Fascicolo n. 48, 11 luglio 2023


Milan Kundera: arte del romanzo, romanzo delle arti, di Simona Carretta e Maria Panetta

Letture critiche

Kundera al cinema: l’incontro con Alain Resnais, di Simona Carretta

Abstract: This article analyzes Kundera’s relationship with cinema, the second art (after music) that entered his DNA as a novelist. He does so by retracing for the first time on the basis of a series of extracts from essays and interviews, until now unpublished in Italian, the reasons for the collaboration with director Alain Resnais. There are numerous meeting points between the two authors: among these, the common reference to the compositional forms of music and the importance that both accord to form as a cognitive tool.

Genre Paintings, Ceiling Frescoes, di Thomas Pavel

Abstract: The article discusses Kundera’s views on the history of the modern European novel from Cervantes to Kafka and its affinities with European paintings. Kundera’s own characters interact with each other in small, banal surroundings, not unlike those of genre paintings, yet they make sense of their life by imagining themselves to be the incarnations of grand, seductive stereotypes, comparable with the spectacular Renaissance and early modern ceiling frescoes.

Abstract: L’articolo discute le opinioni di Kundera sulla storia del romanzo europeo moderno da Cervantes a Kafka e le sue affinità con la pittura europea. I personaggi di Kundera interagiscono tra loro in ambienti piccoli e comuni, non dissimili da quelli dei dipinti di genere, eppure danno un senso alla loro vita immaginando di essere l’incarnazione di stereotipi grandiosi e seducenti, paragonabili agli spettacolari affreschi dei soffitti del Rinascimento e della prima età moderna.

Le Variazioni Kundera, di Lakis Proguidis 

Abstract: In our era of «extreme politicization», in which a further stage of Modern Times can be identified, the work of Milan Kundera stands out for having explored the different existential implications of themes otherwise reduced to concepts. The hypothesis underlying this article is that the combination of the sensitive and the cognitive dimension is the Leitmotif that runs through the entire artistic career of Milan Kundera, from his debut marked by the essay on the novelist Vladislav Vančura to Oeuvre (2016), the edition of the Pléiade edited by François Ricard which in France collects all the literary works of Kundera approved by him. Proguidis focuses on this aspect to retrace their trajectory.

L‘art du roman et l‘art de la lecture. Milan Kundera :  poétique et catharsis, di Sylvie Richterová

Abstract: In Milan Kundera’s novels some aesthetic revelations, already at the heart of Mukařovský’s theory and Schiller’s philosophy, find a particular application: their intuition is entrusted to the reader because they do not reside in a message conveyed by the content but are expressed by the architecture formal of the work. After having set these premises, the author of the article examines them in particular through the analysis of Kundera’s debut novel, The Joke (1967).

Abstract: Nei romanzi di Milan Kundera alcune rivelazioni estetiche, già al centro della teoria di Mukařovský e della filosofia di Schiller, trovano un’applicazione particolare: la loro intuizione è affidata al lettore perché esse non risiedono in un messaggio veicolato dal contenuto ma sono espresse dall’architettura formale dell’opera. Dopo aver posto queste premesse, l’autrice dell’articolo le vaglia in particolare attraverso l’analisi del romanzo d’esordio di Kundera, Lo scherzo (1967).

Abstract: Dans les romans de Milan Kundera, certaines révélations esthétiques, déjà au cœur de la théorie de Mukařovský et de la philosophie de Schiller, trouvent une application particulière : leur intuition est confiée au lecteur car elles ne résident pas dans un message véhiculé par le contenu mais s’expriment par l’architecture formelle de l’œuvre. Après avoir posé ces prémisses, l’auteure de l’article les examine notamment à travers l’analyse du premier roman de Kundera, La Plaisanterie (1967).

Il romanzo (breve) dell’identità: Milan Kundera e Anna Banti, di Sonia Rivetti

Abstract: In 1997 Milan Kundera published L’identité. A novel made up of fragments that develops a very dear theme to him, exiled in Paris with his wife Věra: the identity. And he does so by observing (even with a cinematic and artistic look) a pair of lovers, Chantal and Jean-Marc, in their revelatory dreams and escapes. Many years earlier Anna Banti, born as an art historian under her real name of Lucia Lopresti then Roberto Longhi’s wife, had reasoned on the same theme in Un grido lacerante (1981) through the events of Agnese Lanzi and Delga. This article, intersecting cinema art and literature, aims to show the affinities between the two novels.

L’America Latina di Milan Kundera, di Massimo Rizzante

Abstract: The supra-personal conception of the character, the multiplication of narrative lines, the polyphonic construction, understood as an opening to the various genres and the various arts, are just some of the aspects that bring Milan Kundera’s novel closer to that of some great Latin American novelists such as Gabriel García Márquez, Carlos Fuentes and Alejo Carpentier. This article explores the relationship between these authors starting from some excerpts from Kundera’s essays The curtain and Encounter.


Il bambino e le isole (un sogno di Calvino) di Marino Magliani (2023), di Claudio Morandini

Storie d’amore per lo studio. Primi passi per capire i testi che leggiamo di Paolo Pellegrini (2023), di Luigi M. Reale