Pub Date : 2022-07-03DOI: 10.1080/00751634.2022.2070348
Charles L. Leavitt
ABSTRACT Gian Paolo Callegari’s prize-winning 1948 play, Cristo ha ucciso, marks an overlooked milestone in Italy’s response to the Holocaust. Among the earliest Italian creative works to confront the genocide of the European Jews, Callegari’s play challenged the legacies of anti-Semitism in European culture. Yet it also concealed the troubling history of its author’s own Fascist anti-Semitism. Exploring this apparent paradox, the present essay situates both play and playwright in the post-war Italian context. I argue that Cristo ha ucciso makes possible a substantial reconsideration of the public reckoning that attended news of the liberation of the death camps. This is because, with its provocative claim that Christian forgiveness had to be abandoned as an impediment to justice, Callegari’s play offered a radical alternative to the Christian humanist framework predominant in Italian narratives of the Second World War.
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Pub Date : 2022-07-03DOI: 10.1080/00751634.2022.2069409
MariusWarholm Haugen
ABSTRACT This article examines the lottery fantasy as a cultural figure and literary topic in the works of Carlo Goldoni, Pietro Chiari, and Giacomo Casanova. The lottery fantasy is to be understood as the dream of social ascension through sudden, life-changing wealth, which exercised a powerful allure on eighteenth-century Europe. The three authors addressed this figure in literary form, through the comedy, the novel, and the memoir, giving distinctly different representations and moral assessments of the lottery as a social and cultural practice. Despite their differences, all three works engage with the fundamental issue underlying the lottery fantasy: an increasing pressure towards social mobility in the nonmeritocratic society of the Old Regime. The article uses Roger Caillois’ categorisation of play as an analytical lens for examining how the three works link the aleatory game of the lottery to cultural practices aimed at meritocratic, social mobility.
{"title":"The Lottery Fantasy and Social Mobility in Eighteenth-Century Venetian Literature: Carlo Goldoni, Pietro Chiari, and Giacomo Casanova","authors":"MariusWarholm Haugen","doi":"10.1080/00751634.2022.2069409","DOIUrl":"https://doi.org/10.1080/00751634.2022.2069409","url":null,"abstract":"ABSTRACT This article examines the lottery fantasy as a cultural figure and literary topic in the works of Carlo Goldoni, Pietro Chiari, and Giacomo Casanova. The lottery fantasy is to be understood as the dream of social ascension through sudden, life-changing wealth, which exercised a powerful allure on eighteenth-century Europe. The three authors addressed this figure in literary form, through the comedy, the novel, and the memoir, giving distinctly different representations and moral assessments of the lottery as a social and cultural practice. Despite their differences, all three works engage with the fundamental issue underlying the lottery fantasy: an increasing pressure towards social mobility in the nonmeritocratic society of the Old Regime. The article uses Roger Caillois’ categorisation of play as an analytical lens for examining how the three works link the aleatory game of the lottery to cultural practices aimed at meritocratic, social mobility.","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"253 - 270"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46786280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00751634.2022.2103778
Nicolò Maldina
ABSTRACT L’articolo si propone di indagare l’allusione a Ps 114 (113A) che si registra a Paradiso xxv, 55–56 alla luce della tradizione medievale di questo Salmo e, in particolare, del possibile legame tra il suo celebre incipit (‘In exitu Isreael de Aegypto’) e la figura di san Giacomo Maggiore, ossia l’apostolo che in questo canto è chiamato a interrogare Dante personaggio sulla virtù della Speranza. Su queste basi, il contributo mira a valorizzare il ruolo di san Giacomo ai fini dell’autorappresentazione autoriale di Dante, con particolare riferimento alla sua complementarietà rispetto al più noto modello offerto, sempre nel venticinquesimo del Paradiso, da David.
摘要本文旨在调查提到Ps 114 (113A)天堂的第二十五次,55—56根据中世纪这一传统诗篇之间的可能联系,特别是其exitu著名的拉塞尔(‘圣詹姆斯Isreael de Aegypto’)和图在这一方面,即l’apostolo审问但丁关于根据人物的希望。在此基础上，本报告旨在加强圣詹姆斯在但丁的权威自我表现方面的作用，特别是它与大卫在《天堂》第25章中提出的最著名的模式的互补性。
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Pub Date : 2022-06-28DOI: 10.1080/00751634.2022.2070827
Giovanni Genna
ABSTRACT Il pastiche gaddiano è un fenomeno particolarmente complesso, poiché stravolge tanto gli elementi linguistici quanto quelli iconografici della tradizione letteraria contaminandoli e, di fatto, riscrivendoli. Un esempio di questo fenomeno è certamente la riscrittura dei tòpoi della tradizione lirica amorosa che l’Ingegnere compie ribaltando i canoni dello stilnovismo – che già nei secoli precedenti erano mutati dando vita ai rifacimenti di maniera –, attraverso la deformazione dell’immagine di Amore e della domina angelicata. Partendo dalla lettura di alcuni passi tratti da articoli, racconti e romanzi, l’intento di questo saggio è sottolineare come, mediante la manipolazione dei tòpoi canonici dello stilnovismo, Gadda pervenga a delineare una propria dichiarazione di poetica in una commistione di toni tragici, umoristici e caricaturali.
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Pub Date : 2022-06-24DOI: 10.1080/00751634.2022.2081783
M. Angelucci, S. Kolsky
ABSTRACT In this article, we seek to modify the view that Fo is the driving force behind the theatrical production of the various incarnations of the Compagnia Fo–Rame. We review certain theoretical aspects of authorship, emphasising it as an intrinsically collaborative process. In particular, we want to move away from the dichotomy that sees Fo as the solitary writer-actor-genius, and Rame as the ancillary manager and editor of ‘his’ works. Not only is the reality far more complex, but those roles are in fact creative authorial functions inside a collaborative practice. Why has this not been done before? In part because of a cultural practice that puts the individual (male) and his ‘genius’ at the centre, and in part because of a strong narrative put forward by Fo and Rame themselves, never truly questioned by scholars; as a consequence, Rame’s contribution has been either side-lined, or reclaimed in problematic ways.
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Pub Date : 2022-06-24DOI: 10.1080/00751634.2022.2082070
Francesco Brenna
{"title":"Donne interpreti della Bibbia nell’Italia della prima età moderna: Comunità ermeneutiche e riscritture","authors":"Francesco Brenna","doi":"10.1080/00751634.2022.2082070","DOIUrl":"https://doi.org/10.1080/00751634.2022.2082070","url":null,"abstract":"","PeriodicalId":44221,"journal":{"name":"Italian Studies","volume":"77 1","pages":"354 - 355"},"PeriodicalIF":0.3,"publicationDate":"2022-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47215893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-24DOI: 10.1080/00751634.2022.2088667
S. Ross
playing with words [‘Non dico che sia una bella storia. È la Storia’]. In this respect, the volume effectively captures the sense of Munari’s ‘perturbazione cibernetica’, to use again Eco’s words, where nature becomes an epistemological tool for the artist, as brilliantly argued by Antonello. It goes without saying that, by the time Eco and Munari reflected upon this relationship with nature, they did not mean that nature that we see every day by perceptive habit, but that which we conceptually define in the laboratory. And therefore, by meaning ‘nature’ in the only correct possible sense, art does not imitate nature, but our way of interpreting and defining nature, imitating our operational relationship with nature, imitating nature as an ‘oggetto possibile di una nostra definizione che sa di definire non definitivamente’. Research, experimentation, opentextuality, total art, political awareness: if Calvino has inspired the title of this volume, in light of the many associations one can identify between his style and Munari’s, it is through Eco’s perceptive gaze that we can fully grasp the wonderful portrait of the Milanese artist.
玩单词[‘Non dico che sia una bella storia。Éla storia’]。在这方面，该卷有效地捕捉到了穆纳里的“扰动cibernetica”的感觉，再次使用Eco的话，正如Antonello精彩地论证的那样，自然成为艺术家的认识论工具。不用说，当Eco和Munari反思与自然的关系时，他们并不是指我们每天通过感知习惯看到的自然，而是指我们在实验室中概念上定义的自然。因此，通过在唯一正确的可能意义上理解“自然”，艺术并不是模仿自然，而是我们解释和定义自然的方式，模仿我们与自然的操作关系，模仿自然作为一种“可能的定义”。研究、实验、开放文本性、整体艺术、政治意识：如果卡尔维诺启发了这本书的标题，鉴于人们可以在他的风格和穆纳里的风格之间找到许多联系，那么正是通过埃科敏锐的凝视，我们才能完全掌握这位米兰艺术家的精彩肖像。
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Pub Date : 2022-05-25DOI: 10.1080/00751634.2022.2070368
Eveljn Ferraro
ABSTRACT Recent English and Italian translations of Giuseppe Pitrè’s Fiabe, novelle e racconti popolari have revived attention to the Sicilian folklorist. In Italy, collecting oral traditions emerged as a practice of regional cultural preservation during the political unification, modernisation, and redefinition of local identities within the new nation. This essay examines Pitrè’s introductory commentaries to his Fiabe in order to contextualise his comparative methodology and transnational approach to Sicilian folk and fairy tales. Pitrè’s ‘Preface’ and preliminary essay ‘Of folk tales’ offer insights into local history, women as storytellers, and Sicilian tales in relation to other regional traditions and transcultural folk repertoires. Mindful of Pitrè’s reinforcement of Sicilian stereotypes, this essay highlights his articulation of cultural difference as intervention and resistance to cultural totalisations. Pitrè’s simile of the sea-tradition best encapsulates his connections with transnational oral narratives and their power to cross national borders and disturb rigid national identity constructs.
朱塞佩Pitrè的中篇小说《民间传说》(Fiabe, e racconti populari)的英、意译本重新引起了人们对这位西西里民俗学家的关注。在意大利，在政治统一、现代化和重新定义新国家的地方身份的过程中，收集口头传统作为一种区域文化保护的实践而出现。本文考察了Pitrè对其作品《寓言》的导言，以便将他对西西里民间故事和童话的比较研究方法和跨国研究方法置于语境之中。Pitrè的“序言”和初步论文“民间故事”提供了对当地历史的见解，妇女作为讲故事的人，以及西西里故事与其他地区传统和跨文化民间曲目的关系。注意到Pitrè对西西里刻板印象的强化，本文强调了他对文化差异作为对文化总体化的干预和抵抗的阐述。Pitrè对海洋传统的比喻最好地概括了他与跨国口头叙事的联系，以及它们跨越国界和扰乱僵化的国家认同建构的力量。
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Pub Date : 2022-05-20DOI: 10.1080/00751634.2022.2061770
Nicla Riverso
ABSTRACT Isabella Andreini strove to establish a public image as a woman who, though an actress, was also a pious, virtuous, and learned writer. She showed that it was possible to perform on stage and, at the same time, embody the Christian values promoted by the Counter-Reformation Church. Andreini was well aware that although she was a talented actress, dancer, singer, and musician, earning respect as an honourable woman and receiving the recognition of posterity would depend on self-elevation through her writing. This essay reflects on Andreini’s critically under-investigated Rime, with a particular focus on those written in a religious vein, in order to demonstrate how the actress used her literary skills to emphasise her image as a virtuous woman. These skills brought her prestige and literary immortality, but they also helped her to claim social and cultural dignity for herself, for her profession, and for the women of her age.
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Pub Date : 2022-05-12DOI: 10.1080/00751634.2022.2051926
Marta Kaliska
ABSTRACT This article focuses on the cultural content present in the cultural sections of selected Italian-as-a-foreign-language (FL) textbooks used at the University of Warsaw to teach Italian courses. To explore such content, we apply both a multimodal approach based on visual social semiotics (Kress and van Leeuwen 2006) and a framework of cultural paradigms, via the use of which culture is usually introduced in foreign language education. We also conceptualise the notion of cultural activity as a basic research unit with the primary goal of organising a textbook’s cultural content. While exploring the identified cultural activities, we observed that the dominant cultural paradigm is the national one. The explicit focus is put on Italian artistic heritage, geography, and literature, whereas contemporary social problems are less frequently presented, often without references to different points of view. In the discussion, certain pedagogical and content solutions for teaching culture are indicated.
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