Pub Date : 2021-01-02DOI: 10.1080/02614340.2021.1956766
Marco Malvestio
SOMMARIO Negli anni Ottanta, in seguito alla pubblicazione del fortunato studio di Tzvetan Todorov, in Italia si assistette a un ricco e animato dibattito sul concetto di fantastico, che mirava a rileggere la tradizione letteraria italiana attraverso questo strumento critico. Cionondimeno, autori e critici coinvolti in questo dibattito (tra i quali Italo Calvino e Gianfranco Contini), limitarono la categoria di fantastico a prodotti intellettuali ed elitari, trascurando al contrario forme popolari di letteratura e contaminazioni transmediali. In anni più recenti, gli autori italiani hanno sviluppato un rinnovato interesse per la narrativa del soprannaturale, prendendo ispirazione tanto dalla tradizione anglo-americana della letteratura weird quanto dal movimento letterario New Weird. Attraverso un’analisi delle opere e delle dichiarazioni di poetica degli autori italiani contemporanei di narrativa weird, il presente articolo esplora questa nuova voga letteraria sottolineando la persistente influenza che su di essa esercita il fantastico.
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Pub Date : 2021-01-02DOI: 10.1080/02614340.2021.1922177
Elisa Bolchi
ABSTRACT Using unpublished archival material, this article analyses the reception of Virginia Woolf in the Milanese feminist context of the late 1970s, attempting to understand the role Woolf’s work played in the theoretical development of the feminism of difference in Italy. The study focuses on two key texts: the Italian publication of Three Guineas by the feminist press La Tartaruga; and the Catalogo giallo, the second publication of the Milan-based Libreria delle donne, which played a vital role in the evolution of the feminism of difference.
摘要本文利用未发表的档案资料，分析了20世纪70年代末弗吉尼亚·伍尔夫在米兰女权主义语境中的接受，试图理解伍尔夫的作品在意大利差异女权主义理论发展中所起的作用。本研究聚焦于两个关键文本：女权主义出版社La Tartaruga在意大利出版的《三个几内亚》；以及总部位于米兰的Libreria delle donne的第二本出版物Catalogo giallo，它在差异女权主义的演变中发挥了至关重要的作用。
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Pub Date : 2021-01-02DOI: 10.1080/02614340.2021.1944482
K. Driscoll
ABSTRACT ‘Alle donne si addice il silenzio’: in early modern Italy these words aligned women’s public eloquence with wayward behaviour and their silence with chastity, thus generating significant and widespread debate. This essay traces how such considerations emerged across fiction and history in Ariosto’s and Tasso’s epic poems, and in early operatic representations of their siren-enchantresses: the Orlando furioso’s surprisingly speechless Alcina, and the Gerusalemme liberata’s loquaciously alluring Armida. The salvific qualities of Armida’s speech and song – her ‘vocal expression’, to follow Adriana Cavarero – influenced the development of female personalities on the seventeenth-century operatic stage. The performance practices analysed herein bring together threads of intertextuality and intermedial reception. Such interweaving of materials and modes in the construction of early opera’s musical poetics, which recalls the art of entrelacement, illustrates how poets, librettists, and composers transformed the complex coordination of agency and obstacles into which women – fictional and historical – were often embedded.
“Alle donne si adice il silenzio”:在近代早期的意大利，这句话将女性的公开口才与任性行为联系在一起，将她们的沉默与贞洁联系在一起，从而引发了重大而广泛的争论。这篇文章追溯了这些考虑是如何在小说和历史中出现的，在阿里奥斯托和塔索的史诗中，以及在他们的塞壬女巫的早期歌剧表现中:狂怒的奥兰多出人意料地沉默寡言的阿尔西娜，以及自由的格鲁萨莱姆的饶舌诱人的阿米达。阿米达的演讲和歌曲的救赎特质——她的“声乐表达”，跟随阿德里亚娜·卡瓦雷罗——影响了17世纪歌剧舞台上女性个性的发展。本文分析的表演实践将互文性和中间接受的线索结合在一起。在早期歌剧音乐诗学的构建中，这种材料和模式的交织，让人想起了纠缠的艺术，说明了诗人、自由作家和作曲家如何将女性(虚构的和历史的)经常嵌入的代理和障碍的复杂协调转化为现实。
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Pub Date : 2021-01-02DOI: 10.1080/02614340.2021.1987762
Barbara Olla
ABSTRACT This study aims to add new evidence to the complex relationship between Gadda and philosophy in the years after his formal abandonment of university study at the Università Statale in Milan in 1929. The examination of published and unpublished material held in the Fondo Roscioni at the Archivi della Trivulziana (Milan) and in the Archivio Contemporaneo Alessandro Bonsanti (Florence) allows us to redefine the chronological limits of Gadda’s philosophical vocation and to outline a previously unknown relationship between the writer and the Milanese academic and philosophical circles of the 1930s and early 1940s (Antonio Banfi; Luciano Anceschi; Raffaele De Grada; Enzo Paci; Elio Vittorini; Giansiro Ferrata; Alberto Vigevani). The last part of this study will focus on the theoretical impact the Milanese academic ‘school’ may have had on Gadda’s aesthetics.
摘要本研究旨在为加达1929年在米兰国立大学正式放弃大学学习后的几年里与哲学之间的复杂关系提供新的证据。对已出版和未出版的材料进行审查，这些材料分别在米兰的三武齐亚纳美术馆（Archivi della Trivulziana）和佛罗伦萨的当代美术馆Alessandro Bonsanti举办，使我们能够重新定义加达哲学职业的时间限制，并勾勒出作家与当时的米兰学术界和哲学界之间以前未知的关系20世纪30年代和40年代初（安东尼奥·班菲；卢西亚诺·安切斯基；拉菲尔·德·格拉达；恩佐·帕西；埃利奥·维托里尼；詹西罗·费拉塔；阿尔贝托·维格瓦尼）。本研究的最后一部分将关注米兰学术“学派”可能对加达美学产生的理论影响。
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1886752
K. Piechocki
ABSTRACT This essay investigates the rise of Italian-style opera in Paris through the lens of Ercole amante, an opera composed by Francesco Cavalli to a libretto by Francesco Buti for the wedding of the future French king Louis XIV and the Spanish infanta Maria Teresa in 1660. In the libretto Buti explores the blend of two distinct, and yet intertwined, preoccupations: the investment in the rise of operatic poetics as a new literary genre and the anxiety about the potential vulnerability of the aristocratic body in a time of rising absolutism. Translated after Cardinal Mazarin’s death into French as Hercule amoureux, Ercole amante imagines the French king in the form of the mythological figure of Hercules. Through the lens of the mythological figure, Buti charts the dual strands of genre and gender as a single enterprise while engaging with questions such as male filiation in the context of the French Salic Law.
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1879465
Jessica Goethals
ABSTRACT The first comedy published by a woman in Italy was singer-writer Margherita Costa’s Li buffoni (1641). Intertwining elements of erudite comedy, commedia dell’arte, and especially ‘ridiculous comedy’, this burlesque work stages seventeenth-century debates about comedic acting. Costa challenges efforts by arte predecessors such as Pier Maria Cecchini and Nicolò Barbieri to ennoble their art, distancing the stage actor from his clownish cousin by rebending the genre back to buffoonery, which she declares better suited to the theatrical tastes of the Seicento Medici court. Hers is a hybrid script composed almost exclusively of the parti ridicole. This essay examines Costa’s comedy in relation to these genre debates and to the apologia for buffoonery published by Bernardino Ricci, her dedicatee and titular buffoon, traced through her use of the metaphor of salty wit. It concludes with Costa’s return to these questions in a subsequent manuscript, and a brief look at a modern adaptation of the play.
意大利女性出版的第一部喜剧是歌手兼作家玛格丽塔·科斯塔的《李布冯尼》(1641年)。这部滑稽的作品将博学的喜剧、艺术喜剧，尤其是“荒谬喜剧”的元素交织在一起，引发了17世纪关于喜剧表演的争论。科斯塔挑战了像切基尼(Pier Maria Cecchini)和Nicolò巴比耶里(Nicolò Barbieri)这样的艺术前辈为使他们的艺术变得高贵所做的努力，通过将这一类型重新转变为滑稽表演，将这位舞台演员与他的小丑表亲拉开了距离，她认为滑稽表演更适合塞森托·美第奇(Seicento Medici)宫廷的戏剧品味。她的剧本是一种混合的剧本，几乎完全由党派的嘲笑组成。这篇文章考察了科斯塔的喜剧与这些类型辩论的关系，以及她的崇拜者和名义上的小丑贝纳迪诺·利玛窦(Bernardino Ricci)出版的对滑稽表演的辩护，通过她对咸机智隐喻的使用来追溯。最后，科斯塔在随后的手稿中重新回答了这些问题，并简要介绍了这部剧的现代改编。
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1893973
E. Nicholson
ABSTRACT Although the ancient Athenian satyr-play was the model for Italian Renaissance pastoral tragicomedy, its chorus of singing and dancing satyrs was suppressed, and these same essential characters were often reduced to a solitary outsider figure representing a violent threat rather than a regenerative force for human communities. My essay asks how and why this reduction became a prevalent dramatic choice, as well as how and why the genre-bending spirit of satyrs nevertheless persisted, with distinct modulations, in many Italian and English plays. Historiographical and theoretical insights from the field of animal studies shape my comparative analysis: these include Donna Haraway’s pluralistic and playfully companionate models of ‘natureculture’ and respect. A key focus is on tensions between anthropocentric and theriophilic attitudes – also expressed through the figure of the ‘Wild-Man’ – and how they inform pastoral productions from Giraldi Cinzio’s Egle to Shakespeare’s Winter’s Tale, revealing the protean vitality of buffoonish, irrepressibly theatrical satyrs.
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1901454
R. Henke
ABSTRACT Early modern arguments by Giason Denores, Ben Jonson, John Milton, and others for genre integrity and against genre mixing are worth examining on their own terms. For one thing, the claim for genre integrity was often accompanied by a fierce belief in the political relevance of dramatic genres to which we today would be very sympathetic. Moreover, many early modern approaches to mixed genres, such as Battista Guarini’s argument for tragicomedy on the basis of both his play Il pastor fido and a series of theoretical treatises he wrote against his antagonist Giason Denores, actually depended upon the principle of genre integrity. Early modern tragicomedy, as articulated by Guarini and as practised by Shakespeare in his late plays, was designed not to contrast unstably comedic and tragedic effects and perspectives, unlike Beckett’s modern tragicomedy Waiting for Godot, for example, but to fashion its own, aesthetically unified form under the aegis of mixture.
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1896257
T. Carter
ABSTRACT The first operas were often associated with princely wedding festivities, such as Jacopo Peri’s Euridice (Florence, 1600) or Claudio Monteverdi’s Arianna (Mantua, 1608). They formed part of a series of indoor and outdoor entertainments which, in turn, might plausibly be compared with the fresco cycles often commissioned to mark such nuptials. This also prompts reading them as epyllia, i.e. stories within the ‘story’ presented by their festivities as a whole. The concept is useful because their literary sources are usually themselves epyllia in an epithalamic context, as with Catullus’s Poem 64 on the wedding of Peleus and Thetis. Representing such embedded narratives further encouraged multiple allegories through intertextual association. Situating early opera in the context of the broader tropes of princely celebration further helped overcome one absurdity of the genre: the fact that people sing.
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1886758
Eugenio Refini
ABSTRACT A paradoxical feature of the lament as a poetical and musical genre is the imbalance between the supposedly spontaneous expression of emotional turmoil and the artificial dimension of its artistic representation. Embedded in the lament since antiquity, such tension becomes particularly prominent in the early modern period, when the development of the ‘lamenting mode’ in poetry and vocal music facilitated experimentation in both domains. After reconsidering the rhetorical status of the lament, this essay explores the ways in which one specific lament – Olimpia’s from Ariosto’s Orlando furioso – moves across mediums and genres. More precisely, by focusing on the transition from ottava rima to the free-verse recitative style of seventeenth-century lamenti and cantatas, the article argues that the formal instability intrinsic to the lament exposes the limitations of any attempt to represent the utterance of a lamenting character as well as the expressive potential conveyed by its quintessentially performative nature.
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