discipline. It focuses in particular on the intellectual and ethical value of the notion of conviviality, which it argues informs all of Rebecca’s scholarship. In particular, it addresses her important work on the creative encounter between the writer Gianni Celati and the photographer Luigi Ghirri, arguing that her writing on this “creative couple” is emblematic of her critical approach in general and in particular of her explorations of the points of contact between words and images.
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Pub Date : 2020-01-02DOI: 10.1080/01614622.2020.1757233
Ellen Nerenberg
The essays gathered in this special issue pay tribute to Rebecca West and her four decades-long career in Italian Studies. Two award-winning studies plot prime coordinates in our esteemed colleague...
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Pub Date : 2020-01-02DOI: 10.1080/01614622.2020.1752006
Marie Orton
Since antiquity, tradition has held that women and humor don’t go together. Behind this notion lies the intersection of social power and humor, and women’s roles in both. The writings of Italian-Indian writer Laila Wadia confront these notions, specifically targeting the mechanism of stereotyping and the role of humor in cultural inclusion and exclusion. In a comic key, Wadia questions the cherished cultural concept of italianità: Who really has it, and of what does it actually consist? Can it be acquired by an outsider? And most importantly, what does it mean to have it? Structured as a highly ironic ersatz diary, Come diventare italiani in 24 ore positions the protagonist, Laila, as writing from outside Italian society in order to examine how the presence of otherness (as embodied in the migrant) challenges the traditional concept of italianità. By ironizing in equal measure the misguided stereotypes that Italians have of foreigners as well as the misguided stereotypes that foreigners have of Italians, Wadia exposes how the discourses of identity construction and social exclusion and inclusion are appropriated into economies of power, which humor can serve or challenge.
自古以来，传统就认为女人和幽默是不相容的。这种观念的背后是社会权力和幽默的交集，以及女性在这两者中所扮演的角色。意大利裔印度作家Laila Wadia的作品直面这些观念，特别针对刻板印象的机制和幽默在文化包容和排斥中的作用。瓦迪亚以一种幽默的方式，质疑了人们所珍视的意大利文化概念:谁真正拥有它，它实际上是由什么组成的?它会被外人收购吗?最重要的是，拥有它意味着什么?作为一本高度讽刺的假日记，《24岁的意大利人来了》(Come diventare italiani in 24 ore)将主人公莱拉(Laila)定位为意大利社会之外的作家，以考察他者的存在(体现在移民身上)如何挑战意大利人的传统观念。通过同等程度地讽刺意大利人对外国人的错误刻板印象，以及外国人对意大利人的错误刻板印象，瓦迪亚揭示了身份建构、社会排斥和包容的话语是如何被权力经济所利用的，幽默可以为权力经济服务，也可以挑战权力经济。
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Pub Date : 2020-01-02DOI: 10.1080/01614622.2020.1752005
Anna Maria Torriglia
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.
{"title":"“Ora accetti d’essere poeta.” Sulla poetica di Antonia Pozzi e la scuola di Milano","authors":"Anna Maria Torriglia","doi":"10.1080/01614622.2020.1752005","DOIUrl":"https://doi.org/10.1080/01614622.2020.1752005","url":null,"abstract":"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.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"36 - 46"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1752005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42218759","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 : 2020-01-02DOI: 10.1080/01614622.2020.1751997
M. Waller
Italian neorealism’s influence on Cuban revolutionary filmmaking is well-known, but ongoing dialogs between Italian and Cuban film are less so. I propose an alternative film historiography, inspired, in part, by Fernando Solanas and Octavio Getino’s manifesto, “Toward a Third Cinema,” which suggests that such intertextualities are consequential. An exchange between Italian auteur Federico Fellini and revolutionary Cuban filmmaker Tomás Gutiérrez Alea about twentieth-century masculinities is exemplary. In the space between two pregnant musical moments separated by twenty years, the Atlantic Ocean, and geopolitically opposed political contexts, a dialog emerges between the Saraghina sequence in Fellini’s 8½ (1963) and its counterpart in Gutiérrez Alea’s Hasta cierto punto [Up to a Certain Point] (1983). I argue that when cinema historiography opens itself up to such dialogs, a kind of “decolonization” of the hegemonic discourses on both sides can occur.
{"title":"Imperfect Relations: Tomás Gutiérrez Alea’s Hasta cierto punto and Federico Fellini’s 8½","authors":"M. Waller","doi":"10.1080/01614622.2020.1751997","DOIUrl":"https://doi.org/10.1080/01614622.2020.1751997","url":null,"abstract":"Italian neorealism’s influence on Cuban revolutionary filmmaking is well-known, but ongoing dialogs between Italian and Cuban film are less so. I propose an alternative film historiography, inspired, in part, by Fernando Solanas and Octavio Getino’s manifesto, “Toward a Third Cinema,” which suggests that such intertextualities are consequential. An exchange between Italian auteur Federico Fellini and revolutionary Cuban filmmaker Tomás Gutiérrez Alea about twentieth-century masculinities is exemplary. In the space between two pregnant musical moments separated by twenty years, the Atlantic Ocean, and geopolitically opposed political contexts, a dialog emerges between the Saraghina sequence in Fellini’s 8½ (1963) and its counterpart in Gutiérrez Alea’s Hasta cierto punto [Up to a Certain Point] (1983). I argue that when cinema historiography opens itself up to such dialogs, a kind of “decolonization” of the hegemonic discourses on both sides can occur.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"73 - 81"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1751997","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42358779","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 : 2020-01-02DOI: 10.1080/01614622.2020.1751985
Franco Nasi
Narratori delle Pianure e Quattro novelle dell’apparenza, pubblicati a metà degli anni ottanta, segnalano un significativo cambiamento nella poetica e nello stile di Gianni Celati rispetto alla produzione più sperimentale degli anni settanta. Questo “cambio di stile” nella produzione creativa trova un analogo movimento anche nelle strategie di traduzione adottate da Celati nella sua pratica di traduttore. Nel saggio si prendono in considerazione in particolare le versioni di Celati delle Avventure di Tom Sawyer di Mark Twain (1979) e del Richiamo della Foresta di Jack London (1986). Mentre la traduzione del Tom Sawyer sembra il punto di arrivo di un percorso di ricerca, iniziato con gli studi su Joyce e le traduzioni di Céline, e caratterizzato da una marcata deformazione espressionistica del linguaggio letterario e da un antagonismo di fondo nei confronti delle ideologie, la traduzione del Richiamo della foresta segnala l’approdo a una poetica dello sguardo e a una narratività più distesa, rituale e sorvegliata.
{"title":"Gianni Celati traduttore. Da Mark Twain a Jack London","authors":"Franco Nasi","doi":"10.1080/01614622.2020.1751985","DOIUrl":"https://doi.org/10.1080/01614622.2020.1751985","url":null,"abstract":"Narratori delle Pianure e Quattro novelle dell’apparenza, pubblicati a metà degli anni ottanta, segnalano un significativo cambiamento nella poetica e nello stile di Gianni Celati rispetto alla produzione più sperimentale degli anni settanta. Questo “cambio di stile” nella produzione creativa trova un analogo movimento anche nelle strategie di traduzione adottate da Celati nella sua pratica di traduttore. Nel saggio si prendono in considerazione in particolare le versioni di Celati delle Avventure di Tom Sawyer di Mark Twain (1979) e del Richiamo della Foresta di Jack London (1986). Mentre la traduzione del Tom Sawyer sembra il punto di arrivo di un percorso di ricerca, iniziato con gli studi su Joyce e le traduzioni di Céline, e caratterizzato da una marcata deformazione espressionistica del linguaggio letterario e da un antagonismo di fondo nei confronti delle ideologie, la traduzione del Richiamo della foresta segnala l’approdo a una poetica dello sguardo e a una narratività più distesa, rituale e sorvegliata.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"17 - 25"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1751985","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49473891","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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