Italian Culture最新文献

{"title":"The Poetic Geography of Italy: Coastal Geometaphors","authors":"Ilaria Serra","doi":"10.1080/01614622.2023.2172815","DOIUrl":"https://doi.org/10.1080/01614622.2023.2172815","url":null,"abstract":"This article pushes at the interdisciplinary boundaries of literary ecocriticism to suggest a new rhetorical figure: the “geometaphor.” The geometaphor is a metaphor that is not only geographically marked, but also rooted in a specific territory. In short, it is a poetic metaphor with a specific address. This article defines this concept through references spanning from the medieval Francis of Assisi to the nineteenth-century poet Giacomo Leopardi, and through a sample of geometaphors in three Northern coastal areas: Liguria, the Veneto, and Friuli. They are the enclosed gardens of the Cinque Terre in Eugenio Montale’s collection Ossi di seppia (Cuttlefish Bones); the harbor and hills of Trieste in Umberto Saba’s Trieste e una donna (Trieste and a Woman); and the amphibious streets of Venice in Anna Toscano’s Doso la polvere. The technological component of this research is indispensable, and it grew out of a pedagogical need to present Italian poetry to an audience of students on the other side of the ocean with the help of Google Earth. In this essay, the omino facilitates a visualization of poetical terms. It is “dropped” in specific places on the Italian map to trace the contours of its poetic geography.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"41 1","pages":"80 - 102"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46080236","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":"Citizens without a City. Destruction and Despair after the L’Aquila Earthquake","authors":"Anna Di Lellio","doi":"10.1080/01614622.2023.2167314","DOIUrl":"https://doi.org/10.1080/01614622.2023.2167314","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"41 1","pages":"115 - 117"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48649539","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":"Cesare Pavese, Homo Mediterraneus?","authors":"F. Di Blasio","doi":"10.1080/01614622.2023.2171865","DOIUrl":"https://doi.org/10.1080/01614622.2023.2171865","url":null,"abstract":"This article reads the work of Cesare Pavese in light of the critical challenges of transnational Italian studies and analyzes Pavese’s aesthetics of rootedness, representations of migration, and practices of translation as sites of tension between local and global geographic scales. Accepting Carlo Bernari’s provocative suggestion that we consider Pavese a “Southern” writer, the article traces how Pavese portrays the land, sea, and ocean within a geophilosophical “sistema di rapporti” (Furio Jesi) reminiscent of a Heideggerian “fourfold.” In Pavese, an “anti-oceanic” attitude goes hand in hand with his treatment of land and sea as two opposite mythical realms, which we see expressed in his translation of Herman Melville’s “oceanic” novel Moby-Dick. Similarly, Pavese’s dystopian accounts of emigration can be seen as anti-oceanic narratives that articulate the need to return. With his telluric symbolism and his notion of an indissoluble attachment to the land, Pavese’s aesthetics participates in the culture of ius sanguinis that, over seventy years after Pavese’s death, is still a remarkable feature of Italian society, as we see in contemporary debates on the 1992 Italian citizenship law.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"41 1","pages":"25 - 43"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42986678","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":"Laura Pariani’s Novels of Migration: From Transnational Memory to Cosmopolitan Ethics","authors":"Joanne Lee","doi":"10.1080/01614622.2023.2181492","DOIUrl":"https://doi.org/10.1080/01614622.2023.2181492","url":null,"abstract":"This article focuses on two novels by Laura Pariani: Quando Dio ballava il tango (2002) and Il piatto dell’angelo (2013), both of which recount tales of travel and migration between Italy and South America across a broad historical timeframe. These novels represent a challenge to narrow constructions of Italy as a monocultural and monolingual nation, foregrounding cultural and linguistic hybridity and highlighting patterns of belonging that do not map smoothly onto national borders. I argue that while the earlier novel explores the interconnectedness between Italy and Argentina, reconstructs Italy’s past as a nation of emigrants, and gives voice to the historically marginalized, the later novel uses the past more pointedly as a key to understanding the present. Il piatto dell’angelo’s juxtaposition of stories of Italian emigration from the early twentieth century with personal accounts of present-day migrants to Italy reminds Italians of their own emigratory past and aims to elicit empathy with their contemporary counterparts. In highlighting the economic exploitation of migrants in Italy, the novel explores the ethical dilemmas posed by globalization and raises pertinent questions about Italy’s and Europe’s response to the contemporary movement of people from the Global South to the Global North. Rather than viewing migrants as marginalized others, these novels place a cultural memory of migration and movement at the very center of their understandings of italianità.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"41 1","pages":"59 - 79"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45699891","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":"Matilde Serao: International Profile, Reception and Networks","authors":"Cosetta Seno","doi":"10.1080/01614622.2023.2167313","DOIUrl":"https://doi.org/10.1080/01614622.2023.2167313","url":null,"abstract":"et preclarissimo cavalier et procuratore di San Marco D. Dominicho Trivisano ambasciator...Veneto al...Gran Soldano al Cairo... . La scelta dei curatori di trascrivere il testo conservandone le peculiarit a linguistiche permette di osservare il modo di scrittura dell’autore che si rivela di facile e appassionante lettura dove la sua narrazione non manca di particolari utili per ricostruire con attenzione le varie tappe di questo lungo e travagliato viaggio per nave. Un racconto dettagliato che inizia con i porti in cui si fermano, la descrizione delle spezie, dei vestiti, delle stoffe, del cibo e degli animali esotici: «forno menati a monstrare ala Magnificencia dil Ambasciatore 3 animali da me mai pi u non veduti, et primo: una ziraffa alta six braza [... ], uno lionfante de anni do, grande como un capo di lanza [... ] doi lioni, cum li quali li soi gubernatori giocavano [... ]» (78). Anche le descrizioni degli usi e dei costumi dei musulmani sono accurate, si soffermano su quale tipo di illuminazione usano per consumare la cena nelle loro case diverse e mai viste in Occidente, fotografano i volti, i modi di fare descritti senza mai giudicare, ma con una penna che riesce a ritrarre i paesaggi, gli odori, la lingua delle persone e che riporta con dovizia di dettagli gli incontri tra l’Ambasciatore e il sultano. Non mancano accenti di meraviglia nel notare comportamenti diversi da quelli visti a Venezia: «Le done vano coperte tute, [... ] et se ne vano solazando per la terra sopra li assenelli cavalcando ala guisa de homini. Sono alcune che hano depente le mane ma tute generalmente tente le ungie rosse. Spendeno assai danarj per li bazari in sette et altre cosse odorifere. Sono botege assaissime ma tute picole, di [... ] gran quantitade como sono lisari, cambra, sinibaffi et mussoli, fazuoli di seda et di lino cum li capi lavorati de ogne sorte senza numero» (87–88). L’osservazione non e mai critica ma rimane puramente descrittiva. Questa mancanza di un giudizio preventivo, quindi di un atteggiamento ideologico, permette al diario di Zaccaria Pagani di restituirci ancora oggi una testimonianza oggettiva e dunque rilevante per meglio comprendere le diverse spedizioni diplomatiche che i cristiani hanno compiuto in terra musulmana. Grazie al racconto del nostro autore possiamo immaginare l’atmosfera di stupore, di curiosit a per una cultura, per un popolo diverso e affascinante, colto e raffinato pur se nello stesso momento considerato in perenne contrasto militare e religioso. Dal resoconto traspare la raffinatezza degli incontri, la maestosit a delle ricchezze materiali e spirituali trovate in Medio Oriente, la magnanimit a del sultano e la grazia della sua corte. Un senso reciproco di stima, anche al di l a degli accordi commerciali che hanno spinto il viaggio dell’Ambasciatore veneziano. Da questo diario ci giunge lampante un mondo che per quanto conflittuale prediligeva lo scambio e il dialogo a cui partecipavano i filosofi, i poeti, i sacerdoti","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"41 1","pages":"111 - 114"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44441368","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":"Trauma and Motherhood in Contemporary Literature and Culture","authors":"Serena Todesco","doi":"10.1080/01614622.2022.2111072","DOIUrl":"https://doi.org/10.1080/01614622.2022.2111072","url":null,"abstract":"Published in Italian Culture (Vol. 40, No. 2, 2022)","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537205","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":"Joseph Buttigieg: A Portrait of the Critic in Different Perspective","authors":"M. Pala","doi":"10.1080/01614622.2022.2058721","DOIUrl":"https://doi.org/10.1080/01614622.2022.2058721","url":null,"abstract":"Joseph Buttigieg’s A Portrait of the Artist in Different Perspective aims at providing a critical reconsideration of Joyce’s work. Focusing on A Portrait of the Artist as a Young Man, it contributes to a radical revision of the central tenets of modernism as first established by T.S. Eliot’s conservative reading in the 1920s and reiterated by the New Critics in the 1950s. Buttigieg’s critical effort seeks to prevent Joyce’s work from being locked up in a literary museum, drawing on a dialectical and highly perceptive ability to unmask Western metaphysics and aesthetics as ideologies within which conservative criticism had framed Joyce’s Bildungsroman. Furthermore, his Maltese, English, Catholic roots made Buttigieg capable of identifying and demystifying high modernism’s irony and disinterestedness as instruments of the “higher” values on which the entire Irish social system was based. Together with Seamus Deane and Declan Kiberd, Buttigieg was among the very first critics who realized the relevance of Portrait as an Irish national indictment against colonization because – as Deane maintains– it is the first novel to examine the distorted relationship between the Irish community and oppression and to focus on this oppression’s ultimate resource – cooperation with the oppressed. This Joycean experience informed Buttigieg’s study of Gramsci’s method and its application in various fields of the social sciences, a heritage that has influenced scholarship throughout the world.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"40 1","pages":"72 - 84"},"PeriodicalIF":0.1,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41799722","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 Pactional Model of Salvation and Its Undoing in St. Catherine of Siena","authors":"A. Righi","doi":"10.1080/01614622.2022.2082728","DOIUrl":"https://doi.org/10.1080/01614622.2022.2082728","url":null,"abstract":"A symbolic economy based on a system of merits and demerits that determines the salvation or damnation of the believer is at the root of Western theology. Even in its most sophisticated formulations, this form of moral bookkeeping (or pactional structure) produces paradoxes that stem from the unresolved relation between divine transcendence and earthly immanence. Contextualizing her work in relation to dominant Patristic and Scholastic theories of salvation, this essay illustrates how St. Catherine of Siena resolves the ontological opposition between the infinite (transcendence) and the finite (immanence) through the notion of infinite desire for the other. As she undoes much of the structure of debt of the moral economy, she moves away from a system of accountability toward one of relationality.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"40 1","pages":"112 - 130"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45766752","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":"Call Center Blues: Italian Cinema and the New Economy","authors":"Sergio Ferrarese","doi":"10.1080/01614622.2022.2095146","DOIUrl":"https://doi.org/10.1080/01614622.2022.2095146","url":null,"abstract":"Grounded in theories of workerism (operaismo) and post-workerism (autonomia and post-autonomia), this paper examines how Federico Rizzo’s Fuga dal call center and, more extensively, Paolo Virzì’s Tutta la vita davanti, both films from 2008, register the shift from material to immaterial labor in the twenty-first century. In both films, the call center replaces the factory as the space of labor; it is the privileged site where relational and affective skills, once not considered economically exploitable, become a source of surplus value, one that is gendered feminine. Against the exterior backdrop of a postmodern Rome and with interiors that mimic the non-spaces of the airport and television studio, Virzì stages work in the world of the hyper-real, which has become reality itself. Though they are works of fiction, heirs to the tradition of the 1960s commedia all’italiana, both films engage with an “ethics of the real” as Lucia Nagib has theorized it, and are concerned with addressing the socio-economic condition of a twenty-first-century class-in-the-making, the precariat, and its uncertain future.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"40 1","pages":"154 - 168"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41732163","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 Unpopular Realism of Vincenzo Padula: Il Bruzio and Mariuzza Sbriffiti. By JOSEPH FRANCESE. Pp. X + 196. Vancouver: Farleigh Dickinson University Press, 2022","authors":"B. Fontana","doi":"10.1080/01614622.2022.2111074","DOIUrl":"https://doi.org/10.1080/01614622.2022.2111074","url":null,"abstract":"‘lettrice’ nel circuito delle mostre con la scultura La leggitrice (1856) di Pietro Magni a cui segue dieci anni dopo il celeberrimo La leggitrice di Faruffini. Da segnalare anche il saggio di Raffaele de Berti, dedicato alla rappresentazione della donna che legge nel cinema degli anni ’30 del Novecento quando si afferma il genere dei film gialli tramite il quale viene veicolato un messaggio di avvertimento e censura verso il mondo fittizio e avventuroso presentato sullo schermo. Leggere (e vedere film) va bene purch e non ci si perda in pericolosi voli di fantasia. Cos ı come in letteratura anche nelle arti visive il libro assume una valenza spesso negativa se collegato alla figura femminile. Ma come avverte Ombretta Frau, nel suo “Libri chiusi e pagine bianche. Lettrici ingannevoli di Jolanda e Sfinge,” esiste anche la figura delle “finta lettrice,” circondata da libri chiusi, che appare sia in letteratura che in pittura e che si discosta dall’immagine rassicurante e tutta borghese delle donne “dipinte con un libro in mano, in piedi, sedute o sdraiate, in casa, in giardino, in terrazza, in campagna o in citt a e propone ai suoi lettori un altro tipo di contratto, ben pi u rivoluzionario, quello della finzione della lettura” (90). Infine, per concludere, una brevissima nota sulla splendida immagine usata in copertina, La lettrice di Mos e Bianchi, che evoca magistralmente l’ambiguit a con cui l’arte di fine Ottocento esprime, attraverso la figura della lettrice, la tensione tra tradizione e modernit a, passato e futuro, realt a e finzione. Con questo volume, Capitelli e Santovetti inaugurano una nuova stagione di studi critici con cui poter rileggere l’Ottocento italiano e non solo.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"40 1","pages":"192 - 194"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43899977","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}