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: 10.1080/01614622.2022.2120249
Fabio I. M. Poppi
Questo contributo analizza le narrative enogastronomiche prodotte da cinquantuno partecipanti italiani che, in diversi modi, pongono il cibo ed il bere al centro della propria vita professionale e sociale. Considerando il valore culturale e simbolico dell’enogastronomia ed il conservatorismo della tradizione culinaria italiana, l’analisi mette in evidenza i contenuti sessisti e eteronormativi che dominano il discorso sul cibo ed il bere in Italia: anche nelle narrative enogastronomiche si rileva infatti una promozione di valori e atteggiamenti sessisti che pongono le donne in condizioni di subordinazione e che caratterizzano l’omosessualità come una minaccia alla tradizione e alla autenticità della cultura italiana.
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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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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2111069
Karen Pinkus
guage as a synthesis of the dialect that expressed the everyday life of the local people and the Italian (Tuscan) through which a common culture could be formed. Such a synthesis would achieve a language open to regional variations yet responsive to the concrete practices of the people. In this way, the divorce between the high culture of the elites and the popular culture of the masses could be transcended. Francese’s discussion of Padula’s views of the masseria and of its massaro is especially noteworthy and enlightening. Padula’s description of socio-cultural traits such as work ethic, commonsense and probity, that he attributes to the independent farm worker, provides an insight into the problems of the Southern peasantry in Italy. For the social type Padula describes is everything that the peasant is not, and everything that the author wants the peasant to become. This type, what the English and American 17th and 18th century thinkers call the “yeomanry”—independent and autonomous producers— embodies the social, cultural, political and economic requisites necessary to a free civil society and to a free state. Machiavelli in the Discourses denounced the gentiluomini who lived off the labor of others (as did the elites, both lay and clerical), performed no useful work, and did not live a productive life. In their countries and regions (such as the Papal States and the Kingdom of Naples), no free society and no republic could be established. This is precisely the problem that Padula tried to remedy when he addressed issues of language and dialects, the condition of the peasantry, the role of elites (both rural and town), and the profound socio-economic backwardness of the Italian South in general— problems which could not be confronted without first resolving the conflicts caused by the absence of the state’s authority and legitimacy—that is, by reducing and ultimately eliminating the wide gulf separating elites from the popular masses. Francese brilliantly and thoughtfully addresses these questions in his new book. It is a work that is well written, lucid in its exposition, sensitive in its close and intimate readings of Padula’s Italian and Calabrian writings. Francese exhibits a profound and remarkable knowledge of the linguistic (dialectal) and social (the patrimonialism and patriarchalism) underpinnings of the Italian South (especially in its Calabrian incarnation). In sum, Francese’s work is an important contribution to Italian studies, specifically to the study of the cultural and social structures of the Mezzogiorno as represented in its Calabrian historical context. It is especially significant in the way it concretely details, through the study of Vincenzo Padula’s work, the intricate and complex problems attendant upon Italian unification. Padula’s work underlines the inherent contradictions of a state that asserts liberalism—equal rights and due process of law—while simultaneously buttressing the parasitic preeminence of Southern el
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2088955
S. Ziolkowski
This article argues that recognizing Jewishness as a crucial part of modern Italian literary history offers one path for discussing the current and historical diversity of Italian culture. The first section discusses key twentieth-century Italian authors — Giorgio Bassani, Natalia Ginzburg, Primo Levi, Elsa Morante, and Italo Svevo — not to assess how Jewish they are, but to illuminate the Jewishness of modern Italian literature, which prompts a reconsideration of the construction of Italian identity. The second section, “Jewish, Black, and Italian: The Archival Fictions of Helena Janeczeck, Claudio Magris, and Igiaba Scego,” scrutinizes how these three authors interrogate Italy’s role in the persecution of Jews, racial violence, and colonialism, drawing on historical documents that show the gaps in dominant discourses and asking readers to reflect on how historical narratives have been constructed. Being more cognizant of Jewish Italians, their backgrounds, and their representations in literature contributes to the growing analyses of Italy’s diversity, adding to examinations of Italian literature that focus on belonging, borders, migration, and colonialism.
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2113610
G. Romani
“Galeotto fu il libro e chi lo scrisse.” Con questo verso, tra i pi u famosi della Divina Commedia, Dante ci consegna l’immagine poetica di Francesca da Rimini come donna adultera, condannata ad essere travolta da una eterna bufera infernale, ma anche come lettrice caduta in disgrazia a causa di una lettura moralmente corruttrice. Il tema della donna lettrice—e dei pericoli in cui incorre la donna che legge—appartiene alla tradizione letteraria italiana sin dal Medioevo, ma e nell’Ottocento che fiorisce come un vero e proprio topos, imponendosi nelle arti dell’epoca, dalla letteratura alla pittura, musica e teatro. Non e un caso, pertanto, che questo volume, dedicato alla figura della lettrice e curato da Giovanna Capitelli e Olivia Santovetti, si concentri soprattutto sull’Ottocento. Gi a nel 1992, Anna Finocchi con il suo Lettrici: immagini della donna che legge nella pittura dell’Ottocento aveva avviato una riflessione sulla rappresentazione della figura femminile nella pittura ottocentesca italiana, ma il volume di Capitelli e Santovetti, che include saggi in italiano e in inglese, si presenta come una vera novit a per il suo approccio interdisciplinare, e per la sua lettura in chiave metanarrativa della figura della lettrice. La tesi avallata dalle curatrici e che s ı gli scrittori e artisti dell’Ottocento hanno voluto con le loro opere rappresentare la donna come simbolo della modernit a e progresso sociale (spesso pi u immaginato che realizzato), ma anche esprimere metanarrativamente la crisi dell’artista che tra fin de si ecle e modernismo comincia a mettere in dubbio il realismo e positivismo in voga in quello scorcio di secolo. Questa innovativa interpretazione della “lettrice” mette in evidenza la “natura polisemica” (7) di questa figura e propone di rivedere i modelli interpretativi del realismo ottocentesco tradizionalmente radicati nell’idea che l’arte rifletteva in maniera naturalistica o impressionistica la realt a circostante. Come le curatrici suggeriscono nell’introduzione: “La lettrice diventa il grimaldello per ragionare quella dimensione autoriflessiva, metanarrativa, dell’arte tra fin de si ecle e modernismo” (9). Il volume include sedici saggi, presentati all’interno di una cornice teorica offerta dall’introduzione e postfazione, scritti da specialisti di letteratura, storia dell’arte e storia del cinema e organizzati in due principali gruppi tematici, il primo intitolato “Lettrici” e il secondo “Letture.” La distinzione tra “Lettrici” e “Letture” non e sempre cos ı chiara, e alcuni saggi potrebbero rientrare tranquillamente sia nell’uno che nell’altro gruppo. Sebbene, come spiegano le curatrici, la seconda parte del volume si distingua dalla prima perch e “composta da commenti, schede critiche e letture approfondite di singoli autori o singole opere” (11), l’impressione generale per o e che manchi una vera distinzione (tematica o strutturale) tra le due parti del volume e che forse il materiale si sarebbe potuto organizza
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2111073
Derek Alexander Ginoris
notes, “saw their own enlarged silhouettes projected, as in a shadow theater, on four large screens at ground level” (219) as they wandered around large columns wrapped in black fabric which the designer Sartogo called, with some apparent irony, “fasci.” It's impossible to forget that the Mostra della Rivoluzione Fascista was held in the same halls, inaugurated by Mussolini in 1932. Golan frames her subjects in a way that recalls—at points—the odd use of the second person singular found in some narrations: you weren’t there, but you are invoked, as indirect subjectivity. You are and you are not a character in a brief or ephemeral mini-drama. Groups of men converse, with wives and other women standing on the margins. Golan’s book does, I think, offer the reader the possibility to imagine a feminist counterhistory to what was, by all appearances, a rather masculine milieu. The fact is that while many of the works she engages with still exist today including within major museum collections, they are equally characterized by a momentariness that is not precisely “located” in the photographs Golan reproduces, but better “dislocated.” She devotes a great deal of time to a phenomenology of Pistoletto’s mirror works. The photographs of certain “characters” (art world personages, but also random visitors) in and around the works suggest possible plots and imaginary relations. Reading Flashback, Eclipse, I was reminded, strangely, of Vanni Santoni’s Personaggi precari (RGB Media, 2007, licensed by Creative Commons), which begins with a preface inviting readers to use its “precarious characters” in their own “plays, stories, short and long films, role playing games, animation, novels, cartoons, radio and film transmissions.” They are “available for major roles or as extras, with shortor long-term contracts” and can be employed “in completely arbitrary ways, even undergoing humiliation or death if they story requires it.” (Santoni 1). Naturally, though, you might also choose to read that book as a novel, from front to back, experiencing the tenuousness of the characters and the full stops that separate one from the next, as an existential condition. Of course, Golan paints a portrait of a world when the roots of “the precariat” are being sown. Her actors may not appear cynical or anxious about labor, the social safety net, or massive planetary disruption. They move about the spaces of an Italy emerging from the war and the subsequent economic boom looking simultaneously outward and inward. The book is punctuated with moments of unadulterated joy, but also melancholy as we measure our distance or proximity to the energy and experimentation of the 60s. It is rare to read such a generous aperture—one that grants the reader freedom to navigate her relation to a past that is moving ever further away. In this regard one might be tempted to call Golan’s style feminist. At any rate it embraces art and politics in all of their messy imbrication.
“看到他们自己放大的轮廓投射在地面的四个大屏幕上，就像在皮影戏里一样”(219页)，他们在用黑色织物包裹的大柱子上徘徊，设计师萨多戈(Sartogo)带着明显的讽刺称之为“时尚”(fasci)。人们不可能忘记，1932年墨索里尼(Mussolini)举行的法西斯革命博物馆(Mostra della Rivoluzione Fascista)也是在同一大厅举行的。戈兰以一种让人想起——有时——在某些叙述中发现的奇怪的第二人称单数用法:你不在那里，但你被召唤，作为间接的主体性。你是，也不是一个短暂或短暂的迷你剧中的角色。一群群男人交谈，妻子和其他女人站在边上。我认为，戈兰的书确实为读者提供了一种想象女权主义反历史的可能性，而从表面上看，这是一个相当男性化的环境。事实是，虽然她参与的许多作品今天仍然存在，包括在主要博物馆收藏中，但它们同样具有瞬间性，这种瞬间性并不是精确地“定位”在戈兰复制的照片中，而是更好地“错位”。她花了大量时间研究皮斯特莱托镜子作品的现象学。作品中的某些“人物”(艺术界人士，但也有随机的参观者)的照片暗示了可能的情节和想象的关系。读《闪回，月食》时，我奇怪地想起了Vanni Santoni的《Personaggi precari》(RGB Media, 2007, Creative Commons授权)，这本书以序言开头，邀请读者在自己的“戏剧、故事、短片和长片、角色扮演游戏、动画、小说、漫画、广播和电影传输”中使用它的“不稳定角色”。他们“可以出演主要角色，也可以作为临时演员，签订短期的长期合同”，并且可以“以完全任意的方式使用，如果故事需要，甚至可以忍受羞辱或死亡”。当然，你也可以选择把这本书当作小说来读，从头到尾，体验人物的脆弱，以及将一个人与下一个人分开的句号，作为一种存在的条件。当然，戈兰描绘了一个“无产者”正在生根发芽的世界。她的演员们可能不会对劳工、社会安全网或大规模的地球破坏表现出愤世嫉俗或焦虑。他们游走于意大利的空间，从战争和随后的经济繁荣中走出来，同时向外和向内看。这本书中穿插着纯粹的欢乐时刻，但当我们衡量我们与60年代的能量和实验的距离或接近时，也会感到忧郁。很少能读到如此慷慨的篇章——它让读者可以自由地驾驭她与过去的关系，而过去的关系正变得越来越远。在这方面，人们可能会把戈兰的风格称为女权主义。无论如何，它把艺术和政治混杂在一起。
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Pub Date : 2022-07-03DOI: 10.1080/01614622.2022.2093946
E. Bond
This article sketches a history of how the concept of Italy has travelled worldwide to become a mobile cultural symbol in order to show how, as a signifier, “Italy” has also become increasingly detached from any national parameters of territory. It employs a lateral method of “looking sideways” at literary representations of Italy from “outside” the national canon to show how they can put pressure on what (and where) Italian culture now resides. Analyzing three contemporary works of world literature partially set in Italy (Daša Drndić’s Trieste, Rachel Kushner’s The Flamethrowers, and Pajtim Statovci’s Crossing), it suggests that we might consider broadening out the canon of transnational Italian literature to include works neither written by Italians nor written in Italian, but that offer sideways insight into Italian history and culture from elsewhere.
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