Dopo l’ultimo terremoto: le politiche per la ripresa, di Domenico Panetta
L’Illusione di De Roberto e i rispecchiamenti di un’eroina tragica, di Dario Stazzone
Abstract: The article highlights the tematic crosspoint of L’Illusione, the novel that, on one hand, picks up some themes from the Ermanno Raeli, De Roberto’s first great novel, on the other it introduceces the so-called cycle of the Uzeda, a family saga that includes I Vicerè and L’Imperio. The main charater of the Illusione is Teresa Uzeda, inspired by Flaubert’s Madame Bovary. The differences from Flaubert’s model are rapresented by Teresa’s passion for literature and the way she gets lost in literary-fiction, in the fantastic overworld that takes the place of reality. Besides the identificational projections of Teresa, the central theme of the mirror and the portrait that are dealt with throughout the entire novel are studied.
Attilio Bertolucci: 1925-1929. Nascita e avvento di «Sirio», di Sebastiano Triulzi
Abstract: This extract is taken from the fifth chapter of Sebastiano Triulzi’s recent monograph Attilio Bertolucci: 1925-1929. Nascita e avvento di «Sirio», devoted to interpretation of Bertolucci’s verses collected in the first book of the young poet intitled Sirio and published in 1934.
L’enciclopedia greca del Tiresia di Giuliano Mesa, di Elisabetta Perissinotto
Abstract: Elisabetta Perissinotto analyzes in this essay the influence of classical Greek literature and, in particular, of Tiresia’s figure in Giuliano Mesa’s verses.
Il resto di nulla. Poesia e fisica dei versi di Roberto Deidier, di Alessandro Gaudio
Abstract: Il resto di nulla is a psychoanalytic study on the poems by Roberto Deidier. The basic idea is that the verses of the poet are measured with an empty space which opposes the form of poetry. It is possible that, in the poetry of Deidier, we can recognize a similarity, a homeomorphism between Innenwelt and Umwelt; this occurs through a kind of window, that’s to say through the shape that it produces in the perceptual field of the poet. In other words, Deidier designates an exemplary structure of the symbolic system, a filter holding his verses and, at the same time, it allows us to define the complex relationship of the individual being with himself and his world.
«Nostra sorella Antigone. Disambientazioni di genere nel Novecento e oltre», di Elena Porciani
Abstract: This extract is taken from the introduction of Elena Porciani’s recent monograph Nostra sorella Antigone (Our sister Antigone), devoted to interpretations and rewritings of Sophocles’ Antigone made by female authors in the last 80 years. In particular, this section is devoted to a methodological overview of the comparative approach of the research.
Abstract: This extract is taken from Martina Neri’s Master’s Degree thesis about Dadaism and illustrates the ideas, the places and the editorial activity of artistic and literary movement born in Switzerland in 1916. At the end of the study, there are three interviews to three expert of Dadaism in Italy, realized by the same author.
Giornalismo nel XXI secolo: i commenti dei lettori online, di Elena Cappiello
Abstract: Elena Cappiello analyzes in this short study the comments written by lectors to the articles published, in the XXIth century, in online journals. She explains how different is this tipology of notes from the letters sent in the past by lectors to redactions of papery magazines and newspapers.
Inediti e traduzione
Abstract: This article represents the second and the last step of the study about the book Sghiribizzi, Gesualdo Bufalino’s selection and translation of Ramon Gomez de la Serna’s greguerías. After reviewing and revealing a certain affinity between the two writers, the work continues to illustrate, through a comment to the introductive Note of Sghiribizzi, the circumstances and the motivations that started the selection and translation of Ramon’s greguerías. In conclusion, by focusing on the translating choices realized by Bufalino, it has been tried to recover both his personal translation theory and especially the traces of our translator’s voice that interlaces inevitably with translated author’s one.
Solo l’amore di Laurence Plazenet, di Claudio Morandini