"Cosas que entre vivientes no se dicen": la reticencia como estrategia narrativa en Primo Levi

El artículo analiza el papel de la reticencia en las obras autobiográficas de Primo Levi que narran su cautiverio en el campo de exterminio de Auschwitz. Su concepción de la narración autobiográfica, elevada a testimonio y sometida a una rigurosa reducción de lo narrable como experiencia directa, puede deducirse a través de las numerosas autorreflexiones del propio autor. Levi examina las diferentes problemáticas que se derivan, entre las cuales la memoria y la complejidad de la figura del testigo, que (se) considera insuficiente desde el punto y hora en que no ha sufrido la demolición proyectada por el sistema de los campos de concentración. Mientras tales aspectos se explicitan de forma extensiva, el autor, por el contrario, se abstiene de comentar otro tipo de omisiones que a nivel estilísitco son características de su producción autobiográfica como la reticencia. La naturaleza de la reticencia es doble: por un lado se une a lo inenarable; por otro, reclama la atención precisamente sobre aquello que se evita narrar invitando al lector a completar el sentido del enunciado. El artículo explora la hipótesis de que la reticencia, en los textos de Levi, se relaciona con aquellos momentos de intensa carga emotiva, que emanan de los testimonios de la persecución sufrida por el autor y por toda la comunidad judía y de los cuales el escritor se hace portavoz. La reticencia se configura como una eficaz estrategia narrativa, un modo de narrar lo indecible, haciendo hincapié sobre la intensidad de sentimientosThe article analyses the role of reticence in Primo Levi’s autobiographical works which narrate his imprisonment at the Auschwitz death camp. The author’s numerous comments allude to his conception of autobiographical narrative, elevated to testimony and subjected to a rigorous reduction of that which can be narrated to direct experience. Levi examines the various issues arising from this conception, including memory and the complex figure of the witness, considered as deficient for not having undergone the demolition programmed by the concentration system. While these issues are rendered thoroughly explicit, however, the author refrains from commenting on another, stylistic type of omission which is characteristic of his autobiographical production: reticence. The nature of reticence is essentially two-fold: while on the one hand, it is connected to that which cannot be narrated, on the other hand, it draws attention precisely to what is not being narrated by inviting the reader to complete the meaning of the utterance. The article explores the hypothesis that reticence in Levi’s texts is connected to moments of intense emotion arising from the testimony of persecution suffered by the author and by the entire Jewish community, on behalf of which the author acts as a spokesperson. Reticence appears as an effective narrative strategy, a way of narrating that which cannot be told through creating pathos

Synthesis, Structure and Antimicrobial Property of Green Composites from Cellulose, Wool, Hair and Chicken Feather

Novel composites between cellulose (CEL) and keratin (KER) from three different sources (wool, hair and chicken feather) were successfully synthesized in a simple one-step process in which butylmethylimidazolium chloride (BMIm+Cl−), an ionic liquid, was used as the sole solvent. The method is green and recyclable because [BMIm+Cl−] used was recovered for reuse. Spectroscopy (FTIR, XRD) and imaging (SEM) results confirm that CEL and KER remain chemically intact and homogeneously distributed in the composites. KER retains some of its secondary structure in the composites. Interestingly, the minor differences in the structure of KER in wool, hair and feather produced pronounced differences in the conformation of their corresponding composites with wool has the highest α-helix content and feather has the lowest content. These results correlate well with mechanical and antimicrobial properties of the composites. Specifically, adding CEL into KER substantially improves mechanical strength of [CEL + KER] composites made from all three different sources, wool, hair and chicken feathers i.e., [CEL + wool], [CEL + hair] and [CEL + feather]. Since mechanical strength is due to CEL, and CEL has only random structure, [CEL + feather] has, expectedly, the strongest mechanical property because feather has the lowest content of α-helix. Conversely, [CEL + wool] composite has the weakest mechanical strength because wool has the highest α-helix content. All three composites exhibit antibacterial activity against methicillin resistant Staphylococcus aureus (MRSA). The antibacterial property is due not to CEL but to the protein and strongly depends on the type of the keratin, namely, the bactericidal effect is strongest for feather and weakest for wool. These results together with our previous finding that [CEL + KER] composites can control release of drug such as ciprofloxacin clearly indicate that these composites can potentially be used as wound dressing

Primo Levi commentateur de sa propre résilience

Primo Levi, porteur d’un témoignage sur les camps de concentration, est aussi un commentateur lucide de sa propre résilience, fondée sur l’écriture. Ayant subi le trauma de la déshumanisation, il découvre l’urgence de raconter tout en restant conscient des enjeux que présente un récit autobiographique. La mémoire devient ainsi un facteur fondamental aux fonctions divergentes. Le récit à travers lequel Levi reconstruit son identité est hautement valorisé par sa fonction de témoignage, servant en outre de barrière protectrice entre le présent et le passé atroce.Primo Levi, whilst bearing witness to concentration camps, is also an acute commentator of his own resilience, accomplished through writing. Having suffered the trauma of dehumanization, Levi discovers the urgency of telling his story, yet remains aware of the complex issues implied in autobiography. Memory thus becomes an essential factor which assumes divergent functions. Levi reconstructs his identity by telling his story, the value of which is heightened by his role of witness. His story furthermore serves as a protective barrier between the present and the atrocious past

One-Pot Synthesis of Biocompatible Silver Nanoparticle Composites from Cellulose and Keratin: Characterization and Antimicrobial Activity

A novel, simple method was developed to synthesize biocompatible composites containing 50% cellulose (CEL) and 50% keratin (KER) and silver in the form of either ionic (Ag+) or Ag0 nanoparticles (Ag+NPs or Ag0NPs). In this method, butylmethylimmidazolium chloride ([BMIm+Cl–]), a simple ionic liquid, was used as the sole solvent and silver chloride was added to the [BMIm+Cl–] solution of [CEL+KER] during the dissolution process. The silver in the composites can be maintained as ionic silver (Ag+) or completely converted to metallic silver (Ag0) by reducing it with NaBH4. The results of spectroscopy [Fourier transform infrared and X-ray diffraction (XRD)] and imaging [scanning electron microscopy (SEM)] measurements confirm that CEL and KER remain chemically intact and homogeneously distributed in the composites. Powder XRD and SEM results show that the silver in the [CEL+KER+Ag+] and [CEL+KER+Ag0] composites is homogeneously distributed throughout the composites in either Ag+ (in the form of AgClNPs) or Ag0NPs form with sizes of 27 ± 2 or 9 ± 1 nm, respectively. Both composites were found to exhibit excellent antibacterial activity against many bacteria including Escherichia coli, Staphylococcus aureus, Pseudomonas aeruginosa, methicillin-resistant S. aureus (MRSA), and vancomycin-resistant Enterococus faecalis (VRE). The antibacterial activity of both composites increases with the Ag+ or Ag0 content in the composites. More importantly, for the same bacteria and the same silver content, the [CEL+KER+AgClNPs] composite is relatively more toxic than [CEL+KER+Ag0NPs] composite. Experimental results confirm that there was hardly any Ag0NPs release from the [CEL+KER+Ag0NPs] composite, and hence its antimicrobial activity and biocompatibility is due not to any released Ag0NPs but rather entirely to the Ag0NPs embedded in the composite. Both AgClNPs and Ag0NPs were found to be toxic to human fibroblasts at higher concentration (\u3e0.72 mmol), and for the same silver content, the [CEL+KER+AgClNPs] composite is relatively more toxic than the [CEL+KER+Ag0NPs] composite. As expected, by lowering the Ag0NPs concentration to 0.48 mmol or less, the [CEL+KER+Ag0NPs] composite can be made biocompatible while still retaining its antimicrobial activity against bacteria such as E. coli, S. aureus, P. aeruginosa, MRSA, and VRE. These results, together with our previous finding that [CEL+KER] composites can be used for the controlled delivery of drugs such as ciprofloxacin, clearly indicate that the [CEL+KER+Ag0NPs] composite possesses all of the required properties for it to be successfully used as a high-performance dressing to treat chronic ulcerous infected wounds

Preparing for an influenza season 2021/22 with a likely co-circulation of influenza virus and SARS-CoV-2

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La Terrasanta fra alterità e prossimità nel Trecentonovelle di Franco Sacchetti

Le storie narrate nel Trecentonovelle sono caratterizzate dalla prossimità temporale e spaziale nei confronti del pubblico ideale della raccolta, quello fiorentino. Le trame sono legate alla vita quotidiana dell’epoca, facilmente riconoscibile agli occhi dei lettori contemporanei. Numerose storie sono ambientate a Firenze o in Toscana, e molti fra i protagonisti sono fiorentini. Tenendo conto della «fiorentinità» delle novelle sacchettiane, un’ambientazione in Terrasanta è eccezionale e, infatti, fra le storie raccolte nel Trecentonovelle, due soltanto si svolgono in Terrasanta (X, XXIV). Ambedue hanno per protagonista Dolcibene, un buffone fiorentino storicamente esistito il cui pellegrinaggio al Santo Sepolcro fa da sfondo a beffe e, nella novella XXIV, ad un episodio di derisione antisemita, presentata come una giusta sanzione di coloro che sono estranei alla «nostra fede». Ciononostante, il protagonista fiorentino, lo spirito della beffa e del motto avvicinano i luoghi lontani alla fiorentinità dalla quale è pervasa la raccolta sacchettiana.Les histoires racontées dans le Trecentonovelle sont caractérisées par la proximité temporelle et spatiale à l’égard du public idéal du recueil, c’est-à-dire le public florentin. Les trames sont liées à la vie quotidienne de l’époque qui est facilement reconnaissable aux yeux des lecteurs contemporains. De nombreuses histoires sont situées à Florence ou en Toscane, et de nombreux protagonistes sont florentins. Vu la nature « florentine » des nouvelles de Sacchetti, une situation en Terre sainte est exceptionnelle et, en effet, parmi les histoires recueillies dans le Trecentonovelle deux seulement y sont situées (X, XXIV). Toutes les deux ont pour protagoniste Dolcibene, un bouffon florentin réellement existé dont le pèlerinage au Saint-Sépulcre est l’arrière-plan des beffe et, dans la nouvelle XXIV, d’un épisode de dérision antisémite, présentée comme une juste punition de ceux qui sont étrangers à « notre foi ». Néanmoins, le protagoniste florentin, l’esprit de la beffa et du mot d’esprit rapprochent les lieux lointains de la nature florentine qui imprègne le recueil de nouvelles de Sacchetti

La ricezione delle opere di Giorgio Bassani in Slovenia

The article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation

« E io scrittore » : stratégies narratives et vérité historique dans le Trecentonovelle de Franco Sacchetti

Dans son recueil de nouvelles, Franco Sacchetti emploie plusieurs stratégies narratives pour persuader son lecteur que les faits narrés sont vrais. Au centre de ces stratégies il y a la présence de l’auteur dans les nouvelles ; il sert en effet d’intermédiaire entre leur thématique et le lecteur. Il y apparaît en tant que protagoniste ou témoin ; il y introduit des personnages qu’il connaît personnellement ; il indique les “sources” de ses nouvelles en déclarant qui les lui a racontées et où il les a entendues ; il précise que les faits narrés sont advenus de son vivant ou récemment ; et finalement, un grand nombre de nouvelles est situé à Florence ou dans ses environs. Les nombreuses stratégies destinées à garantir la véracité des faits narrés et la fréquence de leur emploi témoignent que la prétendue authenticité, combinée à la “nouveauté”, est l’un des éléments essentiels des nouvelles de Sacchetti.Nella sua raccolta di novelle Franco Sacchetti usa varie strategie narrative per convincere il lettore che i fatti narrati sono veri. Al centro di tali strategie c’è la presenza dell’autore nelle novelle; l’autore serve infatti da intermediario tra la loro tematica e il lettore. Vi appare come protagonista o come testimone; introduce personaggi che conosce personalmente; indica le “fonti” delle novelle dichiarando chi gliele ha raccontate e dove le ha sentite raccontare; precisa che i fatti narrati sono avvenuti durante la sua vita o di recente; e infine, numerose novelle sono localizzate a Firenze o nei suoi dintorni. Le numerose strategie ideate per garantire la veracità dei fatti narrati e la frequenza del loro uso indicano che la pretesa autenticità, insieme alla “novità”, è uno degli elementi essenziali delle novelle di Sacchetti

Kako drugače reči "jaz": Prisotnost knjig v delih Prima Levija

Primo Levi’s literary production is extremely varied and cannot be limited to autobiography despite the fact that the author is primarily studied for his autobiographical works. However, his texts related to autobiography show the strongest and most consistent presence of books, which is analyzed in this article. The beginnings of Levi’s writing can be traced to autobiographical motifs. Autobiography, which is present in a considerable part of the author’s work, is particularly connected to essays that often include autobiographical elements. Levi analyzes himself as an author as well as a reader, thus putting into practice the motto of “recognizing, analyzing, and weighing,” derived from his profession as a chemist. As a self-analyzing reader, he is a carrier of abstract notions deriving from previous readings as well as the owner of books intended as concrete objects displayed on his bookshelves. Books are his “soul companions” over various periods of his life and a conspicuous part of luggage on his wanderings through postwar Europe. The clearest image of Levi as a reader is found in The Search for Roots: A Personal Anthology. Levi’s selection of thirty texts by other authors combines depictions of books as concrete objects, literary works, and notions permeated with autobiographical elements. The choice of excerpts, varying from literary to scientific texts, is based mostly on autobiographical motifs. In Levi’s autobiographical texts, books and reading assume an important role in reminiscing and testifying about past events. The author also elaborates on his eclectic reading habits, inherited from his family, as well as on the way he handles books as objects. In his autobiographical narrative, books are given the same attention as other objects, people, and places, often including their titles, a physical description, the circumstances in which the author came into their possession, and the places where he read them. After Levi’s annihilating experience of imprisonment in Auschwitz, reading is also a means of returning to civilization and reacquiring the identity that the concentration camp had every intention of destroying. Levi’s “hybrid” cultura identity includes classics of Italian literature as well as chemistry textbooks, which are both important in creating the roots of the author’s identity within his family as well as within human civilization

Le « pauvre Pétrarque » dans la réflexion poétique de France Prešeren

Cupido! tu e la tua bella vecchia,più non mi prenderete per il naso;gratis non canterò le vostre lodiper sempre, come il povero Petrarca. Dans la littérature slovène, l’influence de Pétrarque se fait sentir relativement tard par rapport aux autres littératures européennes. À l’exception de quelques rares mentions et citations qui paraissent dans les textes slovènes à partir du xvie siècle, la poésie de Pétrarque n’entre dans l’espace culturel slovène que dans la première moitié du xixe siècle..