Indice del fascicolo 34: 25 agosto 2020

Editoriale

Andrea Camilleri da “caso” a “fenomeno” letterario: altre prospettive, di Maria Panetta e Giuseppe Traina

Letture critiche

Camilleri e Mucci: incontro fra due poeti. Una testimonianza, di Alberto Alberti

Abstract: Andrea Camilleri and Velso Mucci passed trought very different cultural roads, but in 1950 the life accidents let them meet for a letterary competition for young authors, the Olympics of Culture of Genoa. From the jury, chaired by the critic Debenedetti, with the philosopher Galvano Della Volpe, the poet Mario Socrate, others, and also Mucci on the top of his cultural activity . The jury chose to reward, also if he was at the same level of the others, the poetic composition of the twenty-five years old Camilleri, Morte di Garcia Lorca. Years later, in 2005, Camilleri wrote about the meeting.

Osservazioni sul tema del doppio in Conversazione su Tiresia, di Sabrina Borchetta

Abstract: Camilleri’s Conversazione su Tiresia is a monologue based on the mythological figure of Teiresias, the blind Theban seer, one of the main characters of Homer’s Odissea and the greek tragedy. The monologue contains the traditional sources of ancient and modern literatures about the duplicity of Teiresias, who was, in his very long life, man and woman. The duplicity of the carachter in Camilleri’s monologue leads to an identification between author and personage, seer and poet, who see the past, the present and the future in spite of his blindness.

Porto Empedocle-Girgenti-Racalmuto: il triangolo delle storie, di Giovanni Capecchi

Abstract: Pirandello, Sciascia and Camilleri were born in a triangle that has sides of a few kilometers and whose vertices are represented by Girgenti, Racalmuto and Porto Empedocle. The essay traces the intersections between the biographies and writings of the three authors, focusing not only on the importance that the places have had for the authors but also on the notoriety and the promotion that their pages can give back to the places today. This geographical triangle, which the imagination of Pirandello, Sciascia and Camilleri could redefine as Montelusa-Regalpetra-Vigàta, is an extraordinary space of scriptures and also a literary place to visit.

Camilleri e la scrittura prima della voga mediatica: sul “letterario” in La mossa del cavallo, di Antonio Rosario Daniele

Abstract: One of the most evident factors of La mossa del cavallo is the linguistic game that comes from the mixture of two dialectal factors, the one dear to the Camilleri’s territory (siculismo but non-sicilian) and the protagonist’s genoese. The paper aims to bring to light the authentic literary elements that innervate one of the most complex novels of the narrator of Porto Empedocle. The goal is to detect the oblique incidence of a narrative-communicative tradition, that dates back to the Italian novella, and which offers itself as the real key to the very dynamics of this detective story.

Tra satira e magarìe: fiabe, favole, racconti fantastici e apologhi morali nella narrativa breve di Andrea Camilleri, di Simona Demontis

Abstract: Camilleri’s short narrative is studded with stories of fantastic character, in which it is possible to identify both the magical atmospheres of the fairy tale, and the satirical attitudes of the moral apologue. The aim of this contribution is to demonstrate that the unifying element of this varied production consists in the ethical commitment of the writer, in his will to affect effectively within civil society.

«Io non so scrivere queste cose come le sai scrivere tu»: le narrazioni documentarie di Andrea Camilleri e Leonardo Sciascia, di Michele Maiolani

Abstract: This paper considers two early works of Camilleri, La strage dimenticata (1984) and La bolla di componenda (1993) and compares and contrasts them with several of Sciascia’s documentary narratives – a hybrid non-fictional genre stemming from the rethinking of Manzoni’s Storia della Colonna infame. The two novelists adopt a set of shared formal and narrative features, which define this literary genre, and a similar epistemological perspective on historical sources. Nevertheless, especially in La bolla di componenda, Camilleri starts to detach from the norms of Sciascia’s documentary narrative and to give more space to fiction, which will be the distinctive aspect of his following historical novels.

Montalbano estremo e ultimo. Il congedo di Camilleri, di Mauro Novelli

Abstract: The study focuses on the intentions that led Andrea Camilleri to close the series of Inspector Montalbano novels by a strong use of “vigatese” language and metaliterary component

Dal primo romanzo alla serie di Montalbano: ipotesi sulle scelte lessicali di Andrea Camilleri, di Maria Panetta

Abstract: In this essay the author analyzes Camilleri’s lexicon, starting by his first novel, Il corso delle cose, edited in 1978 by Lalli, and comparing it with the lexicon of the second novel, Un filo di fumo, edited in 1980 by Garzanti (with a final glossary to explane dialectal words), and with the first novel of Montalbano’s series, La forma dell’acqua, edited in 1994 by Sellerio. The result of this study is that Camilleri progressively reduced the number of dialectal words in his novels, maybe to make easier the translations in other languages and not to discourage his lectors. Very different is the case of the last novel, Riccardino, expecially in its second version (2016).

Il cielo strappato di Montalbano, di Sergio Russo

Abstract: Arriving at his latest investigation, Montalbano has to solve the most difficult enigma, the final question. In the game of mirrors with its creator, the character will tear the paper sky above him – getting inspired by Pirandello, of course, although other influences are present –, uncovering it, and uncovering himself made of paper, words and smoke.

Proposte per un bilancio dell’opera di Andrea Camilleri, di Giuseppe Traina

Abstract: The essay offers some ideas for a critical assessment of Camilleri’s work, focusing in particular on funniness, on the influence of oral narratives, on the vision of the historical novel and on the peculiarities of the detective novel. There is also mention of the relationship between Camilleri and Simenon, his noir novel La rizzagliata, the “fantastic trilogy” and the posthumous novel Riccardino.