848 research outputs found

    Fiction de langue

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    Dans le prolongement des perspectives ouvertes par Lise Gauvin, coordinatrice du numĂ©ro 101 de LittĂ©rature, il faut aborder la production romanesque rĂ©cente et examiner Ă  nouveau la position de l’écrivain. Ainsi que l’observe Glissant, l’écrivain vit dans “l’imaginaire des langues”, sans pour autant ĂȘtre nĂ©cessairement polyglotte. Rares sont, sinon les Ă©crivains, du moins les Ɠuvres effectivement bilingues. La seule langue “à soi”, c’est donc celle que l’écrivain s’invente “comme une sorte de langue Ă©trangĂšre”

    Tra manoscritti e libri della biblioteca di Elsa Morante: genesi e significati del Mondo salvato dai ragazzini

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    This thesis work stems from the intention to highlight one of Elsa Morante's least studied works: Il mondo salvato dai ragazzini (The World Saved by Kids). Published by Einaudi in 1968, it is probably the Roman writer’s most heterogeneous, multiform, and complex to interpret book. A first reason for the difficult collocation of this text lies in the impossibility of ascribing it to conventional categorisations of literary genre: it alternates between verse, prose, theatrical drama, visual poetry experiments, and non-semiotic codes of writing (staves, drawings) that make systematisation complex. A second reason can be traced back to the painful existential and writing phase Morante went through during the years of elaboration of the work, due to the problematic nature of her experiences: the death of her mother Imma Poggibonsi and lover Bill Morrow, a loss that marks the entire book, the controversial relationship with the hallucinogenic substances, alternately seen as a source of creativity and an impossible escape from a painful reality. Added to this is the traumatic clash with History and all the monstrous and sinister obscenities of the 20th century (the war, the Shoah, the consequences of autocratic capitalism) that, up to that point, seemed to be only the background of her narrative production. Moreover, it is necessary to consider the connection of The World saved by Kids, published in 1968, with the events of those years, so strong that Goffredo Fofi said that it is «the highest document of 1968 and its surroundings» (FOFI: 1969, 225) But although the references to the youth protest are quite explicit, the 1968 utopia becomes in Morante's work the embodiment of a more general revolutionary aspiration. The choral revolt of the Kids, the book’s protagonists and recipients, is indeed a meta-historical reality: a rebellion against social constraints, technocratic regimes, authoritarian thinking, ideological superstructures, and conceptual constraints that deprive young people, and poets, of their most authentic voice. Chapter One describes the writer's personal and cultural journey in the years between 1964 and 1967, period of writing The World Saved by Kids, as reflected in various notations in the autograph papers that appear to be fundamental for the identification of a terminus post quem and ante quem within which to place the writing of the work. Through the analysis of the book’s main structural and formal features (internal subdivisions and overall architecture), the fundamental role that verse production plays in the literary and existential horizon of an author mostly known for her novels emerges. The second part of this chapter acts as a bridge to the next one: here, in fact, the discussion on the manuscripts and typescripts of The Word Saved by Kids is introduced through an analysis of Morante's writing practice: from the incessant labor limae that touches single words as well as entire sections of text to the structured planning of the arrangement of the archive material that appears almost already designed, in the author's intention, for readers' consultation. In Chapter Two, an attempt is made to reconstruct the genetic-evolutionary path of the work through the consultation of autograph material conserved at the Biblioteca Nazionale Centrale di Roma in the Vittorio Emanuele 1622 and Archivi Raccolte e Carteggi 52 I 4.3 funds. Following the examination of the papers and the subsequent full transcription of the text contained therein, the main macroscopic changes to the entire work were identified (titles; subdivision into sections and subsections; deletion of entire parts). However, due to the dense layering of corrections in the papers, it was decided in the course of the work to include in the thesis all macro-textual considerations related to the book as a whole, but to restrict the philological analysis to a single section, The Chemical Comedy, which in turn comprises two lyric poems, a play and a long verse story divided into eleven compositions. This choice was motivated both by the central structural position of The Chemical Comedy, the junction point between the opening poem Farewell and the Folk Songs that close the volume, and by the complexity of its genesis. Indeed, it is the part of the book that has undergone, in the transition from the first draft to the final one, passing through numerous intermediate drafts, the greatest number of remakes, revisions and even aesthetic and substantial distortions. To follow the diachronic evolution of the text and to functionalise the philological discourse to a critical investigation of the book, it was therefore preferred to give a transcription of the verses, as transmitted by the papers in the most relevant editorial phases, and not to include a philological apparatus that would have hindered the readability of the study. However, to account for the frenetic movement of variants and to avoid transcribing uninteresting lessons because they are adiaphora or synonymous, the most notable microscopic variants have been selected in terms of stylistic or content changes and in relation to the communicative strategies adopted. A second line of research has made it possible to combine the study of the antecedent with a timely survey of literary, philosophical and artistic suggestions inspired by ancient or contemporary works. Important, in this sense, are the paratextual sections that sometimes contain quotations, translations and references to the texts of other authors; however, the consultation of the volumes of the writer's personal library, today kept in the Fondo Morante of the Biblioteca Nazionale Centrale in Rome, has been fundamental. The numerous books are underlined, annotated, and often consumed by passionate and voracious reading; Morante's annotations therefore allow us to reflect on the intertextuality of a work that arises from a «dense weaving of references, borrowings, echoes and literary quotations». When identifying Morante's main cultural coordinates, however, the dynamic and multifaceted link that the author establishes with tradition has not been overlooked. Chapter Three traces, from the books in the library, an itinerary among the main models of the work, either textually displayed or only alluded to. The first authors referred to are the poets of the American beat counterculture, first and foremost Allen Ginsberg, who in those years inspired Morante in terms of experience, thematic choices, and language. There follows a section devoted to Greek tragedies and to some of the numerous readaptations and reinterpretations of classical myth in contemporary theatre, from Brecht to the Living Theatre: Morante recovers, combines, and rewrites them in the play at the centre of the book, The Evening at Colonus. The essential core of this chapter is then the discussion of Morante's connection with Simone Weil's philosophy on the dual level of religious mysticism and ideological commitment. Beginning with the dense annotations found in the philosopher's books kept in Morante's library, Weil's thought is tackled from the perspective of an organic relationship with The World Saved by Kids, a work that turns out to be entirely built on the oscillation between the two Weilian poles of grĂące and pesanteur. While the influence exerted by the French philosopher's meditations on Morante is undoubted, it is more interesting to highlight the profound convergences on the issues addressed by Weil. The last part of the chapter deals with the essay The End of the World: Cultural Apocalypse and Transcendence by the anthropologist Ernesto de Martino, a text that Morante possesses and comments on as evidenced by the reading marks in her edition. De Martino's considerations make it possible to identify a distinction between the representation of the cultural apocalypse in The World Saved by Kids and the psychopathological apocalypse in the latest novel Aracoeli; at the same time, they offer an interpretative key to discover new and dialoguing meanings in the interaction between the two works. The Fourth Chapter takes up the results that emerged from the previous chapters and finalises them into an analysis of the book from the perspective of trauma studies. The aim is to propose a re-reading of the work as a narration in verse of individual and collective traumatic experiences, investigating the narrative devices and expressive choices made by the author to verbalise them. In this sense, the parts of the text that were not included in the final draft, the books read by the author, and the link with her models also help to shed light on the ellipses of a past and present that are traumatic on both a personal and historical level. A two-part Appendix concludes the thesis. The first, which responds to the aim of reorganising and arranging the autograph papers in sequential order, contains an accurate description of the manuscript and typescript corpus: factual characteristics of the folios, collation, binding, presence of notes in the notebook plates, attachments. The second is intended to provide a schematic review of some of the books Morante frequented during the years of writing The Word Saved by Kids with a precise indication of the presence of any apostilles, reading marks and dedications. This work of cataloguing, of certain help to the critical discourse developed in the thesis, could also be preliminary to future studies that, based on the author's personal library, would contribute to a deeper knowledge of her human and cultural journey

    Da Il materiale e l’immaginario a La vita immaginata: prospettive di periodizzazione della poesia contemporanea

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    Un’analisi diacronica dei dati relativi alla periodizzazione e al canone in alcune antologie scolastiche degli ultimi quarant’anni - da Il materiale e l’immaginario di Ceserani e De Federicis a La vita immaginata di Prandi – Ăš foriera di una storia della didattica della poesia contemporanea e ne chiarisce alcune linee epistemologiche. A questa ricognizione Ăš dedicata la prima parte del contributo. Nella seconda parte viene proposta una mappa di orientamento, ad uso degli insegnanti, che puĂČ essere utile per tradurre nella prassi didattica un quadro ancora variegato e fluido.A diachronic analysis of periodization and canon data in some school anthologies of the last forty years - from Ceserani and De Federicis’s Il materiale e l’immaginario to Prandi’s La vita immaginata - brings along a history of the didactics of contemporary poetry and clarifies some of its epistemological facets. The first part of the contribution is dedicated to this reconnaissance. In the second part an orientation map is proposed, for the use of teachers, which can be useful for translating into teaching practice a still varied and fluid framework

    Alcune osservazioni su dinamiche macrotestuali e aspetti metrici nei Costruttori di vulcani di Carlo Bordini

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    The article gives some cues for the analysis of Carlo Bordini's I costruttori di vulcani (2010) from a macrotextual and secondly metrical point of view, pointing out the compromise between constructive and deconstructive instances. The survey of this peculiar “book of books” draws further depth from a comparison with poetry collections from the 1975-1984 period and the earlier auto-anthology Pericolo (2004), as well as from an in-depth study of the author’s poetics supported by archival materials.Il saggio propone alcuni spunti per l’analisi dei Costruttori di vulcani (2010) di Carlo Bordini da un punto di vista macrotestuale e secondariamente metrico, rintracciandovi un compromesso tra istanze costruttive e destrutturanti. L’indagine su questo peculiare “libro di libri” trae ulteriore spessore dal confronto con le raccolte del periodo 1975-1984 e con la precedente auto-antologia Pericolo (2004), nonchĂ© da un affondo nella poetica dell’autore suffragato da materiali d’archivio

    Un’antologia per ‘ricordarsi del futuro’. Il Novecento ‘plurale’ di Fortini

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    Obiettivo del presente contributo Ăš di portare l’attenzione su I poeti del Novecento di Franco Fortini, pubblicato in un periodo decisivo nella ridefinizione del canone poetico novecentesco, nonchĂ© dei criteri che consentono di riconoscerne il valore paradigmatico. In particolare, il tentativo di Fortini si contraddistingue per l’intenzione di superare la dimensione «editoriale» del genere antologia, proponendola all’interno di una riflessione critica sul «pregiudizio» della modernitĂ This study aims to shed light on the poetry anthology I poeti del Novecento, edited by Franco Fortini. This anthology was published in a decisive stage of the discussion on the Twentieth-century poetic canon, as well as on the criteria that allow to recognize its paradigmatic value. In particular, Fortini’s work is characterized by the intention to overcome the «editorial» dimension of the anthology, offering a critical consideration on the «prejudice» of modernity

    Machine Learning Algorithm for the Scansion of Old Saxon Poetry

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    Several scholars designed tools to perform the automatic scansion of poetry in many languages, but none of these tools deal with Old Saxon or Old English. This project aims to be a first attempt to create a tool for these languages. We implemented a Bidirectional Long Short-Term Memory (BiLSTM) model to perform the automatic scansion of Old Saxon and Old English poems. Since this model uses supervised learning, we manually annotated the Heliand manuscript, and we used the resulting corpus as labeled dataset to train the model. The evaluation of the performance of the algorithm reached a 97% for the accuracy and a 99% of weighted average for precision, recall and F1 Score. In addition, we tested the model with some verses from the Old Saxon Genesis and some from The Battle of Brunanburh, and we observed that the model predicted almost all Old Saxon metrical patterns correctly misclassified the majority of the Old English input verses

    Palestrina und seine Zeit – Traditionelle und digitale Forschungsperspektiven: Bericht zum Symposium anlĂ€sslich der Verabschiedung von Prof. Dr. Peter Ackermann vom 22.–23. April 2021

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    Unter dem Motto „Palestrina und seine Zeit – Traditionelle und digitale Forschungsperspektiven“ fand am 22. & 23. April 2021 ein internationales Online-Symposium zu Ehren von Prof. Dr. Peter Ackermann statt, der nach 25 Jahren an der Hochschule fĂŒr Musik und Darstellende Kunst Frankfurt am Main in den Ruhestand gegangen ist. Die BeschĂ€ftigung sowohl mit Palestrina als auch mit digitalen Forschungsmethoden zieht sich wie ein roter Faden durch Ackermanns wissenschaftlichen Lebenslauf und so lag es nahe, beides bei dem Symposium zusammenzubringen. Die Vortragsthemen, die sich in diesem Band in schriftlicher Form wiederfinden, reichen von aktuellen Studien zu Palestrinas Werken und deren Rezeptionsgeschichte bis hin zu digitalen Analysetools und Grundsatzfragen bezĂŒglich DigitalitĂ€t in der Musikwissenschaft.Under the title 'Palestrina and His Time - Traditional and Digital Research Perspectives', an international online symposium was held on 22 & 23 April 2021 in honour of Prof. Dr. Peter Ackermann, who retired after 25 years at the Frankfurt University of Music and Performing Arts. Both Palestrina and digital research methods runs are recurring themes in Ackermann's academic curriculum vitae, and so it made sense to bring the two together at the symposium. The lecture topics, which are presented here in written form, range from current studies on Palestrina's works and their reception history to digital analysis tools and fundamental questions regarding digitality in musicology

    Roma cittĂ  dei vivi e dei morti nella narrativa di Nicola Lagioia

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    Negli ultimi vent’anni Roma ha vissuto un declino sociale, economico e simbolico che emerge con forza nell’opera dello scrittore Nicola Lagioia. In particolare, il suo ultimo romanzo, La cittĂ  dei vivi (2021), Ăš sia un’analisi letteraria di un feroce crimine avvenuto nel 2016, sia un reportage sulla cittĂ  stessa, i suoi disturbi, i suoi contrasti e i suoi eccessi. Nel presente articolo si indaga la rappresentazione della capitale italiana nella narrativa dell’autore tramite un confronto con altri scrittori che nei secoli si sono soffermati su di essa. Il tema dei rifiuti e della rimozione, fisica e morale, Ăš l’asse principale dell’analisi.In the last twenty years Rome has experienced a social, economic and symbolic decline that emerges strongly in the works of the writer Nicola Lagioia. In particular, his latest novel, La cittĂ  dei vivi (2021), is both a literary analysis of a ferocious crime that took place in 2016, and a reportage on the city itself, its disorders, its contrasts and its excesses. In this article we investigate the representation of the Italian capital in the author’s narrative through a comparison with other writers who over the centuries have focused on it. The theme of waste and removal, physical and moral, is the main axis of the analysis.Au cours des vingt derniĂšres annĂ©es, Rome a connu un dĂ©clin social, Ă©conomique et symbolique qui Ă©merge fortement dans le rĂ©cit de l’écrivain Nicola Lagioia. En particulier, son dernier roman, La cittĂ  dei vivi (2021), est Ă  la fois une analyse littĂ©raire d’un crime fĂ©roce qui a eu lieu en 2016, et un reportage sur la ville elle-mĂȘme, ses dĂ©sordres, ses contrastes et ses excĂšs. Dans cet article, nous Ă©tudions la reprĂ©sentation de la capitale italienne dans le rĂ©cit de l’auteur Ă  travers une comparaison avec d’autres Ă©crivains qui, au fil des siĂšcles, se sont concentrĂ©s sur cette derniĂšre. Le thĂšme du gaspillage et du refoulement, physique et moral, est l’axe principal de l’analyse

    Il gioco e la morte. Forme della poesia a Venezia nel Cinquecento

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    Der Band enthĂ€lt vier Studien zu Dichter:innen, die wĂ€hrend der zweiten HĂ€lfte des 16. Jahrhunderts in der Region Venedig aktiv waren. Der erste Beitrag analysiert die Druck- und Manuskripttradition der Rime spirituali von Gabriele Fiamma und bietet eine kritische Textausgabe der Dichtungen. Der zweite Artikel untersucht die Bedeutung des “wilden” (selvaghesco) hapax, den Veronica Franco in einem Kapitel verwendet hat, das sie an Maffio Venier adressiert hat. Der dritte Aufsatz bietet ein Repertoire an Kunst-Stilmitteln aus dem lyrischen Werk Luigi Grotos sowie eine Analyse seiner Textproduktion vor dem Hintergrund der gĂ€ngigen Definitionen von Manierismus. Der letzte Beitrag beschĂ€ftigt sich mit emphatischen rhetorischen Figuren und der Wortordnung innerhalb der Rime von Celio Magno, auch in Bezug auf der Konstruktion des Makrotextes. Durch diese Studien von vier exemplarischen Autor:innen an der Schnittstelle zwischen Stilistik, Philologie, Sprach- und Literaturgeschichte, stellt der Band einige relevante Aspekte der italienischen Lyrik des spĂ€ten 16. Jahrhunderts heraus.Il volume raccoglie quattro studi relativi ad altrettanti poeti di area veneziana attivi nella seconda metĂ  del Cinquecento. Il primo analizza la tradizione a stampa e manoscritta delle Rime spirituali di Gabriele Fiamma, offrendo il testo critico delle rime disperse. Il secondo studio indaga il significato dell'hapax "selvaghesco" utilizzato da Veronica Franco in un capitolo indirizzato a Maffio Venier. Il terzo ampio saggio offre un repertorio delle figure artificiose utilizzate nella poesia lirica di Luigi Groto, e un’analisi della sua produzione alla luce delle definizioni correnti di Manierismo. L'ultimo contributo Ăš un attraversamento delle figure dell'enfasi e dell'ordine delle parole nelle Rime di Celio Magno, anche in relazione alla costruzione del macrotesto. Attraverso lo studio di quattro autori esemplari, realizzato incrociando stilistica, filologia, storia della lingua e storia della letteratura, il libro mette a fuoco alcuni aspetti rilevanti della lirica del tardo Cinquecento
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