Una continuità euristica ed operativa. Recensione di Franca Sinopoli e Silvia Contarini (a cura di), Transculturalità: un concetto operativo in Europa? (Lithos, 2023) e di Alessandro Benucci, et al. (dir.), L’Europe transculturelle dans le monde global/ Transcultural Europe in the Global World (Presses Universitaires de Paris Nanterre, 2023)

This contribution intends to review the two volumes Transculturalità: un concetto operativo in Europa? and L'Europe transculturelle dans le monde global/ Transcultural Europe in the Global World, results of two conferences held respectively at the Sapienza University of Rome on 27 May 2022 and at the Université Paris Nanterre on 17 and 18 November 2022 The works are part of the Transcultural Europe in the Global World (TransEu) re-search project, winner of the Jean Monnet Erasmus+ call. The objective of the initiative is to study the transcultural processes of contemporary Europe through the close dialogue of a team with a multidisciplinary and transnational horizon, so as to fully understand the hypermobility that shapes anthropic events in an acceleration and proliferation of cultural interactions.Questo contributo intende recensire i due volumi Transculturalità: un concetto operativo in Europa? e L’Europe transculturelle dans le monde global/ Transcultural Europe in the Global World, risultati di due convegni tenutisi rispettivamente presso Sapienza Università di Roma il 27 maggio 2022 e presso l’Université Paris Nanterre tra il 17 e il 18 novembre 2022. I lavori si inseriscono all’interno del progetto di ricerca Transcultural Europe in the Global World (TransEu), vincitore del Bando Jean Monnet Erasmus+. L’obiettivo dell’iniziativa è quello di studiare i processi transculturali dell’Europa contemporanea attraverso il dialogo ravvicinato di un’équipe dall’orizzonte pluridisciplinare e transnazionale, così da comprendere in maniera esaustiva l’ipermobilità che condiziona le vicende antropiche in un’accelerazione e una proliferazione delle interazioni culturali

Per una ricomprensione social della posture littéraire: Édouard Louis e Jonathan Bazzi

If the early Web had allowed literary authors to freely assume different forms (anonymous, collective, pseudonymous), today the advent of social networks and Web 2.0 impose the construction of a virtual literary posture as close as possible to the real one. The aim here is to analyse, starting with Instagram, the literary posture of Édouard Louis and Jonathan Bazzi, whose works are extremely similar in theme and form. The analysis will attempt to understand how social networks intervene in the process of the construction of the literary posture and if, starting from them, a new understanding can be achieved.Se il Web dei primordi aveva permesso agli autori letterari di assumere liberamente forme diverse (anonima, collettiva, pseudonima), oggi l’avvento dei social network e del web 2.0 impone la costruzione di una postura letteraria virtuale il più aderente possibile a quella reale. In questo articolo ci si propone di analizzare, a partire da Instagram, la postura letteraria di Édouard Louis e Jonathan Bazzi, le cui opere sono estremamente simili nei temi e nella forma. L’analisi cercherà di comprendere come i social intervengano nel processo di costruzione della postura letteraria e se, a partire da essi, vi sia la possibilità di una sua ricomprensione

Il paratesto del romanzo web in Cina: il caso Punto di partenza

Negli ultimi vent’anni, la letteratura web si è affermata nella Repubblica popolare cinese come forma di letteratura popolare e i lunghi romanzi pubblicati e aggiornati quotidianamente dagli utenti rappresentano la principale forma di narrativa diffusa sulle piattaforme online. Servendosi degli strumenti offerti da Gérard Genette, il contributo analizza il paratesto di romanzi web pubblicati su Punto di partenza e, in particolar modo, i contenuti della sezione “in aggiunta al testo”, uno spazio che precede il romanzo dove lo scrittore pubblica notizie e informazioni di varia natura. L’analisi di tali contenuti ha permesso di mettere in luce pratiche e strategie adottate dalle figure coinvolte, confermando la centralità della comunità virtuale nei processi di produzione e fruizione di tale letteratura.In the People's Republic of China, during the last twenty years, online literature has emerged as a form of popular literature and long novels published and daily updated by users are the main form of fiction circulating on online platforms. Using concepts developed by Gérard Genette, this article analyzes the paratext of some web novels published on Starting Point and especially the contents within the section "related to the text," a space preceding the novel in which writers publish different kinds of news and information. The analysis of these contents highlighted some practices and strategies within the relationship between the subjects involved in this form of literature and confirmed the centrality of readers and the virtual community

Un «tipo nuovo di mediazione» tra pubblico e classici: Calvino e la riscrittura dell’Orlando Furioso

Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, quando fu pubblicato nel 1970, fu presentato come una «guida alla lettura» del poema. Il presente contributo si propone di superare questa etichetta e di dimostrare non solo che la riscrittura calviniana dell’Orlando Furioso, sebbene nata in funzione del poema di Ariosto, è un’opera letteraria autonoma, ma anche che tale considerazione è la chiave per comprenderne il successo quale strumento di divulgazione. Calvino e la casa editrice Einaudi identificarono nella riscrittura da parte di un autore contemporaneo un «tipo nuovo di mediazione» tra pubblico e classici: una narrazione originale, senza attitudine pedagogica verso i lettori, in dialogo con il poema di Ariosto. L’analisi dell’opera sarà condotta attraverso la ricostruzione della sua genesi, le osservazioni sullo stile e le modalità di riscrittura, la disamina delle relazioni del testo con la produzione calviniana coeva, in particolare quella di argomento ariostesco.When Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino was published in 1970, it was presented as a «reading guide». This contribution aims to leave behind this definition and to prove not only that Calvino’s rewriting of Orlando Furioso is an independent literary work – although born in function of Ariosto’s epic poem –, but also that this consideration is the key issue to understand its success as a divulgation tool. Calvino and Einaudi found in the rewriting of the epic poem by a contemporary author a «new kind of mediation» between the public and the classics: an original narrative in dialogue with Ariosto’s work, that refused to adopt a pedagogical attitude towards readers. The analysis of the word will be conducted through the reconstruction of its genesis, the observations on style and rewriting techniques, the focus on its bond with contemporary Calvino’s production, especially the one about Ariosto

Fenomenología de las escalas en las cumbres: sensaciones, conciencia y lenguaje literario a la prueba de la montaña en Manuel Rojas y Gary Snyder

This article focuses on a selection of narrative and poetic works by the Chilean Manuel Rojas and the American Gary Snyder, both mountaineers and driven by the concern of capturing, in literary language, the human being's venturing into the wild environment of the mountain, and his plunge into a state of perceptual alertness and lucid contemplation in the face of the disparate scales that are revealed there. Framed in scale theory (DiCaglio, Jue, Horton, Cueto) and in the concept of adventure (Agamben), the hypothesis postulates that the human experience of scales in the mountain environment is translated into an expansion of consciousness, deriving, depending on the case, in a dispossession of the self or in an obfuscated intuition of the mortal danger that is proposed as exemplum to the reader, and in a modification of the literary language itself that accompanies and makes the adventure possible.Este artículo se centra en una selección de obras narrativa y poéticas del chileno Manuel Rojas y del estadounidense Gary Snyder, ambos autores montañistas y acomunados por la inquietud por plasmar, en el lenguaje literario, el adentrarse del ser humano en el ambiente salvaje de la montaña y su sumirse en un estado de alerta perceptiva y contemplación lúcida frente a escalas dispares que allí se evidencian. Enmarcándose en la teoría de las escalas (DiCaglio, Jue, Horton, Cueto) y en el concepto de aventura (Agamben), la hipótesis postula que las obras registran cómo la experiencia humana de la escalaridad en el medio montano produce una expansión de la conciencia, derivando, según el caso, en una desposesión del yo o en una intuición ofuscada del peligro mortal que se propone como exemplum al lector, así como en una modificación del lenguaje literario mismo que acompaña y hace posible la aventura

Recensione di Gloria Scarfone, Il pensiero monologico. Personaggio e vita psichica in Volponi, Morante e Pasolini (Mimesis, 2022)

Review of Gloria Scarfone, Il pensiero monologico. Personaggio e vita psichica in Volponi, Morante e Pasolini (Mimesis, 2022)Recensione di Gloria Scarfone, Il pensiero monologico. Personaggio e vita psichica in Volponi, Morante e Pasolini (Mimesis, 2022

Conjurando fantasmas: El conde Partinuplés y ‘Las gracias mohosas’ entre traducción y refundición

Among the ‘authorizing’ processes of women playwrights and plays that are still considered 'minor', translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro's comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the 'double' process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered 'minor', translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro's comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the 'double' process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered 'minor', translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro's comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the 'double' process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013).Entre los procesos de ‘autorización’ de dramaturgas y obras que aún se consideran ‘menores’, las traducciones y las adaptaciones representan manipulaciones virtuosas capaces de socavar y renovar el sistema de valores que determinan las instancias de canonicidad. El presente artículo se propone explorar algunas derivas contemporáneas de la comedia El conde Partinuplés (1653) de Ana Caro y los dos primeros entreactos en prosa de la Tragicomedia de los jardines y campos sabeos (1624-1628) de Feliciana Enríquez de Guzmán. En concreto, se explorará el ‘doble’ proceso de reescritura realizada por el traductor y dramaturgo Harley Erdman quien, si por una parte tradujo las mencionadas obras al inglés, incluyéndolas en el volumen Women Playwrights of Early Modern Spain (2016), por otra las adaptó, fusionándolas, en una original ‘refundición’ titulada Suitors (2013).Among the ‘authorizing’ processes of women playwrights and plays that are still considered 'minor', translations and adaptations represent virtuous manipulations capable of undermining and renewing the system of values that establish the instances of canonicity. This article aims to explore some contemporary reverberations of Ana Caro's comedy El conde Partinuplés (1653) and the first two prose interludes of the Tragicomedia de los jardines y campos sabeos (1624-1628) by Feliciana Enríquez de Guzmán. Specifically, the pages that follow will explore the 'double' process of rewriting realized by translator and playwright Harley Erdman who, if on the one hand translated the aforementioned plays into English, including them in the volume Women Playwrights of Early Modern Spain (2016), on the other hand merged and adapted them in an original ‘refundición’ entitled Suitors (2013)

Édouard Glissant e Salman Rushdie. Pensare il mondo, scrivere il mondo

Il presente articolo intende indagare e comparare le modalità attraverso le quali Édouard Glissant e Salman Rushdie pensano e rappresentano la mondialità nelle proprie opere. In un primo momento verranno analizzati i percorsi intellettuali dei due autori, caratterizzati dalla ricerca di un “terzo-spazio” (oltre la dicotomia centro-periferia) all’interno del campo transnazionale della letteratura. In seguito, si inseriranno le loro riflessioni teoriche nel più ampio dibattito su World Literature e Littérature-monde. Infine, compareremo le loro concezioni del realismo, caratterizzate da uno stretto legame tra il locale transculturale (India e Antille) e il tout-monde creolizzato.In this article we want to inquire and to compare the modalities through which Édouard Glissant and Salman Rushdie think and represent the world in their works. At first, we will study the two authors’ intellectual journeys. They are both characterized by the research of a “third space” in the transnational literary camp, free from the center-periphery dichotomy. Then we will place and contextualize their reflections in the debate on World Literature and Littérature-monde. Finally, we will compare their conceptions of realism, both characterized by a close relationship between the transcultural local (India and Antilles) and the creolized tout-monde

Locked in or locked out, or ‘la vita delle cose’: Gender, agency and (dis)embodiment in Primo Levi and Nicoletta Vallorani’s Speculative Fiction

Many of Levi’s speculative stories narrate dystopian scenarios in which individuals express anxiety about the creeping power of technology which is reifying and automating their posthuman bodies, affecting their physical and psychological freedoms. This article develops previous scholarship with a specific focus on the gendered dimension of Levi’s writing. I show how he critiques the problematic ways in which technologisation impacts specifically on women’s bodies. With a view to tracing the contemporary echoes of Levi’s work, I place his stories in dialogue with Nicoletta Vallorani’s recent, more explicitly feminist novels. I argue that Vallorani’s writing echoes and develops many of Levi’s concerns about how technology can be employed to constrain our bodies and consciousness, and the explicitly gendered dimensions of this oppression. A critical reading of these texts alongside one another reveals striking resonances and confirms how Levi’s intuitions regarding the importance of critiquing unfettered technologised embodiment remain urgently relevant today.Many of Levi’s speculative stories narrate dystopian scenarios in which individuals express anxiety about the creeping power of technology which is reifying and automating their posthuman bodies, affecting their physical and psychological freedoms. This article develops previous scholarship with a specific focus on the gendered dimension of Levi’s writing. I show how he critiques the problematic ways in which technologisation impacts specifically on women’s bodies. With a view to tracing the contemporary echoes of Levi’s work, I place his stories in dialogue with Nicoletta Vallorani’s recent, more explicitly feminist novels. I argue that Vallorani’s writing echoes and develops many of Levi’s concerns about how technology can be employed to constrain our bodies and consciousness, and the explicitly gendered dimensions of this oppression. A critical reading of these texts alongside one another reveals striking resonances and confirms how Levi’s intuitions regarding the importance of critiquing unfettered technologised embodiment remain urgently relevant today

La traducción como conversación espiritual: Juliana Morell

The humanist and Dominican nun Juliana Morell (1594-1653) played a particular role as a teacher, writer and translator in the French Counter-Reformation. A polyglot who had studied philosophy, theology and jurisprudence, she composed spiritual works and made two Latin-to-French translations with commentaries: Vincent Ferrer’s Treatise on the Spiritual Life (1350-1419), which had two editions (1617 and 1619), and Augustine’s Rule, published posthumously in 1680. In addition, her Exercices spirituels sur l’éternité (1637) includes translations and exegesis of biblical passages. Reading, and especially translation, understood as spiritual dialogue leading to prayer, were part of her work as a teacher of novice nuns, and she published her writings, complying with the obligation of obedience, so that readers could converse with and spend time in the company of the souls whose words were read and translated.The humanist and Dominican nun Juliana Morell (1594-1653) played a particular role as a teacher, writer and translator in the French Counter-Reformation. A polyglot who had studied philosophy, theology and jurisprudence, she composed spiritual works and made two Latin-to-French translations with commentaries: Vincent Ferrer’s Treatise on the Spiritual Life (1350-1419), which had two editions (1617 and 1619), and Augustine’s Rule, published posthumously in 1680. In addition, her Exercices spirituels sur l’éternité (1637) includes translations and exegesis of biblical passages. Reading, and especially translation, understood as spiritual dialogue leading to prayer, were part of her work as a teacher of novice nuns, and she published her writings, complying with the obligation of obedience, so that readers could converse with and spend time in the company of the souls whose words were read and translated.The humanist and Dominican nun Juliana Morell (1594-1653) played a particular role as a teacher, writer and translator in the French Counter-Reformation. A polyglot who had studied philosophy, theology and jurisprudence, she composed spiritual works and made two Latin-to-French translations with commentaries: Vincent Ferrer’s Treatise on the Spiritual Life (1350-1419), which had two editions (1617 and 1619), and Augustine’s Rule, published posthumously in 1680. In addition, her Exercices spirituels sur l’éternité (1637) includes translations and exegesis of biblical passages. Reading, and especially translation, understood as spiritual dialogue leading to prayer, were part of her work as a teacher of novice nuns, and she published her writings, complying with the obligation of obedience, so that readers could converse with and spend time in the company of the souls whose words were read and translated.The humanist and Dominican nun Juliana Morell (1594-1653) played a particular role as a teacher, writer and translator in the French Counter-Reformation. A polyglot who had studied philosophy, theology and jurisprudence, she composed spiritual works and made two Latin-to-French translations with commentaries: Vincent Ferrer’s Treatise on the Spiritual Life (1350-1419), which had two editions (1617 and 1619), and Augustine’s Rule, published posthumously in 1680. In addition, her Exercices spirituels sur l’éternité (1637) includes translations and exegesis of biblical passages. Reading, and especially translation, understood as spiritual dialogue leading to prayer, were part of her work as a teacher of novice nuns, and she published her writings, complying with the obligation of obedience, so that readers could converse with and spend time in the company of the souls whose words were read and translated.La humanista y religiosa dominica Juliana Morell (1594-1653) tuvo un papel como formadora, escritora y traductora en la Contrarreforma francesa. Políglota y con estudios en filosofía, teología y jurisprudencia, compuso obras espirituales y dos traducciones del latín al francés con comentarios del Tratado de la vida espiritual de Vicente Ferrer (1350-1419), que contó con dos ediciones (1617 y 1619), y de la Regla de Agustín, publicada póstumamente en 1680. Además, sus Exercices spirituels sur l’éternité (1637) incluyen traducciones y exégesis de pasajes bíblicos. La lectura y sobre todo la traducción, entendidas como diálogo espiritual que orienta hacia la oración, son parte de su dedicación como maestra de novicias y publica sus escritos, por mandato de obediencia, para que los lectores conversen y estén en compañía de las almas cuyas palabras se leen y se traducen