1,822 research outputs found

    Sulla nuova edizione del «Giornale di guerra e di prigionia», «Il castello di Udine» e altre questioni gaddiane

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    Il saggio prende in esame la recente edizione del Giornale di guerra e di prigionia di Carlo Emilio Gadda (Adelphi 2023), a cura di Paola Italia, mettendone in luce le novità e le differenze rispetto al testo critico procurato da Dante Isella (Garzanti 1992). I quaderni riemersi nel 2019, redatti da Gadda nel novembre-dicembre 1918 durante la prigionia a Celle Lager, rivelano dati cruciali sul suo rapporto conflittuale con Ugo Betti e sulle connessioni tra il Giornale e le prose belliche del Castello di Udine (Edizioni di Solaria 1934).   Delving Into the New Edition of Carlo Emilio Gadda’s “Giornale di guerra e di prigionia”and its Relation to “Il castello di Udine” and Other Works The essay examines the latest edition of Carlo Emilio Gadda’s Giornale di guerra e di prigionia (Adelphi 2023), edited by Paola Italia, highlighting its innovations and differences compared to the critical text provided by Dante Isella (Garzanti 1992). The notebooks, unearthed in 2019 and penned by Gadda during his imprisonment in Celle Lager in November-December 1918, unveil crucial insights into his conflicted relationship with Ugo Betti and the interrelations between the Giornale and the war-related prose later collected in Il castello di Udine (Edizioni di Solaria 1934)

    A map of 20th century Italian literature in francoist Spain through the dossiers of censorship

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    Se ofrece una exploraciĂłn de las traducciones italianas del siglo XX en la España franquista a travĂ©s de los expedientes de censura editorial conservados en el Archivo General de la AdministraciĂłn (AGA), de AlcalĂĄ de Henares. Los datos censorios –en la mayorĂ­a inĂ©ditos– se contrastan en primer lugar con los catĂĄlogos, efectuando a continuaciĂłn una lectura comparativa de los mecanografiados, guardados en el archivo, con las galeradas y las ediciones que finalmente se publicaron. La observaciĂłn directa de esta variada documentaciĂłn permite reconstruir los mecanismos de ediciĂłn y recomponer la trayectoria de traducciones e importaciones de volĂșmenes impresos al exterior. Se estudian asĂ­ las anomalĂ­as –tanto en lengua española como catalana– de la recepciĂłn dificultosa y fragmentaria de la literatura italiana, reseñando cuĂĄles fueron los libros que no llegaron a editarse o vieron la luz mutilados y «suavizados». Se documenta la acogida de obras representativas de narrativa, poesĂ­a, teatro, ensayos y guiones cinematogrĂĄficos, atravesando todos los decenios de la dictadura. El conjunto del material confirma el carĂĄcter coercitivo del Ăłrgano censorio, pero, a la vez, su pragmatismo, su arbitrariedad de juicio y la presencia de condicionamientos externos (como el affaire Einaudi). A pesar de la evoluciĂłn del aparato franquista, se prueba que la mayorĂ­a de las obras italianas, a menudo identificadas con el «realismo», se obstaculizaron porque violaban la ortodoxia moral del rĂ©gimen. La lentitud y la inseguridad del procedimiento, ademĂĄs, empujaron a la autocensura de editoriales y agentes literarios. Los efectos conjuntos del sistema represivo y de la autocensura hicieron que obras clave de la literatura italiana llegaran con enorme retraso a España y, en algunos casos, despuĂ©s del fin de la dictadura y de su opresiva mĂĄquina de control.This paper offers an exploration of 20th century Italian translations in Franco’s Spain through the editorial censorship dossier preserved in the Archivo General de la AdministraciĂłn (AGA) in AlcalĂĄ de Henares. The data – most unpublished – are first compared with the catalogues, followed by a comparative reading of the typescripts preserved in the archive with the printing proofs and the editions that were finally published. Direct observation of this varied documentation makes it possible to reconstruct the mechanisms of publication and to recompose the trajectory of translations and imports of foreign volumes. The anomalies of the difficult and fragmentary reception – both in Spanish and Catalan – of Italian literature are thus studied, highlighting which books were never published or were published in mutilated and «softened» form. We review the reception of representative works of fiction, poetry, theatre, essays and film scripts, spanning all the decades of the dictatorship. The material as a whole confirms the coercive nature of the censorship system, but, at the same time, its pragmatism, its arbitrary nature and the presence of external conditioning factors (such as the Einaudi affair). Despite the evolution of the Francoist apparatus, it is clear that most Italian works, often identified with «realism», were hindered because they violated the moral orthodoxy of the regime. The slowness and insecurity of the procedure, moreover, led to self-censorship on the part of publishers and literary agents. The combined effects of repressive apparatus and self-censorship meant that key works of Italian literature arrived in Spain with enormous delays and, in some cases, after the end of the dictatorship and its oppressive control system

    Linea lombarda tra ieri e oggi: la delicatezza di un problema letterario

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    The article is an extract of my Ph.D. Thesis (Da Linea lombarda a via a galassia: una «cosa delicata» e ricca. Ripensare la complessitĂ  da un fenomeno di poesia), on Anti-Canon in the late Twentieth Century. It focuses on the historical and literary example that was the main issue of the Thesis and it can be indexable as follows (six paragraphs): 1. Antinomy of the assumptions (1952); 2. Content of the editorial project; 3. Diverse sense of engagement (especially, Erba’s and Sereni’s); 4. Critical reception (from the Fifties to the Noughties); 5. Method of the Curatorship (first book and its reedition by Luzzi -1989-); 6. Unpublished and recent implications (conclusions)

    Donne traducono donne. Paola Faggioli traduttrice di Aino Kallas

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    Translating women. Aino Kallas’s translator Paola Faggioli This study focuses on the cultural interaction that enabled the translation and publication of Aino Kallas’s trilogy Surmaava Eros in Italy during the Fascist regime. The trilogy by the Finnish born, Estonian resident Kallas revolves around three women who rebel against the social norms of the time and hence are punished with death. To analyse the relations between the different agents involved in the translation and publication of the trilogy, the study draws on Susan Bassnett and AndrĂ© Lefevere’s theoretical thinking. Interaction between agents, groups and cultures is seen as deeply embedded in their historical, political, ideological and social milieu. Methodologically, the study is informed by microhistory: an approach that in Translation Studies has been applied by scholars like Anthony Pym, Outi Paloposki and Jeremy Munday. The material of the research includes extensive archival sources, paratextual materials as well as the translated texts. As a background, the study explores relevant aspects of the development of the publishing industry in Italy under Fascism, with a specific focus on the translator and on translation practices. In addition, an overview of the cultural and political intercourse between Italy and Finland is provided with a view to investigate some motivations underlying the interest in Finnish literature and culture and to explore what kind of an image the cultural initiatives were aiming to convey to the Italian reader. The study attempts at unravelling the mystery surrounding the translator, Paola Faggioli. As a woman, she was in an inferior position under the patronage of Paolo Emilio Pavolini, translator of the Finnish epic Kalevala and father of the prominent fascist politician Alessandro. On text level, the study aims at identifying the presence of the translator and exploring her choices. The central part of the dissertation tries to unravel the connection between author and translator by shedding light on the negotiations that led to the publication of the trilogy. The sources uncover a cooperation of key mediators motivated by personal reasons. As for the central figure of this study, Paola Faggioli, my findings reveal a complex personal history entangled with power relations: despite enjoying the protection of a fascist patron, she was still a woman in conflict with the social norms. Faggioli emerges, however, as a professional and competent translator and linguist who made her own choices and did not depend on her patron in terms of language competence and translation skills. The case of a marginal literature can uncover networks and issues which do not necessarily emerge in the case of more familiar and larger-scale book markets. This study sheds light on some of the practices adopted by Italian publishers when they negotiated with foreign authors; it uncovers some core aspects of the translation of Finnish literature in Italy and it sets in high relief the career of a woman translator in the period examined. Other agents, their personality and role in intercultural exchanges between Italy and Finland also emerge within the wider theme of the relations between the two countries and the role of ideology and politics in cultural exchange.Naiset tulkitsevat naisia. Paola Faggioli Aino Kallaksen kÀÀntĂ€jĂ€nĂ€ TĂ€mĂ€n tutkimuksen aiheena on kulttuurinen vuorovaikutus, joka mahdollisti Aino Kallaksen Surmaava Eros -trilogian kÀÀntĂ€misen ja julkaisemisen Italiassa fasistihallituksen aikana (1922–1943). Kallaksen virolaisaiheisen, historiallisen trilogian pÀÀhenkilöinĂ€ on kolme naista, jotka haastavat sen kapean roolin, jonka aika ja yhteisö ovat naisille mÀÀrittĂ€neet, ja jotka sen seurauksena tuomitaan kuolemaan. VĂ€itöstutkimuksessa eri toimijoiden vĂ€lisiĂ€ suhteita analysoidaan Susan Bassnettin ja AndrĂ© Lefeveren teoreettisen ajattelun pohjalta. Toimijoiden, ryhmien ja kulttuurien vĂ€linen vuorovaikutus kytketÀÀn tiiviisti ajan historialliseen, poliittiseen ja aatteelliseen ympĂ€ristöön. LĂ€hestymistapa ammentaa mikrohistoriasta; samaa mikrohistoriallista lĂ€hestymistapaa ovat soveltaneet kÀÀnnöstutkimuksen alalla aiemmin muun muassa Anthony Pym, Outi Paloposki ja Jeremy Munday. Tutkimusaineisto sisĂ€ltÀÀ arkistomateriaaleja ja paratekstejĂ€ sekĂ€ kohdekieleen kÀÀnnetyt tekstit. Tutkimus asetetaan historialliseen ja kulttuuriseen kehykseen esittelemĂ€llĂ€ Italian fasismin aikaisen kustannusteollisuuden kehityksen pÀÀpiirteitĂ€. Tutkimuksessa keskitytÀÀn kÀÀntĂ€jĂ€n rooliin, kÀÀntĂ€miseen liittyviin kĂ€ytĂ€ntöihin ja periaatteisiin sekĂ€ Italian ja Suomen vĂ€liseen poliittiseen ja kulttuuriseen vuorovaikutukseen. AnalyysissĂ€ selvitetÀÀn, miksi suomalainen kirjallisuus ja kulttuuri nousivat kiinnostuksen kohteeksi ja minkĂ€lainen kuva Suomesta ja suomalaisista haluttiin antaa italialaiselle yleisölle kulttuuritapahtumien ja kirjallisuuden vĂ€lityksellĂ€. VĂ€itöstutkimus haluaa tuoda valokeilaan italiantaja Paola Faggiolin, naisen, joka on jÀÀnyt mentorinsa Paolo Emilio Pavolinin varjoon – Pavolinin, joka oli akateemikko, Kalevalan arvostettu kÀÀntĂ€jĂ€ ja myös fasistipuolueen johtaja Alessandro Pavolinin isĂ€. TekstejĂ€ analysoimalla pyritÀÀn tavoittamaan merkkejĂ€ Faggiolista kÀÀntĂ€jĂ€nĂ€ ja tutkimaan hĂ€nen kÀÀnnösvalintojaan. Tutkimuksessa etsitÀÀn lisĂ€ksi Kallaksen ja Faggiolin vĂ€listĂ€ yhteyttĂ€ jĂ€ljittĂ€mĂ€llĂ€ kanssakĂ€ymisiĂ€ ja tekijöitĂ€, jotka johtivat tĂ€ssĂ€ tutkimuksessa tarkasteltavan trilogian julkaisemiseen Italiassa. LĂ€hteet paljastavat, ettĂ€ avainhenkilöiden henkilökohtaiset vaikuttimet olivat merkittĂ€vĂ€ tekijĂ€ kÀÀnnös- ja julkaisuprosessissa. Tutkimuksessa tuodaan esiin myös Faggiolin valtasuhteiden varjostama asema: vaikutusvaltaisen mentorinsa suojeluksesta huolimatta hĂ€nen asemansa naimisissa olevan mentorinsa rakastajattarena ja heidĂ€n yhteisen lapsensa yksinhuoltajana oli yhteiskunnallisten normien vastainen. KÀÀntĂ€jĂ€nĂ€ hĂ€n osoittautuu pĂ€tevĂ€ksi ja itsenĂ€iseksi ammattilaiseksi, jonka ei tarvinnut nojata mentorinsa kieli- ja kÀÀnnöstaitoon. VĂ€hemmĂ€n tunnettu kirjallisuus voi paljastaa verkostoja ja nĂ€kökulmia, jotka eivĂ€t vĂ€lttĂ€mĂ€ttĂ€ kĂ€y ilmi suurten painosten kirjamarkkinoita tarkasteltaessa. VĂ€itöstutkimus nostaa esiin naiskÀÀntĂ€jĂ€n uran fasismin aikaisessa Italiassa, valottaa italialaisten kustantajien menettelytapoja heidĂ€n neuvotellessaan ulkomaalaisten kirjailijoiden kanssa ja tarjoaa havaintoja keskeisistĂ€ kysymyksistĂ€ suomalaisen kirjallisuuden kÀÀntĂ€misestĂ€ Italiassa. Tutkimuksessa tarkastellaan laajemmin myös Italian ja Suomen vĂ€lisiĂ€ suhteita sekĂ€ ideologian ja politiikan vaikutusta kulttuurivaihtoon. TĂ€llöin nĂ€kyviin tulee myös muita toimijoita, joilla on roolinsa kulttuurien vĂ€lisessĂ€ vuorovaikutuksessa

    LA GRANULARIDAD DEL NORTE Y LA LITERATURA NORTEÑA: LA BIBLIA VAQUERA COMO HIPERTEXTO

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    TITOLO TESI IN ITALIANO: La granularitĂ  del nord del Messico e la letteratura norteña: La Biblia vaquera come ipertesto. Nel contesto dell’impatto delle nuove tecnologie dell’informazione e della comunicazione sulla produzione letteraria contemporanea, alcuni concetti relazionati alla cibercultura, come ad esempio quello di granularitĂ , ipertestualitĂ  e dromomania, sembrano fornire il quadro teorico adeguato per comprendere la specificitĂ  del postmodernismo letterario del nord del Messico. In particolare, La Biblia vaquera di Carlos VelĂĄzquez sembra presentare tratti post-ipertestuali come risultato delle nuove strategie di elaborazione delle informazioni. Con un approccio multidisciplinare, ma privilegiando la prospettiva della Linguistica del testo e della Semiotica, l’obiettivo di questo studio Ăš quello di analizzare i cambiamenti nei meccanismi generativi del testo, basati sulla configurazione di un nuovo Lettore Modello, nonchĂ© quello di fornire alcuni strumenti concettuali utili per comprendere una realtĂ  in continua evoluzione.As a result of the impact of new information and communication technologies on contemporary literature, some concepts related to the cyberculture, such as Dromomania, Granularity and Hypertext may be the right key to understanding northern Mexican literature. Within this framework, Carlos VelĂĄzquez’s Biblia vaquera features post-hypertextual traits resulting from new strategies to elaborate information. This study aims to analyze the changes in text generating mechanisms by applying a multidisciplinary approach, whilst emphasizing a Linguistic and Semiotic perspective. In doing so, this work posits a Model Reader and provides a number of useful conceptual tools to understand an ever-evolving reality

    Una postura autorial-editoriale: “Libri unici” e “irrazionale” nella memoria di Roberto Calasso

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    Roberto Calasso ha ottenuto un grande riconoscimento sia come autore sia come editore e nei libri in cui ricostruisce i suoi cinquant’anni in Adelphi le due funzioni si vengono esplicitamente a sovrapporre. Nelle sue memorie editoriali, tuttavia, il passato storico Ăš solo il punto di partenza per sviluppare un proprio progetto autoriale. Il saggio delinea il percorso creativo di Calasso che trasforma due eventi editoriali, la pubblicazione dell’Altra parte di Kubin e del Libro dell’Es di Groddeck, in specifici nuclei narrativi. Alla luce del concetto di postura intellettuale e dello studio di materiale d’archivio inedito, la ricerca vuole dimostrare come l’autore-editore plasma la storia per restituire al lettore un’immagine nuova e ricostruita di sĂ© e della propria casa editrice

    L'esercizio dello sguardo. Poesia e immagini

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    Il realismo obliquo nel romanzo italiano degli anni Trenta

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    Questo lavoro nasce dall’idea che molti romanzi composti negli anni Trenta del Novecento e iscritti al neorealismo letterario presentano una configurazione – storica, narrativa, formale – che rende problematica e imprecisa l’interpretazione critica cui sono normalmente ricondotti. In generale, la critica attribuisce al neorealismo un valore restaurativo, corrispondente dall’attivazione di un principio etico-morale che ricompone, a livello rappresentativo, la disgregazione formale attuata dal modernismo. Crediamo, quindi, che nella prima fase del neorealismo, che indicativamente va dal 1929 al 1943, il lavoro sulla forma sia ancora prioritario, e presenti un pattern narrativo condiviso. Vale a dire che romanzi come "Gli indifferenti" di Moravia, del ’29, "Tre operai" di Bernari, del ’34, "Il capofabbrica" di Bilenchi, del ’35, "Gli anni perduti" di Brancati, concluso nel ’36, per fare alcuni esempi, sono costruiti a partire da un’opposizione strutturale di tipo dialettico e irrisolto. Da un lato, cioĂš, il racconto seleziona un impianto narrativo tradizionale (che rispetta l’attendibilitĂ  del narratore, la linearitĂ  dell’intreccio e la soliditĂ  del personaggio) con l’obiettivo d’incidere in modo eticamente costruttivo sulla realtĂ  contemporanea. D’altro lato, la realtĂ  consegna a chi scrive un sistema morale incerto, manchevole o fallace. In questa direzione, la costruzione del romanzo traduce l’incertezza ideologica in coordinate formali che impediscono al racconto di costituirsi come unitĂ  solida e trasparente di significato. A partire dagli anni Venti, quindi, la generazione di scrittrici e scrittori nati nel primo decennio del Novecento manifesta la volontĂ  di raccontare in termini realistici, trasparenti e «convincenti» (quindi non poetici, psicologici, astratti o autobiografici) una realtĂ  interessata da nuove questioni sociali, ideologiche e culturali. Nel corso degli anni Trenta, l’interrogazione intellettuale non riguarda piĂč lo sconvolgimento epistemologico che ha interessato il modernismo, bensĂŹ la realtĂ  politica e ideologica, la diffusione di nuove pratiche culturali, l’affermazione di una dittatura, la soppressione della libertĂ . Gli anni Trenta coincidono infatti con l’inasprimento del fascismo. In quest’ottica, l’esperienza individuale si contraddistingue per l’insofferenza nei confronti della realtĂ  politica e morale (insofferenza che si esprime in modo diverso e solo in alcuni casi puĂČ tradursi in dissenso: ad esempio Natalia Ginzburg Ăš antifascista sempre, Vitaliano Brancati lo diventa a partire dal ’34, e in modo graduale), acuita dall’impossibilitĂ  di superare e ripensare le contraddizioni del presente poichĂ© il regime mina in toto la facoltĂ  di esprimersi e agire liberamente.This work is based on the idea that many novels composed in Italy in the 1930s show a configuration – historical and narrative – that makes problematic the possibility to categorize them as neorealistic novels. In general, critics attribute to Neorealism a restorative value, corresponding to the activation of an ethical-moral principle that recomposes, on a representative level, the formal disintegration of Modernism. Therefore, this work demonstrates that in the first phase of Neorealism, from 1929 to 1943, has a modernism narrative structure and presents a shared narrative pattern. To give just a few examples, novels like "Gli indifferenti" (1929) by Alberto Moravia, "Tre operai" (1934) by Carlo Bernari, "Il capofabbrica" (1935) by Romano Bilenchi, "Gli anni perduti" (wrote in 1934-1936) by Brancati present a structural dialectical opposition. It means that on one hand the story selects a traditional narrative structure (the narrator is reliable, the plot is linear, the characters are solid and well characterized) to have an ethically constructive impact on contemporary reality. On the other hand, reality shows to the authors an uncertain, flawed, or fallacious moral system. In this direction, the novel’s composition translates ideological uncertainty into oblique formal coordinates that prevent the novel from constituting itself as a solid and transparent unity of meaning. From the 1920s onwards, the generation of writers who was born in the first decade of the 20th century manifested a desire to recount in realistic, linear, and 'convincing'3 terms the contemporary reality, that was presenting new social, ideological and cultural questions. During the 1930s, the intellectual questioning is no longer about the epistemological doubts of modernism, but rather about political and ideological reality, concerning new cultural practices, the establishment of a dictatorship, and the suppression of freedom. In fact, the 1930s coincided with the settlement of fascism. From this point of view, the individual authors’ experience is characterised by intolerance towards politics and his (a)morality. It is expressed in different ways: for example, Natalia Ginzburg is anti-fascist from the beginning, Vitaliano Brancati shows his dissent gradually from 1934 onwards. In any case, the authors can’t overcome the moral impasse neither in the narrative mechanisms or in the private life

    ENI al MoMA: «un conflitto di mentalità». Il supporto alla mostra Italy: the New Domestic Landscape tra cultura, geopolitica e strategia d’impresa

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    This paper strives to read the exhibition “Italy: The New Domestic Landscape” at MoMA, through an original approach, beyond its design contents, and rather focusing on the generous economic support bestowed by the Italian energy company ENI, amounting to $100,000. Through this peculiar filter, the essay highlights the “conflict of mentality” between ENI – in search of geopolitical, strategic and economic benefits – and MoMA. Thanks to the detailed analysis of the internal files of the many ENI offices and companies involved, the paper highlights the dreamed and broken expectations of such a sponsorship; the relationship between ENI officials and the curator Emilio Ambasz; the (unsuccessful) attempts to interfere in the exhibition program; the symmetrical promotion activity that ENI was carrying out in the USSR; etc. Through the ENI/MoMA relationship, the essay underlines the importance of innovative perspectives in the study of exhibition events, of which sponsorships constitute a crucial and often overlooked aspect, far from irrelevant in terms of cultural and artistic content
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