Italica Belgradensia最新文献

{"title":"Studying the Holocaust and the Jewish Experience at Kennesaw State University: Pathways for Students and Beyond","authors":"Federica Santini, Andrea Scapolo","doi":"10.5406/23256672.100.1.07","DOIUrl":"https://doi.org/10.5406/23256672.100.1.07","url":null,"abstract":"The following piece explores Holocaust education at Kennesaw State University through interviews with Catherine Lewis, director of the KSU Museum of History and Holocaust Education, and Katie Kaukinen, dean of the KSU Norman J. Radow College of Humanities and Social Sciences. It also provides the description of a recent project that shows how collaborations with Holocaust museums can enhance the understanding of history in the Italian language and culture classroom. The goals of this piece are to provide avenues for educators to explore the introduction in their classes of Holocaust education and the memory of the Shoah, as well as the many intersections of that moment in history with the larger themes of diversity, equity, and inclusion.Historian Catherine Lewis is the assistant vice president of the KSU Museums, Archives and Rare Books, the director of the Museum of History and Holocaust Education, and a professor of history at Kennesaw State University. In a recent conversation, she explained the goals and scope of the KSU Museum of History and Holocaust Education, one of the largest of its kind in the nation.Could you please describe the history of the Museum of History and Holocaust Education at Kennesaw State?In 2003, the Georgia Commission on the Holocaust approached Betty Siegel, who was the university president at the time, with the idea of bringing an Anne Frank exhibit here to KSU. It was not something that Kennesaw had done before, but I think Betty saw the potential and we brought the exhibit. What started in 2003 as a temporary exhibit has grown to be one of the largest World War II and Holocaust Museums and outreach programs in the nation, which has been amazing. Today, we are part of a larger Department of Museums, Archives, and Rare Books, which is a team of about thirty professionals, curators, historians, archivists, and educators. We work very collaboratively and last year we served four hundred thousand people through the museum onsite at the KSU Center, free and open to the public, and by taking the museum on the road: we have eighteen traveling exhibits, and thirty-three in total. Those exhibits travel regularly to schools, to other museums, to community centers, churches, synagogues, and libraries.What are some of the exhibits that you offer?They are so diverse. We have one called Georgia Journeys that talks about World War II and the impact on Georgia. We have Beyond Rosie, which, of course, is on women in war. We have an exhibit called Never Forget, which is an overview and an introduction to the Holocaust. There is the wonderfully powerful Enduring Tension, on encountering antisemitism in every age. We have Black and Jewish, a very interesting exhibit on the intersections between African American and Jewish history, and an exhibit called Refuge Refusal, which looks at turning points in US immigration history. It's a lot, and it encourages people to come to us, and then it encourages people to borrow our exhibits and the","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Liturgical Song and Practice in Dante's</i> Commedia","authors":"Erminia Ardissino","doi":"10.5406/23256672.100.1.08","DOIUrl":"https://doi.org/10.5406/23256672.100.1.08","url":null,"abstract":"La critica dantesca ha riconosciuto tardi la rilevanza che le fonti bibliche e liturgiche hanno avuto nella costruzione dell'immaginario e del linguaggio della Commedia, ma da qualche decina di anni diversi e notevoli contributi hanno iniziato a chiarire quanto Dante sia in debito con questi aspetti della dimensione religiosa, sia che si tratti delle fonti bibliche che determinano le macrostrutture (il pattern dell'Esodo valido per tutto il poema, ad esempio) sia che si tratti dell'impiego di microelementi, come formule devozionali, precative, liturgiche, ma anche gesti e immagini, che indicano bene quanto questo universo abbia fecondato la poesia di Dante.Il libro di Helena Phillips-Robins viene ora ad arricchire con una prospettiva nuova questo importante tassello della costruzione poetica di Dante, lavorando su materiale prettamente liturgico, ovvero focalizzandosi sulle molteplici modalità con cui il rapporto tra l'umano e il divino si configura attraverso le espressioni con cui la Chiesa del tempo si relazionava con il trascendente. Da una parte l'obiettivo è di meglio conoscere le fonti della poesia di Dante; dall'altra, e questa è la novità maggiore, di interrogarsi su come Dante coinvolga il lettore per il suo rinnovamento spirituale e morale, che è in fondo l'obviettivo di ogni azione liturgica e/o sacramentale.Pubblicato nella prestigiosa collana dantesca della Notre Dame University (The Devers Series in Dante and Medieval Italian Literature), che ha varato studi fondamentali che hanno davvero aperto nuove prospettive (si pensi anche solo al libro di Dennis Looney sulla ricezione e l'impiego di Dante tra gli Afro-Americani alla ricerca del loro riconoscimento politico, o a quello di Manuele Gragnolati sul corpo nel poema dell'aldilà e nella cultura medievale, che costituiscono il 12° e il 7° della Series), il volume consiste in quattro corposi capitoli. Se l'introduzione pone le basi del percorso da intraprendere, relazionandosi con la bibliografia pregressa e abbozzando il metodo, gli obiettivi e le tappe del saggio, i quattro capitoli si articolano secondo delle problematiche che mettono principalmente a fuoco la natura comunitaria dell'esperienza liturgica, quindi anche la dimensione condivisibile del percorso del poema in cui tanta parte ha l'espressione liturgica. Questa dimensione comunitaria si esprime anzitutto con il canto, che è esperienza di gruppo in armonia, che impronta più di tutto il purgatorio, la Chiesa purgante, attiva nel mostrare quella concordia che è espressione dell'amore divino e che non aveva parte nella prima cantica. Il secondo capitolo mette a fuoco come, attraverso l'espressione liturgica, le anime conquistino una somiglianza con Cristo che mette in atto il vero obiettivo del cristiano, quella imitatio Christi che è fonte di spiritualità perché ragione di salvezza. In particolare, Dante non solo rappresenta, ma agisce sul suo lettore coinvolgendolo nella pratica liturgica e mettendo in atto le strategie di ","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Orienting Italy: China through the Lens of Italian Filmmakers","authors":"Giampaolo Molisina","doi":"10.5406/23256672.100.1.15","DOIUrl":"https://doi.org/10.5406/23256672.100.1.15","url":null,"abstract":"Collocato nell’“entanglement” (3) tra cultura italiana e cinese, il volume di Mary Ann Carolan è un eccellente studio—il primo di questo tipo—che analizza le diverse modalità di rappresentazione della Cina e della sua cultura nella tradizione cinematografica italiana. Nella disamina delle sette opere oggetto dello studio, l'autrice tiene sapientemente conto sia degli approcci estetici adottati dai vari registi nel ritrarre la cultura cinese, sia del modo in cui le ideologie politiche e le congiunture socioeconomiche hanno condizionato la realizzazione e la distribuzione dei film. La ricognizione si estende cronologicamente dal 1958 al 2011, spaziando tra pellicole di genere documentaristico e di finzione storico-narrativa. Tra i film presi in esame si possono individuare due tipologie di opere: quelle che ritraggono il paesaggio, la cultura e la storia della Cina in terra orientale; quelle che indagano le relazioni e le dinamiche interculturali in Italia, tra comunità di immigrati cinesi e italiani. Fanno parte della prima categoria La muraglia cinese (Carlo Lizzani, 1958), Chung Kuo-Cina (Michelangelo Antonioni, 1972), L'ultimo imperatore (Bernardo Bertolucci, 1987) e La stella che non c’è (Gianni Amelio, 2006). Alla seconda categoria appartengono Gorbaciof (Stefano Incerti, 2010), Io sono Li (Andrea Segre, 2011) e Miss Little China (Riccardo Cremona e Vincenzo De Cecco, 2009).Il capitolo iniziale del volume esamina la prima produzione cinematografica italiana in terra cinese. Nel suo La muraglia cinese Lizzani ricopre un vasto territorio della Cina, dal confine siberiano alle città di Shanghai, Hong Kong e Pechino. Sommamente interessante è l'enfasi posta da Carolan sull'ibridismo del film, giacché nella docufiction di Lizzani, tra immagini autentiche ed episodi di finzione narrativa interposti dal regista, è messa in discussione la presunta obbiettività del genere documentaristico. In sostanza, l'autrice si chiede se, al di là del pregevole lirismo di molte delle sequenze, le scelte stilistiche di Lizzani non abbiano contribuito a fornire un ritratto eccessivamente soggettivo del paesaggio e degli abitanti della Cina dell'epoca (27).Il successivo capitolo analizza il celebre Chung Kuo-Cina di Antonioni. Alla copiosa letteratura sul documentario del ferrarese, si aggiungono le acute considerazioni di Carolan sulla disastrosa ricezione del film in Cina. Per l'autrice, l'interesse predominante del regista per la sfera individuale dei soggetti ripresi—piuttosto che per la loro funzionalità collettiva—e l'intenzionale predilezione per i paesaggi pastorali rispetto alla rappresentazione del progresso tecnologico della Cina maoista, determinarono il giudizio estremamente negativo dell'establishment cinese, al punto che il film venne bandito perché ritenuto reazionario e controrivoluzionario. Il ben noto interesse di Antonioni per l'interazione psicologica tra spettatore e immagine rappresentata suscitò l'avversione delle autorità locali, le quali amb","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le vie dorate. Un'altra letteratura italiana: da San Francesco a Igiaba Scego","authors":"Sofia Bottini","doi":"10.5406/23256672.100.1.13","DOIUrl":"https://doi.org/10.5406/23256672.100.1.13","url":null,"abstract":"Erudition and excellent knowledge of one's subject by an academic scholar do not always manifest in the ability to convey one's passion and deep understanding to students or readers. Johnny L. Bertolio is fully conscious of all the difficulties linked to the art of educating while keeping learners engaged and interested. Bertolio acquired his teaching sensitivity over the many years spent outside Italy as a tutor and formator of young minds wishing to know Italian literature while not attending Italian schools. Hence, Bertolio's manual Le vie dorate. Un'altra letteratura italiana: da san Francesco a Igiaba Scego displays the author's skillfulness in recognizing that the usual didactic tools need to be redesigned. The text, intended for international students of Italian (LS and L2), represents an innovative approach to teaching literature, in line with the needs of university courses, and reveals an extraordinary attentiveness and consideration to all the foundational changes witnessed in contemporary society during the past decade.In Bertolio's manual, there is a balance between the recognition and respect for the traditional approach to history of literature and the versatility of the innovation displayed through newly minted methodologies that demonstrate full command and comprehension of the all-encompassing reach of digital media. A historical-critical path within Italian literature conveys the deepening of grammatical structures and morphosyntactic, offering the tools for essay-argumentative and enriching content-lexical writing. Bertolio's work is a breath of fresh air within the landscape of anthological production. Accurate and thorough graphic research enhances the groundbreaking literal project and catapults the tradition of Italian literature into the terrain of social media.The book is an agile manual for young students and adults who want to approach Italian literature from an original point of view after having already acquired the foundations of the Italian language. Le vie dorate is “another and diverse Italian Literature” due to its original selection of authors: from Saint Francis—the eccentric “God's jester” considered one of the first producers of vulgar lyric in Italy—to Igiaba Scego, an Italian Somali writer among the most authoritative of contemporary literature, whose novels give accounts of migration, integration, multiculturalism, racism and the legacy of colonialism.Simultaneously, Le vie dorate offers a journey along the most and the least traveled roads within Italian literature anthologies. Amid several other underrepresented works, Bertolio includes a literary masterpiece such as Collodi's Pinocchio, too often marginalized in a sort of “ready-to-read” literature purgatory. In addition, along the manual pages, plenty of information embraces the history of Italian music with special attention to Italian Opera. Bertolio proposes “works and themes capable of questioning the present” while spotlighting the usual profile ","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Dramaturgy of the Spectator: Italian Theatre and the Public Sphere, 1600–1800","authors":"Maria Galli Stampino","doi":"10.5406/23256672.100.1.11","DOIUrl":"https://doi.org/10.5406/23256672.100.1.11","url":null,"abstract":"Tatiana Korneeva gives us a well argued, impressively researched, and theoretically complex volume, one that fills a large void in the study of Italian theater in the seventeenth and eighteenth centuries. This achievement is all the more impressive given Korneeva's ambitious goal: “This book claims . . . that seventeenth- and eighteenth-century Italian treater not only coincided with and mirrored the transition from the representative to the modern ‘authentic’ public sphere (to borrow Habermas's phrase) but was also both its forerunner and its active agent” (7). For this reviewer, her argument is lucid even as it is multifaceted and subtle, and her conclusions are compellingly proven. In addition, Korneeva's monograph manages to achieve the impressive result of expounding on the topics of developments and results while eschewing a teleological framework: there is nothing inevitable about the path from Giacinto Andrea Cicognini to Vittorio Alfieri, and in fact the word “progress” does not appear a single time. This analytical and critical work is all the more conclusive precisely because it is not teleological.While Korneeva's focus is on Italian playwrights, her historical and theoretical frames of reference are European. She grapples with the definitions of “public sphere” (Jürgen Habermas's), “public opinion” (Reinhart Koselleck's), and the omnipresent “gaze” of the ruler (Michel Foucault's), which emerged from reflecting on sociocultural situations and changes observed north of the Alps. She connects them fruitfully and she refines them as she utilizes them as useful tools for understanding Italian texts. Korneeva is also sensitive to what I would refer to as peninsular specificities, without assuming that “Italian” literature existed in these centuries as a well-defined and cohesive whole. The most obvious example of Korneeva's nonteleological and geographically grounded approach is the attention that she bestows on a writer whose very presence has disappeared from all but the most specialized historical works: “Domenico Luigi Barone, knight of Liveri (1685–1757), official playwright of the Neapolitan court of Charles III of Spain, as well as impresario and director par excellence” (131). Against a critical narrative that assumes that Carlo Goldoni was influenced by plays and writings about theater that he absorbed while in Paris, Korneeva retraces a link between Barone and Denis Diderot, and then between Diderot and Goldoni. This is a much-needed reminder that locations typically neglected in histories of Italian literature or theater, like Naples, have in fact to be considered.The volume proceeds chronologically, starting with Giacinto Andrea Cicognini's prose tragedies, written in and for Florence (16–43); continuing with the impact that Cicognini's and his imitators’ works had on Carlo Goldoni (44–68); moving on to Scipione Maffei's Merope and its display of power on trial (69–90); tackling the two embattled Carlos (Gozzi and Goldoni) in ","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Freed from the Fear of Hell: Machiavelli's Restyling of Afterlife and His Theory of Emancipation","authors":"Guido Capaccioli","doi":"10.5406/23256672.100.1.02","DOIUrl":"https://doi.org/10.5406/23256672.100.1.02","url":null,"abstract":"Abstract In several texts, Machiavelli alludes to an unorthodox idea of the underworld. Hell is presented as an exclusive environment where only the greatest souls are welcome to discuss the matter of state for all eternity. In his novella Belfagor, Machiavelli even describes the reign of Minos as a virtuous republic populated with fellow devils that are more naive than the diabolical Florentines. In this article, I propose that Machiavelli's unprecedented desecration of Hell aims to liberate his fellow citizens from the yoke of modern Christian morality. This is his attempt at dignifying people whose fear of transgressing the laws of men and God numbs their conscience and ultimately paralyzes civic activism. Therefore, it is also a way to emancipate the masses, both spiritually and politically. Freed from the fear of the afterlife's punishments, citizens can reawaken the once-lost civic virtue of the ancients.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Italian Experiences of Trauma through Film and Media","authors":"Annachiara Mariani","doi":"10.5406/23256672.100.1.16","DOIUrl":"https://doi.org/10.5406/23256672.100.1.16","url":null,"abstract":"This tightly focused collection of essays, edited by Alberto Baracco and Rosario Pollicino, offers a multidisciplinary and insightful study of the link between individual and collective trauma, and the ensuing formation of sub- and transnational communities through such shared experience. The collection aims to look afresh at Italianità and traumatic events through an interdisciplinary lens, by examining trauma from a sociological and psychoanalytical perspective through media studies. It acknowledges that through film and media such as documentaries, websites, TV, and advertisements, the traumatized become conscious of their interconnected position within subnational and/or transnational communities.The overarching proposition is that individual and collective trauma are not mutually exclusive (as posited by Jeffrey C. Alexander in his 2004 essay “Toward a Theory of Cultural Trauma”), but that individual trauma often creates a collective echo and resonance. In his introduction, coeditor Rosario Pollicino notes, “This approach to Italy, individual and collective trauma provides the theoretical novelty of this book . . . and allow us to map a new analysis of contemporary Italian society, and therefore open a new way to look at Italy” (11–12). Using Kai Erikson's “Trauma: Explorations in Memory” as the main theoretical framework, while respecting the canonical studies on trauma theory, the editors have grouped these essays into four sections by subject, which in turn are organized conceptually and diachronically, and span from the World War II to the present.The first section is entitled “WWII, Italy, and Transnational Trauma” and includes essays by Carmen Concilio and Paola della Valle. Through diverse case studies, these contributions contend that political borders do not restrict traumatic experiences but rather shape the communities impacted by those circumstances. These authors claim that by deconstructing the meaning of war itself, those affected can distance themselves from their traumatic memories through a process of trauma soothing.The second section, entitled “Forced Migration and Trauma,” analyzes cases of forced migration, and includes essays by Rosario Pollicino and Moira di Mauro-Jackson. This section specifically references individual and social trauma and illustrates how political processes, such as the colonization of Libya (Pollicino) and the current migrant crisis in the Mediterranean (DiMauro-Jackson), can create large migrant communities with similar traumatic experiences. These chapters portray migrants with common traumatic experiences as part of a much larger sub- and transnational network than is typically imagined.“Murder and Trauma” is the third section, and features chapters by Fabiana Cecchini, Giovanna Summerfield, and Robin Pickering-Iazzi that describe some of the most heinous atrocities—often historically ignored or devalued—such as feminicide (Summerfield), mafia-related killings (Pickering-Iazzi) and the crimes d","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135533026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Antonella Anedda's La vita dei dettagli: Icon-textuality as a Relational Practice","authors":"E. Morra","doi":"10.5406/23256672.99.4.03","DOIUrl":"https://doi.org/10.5406/23256672.99.4.03","url":null,"abstract":"\u0000 Visual studies have legitimized the concept of icon-text, a practice based on the principle of insubordination of the text-image relationship. This article investigates the dynamics of Antonella Anedda's The Life of Details (2009), of one of the best icon-textual examples in contemporary Italian literature. Her rejection of the traditionally subordinate role of the visual is combined with a challenge to the methods of iconology—the reader-viewers are therefore not invited to embrace the traditional practice of “attribution” of a painting but rather to focus on the relation between images and their own reality. By shifting from an author-oriented to a reader-oriented perspective, Anedda engages us in a collective exploration of loss and mourning.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77272866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sicilian Elements in Andrea Camilleri's Narrative Language: A Linguistic Analysis","authors":"Elgin K. Eckert","doi":"10.5406/23256672.99.4.10","DOIUrl":"https://doi.org/10.5406/23256672.99.4.10","url":null,"abstract":"","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77483577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lyric Gestures Between Written and Visual Poetry: Lamberto Pignotti's New Vita Nova","authors":"F. Giusti","doi":"10.5406/23256672.99.4.07","DOIUrl":"https://doi.org/10.5406/23256672.99.4.07","url":null,"abstract":"While the transmedia reception of Dante's Commedia in a globalizing world is immediately visible, his lyric poetry might at first seem unsuited to the digital age. This article explores Lamberto Pignotti's 2016 re-creation of Dante's Vita Nova in his New Vita Nova, focusing on how, by engaging with Dante's libello in both verbal and visual terms, the Florentine artist and poet, one of the fathers of visual poetry, emphasizes three aspects which are latent in the medieval text: its nature as a language game, the fusion of traditionally separate aesthetic domains, and the “virtuality” of lyric gestures. Digital technology, in fact, seems to allow for the full realization of the “virtualissimo amore” that Pignotti sees enacted in the libello, and Pignotti's verbo-visual re-creation prompts reflection on how lyric gestures can move through different media.","PeriodicalId":29826,"journal":{"name":"Italica Belgradensia","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85479484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}