Suchergebnisse

L'opera storiografica di Floro è sempre stata considerata una sintesi della più ampia narrazione di Livio, sebbene riorganizzata in funzione di una maggiore efficacia narrativa all'interno di una visione "biologica" della storia. Il racconto, tuttavia, è costruito attraverso una serie di strategie che l'autore stesso sintetizza nella praefatio, dove dichiara di voler operare come "coloro che dipingono i luoghi della terra", comunicando così al lettore l'adozione di una precisa scelta di metodo. L'analisi di questo testo dimostra infatti che, anche sacrificando l'esattezza del dato storico, la cura dell'autore è rivolta a rendere la storia di Roma dalle origini ad Augusto un percorso coerente che giustifichi l'impero, "visibile" attraverso un criterio narrativo "evolutivo" tracciato dai passaggi delle diverse aetates, ma anche "geografico", in linea con la politica espansionistica romana. L'unica interruzione è costituita dal racconto delle guerre civili accorpate per esigenza di chiarezza tutte nel secondo libro, dall'età dei Gracchi in poi, con una nuova strategia, che infrange l'andamento cronologico a tutto vantaggio di una sofferta riflessione etica. Il volume evidenzia anche le specifiche soluzioni formali adottate nel corso del racconto: la metafora, l'intervento diretto dell'autore che commenta fatti e personaggi o inserisce domande ed esclamazioni creano una sintesi originale di storia e retorica, finalizzata ad ottenere il consenso del lettore, sull'onda dei meccanismi declamatori fortemente sedimentati in un testo a cui va restituito il giusto valore letterario.

L'opera storiografica di Floro è sempre stata considerata una sintesi della più ampia narrazione di Livio, sebbene riorganizzata in funzione di una maggiore efficacia narrativa all'interno di una visione "biologica" della storia. Il racconto, tuttavia, è costruito attraverso una serie di strategie che l'autore stesso sintetizza nella praefatio, dove dichiara di voler operare come "coloro che dipingono i luoghi della terra", comunicando così al lettore l'adozione di una precisa scelta di metodo. L'analisi di questo testo dimostra infatti che, anche sacrificando l'esattezza del dato storico, la cura dell'autore è rivolta a rendere la storia di Roma dalle origini ad Augusto un percorso coerente che giustifichi l'impero, "visibile" attraverso un criterio narrativo "evolutivo" tracciato dai passaggi delle diverse aetates, ma anche "geografico", in linea con la politica espansionistica romana. L'unica interruzione è costituita dal racconto delle guerre civili accorpate per esigenza di chiarezza tutte nel secondo libro, dall'età dei Gracchi in poi, con una nuova strategia, che infrange l'andamento cronologico a tutto vantaggio di una sofferta riflessione etica. Il volume evidenzia anche le specifiche soluzioni formali adottate nel corso del racconto: la metafora, l'intervento diretto dell'autore che commenta fatti e personaggi o inserisce domande ed esclamazioni creano una sintesi originale di storia e retorica, finalizzata ad ottenere il consenso del lettore, sull'onda dei meccanismi declamatori fortemente sedimentati in un testo a cui va restituito il giusto valore letterario.

Artistic and vital experience of lack of communication, that of Felisberto Hernández (Montevideo 1902-1964), is, above all, a conjectural reflection of loneliness, as an uprooting of the sublime, and unfinished manifestation of the resounding human and aesthetic, existential and ethical failure , from which he is quick to update the readings, a group of his passionate readers, friends of his literature, dazzled day after day by those great lies that reveal the most authentic truths, which are those narrated by the great Montevidean. Eager to update the reading from the perspective of half a century that has elapsed between his definitive concealment of the world of mortals, a demonstration that Felisberto's desire to be nothing, not to represent anyone, is perhaps the most trivial way and dense, more authentic and legal, of being and being in the world. This certainty led him to invent narratives with a single objective: to unveil, reveal and fabricate the world into lasting aesthetic facts. So durable that today they move to unpublished interpretations and readings such as those presented in this book, by writers, critics and academics invited by the Universities of Milan and Bergamo convened by the funambelesque and wise occurrences of Felisberto. To invent with him how, unintentionally or unknowingly, he altered perception and vision, unleashed the subconscious, tortured the unconscious, sharpened the irreversibility of logic, misrepresented his city and being. By making the invisible visible, freeing the mind from the cage of the real, which is frightening and not marvelous, as much as despair and the abyss, and with the humor of the blackest, Felisberto subverted the unnatural order of things. And he managed to renew his only and most authentic truth: poetry: the most useful and versatile instrument to remember, to stop, today, the advance of vulgarity and obscenity of neo-liberal in-culture.

The relationship of Elio Vittorini with his own novel Uomini e no (Bompiani, 1945) was undoubtedly problematic and characterized by continuous second thoughts and revisions. This volume explains the reasons for the complex relationship between author and text, starting from the first moments of the genesis of the novel, documented by unpublished autograph papers, preserved in the Elio Vittorini Fund of the Apice Center of the University of Milan and studied here for the first time, together with the editorial materials of the first edition. The reconstruction of the further transformations of the text is testified then by the successive prints and by other unpublished archival documents that explain the literary and editorial project. The path traced therefore covers a chronological span from 1944 to 1966 - the year of the author's death and the last edition due to his will - and tells what were the poetic, ethical and political reasons that initiated the writing of the novel and that have motivated the successive continuous re-elaborations. The close analysis of textual materials allows us to enter the author's writing workshop, to explain the radical changes for the second edition of 1949, and then conclude on the revisions made for the last Mondadori editions of 1965 (Oscar) and 1966 (I Storytellers). The diachrony of a novel, to tell a crucial stage of the literary work of Elio Vittorini and to re-read the critical judgments on Men and no starting from the historical and philological authenticity of the text.

The present monograph focuses on the history of Italian literature and language in Austria's Habsburg past, covering the period from the Peace of Campoformido between Napoleon and Francis II in 1797 to the end of the Habsburg monarchy in 1918. The study reveals that Italian court poetry was amazingly alive in the 19th century as it gradually had been adapted to the changes in the fields of politics, society, and the press. After analyzing the end of the golden era of Italian poetry in Austria, the author presents Archduchess Maria Beatrice d'Este and her literary circle. She was the last patroness of Italian artists and poets and kept up the old-style tradition of court poetry until her death in 1829. During the 19th century, however, this tradition faced an ever increasing popularization, with Italian language books and instruction getting more and more common. The Italian language was never discriminated against in the Habsburg monarchy. On the contrary, it was even extensively taught at universities because officials with a good command of Italian were needed both in the federal government and in the Italian regions of the monarchy. Moreover, the Habsburgs' language policy favored the publication of quality papers and literary magazines in Italian. The study also deals with Italian school books and anthologies for schools in the Italian parts of the monarchy, which were usually written and published in Vienna. In the last part of this chapter, records of the future Emperor Franz Joseph's Italian instruction are presented and analyzed on the basis of archive materials. Anachronistically, court poetry survived the 1848/1849 revolution and continued until World War I. The Emperor was popularized in jubilee editions, newspapers, and ceremonies, but also in the Italian poetry which was no longer of high quality, but still instrumental in presenting Franz Joseph as the "father of the nation".

Towards the end of the 20th century the Italian literature created outside Italy finally started to receive proper attention, because research began to focus on the socio-cultural analysis of the different forms of internal and external postcolonialism. As a result, both imperialism and nationalism are seen as responsible for phenomena of cultural alienation in many territories outside as well as inside the national borders of the country and are exposed as ideological constructs. Nevertheless research still neglects the one undoubtedly outstanding region in the production of Italian literature outside Italy, i.e. Austria, more precisely the territories of the Habsburg Monarchy, where for nearly 500 years - from early Humanism to the First World War - the tradition was the richest in quantity as well as in quality. This first part of a comprehensive history of the Italian literature created in Austria for an Austrian public has been written with the intention of filling this gap. The unique position the Italian language held at Vienna's imperial court at least from the middle of the 17th to the middle of the 18th century is well known: Italian was not only an official language for the purpose of representation, it also served as a vehicle of cultural communication in the inner circle of the imperial family. The numerous political connections between the House of Habsburg and the ruling Italian dynasties are a major reason for the manifold cultural transfers between the Austrian territories and the Italian States. The great number of strategic marriages led to intense cultural as well as economical relations, which obviously did result in occasional implications in territorial conflicts and in military alliances not always favorable to the mutual understanding. As a consequence of the above mentioned economical and dynastical connections the Habsburgs often intervened politically in Italy, first in the Early Modern Period, especially during the reigns of Charles V and Ferdinand I. Two centuries later, the Habsburg administration of the Kingdom of Naples (1707-1734) as well as of Lombardy during most of the 18th century (1714-1797) was decisive for the continuation of those interchanges, which ended however, when the Italian movement of unification began to create a totally new situation. Humanism, baroque and enlightenment, three currents which are amply discussed in the present volume, could more easily expand from Italy to Austria because of the before described dynastical connections and they established themselves still deeper because of the immigration or the long stays of Italian authors in the cultural centers of the Austrian monarchy, first of all of course in Vienna. Not surprisingly however, we possess so far only an inadequate and unsystematic documentation of the activities and literary productions of the great majority of those authors: As is well known, the 19th century created a nationalistic base for literary studies, a view which still for a long time influenced the 20th century for a long time. The Italian authors working and publishing in Austria did so in their own language, but in a foreign country and for a foreign sovereign. For this reason they obtained practically no attention in Austrian literary studies, because there works were not composed in the national language, and their appearance in Italian studies is all but nonexistent because they made no direct contribution to the national literary tradition.

This volume sheds light on the nexus between knowledge and literature. Arranged historically, contributions address both popular and canonical English and US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making.