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Studying the way a writer is represented in his relationship to history allows us to analyse the stakes of a return of history within fiction, along with an author's referential will, without witnessing any coming back of a demiurgic author or of a purely referential literature. The question, then, is to find out how Imre Kertész and Antonio Tabucchi combine fictionalization of history with fictionalization of the writer by emphasizing the links between literature and politics and by relying upon the reader's role in the elaboration of the meaning, in order to give rise to a responsibility of writers for oblique representation and testimony. In all the narrations, the disasters of the XXth century are recurrent in a ghostly manner and then the definition of a poetics of disquiet constitutes the pivot between the reader's responsibility and the authors' in order to lead to responsible literature. ; Étudier la représentation de l'écrivain dans son rapport à l'Histoire permet d'analyser les enjeux d'un retour de l'Histoire dans la fiction, accompagné d'une volonté auctoriale référentielle, sans retour d'un auteur démiurge ou d'une littérature purement référentielle. Il s'agit alors d'analyser comment Imre Kertész et Antonio Tabucchi conjuguent fictionnalisation de l'Histoire et fictionnalisation de l'écrivain en privilégiant les liens entre littérature et politique, et en s'appuyant sur la place du lecteur dans la construction du sens afin de déterminer une responsabilité des écrivains, dans l'oblicité de la représentation et du témoignage. Les désastres du XXe siècle font retour de manière spectrale dans les récits et la définition d'une poétique de l'inquiétude constitue alors le pivot entre la responsabilité du lecteur et celle des auteurs, pour l'émergence d'une littérature responsable.

Studying the way a writer is represented in his relationship to history allows us to analyse the stakes of a return of history within fiction, along with an author's referential will, without witnessing any coming back of a demiurgic author or of a purely referential literature. The question, then, is to find out how Imre Kertész and Antonio Tabucchi combine fictionalization of history with fictionalization of the writer by emphasizing the links between literature and politics and by relying upon the reader's role in the elaboration of the meaning, in order to give rise to a responsibility of writers for oblique representation and testimony. In all the narrations, the disasters of the XXth century are recurrent in a ghostly manner and then the definition of a poetics of disquiet constitutes the pivot between the reader's responsibility and the authors' in order to lead to responsible literature. ; Étudier la représentation de l'écrivain dans son rapport à l'Histoire permet d'analyser les enjeux d'un retour de l'Histoire dans la fiction, accompagné d'une volonté auctoriale référentielle, sans retour d'un auteur démiurge ou d'une littérature purement référentielle. Il s'agit alors d'analyser comment Imre Kertész et Antonio Tabucchi conjuguent fictionnalisation de l'Histoire et fictionnalisation de l'écrivain en privilégiant les liens entre littérature et politique, et en s'appuyant sur la place du lecteur dans la construction du sens afin de déterminer une responsabilité des écrivains, dans l'oblicité de la représentation et du témoignage. Les désastres du XXe siècle font retour de manière spectrale dans les récits et la définition d'une poétique de l'inquiétude constitue alors le pivot entre la responsabilité du lecteur et celle des auteurs, pour l'émergence d'une littérature responsable.

Questo articolo analizza la descrizione delle opere d'arte a carattere politico come topos nel filone della letteratura italiana degli anni '50-'70 di argomento risorgimentale. Al di là della componente estetica dell'arte nell'arte, si evidenzia a partire da un campione di due romanzi (Piazza d'Italia di Tabucchi e Le armi, l'amoredi Tadini) le valenze profonde e ideologiche che le descrizioni veicolano, e la loro importanza nell'economia del racconto.

We intent to elaborate a new definition of the "engagement littéraire" concept, confronting it to two specific periods (in the aftermath of World War II and at the end of the Twentieth century, after the fall of the Berlin Wall) and based on a corpus of French and Italian novelists: A. Camus, J.-P. Sartre, I. Calvino and E. Vittorini for the first covered period; P. Modiano, O.Rolin, A. Volodine, E. De Luca and A. Tabucchi for the second one. We are proposing a new definition of "engagement littéraire" since we are considering it in a new light which is tightly connected with the so-called notion of regime of historicity, introduced by François Hartog. Our hypothesis is that the novelist's engagement does not rely on a political content or a demonstrative style, but consists mainly in the way the novel itself reflects and puts into question its own situation in History and its connection with History. Therefore, the "roman engagé", which should not be mistaken with the thesis novel, should be associated with the modem regime of historicity, itself based on the conception of a linear and progressive History that turns toward the future. Moreover, contemporary novels should be inscribed within a new temporal regime, called "présentiste", in which the present and the sense of a debt to the past (of remembrance) and to the future (of a patrimony to preserve and to pass on) predominate. In both cases, the novels collected in our corpus lead to a problematization of the regimes of historicity, more than to a simple reproduction of them. ; Nous proposons de redéfinir la notion d'engagement littéraire en la mettant à l'épreuve de deux périodes historiques distinctes - les années suivant la fin de la Seconde Guerre mondiale et la fin du 20ème siècle, après la chute du mur de Berlin - et en prenant appui sur un corpus de romans d'auteurs français et italiens: A. Camus, J.-P. Sartre, I. Calvino, V. Pratolini, E. Vittorini pour la première période; P. Modiano, O. Rolin, A. Volodine, E. De Luca et A. Tabucchi pour la ...

In the present paper we focus on the comparison between medical language present in the narrative of some Italian writers: Antonio Tabucchi, Umberto Eco, Oriana Fallaci, Elena Ferrante, Dino Buzzati and fragments of medical reports that deal with the respective medical problems observed in the analysed novels/short stories: Il tempo invecchia in fretta, La misteriosa fiamma della regina Loana, Il cappello pieno di ciliege, La storia del nuovo cognome, Sette piani.With the comparative analysis of stylistically distant passages, we intend to indicate common points in the use of the Italian medical language both in the scientific and literary fields, as well as identify divergent linguistic aspects in the representations of this reality. We also intend to demonstrate the need to understand various narrative modes at different levels of specialized language.Despite different narrative modes, the essence of the phenomenon itself is not lost. There is also a common space in which meet various representations of the subjective truth that exists regardless of the language.

We intent to elaborate a new definition of the "engagement littéraire" concept, confronting it to two specific periods (in the aftermath of World War II and at the end of the Twentieth century, after the fall of the Berlin Wall) and based on a corpus of French and Italian novelists: A. Camus, J.-P. Sartre, I. Calvino and E. Vittorini for the first covered period; P. Modiano, O.Rolin, A. Volodine, E. De Luca and A. Tabucchi for the second one. We are proposing a new definition of "engagement littéraire" since we are considering it in a new light which is tightly connected with the so-called notion of regime of historicity, introduced by François Hartog. Our hypothesis is that the novelist's engagement does not rely on a political content or a demonstrative style, but consists mainly in the way the novel itself reflects and puts into question its own situation in History and its connection with History. Therefore, the "roman engagé", which should not be mistaken with the thesis novel, should be associated with the modem regime of historicity, itself based on the conception of a linear and progressive History that turns toward the future. Moreover, contemporary novels should be inscribed within a new temporal regime, called "présentiste", in which the present and the sense of a debt to the past (of remembrance) and to the future (of a patrimony to preserve and to pass on) predominate. In both cases, the novels collected in our corpus lead to a problematization of the regimes of historicity, more than to a simple reproduction of them. ; Nous proposons de redéfinir la notion d'engagement littéraire en la mettant à l'épreuve de deux périodes historiques distinctes - les années suivant la fin de la Seconde Guerre mondiale et la fin du 20ème siècle, après la chute du mur de Berlin - et en prenant appui sur un corpus de romans d'auteurs français et italiens: A. Camus, J.-P. Sartre, I. Calvino, V. Pratolini, E. Vittorini pour la première période; P. Modiano, O. Rolin, A. Volodine, E. De Luca et A. Tabucchi pour la seconde. Il s'agit bien d'une redéfinition dans la mesure où nous envisageons l'engagement littéraire sous un angle nouveau, en rapport étroit avec la notion de « régime d'historicité », empruntée à François Hartog. Notre hypothèse est que l'engagement de l'écrivain se manifeste non pas dans le contenu politique de l'oeuvre ou son caractère assertif et démonstratif, mais principalement dans la manière dont le texte réfléchit, au sens fort et polysémique du terme, son inscription dans et son rapport à l'histoire. Dans cette perspective, le roman engagé, qu'il convient de distinguer du roman à thèse, serait à penser en lien étroit avec le régime moderne d'historicité, fondé sur la conception d'une histoire linéaire, progressive, orientée vers l'avenir. Les romans contemporains, eux, s'inscriraient dans le régime « présentiste », dominé par le présent et traversé par le sentiment d'une double dette à l'égard du passé (devoir de mémoire) et du futur (un héritage à préserver et à transmettre). Dans les deux cas, c'est moins à une reconduction qu'à une problématisation des régimes d'historicité que se livrent les oeuvres étudiées, qui s'attachent à en révéler les failles ou les excès.

In a recent paper, Romano Luperini claimed that contemporary Italy is currently undergoing a transition from a literature about the crisis (the literature of the first postmodernist generation of Eco and Tabucchi) to a crisis of literature. According to the critic, the causes of this phenomenon reside in several factors: globalisation, the contamination of Italian literature with other types of media (cinema, television, journalism and advertising), the weakening of literature's own identity, the lack of a true political and social engagement and the disappearing of a "literary civilization based on the value and the sacrality of literature" (Luperini 2015). If this is true, how should we interpret the rise of a new Italian literary production that aims at recounting the economic crisis from the 2000s onwards? From Michela Murgia to Aldo Nove, from Giuseppe Falco to Mario Desiati, in the last twenty years Italian fiction has tried to retell the nation's economic crisis, the precariousness of labour and the new forms of alienation in the workplace. Contrary to what one would expect, these literary works did not always succeed in giving a convincing representation of the historical time they wanted to describe. In this paper, through the analysis of two works belonging to this literary corpus – "Perciò veniamo bene nelle fotografie" by Francesco Targhetta and "Ci meritiamo tutto" by Danilo Masotti – I will retrace what is achieved and what is not in these two novels, which though different in style, share the same aim: to describe a betrayed generation that has been caught by surprise by an intermittent or alienating world of work, and appears always suspended between an attempt to resist and a temptation to surrender.