Pub Date : 2023-01-02DOI: 10.1080/01614622.2023.2172815
Ilaria Serra
This article pushes at the interdisciplinary boundaries of literary ecocriticism to suggest a new rhetorical figure: the “geometaphor.” The geometaphor is a metaphor that is not only geographically marked, but also rooted in a specific territory. In short, it is a poetic metaphor with a specific address. This article defines this concept through references spanning from the medieval Francis of Assisi to the nineteenth-century poet Giacomo Leopardi, and through a sample of geometaphors in three Northern coastal areas: Liguria, the Veneto, and Friuli. They are the enclosed gardens of the Cinque Terre in Eugenio Montale’s collection Ossi di seppia (Cuttlefish Bones); the harbor and hills of Trieste in Umberto Saba’s Trieste e una donna (Trieste and a Woman); and the amphibious streets of Venice in Anna Toscano’s Doso la polvere. The technological component of this research is indispensable, and it grew out of a pedagogical need to present Italian poetry to an audience of students on the other side of the ocean with the help of Google Earth. In this essay, the omino facilitates a visualization of poetical terms. It is “dropped” in specific places on the Italian map to trace the contours of its poetic geography.
本文突破了文学生态批评的跨学科界限，提出了一个新的修辞形象：“几何体”。几何体是一个隐喻，不仅具有地理标记，而且植根于特定的领域。简而言之，这是一个带有特定地址的诗意隐喻。本文通过从中世纪的阿西西方济各到19世纪的诗人贾科莫·利奥帕尔迪的参考文献，以及通过利古里亚、威尼托和弗留利三个北部沿海地区的几何体样本来定义这一概念。它们是尤金尼奥·蒙塔莱收藏的Ossi di seppia（墨鱼骨）中五渔村的封闭花园；翁贝托·萨巴（Umberto Saba）的《的里雅斯特与一个女人》（Trieste e una donna）中的的里雅特港口和山丘；以及安娜·托斯卡诺（Anna Toscano）的《波兰舞曲》（Doso la polvere）中威尼斯的水陆两用街道。这项研究的技术组成部分是不可或缺的，它源于在谷歌地球的帮助下向大洋彼岸的学生展示意大利诗歌的教学需求。在这篇文章中，omino促进了诗歌术语的可视化。它被“丢弃”在意大利地图上的特定位置，以追踪其诗意地理的轮廓。
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Pub Date : 2023-01-02DOI: 10.1080/01614622.2023.2167314
Anna Di Lellio
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Pub Date : 2023-01-02DOI: 10.1080/01614622.2023.2171865
F. Di Blasio
This article reads the work of Cesare Pavese in light of the critical challenges of transnational Italian studies and analyzes Pavese’s aesthetics of rootedness, representations of migration, and practices of translation as sites of tension between local and global geographic scales. Accepting Carlo Bernari’s provocative suggestion that we consider Pavese a “Southern” writer, the article traces how Pavese portrays the land, sea, and ocean within a geophilosophical “sistema di rapporti” (Furio Jesi) reminiscent of a Heideggerian “fourfold.” In Pavese, an “anti-oceanic” attitude goes hand in hand with his treatment of land and sea as two opposite mythical realms, which we see expressed in his translation of Herman Melville’s “oceanic” novel Moby-Dick. Similarly, Pavese’s dystopian accounts of emigration can be seen as anti-oceanic narratives that articulate the need to return. With his telluric symbolism and his notion of an indissoluble attachment to the land, Pavese’s aesthetics participates in the culture of ius sanguinis that, over seventy years after Pavese’s death, is still a remarkable feature of Italian society, as we see in contemporary debates on the 1992 Italian citizenship law.
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Pub Date : 2023-01-02DOI: 10.1080/01614622.2023.2181492
Joanne Lee
This article focuses on two novels by Laura Pariani: Quando Dio ballava il tango (2002) and Il piatto dell’angelo (2013), both of which recount tales of travel and migration between Italy and South America across a broad historical timeframe. These novels represent a challenge to narrow constructions of Italy as a monocultural and monolingual nation, foregrounding cultural and linguistic hybridity and highlighting patterns of belonging that do not map smoothly onto national borders. I argue that while the earlier novel explores the interconnectedness between Italy and Argentina, reconstructs Italy’s past as a nation of emigrants, and gives voice to the historically marginalized, the later novel uses the past more pointedly as a key to understanding the present. Il piatto dell’angelo’s juxtaposition of stories of Italian emigration from the early twentieth century with personal accounts of present-day migrants to Italy reminds Italians of their own emigratory past and aims to elicit empathy with their contemporary counterparts. In highlighting the economic exploitation of migrants in Italy, the novel explores the ethical dilemmas posed by globalization and raises pertinent questions about Italy’s and Europe’s response to the contemporary movement of people from the Global South to the Global North. Rather than viewing migrants as marginalized others, these novels place a cultural memory of migration and movement at the very center of their understandings of italianità.
本文聚焦于Laura Pariani的两部小说：《Quanto Dio ballava il tango》（2002年）和《il piatto dell’ngelo》（2013年），这两部小说都讲述了意大利和南美洲在广阔的历史时期内的旅行和移民故事。这些小说对意大利作为一个单一文化和语言国家的狭隘结构提出了挑战，突出了文化和语言的混杂性，并突出了无法顺利映射到国界上的归属模式。我认为，虽然早期的小说探索了意大利和阿根廷之间的相互联系，重建了意大利作为一个移民国家的过去，并为历史上被边缘化的人发声，但后期的小说更尖锐地将过去作为理解现在的关键。Il piatto dell’angelo将20世纪初意大利移民的故事与当今意大利移民的个人描述并置，让意大利人想起了他们自己的移民历史，并旨在引发与当代同行的共鸣。小说强调了意大利对移民的经济剥削，探讨了全球化带来的道德困境，并就意大利和欧洲对当代从全球南方到全球北方的人口流动的反应提出了相关问题。这些小说没有将移民视为被边缘化的其他人，而是将移民和运动的文化记忆置于他们理解意大利的中心。
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Pub Date : 2023-01-02DOI: 10.1080/01614622.2023.2167313
Cosetta Seno
et preclarissimo cavalier et procuratore di San Marco D. Dominicho Trivisano ambasciator...Veneto al...Gran Soldano al Cairo... . La scelta dei curatori di trascrivere il testo conservandone le peculiarit a linguistiche permette di osservare il modo di scrittura dell’autore che si rivela di facile e appassionante lettura dove la sua narrazione non manca di particolari utili per ricostruire con attenzione le varie tappe di questo lungo e travagliato viaggio per nave. Un racconto dettagliato che inizia con i porti in cui si fermano, la descrizione delle spezie, dei vestiti, delle stoffe, del cibo e degli animali esotici: «forno menati a monstrare ala Magnificencia dil Ambasciatore 3 animali da me mai pi u non veduti, et primo: una ziraffa alta six braza [... ], uno lionfante de anni do, grande como un capo di lanza [... ] doi lioni, cum li quali li soi gubernatori giocavano [... ]» (78). Anche le descrizioni degli usi e dei costumi dei musulmani sono accurate, si soffermano su quale tipo di illuminazione usano per consumare la cena nelle loro case diverse e mai viste in Occidente, fotografano i volti, i modi di fare descritti senza mai giudicare, ma con una penna che riesce a ritrarre i paesaggi, gli odori, la lingua delle persone e che riporta con dovizia di dettagli gli incontri tra l’Ambasciatore e il sultano. Non mancano accenti di meraviglia nel notare comportamenti diversi da quelli visti a Venezia: «Le done vano coperte tute, [... ] et se ne vano solazando per la terra sopra li assenelli cavalcando ala guisa de homini. Sono alcune che hano depente le mane ma tute generalmente tente le ungie rosse. Spendeno assai danarj per li bazari in sette et altre cosse odorifere. Sono botege assaissime ma tute picole, di [... ] gran quantitade como sono lisari, cambra, sinibaffi et mussoli, fazuoli di seda et di lino cum li capi lavorati de ogne sorte senza numero» (87–88). L’osservazione non e mai critica ma rimane puramente descrittiva. Questa mancanza di un giudizio preventivo, quindi di un atteggiamento ideologico, permette al diario di Zaccaria Pagani di restituirci ancora oggi una testimonianza oggettiva e dunque rilevante per meglio comprendere le diverse spedizioni diplomatiche che i cristiani hanno compiuto in terra musulmana. Grazie al racconto del nostro autore possiamo immaginare l’atmosfera di stupore, di curiosit a per una cultura, per un popolo diverso e affascinante, colto e raffinato pur se nello stesso momento considerato in perenne contrasto militare e religioso. Dal resoconto traspare la raffinatezza degli incontri, la maestosit a delle ricchezze materiali e spirituali trovate in Medio Oriente, la magnanimit a del sultano e la grazia della sua corte. Un senso reciproco di stima, anche al di l a degli accordi commerciali che hanno spinto il viaggio dell’Ambasciatore veneziano. Da questo diario ci giunge lampante un mondo che per quanto conflittuale prediligeva lo scambio e il dialogo a cui partecipavano i filosofi, i poeti, i sacerdoti
et precrissimo cavalier et检察官San Marco D.Dominicho Trivisano大使。。。威尼托在开罗的大索尔达诺。。。选择策展人转录文本，同时保留其语言特点，使我们能够观察到作者的写作方式，这种方式被证明是容易阅读和令人兴奋的，他的叙述并不缺乏有用的细节，可以仔细重建这段漫长而麻烦的船程的各个阶段。一个详细的故事从他们停靠的港口开始，对香料、衣服、织物、食物和外来动物的描述：“烤箱menati A monstrare ala Magnificencia dil Ambasciatore 3 animali da me mai u non veduti，et primo：una ziraffa alta six braza[…]，uno lionfante de anni do，grande como un capo di lanza[…]doi lioni，（78）。即使是对穆斯林用途和习俗的描述也是准确的，他们专注于他们在不同的家里用什么样的灯光吃饭，这在西方是从未见过的，他们拍摄人脸，描述的行为方式没有任何评判，但用一支能够描绘风景、气味、，人民的语言，并详细报道了大使和苏丹之间的会晤。在注意到与威尼斯不同的行为时，不乏惊讶的口音：“Le done vano blanchette tute，[…]et se ne vano solazando per l’earth sopra li absinelli ride ala guisa de homini。他们是一些依赖鬃毛的人，但西装通常会吸引红指甲。他们花了很多钱在七分之一的集市和其他有气味的东西上。它们是botege assassime，但小西装，数量很大，因为它们是lysari、cambra、sinibaffi et mussoli、seda和亚麻fazuoli cum li capi elaborato de ogne sorte senza numero”（87-88）。这种观察从来都不是批判性的，而是纯粹的描述性的。这种缺乏预防性判断，因此缺乏意识形态态度，使得扎卡里亚·帕加尼的日记即使在今天也能为我们提供客观的、因此也是相关的证词，以更好地了解基督徒在穆斯林土地上进行的各种外交探险。多亏了我们作者的故事，我们可以想象出对一种文化的好奇，对一个不同而迷人的民族的好奇，即使同时考虑到长期的军事和宗教对比，也是有文化和高雅的。该报告揭示了会议的精致、中东物质和精神财富的庄严、苏丹的宽宏大量和他的宫廷的优雅。一种相互尊重的感觉，甚至超越了推动威尼斯大使之旅的贸易协议。从这本日记中，我们清楚地看到了一个世界，尽管哲学家、诗人、牧师、宫廷战略家和编年史家都参与了这个充满冲突、更喜欢的交流和对话——扎卡里亚·帕加尼就是这样——但他有一种今天似乎几乎不真实的外交倾向，如果不是劳拉·贝内德蒂和恩里科·穆萨基奥等研究向我们揭示了除了宗教和军事冲突之外，历史是如何了解相互理解的魅力的。
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Pub Date : 2022-09-05DOI: 10.1080/01614622.2022.2111072
Serena Todesco
Published in Italian Culture (Vol. 40, No. 2, 2022)
发表于《意大利文化》(第40卷第2期，2022年)
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Pub Date : 2022-07-06DOI: 10.1080/01614622.2022.2058721
M. Pala
Joseph Buttigieg’s A Portrait of the Artist in Different Perspective aims at providing a critical reconsideration of Joyce’s work. Focusing on A Portrait of the Artist as a Young Man, it contributes to a radical revision of the central tenets of modernism as first established by T.S. Eliot’s conservative reading in the 1920s and reiterated by the New Critics in the 1950s. Buttigieg’s critical effort seeks to prevent Joyce’s work from being locked up in a literary museum, drawing on a dialectical and highly perceptive ability to unmask Western metaphysics and aesthetics as ideologies within which conservative criticism had framed Joyce’s Bildungsroman. Furthermore, his Maltese, English, Catholic roots made Buttigieg capable of identifying and demystifying high modernism’s irony and disinterestedness as instruments of the “higher” values on which the entire Irish social system was based. Together with Seamus Deane and Declan Kiberd, Buttigieg was among the very first critics who realized the relevance of Portrait as an Irish national indictment against colonization because – as Deane maintains– it is the first novel to examine the distorted relationship between the Irish community and oppression and to focus on this oppression’s ultimate resource – cooperation with the oppressed. This Joycean experience informed Buttigieg’s study of Gramsci’s method and its application in various fields of the social sciences, a heritage that has influenced scholarship throughout the world.
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2082728
A. Righi
A symbolic economy based on a system of merits and demerits that determines the salvation or damnation of the believer is at the root of Western theology. Even in its most sophisticated formulations, this form of moral bookkeeping (or pactional structure) produces paradoxes that stem from the unresolved relation between divine transcendence and earthly immanence. Contextualizing her work in relation to dominant Patristic and Scholastic theories of salvation, this essay illustrates how St. Catherine of Siena resolves the ontological opposition between the infinite (transcendence) and the finite (immanence) through the notion of infinite desire for the other. As she undoes much of the structure of debt of the moral economy, she moves away from a system of accountability toward one of relationality.
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2095146
Sergio Ferrarese
Grounded in theories of workerism (operaismo) and post-workerism (autonomia and post-autonomia), this paper examines how Federico Rizzo’s Fuga dal call center and, more extensively, Paolo Virzì’s Tutta la vita davanti, both films from 2008, register the shift from material to immaterial labor in the twenty-first century. In both films, the call center replaces the factory as the space of labor; it is the privileged site where relational and affective skills, once not considered economically exploitable, become a source of surplus value, one that is gendered feminine. Against the exterior backdrop of a postmodern Rome and with interiors that mimic the non-spaces of the airport and television studio, Virzì stages work in the world of the hyper-real, which has become reality itself. Though they are works of fiction, heirs to the tradition of the 1960s commedia all’italiana, both films engage with an “ethics of the real” as Lucia Nagib has theorized it, and are concerned with addressing the socio-economic condition of a twenty-first-century class-in-the-making, the precariat, and its uncertain future.
本文以工作主义（歌剧）和后工作主义（自主主义和后自主主义）的理论为基础，考察了费德里科·里佐的《Fuga dal呼叫中心》和保罗·维尔兹的《Tutta la vita davanti》这两部2008年的电影是如何记录21世纪从物质劳动向非物质劳动的转变的。在这两部电影中，呼叫中心取代了工厂成为劳动力的空间；这是一个特权场所，关系和情感技能一度被认为是不可经济利用的，却成为剩余价值的来源，一种性别女性化的技能。在后现代罗马的外部背景下，内部模仿机场和电视演播室的非空间，Virzì在超现实的世界中工作，而超现实本身已经成为现实。尽管这两部电影都是小说作品，继承了20世纪60年代大众传媒的传统，但正如露西娅·纳吉布所理论的那样，它们都涉及“真实的伦理”，并关注解决21世纪正在形成的阶级的社会经济状况、不稳定及其不确定的未来。
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2111074
B. Fontana
‘lettrice’ nel circuito delle mostre con la scultura La leggitrice (1856) di Pietro Magni a cui segue dieci anni dopo il celeberrimo La leggitrice di Faruffini. Da segnalare anche il saggio di Raffaele de Berti, dedicato alla rappresentazione della donna che legge nel cinema degli anni ’30 del Novecento quando si afferma il genere dei film gialli tramite il quale viene veicolato un messaggio di avvertimento e censura verso il mondo fittizio e avventuroso presentato sullo schermo. Leggere (e vedere film) va bene purch e non ci si perda in pericolosi voli di fantasia. Cos ı come in letteratura anche nelle arti visive il libro assume una valenza spesso negativa se collegato alla figura femminile. Ma come avverte Ombretta Frau, nel suo “Libri chiusi e pagine bianche. Lettrici ingannevoli di Jolanda e Sfinge,” esiste anche la figura delle “finta lettrice,” circondata da libri chiusi, che appare sia in letteratura che in pittura e che si discosta dall’immagine rassicurante e tutta borghese delle donne “dipinte con un libro in mano, in piedi, sedute o sdraiate, in casa, in giardino, in terrazza, in campagna o in citt a e propone ai suoi lettori un altro tipo di contratto, ben pi u rivoluzionario, quello della finzione della lettura” (90). Infine, per concludere, una brevissima nota sulla splendida immagine usata in copertina, La lettrice di Mos e Bianchi, che evoca magistralmente l’ambiguit a con cui l’arte di fine Ottocento esprime, attraverso la figura della lettrice, la tensione tra tradizione e modernit a, passato e futuro, realt a e finzione. Con questo volume, Capitelli e Santovetti inaugurano una nuova stagione di studi critici con cui poter rileggere l’Ottocento italiano e non solo.
展览中的“读者”是彼得罗·马格尼的雕塑《莱格特里斯》（1856年），十年后是著名的法鲁菲尼的《莱格特里斯》。同样值得一提的是Raffaele de Berti的一篇文章，该文章致力于描绘20世纪30年代在电影中阅读的女性，当时犯罪电影的类型得到了肯定，通过这篇文章，向屏幕上呈现的虚构和冒险的世界传达了警告和审查的信息。只要你不迷失在危险的幻想飞行中，阅读（和看电影）是可以的。与文学作品一样，当与女性形象联系在一起时，这本书也具有负面价值。但正如Ombretta Frau所警告的那样，在他的《封闭的书籍和白页：Jolanda和Sphinx的欺骗性读者》中，也有一个“虚假读者”的形象，被封闭的书籍包围，它出现在文学和绘画中，偏离了“手里拿着书，站着、坐着或躺着，在房子里、花园里、露台上、乡村里或城市里，向读者提出了另一种更具革命性的契约，即阅读小说”（90）这一令人放心的、全资产阶级的女性形象。最后，最后，对封面上使用的精彩图像La lettrice di Mos e Bianchi做一个非常简短的说明，它巧妙地唤起了19世纪末艺术通过读者的形象表达传统与现代、过去与未来、真实与虚构之间的张力时所具有的模糊性。凭借这本书，Capitelli和Santovetti开启了新一季的批判性研究，用它来重读意大利十九世纪及以后的历史。
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