Suchergebnisse

La poesia delle West Indies si nutre di una tradizione basata sull'oralità, ancora viva nonostante un passato caratterizzato dalle migrazioni oltreoceano, che rappresenta l'arena per un continuo dibattito sociale, storico e politico. In tale contesto, la forma, lo stile e le tematiche affrontate da autori, come la contemporanea Jean 'Binta' Breeze, i quali cercano l'espressione 'perfetta' intrecciando la lingua della loro tradizione, il Jamaican Creole, a quella del loro passato coloniale, lo Standard English. Gli elementi legati alle origini della cultura giamaicana, come la musica reggae e il Rastafarianesimo, si intrecciano all'egemonia, non solo linguistica, dello Standard English, consacrando questo stile poetico come un segmento essenziale della storia della letteratura delle West Indies. Le storie che questa poetessa ci racconta racchiudono le esperienze di molte donne, poetesse e non, che cercano di affermare la loro identità e reclamare un posto nel processo sociale e storico delle società in cui vivono. La Breeze ci guida lungo il processo creativo che conduce all'acquisizione di una consapevolezza culturale e sociale all'interno della tradizione giamaicana, nelle quale i simboli di un passato di oppressione subiti in quanto donna e individuo, assumono un nuovo significato nella ricostruzione della propria identità.

The concomitant subjection of women and animals was denounced as early as 1990 by Carol J. Adams in The Sexual Politics of Meat, where she identified the intersections of discourses that aim at the subjugation of women and animals and censured those practices that animalize women and feminize animals for the better exploitation of both. More recent ecofeminist debates, however, have highlighted women's vindication of animality with the aim to recuperate one's repressed animal nature and rebel against oppressive anthropocentric and androcentric constrictions (Velasco Sesma 2017). This article focuses on contemporary Irish and Galician poetry concerned with the performativity of animality and womanhood in contemporary society and engaged in the emancipation of women and animals from patriarchal oppression. Ireland and Galicia have shared longstanding cultural bonds and, since the 1990s, have experienced a conspicuous accession of women writers who have participated in the feminist and environmental debates of their respective communities. This article exposes the intersecting discourses and practices that subdue animals and women, as evinced in contemporary Irish and Galician writing, and shows how poetry can become a locus of resistance and woman-animal complicity in the struggle for mutual emancipation.

My reflections start from the principle that philosophy and poetry, far from being opposed, find in Weil's essentially poetic writing a point of conjunction and of tension that free their potentiality exponentially. At the root of Weil's poetry, the thinking that inspires it condenses a theoretical reflection that interacts where aesthetics, ethics, politics and religious tension cross, so that the Beautiful cannot be dissociated from the Good and the Just, in the same way as the Natural only can open up to the Supernatural. ; My reflections start from the principle that philosophy and poetry, far from being opposed, find in Weil's essentially poetic writing a point of conjunction and of tension that free their potentiality exponentially. At the root of Weil's poetry, the thinking that inspires it condenses a theoretical reflection that interacts where aesthetics, ethics, politics and religious tension cross, so that the Beautiful cannot be dissociated from the Good and the Just, in the same way as the Natural only can open up to the Supernatural. ; My reflections start from the principle that philosophy and poetry, far from being opposed, find in Weil's essentially poetic writing a point of conjunction and of tension that free their potentiality exponentially. At the root of Weil's poetry, the thinking that inspires it condenses a theoretical reflection that interacts where aesthetics, ethics, politics and religious tension cross, so that the Beautiful cannot be dissociated from the Good and the Just, in the same way as the Natural only can open up to the Supernatural.

Il titolo di questo lavoro, prendendo spunto da un verso tratto dalla raccolta La Beltà e alludendo a una mancanza («lacune di luogo»), intende darsi come dimostrazione di quella idea di negatività messa in luce da Agamben. Sin da subito, quando si studia la poesia di Andrea Zanzotto, ci si trova a dover affrontare una vera e propria topologia dell'irreale, che rende vani i tentativi di impiegare categorie come quelle di Natura o di paesaggio, da sempre considerati peraltro come i topoi prediletti dal poeta. Se da una parte Zanzotto dichiara costantemente l'inappropriabilità della "Cosa", sia essa il paesaggio o l'essenza della lingua, dall'altra egli si ostina ad indicare la presenza di un reale non pienamente assimilabile al linguaggio. ; As exemplified by recent works (Contro le radici; Rootedness; The philosopher's plant), the image of the root recurs very often in contemporary metaphorology. This figure is used not only in politics in order to communicate a relationship between culture and groundedness, but also in other fields. More precisely, the vegetal metaphor is a paradigm through which contemporary philosophers and writers depict the relation between man and the world. This inquiry starts from Heidegger's stance. According to him, a valuable work of art has to be rooted in the native land of the artist. The aim of this work is to highlight the controversial aspects of this statement through the work of Andrea Zanzotto. Although he is the most "rooted" poet in Italian literature, his poetics is related to a philosophical questioning that leads to doubt of the interdependence between authenticity and groundedness. Therefore, the discovery of a reality without any center is reflected by peculiar images and figures. The lexicon used to describe is very close to the botanical and geological metaphors used by philosophers like Deleuze, Guattari, Glissant. Thanks to a methodology founded on phenomenology and aesthetics, this survey wants to offer a new interpretation of Zanzotto's poetry and prose.

The paper analyses the corpus of Dante's lyric poetry proposing to place his moral songs on a theoretical level not necessarily directly connected to Dante's political involvement before the exile. Finally, the paper assumes a link between Dante' theory of nobility and contemporary debates about the selection of the municipal Podestà. ; Il saggio analizza il corpus delle Rime di Dante proponendo di collocare le canzoni di argomento morale su un piano teorico non necessariamente connesso in maniera diretta alla partecipazione politica prima dell'esilio. Si ipotizza infine un legame tra la teoria dantesca della nobiltà e i dibattiti coevi sulla selezione dei podestà comunali.

This paper proposes an initial investigation of the poems written by Eduard Limonov. The latter, in fact, is a very well-known novelist and challenging political figure, but few studies have considered his poetry. This research will hence explore to what extent Limonov's poetry reflects that of his model, Velemir Khlebnikov, as well as the features of Oberiuty's production (from Harms and Vvedensky, to Oleynikov and Zabolotsky). Finally, this paper also underlines the undisputed originality that characterizes the case study under examination.

This paper discusses firstly, the poetical space of celebrated American poet Adrienne Rich who died in March 2012, at the age of 82. The analysis focuses on Rich's complex figurations of female subjectivity as well as on her nuanced positions in relation to the public role of the poet today. Rich's attention to the political dimension did not exclude intimate reflections on personal relationships and on their modalities. In this respect her poetry is close to another important lesbian author, the poet laureate Coral Ann Duffy. In The World's Wife (1999), Carol Ann Duffy presents thirty sketches of famed men from both history and mythology by their wives. Each wife extols or criticizes her own husband in a combination of sarcasm and sentimentalism, with peaks of extreme bitterness and self-pity. Such singular and irreverent feminine versions show a series of references to the animal world. As a matter of fact, Duffy creates a downright vast and varied bestiary, which focuses on the problematic association between the female and the animal body. The aim of this essay is to explore the multiple possibilities of representation and placement of the human body in the space, through the lenses of ecocriticism and posthumanism. ; Questo saggio esamina, in primo luogo, lo spazio poetico della famosa autrice americana Adrienne Rich, morta nel marzo 2012 all'età di 82 anni. L'analisi si concentra sulle complesse figurazioni della soggettività femminile nella sua poesia e considera anche le posizioni di Rich in relazione al ruolo del poeta nella contemporaneità. L'attenzione di Rich alla dimensione pubblica non esclude una riflessione sui sentimenti più intimi che riguardano la sfera interpersonale e i rapporti amorosi. Questo l'avvicina ad un'altra nota autrice lesbica, il poeta laureato Coral Ann Duffy. In La moglie del mondo (The World's Wife, 1999) Carol Ann Duffy presenta trenta ritratti di mogli di uomini celebri della storia ma anche della mitologia. Ciascuna moglie celebra o depreca il proprio consorte in una combinazione di sarcasmo e romanticismo che, in alcuni casi, raggiunge punte di estremo cinismo e autocommiserazione. Queste versioni muliebri inedite e dissacratorie presentano una serie di rimandi al mondo animale. L'autrice, infatti, dà vita a un vero e proprio bestiario che, nella sua varietà e vastità, porta al centro dell'attenzione la problematica associazione tra il corpo femminile e quello animale. La finalità di questo articolo è l'investigazione delle molteplici possibilità di rappresentazione e collocazione del corpo umano nello spazio, analizzate attraverso una prospettiva ecocritica e postumana.

Il presente progetto di ricerca, nato inizialmente con l'obbiettivo d'individuare in che modo e in che misura, i testi teatrali del drammaturgo e comico dell'Arte Giovan Battista Andreini, detto Lelio, figlio d'Isabella e Francesco, anche loro attori e letterati d'alto livello, risentirono dell'influenza del mondo dei coevi teatri in musica, dall'intermedio al balletto, si è progressivamente evoluto, divenendo, ben presto, uno studio sulle modalità compositive sperimentali dell'Andreini, dove, in verità, la dimensione del sonoro e la manipolazione dell'elemento musicale, non furono altro che uno dei vari aspetti di suddetta poetica dell'innovazione. Analizzando dunque, minuziosamente, tutte le pièce andreiniane e contestualizzandole, di volta in volta, nel composito panorama sociale, politico e culturale, della prima metà del XVII secolo, in Italia come in Francia, giacché egli lavorò in entrambi gli stati con una certa regolarità - per questo motivo le ricerche sul campo si sono equamente ripartite tra i due paesi - si è giunti a ricostruire, nel dettaglio, quel tessuto, variegato e multiforme, di legami ed influenze, caratterizzato dalla perpetua pulsione alla sperimentazione, esistente tra l'universo performativo barocco e quello che può considerarsi uno dei più alti esponenti della commedia dell'Arte italiana dell'epoca, ridisegnando così i confini di una carriera interamente votata al Teatro e durata più di mezzo secolo. ; This study, at the beginning, had as principal purpose to analyze the interconnections between dramatic works of the playwright and actor, Giovan Battista Andreini, and the different types of theatres for music of baroque age. But, when the research work is started, the original objective, soon, is change. In fact, it's appear clear that the music dimension in Andreini's plays was, in truth, a manifestation of his great desire of innovation. So, the music prospective has become the best way to put in the right light the dramatic experimentalism of this playwright, one of the most important for the history of Commedia dell'Arte and Italian literature, and to discovered many, unknown, aspects of his poetry and personal philosophy. The Andreini's plays was investigated to contextualize them in the Italian and French spectacular societies of Seventeenth century, because Giovan Battista had spent long periods of his career, besides his own country, also in Paris, working at the court of Maria de' Medici and his son, Luigi XIII.

L'obiettivo del presente elaborato è proporre uno studio critico della poesia contemporanea saharawi in spagnolo (dal 1972 a oggi), elaborando un modello di analisi trasversale di un corpus di testi che insiste sull'osmosi tra l'esperienza autobiografica del poeta e l'esperienza collettiva – all'origine della nascita della coscienza identitaria – dell'intero popolo saharawi. Per raggiungere questo obiettivo, si sono posti i seguenti obiettivi specifici: (1) contestualizzare il fenomeno definendone le dinamiche storico-politiche, antropologiche e culturali; (2) stabilire le basi teoriche della proposta di modello di analisi della produzione poetica contemporanea saharawi in spagnolo; (3) applicare il suddetto modello di analisi a una selezione di testi rappresentativi, selezionati da volumi monografici e antologici. L'elaborato combina quindi uno studio descrittivo-concettuale con uno di taglio empirico-sperimentale, approfondendo, in un primo momento, le dinamiche storico-antropologiche, politiche, linguistico-culturali che definiscono l'identità saharawi per poi, a seguire, articolare la proposta di modello di analisi del corpus. Tale modello, combinando gli studi di Analisi Critica del Discorso e di linguistica pragmatica ed avvalendosi trasversalmente degli strumenti di analisi informatizzata del corpus, mira a far leva sulle manifestazioni discorsive della natura polifonica dell'io poetico saharawi e sul tentativo di riscrittura di una biografia collettiva ─ o multi-biografia ─ che si colloca al margine tra autobiografia e autofinzione. Il complesso macro-concetto di identità è quindi declinato su più approcci e discipline. Nel caso specifico del popolo saharawi comporta una riflessione ancor più complessa, ascrivibile alle tappe e agli spazi della colonizzazione, dell'occupazione, dell'esilio algerino e della diaspora e a tre accezioni: l'identità nazionale, politica e l'identità linguistico-culturale. In tal senso, la poesia contemporanea saharawi in spagnolo si fa portavoce delle istanze dell'intero popolo saharawi rivendicandone l'identità nazionale e fungendo da ponte tra le aspirazioni del singolo e le aspirazioni comunitarie, assurgendo a strumento di auto-riconoscimento e resistenza intima e sociale. ; The goal of this dissertation is to propose a critical study of contemporary Sahrawi poetry in Spanish (from 1972) by elaborating a corpus-based analytical model which insists on the osmosis between the poet's autobiographical and the collective experiences of the Sahrawi people, the latter being considered as the basis of identitarian consciousness. To achieve this main goal, the following specific objectives have been accomplished: (1) the contextualization of the phenomenon by defining its historical-political, anthropological and cultural dynamics; (2) the definition of the theoretical bases of the corpus-based analytical model; (3) the application of the analytical model to a selection of representative texts from monographs and anthologies. Thus, the present dissertation combines a descriptive conceptual approach with an empirical experimental focus: first, by deepening the historical, anthropological, political, linguistic and cultural dynamics that define the Sahrawi identity, second by developing the corpus-based analytical model. The latter aims to trace the discursive manifestations of the polyphonic nature of the poetic I in its attempt to rewrite a collective biography (multi-biography) that switches between autobiography and autofiction. This is done mainly by integrating the Critical Discourse Analysis with the pragmalinguistic approach and by using some corpus linguistics tools. The complex macro-concept of identity has therefore been implemented in several approaches and disciplines. In the specific case of the Sahrawi people identity entails an even more complex reflection on the stages and spaces of the colonization, the occupation, the Algerian exile and the diaspora. Moreover, within this context, identity also comprehends three different meanings: the national identity, the political identity and the cultural identity. In this sense, Sahrawi's contemporary poetry in Spanish becomes the mouthpiece of the Sahrawi people, claiming their national identity as a bridge between intimate and communitarian aspirations, ultimately providing a tool for both intimate and communitarian self-recognition and resistance.

The Ancient Cemetery of the Lido in Venice was built in 1386: due to its favorable location just across the lagoon, the cemetery was occasionally used for defensive and military purposes. Many tombstones were lost, destroyed or reused, others were moved to a more internal area of the lagoon, which in 1774 became the official cemetery known as "New Cemetery". Venetian tombstones are artifacts rich in history, poetry and art. Their study allows us not only to rebuild the lives and the fortunes of the community members, but also to detect meaningful aspects of the literary and artistic culture of that time. This work is a catalogue of all the 1240 tombstones incorporated in the "Ancient" cemetery of the Lido. Each gravestone presents an analysis of the architectural style of the tombs as well as the kind of stone used and an assessment of his condition, a description of the coat of arms if engraved on the stone, a paleographic analysis of the writing, a note about the poetic and grammatical features of the text and a historical commentary detailing any relevant information found in the community death records. Transcriptions and translations of the epitaphs from Hebrew to Italian have been also added for 410 tombs. This analysis is supplemented with a detailed study of the history of the cemetery and the Jewish community of Venice, as well as the poetry of epitaphs, the paleography and art. This last topic has been further explored through an architectural analysis of the tombstones and a study on the Hebrew heraldry in light of the emblems engraved on the stones of the Venetian cemetery. ; L'ancien cimetière du Lido de Venise a été construit en 1386. En raison de son emplacement favorable, juste en face de la lagune, le cimetière était parfois utilisé à des fins défensives et militaires. De nombreuses pierres tombales ont été perdues, détruites ou réutilisées, d'autres ont été déplacées vers une zone plus interne de la lagune, qui est devenue en 1774 le cimetière officiel connu sous le nom de «Nouveau cimetière». ...

Pt. 1. Sofocle. Edipo re tragedia.--Pt. 2. Omero, Inno a Cerere Tirteo, Cantici militari I-III. Calino, Cantico militare. Erinna, Ode alla fortezza. Anacreonte, Ode, il nido degli amori. Euripide, Andromaca dinanzi al simulacro di Tetide. Fanocle, Elegia su la morte d'Orfeo. Pindaro, Su L'eclissi del sole. Teocrito, Idillj Il Caprajo, L'epitalamio di Elena. Meleagro, Idillio su la primavera. Alessandro Etolio, Vaticinio di Apollo. Teeteto, Idillio su la primavera. ; Mode of access: Internet.

The Ancient Cemetery of the Lido in Venice was built in 1386: due to its favorable location just across the lagoon, the cemetery was occasionally used for defensive and military purposes. Many tombstones were lost, destroyed or reused, others were moved to a more internal area of the lagoon, which in 1774 became the official cemetery known as "New Cemetery". Venetian tombstones are artifacts rich in history, poetry and art. Their study allows us not only to rebuild the lives and the fortunes of the community members, but also to detect meaningful aspects of the literary and artistic culture of that time. This work is a catalogue of all the 1240 tombstones incorporated in the "Ancient" cemetery of the Lido. Each gravestone presents an analysis of the architectural style of the tombs as well as the kind of stone used and an assessment of his condition, a description of the coat of arms if engraved on the stone, a paleographic analysis of the writing, a note about the poetic and grammatical features of the text and a historical commentary detailing any relevant information found in the community death records. Transcriptions and translations of the epitaphs from Hebrew to Italian have been also added for 410 tombs. This analysis is supplemented with a detailed study of the history of the cemetery and the Jewish community of Venice, as well as the poetry of epitaphs, the paleography and art. This last topic has been further explored through an architectural analysis of the tombstones and a study on the Hebrew heraldry in light of the emblems engraved on the stones of the Venetian cemetery. ; L'ancien cimetière du Lido de Venise a été construit en 1386. En raison de son emplacement favorable, juste en face de la lagune, le cimetière était parfois utilisé à des fins défensives et militaires. De nombreuses pierres tombales ont été perdues, détruites ou réutilisées, d'autres ont été déplacées vers une zone plus interne de la lagune, qui est devenue en 1774 le cimetière officiel connu sous le nom de «Nouveau cimetière». Les pierres tombales vénitiennes sont des artefacts riches en histoire, en poésie et en art. Leur étude nous permet non seulement de reconstruire la vie et les événements des membres de la communauté, mais également de détecter des aspects significatifs de la culture littéraire et artistique de l'époque. Cet ouvrage est un catalogue de toutes les 1240 pierres tombales incorporées dans le cimetière «Ancien» du Lido. Chaque fiche présente une analyse du style architectural des tombeaux ainsi que le type de pierre utilisé et son état de conservation, une description du blason gravé sur la pierre, une analyse paléographique de l'écriture, une note sur les caractéristiques poétiques et grammaticales du texte et un commentaire historique avec les information trouvées dans les registres de morts de la communauté. Les transcriptions et les traductions des épitaphes de l'hébreu à l'italien ont également été ajoutées pour 410 tombeaux. Cette analyse est complétée par une étude détaillée de l'histoire du cimetière et de sa communauté, ainsi que de la poésie des épitaphes, de la paléographie et de l'art. Ce dernier sujet a été approfondi par une analyse architecturale des pierres tombales et une étude inédite sur l'héraldique juive.