- Year of publication: 2015
- Source: Show
- Pages: 5-12
- DOI Address: -
CONNECTIVISM: FROM THE PREMISES TO THE BEYOND
This article offers an outline of Connectivism (Connettivismo), one of the most recent Italian literary movements. It began in 2004 as a particular expression of Italian literature at the beginning of the 21st century, in a historical context characterised by the relevant influence of the Internet on literary texts and by the flourishing of intense debate on several literary blogs. In the initial part of the article, the history of Connectivism is illustrated, with specific reference to its main publications and its Manifesto. The core themes of Connectivism are the interplay between science, technology and humanistic culture; the interaction between human beings and IT components; the new challenges of ecology; the dimension of the Depth, mainly according to Jungian psychology; and the theme examined here: the concept of the Beyond. The Beyond has a twofold meaning, referring to the limit and purpose of human knowledge—in relation to the boundaries of the exploration of the universe—and to the dimension of the intuitive comprehension of the spiritual roots of Being. Towards this end, passages by Connectivist authors, critics who studied the movement and classical authors who inspired the Connectivist poetics (such as Stanisław Lem and Giovanni Papini) are compared here.
GIOVANNI ANtONIO MASSINONI’S IL FLAGELLO DELLE MERETRICI ET LA VIRTù DONNESCA NEI FIGLIUOLI
This article analyses the booklet Il Flagello delle Meretrici et la Virtù Donnesca nei Figliuoli by Giovanni Antonio Massinoni (XVI–XVII centuries). The first part of the article presents a bio-bibliographical profile of the author, based on the little information that is available, and gives an overview of the diffusion of the book. The second part analyses the text. The structure of Il Flagello is presented first in the context of the misogynous tradition; then, La Nobiltà Donnesca nei Figliuoli will be examined. The last section contains an attempt to explain the reasons why two texts that are apparently in contradiction with one another are included in the same book and are part of the book’s title.
THE LOST MOTHERLAND IN MAGHREBIAN AUTHORS’ NOVELS: AMARA LAKHOUS AND AMOR DEKHIS
Currently, in Italy, the migration of individuals from the Maghreb has increased so dramatically that it is impossible to ignore. Accordingly, there has been an increase in the number of migrant writers originating from these countries. Researchers distinguish three stages of migrant literature, which are described in this article. this study offers a look at the writings of two Italianspeaking writers of Algerian origin: Amara Lakhous and Amor Dekhis. Both of these writers represent the third stage of Italian migrant literature, that is, the main feature of their writings is that they are fictional, rather than covering topics intensely connected to autobiography, which is typical of the first phrase of migrant literature. the decision to study these two authors in particular is due not only to their choice to write in the same genre (crime fiction) or to their ethnic origin, but, rather, it is due to the recurring theme in their works of the loss of their homeland. this article attempts to find similarities in the writings of Lakhous and Dekhis, such as their having chosen a new language in which to write; the modification of names; the personalisation of the women’s names and the meaning of this personalisation (Algyida, Ilaria, Bagià). Finally, this study explores the topic of homesickness, which is found in the books of both writers. Using Lakhous and Dekhis as examples, this article emphasises the fact that Italian migrant literature is not detached from contemporary Italian literature; indeed, it is an inseparable part of it.
FICTIONAL TRANSFORMATIONS OF PIETRO DE’ NATALI’S (1330-1406) VITA SANCTI ALBANI IN GIOVANNI BATTISTA MORONI’S (D. 1645) PRINCIPE SANTO
this article describes the rewriting process of Pietro de’ Natali’s Vita Sancti Albani in Giovanni Battista Moroni’s Principe Santo. through contextualising the experience among the canons of the 17th-century devotional novel and detecting the cultural and literary influences, this study explores the traits of the didactical project underpinned in the book, in which devotional purposes, moral meditations and political precepts are strongly intertwined. Finally, specific analyses are dedicated to the new geographical setting evoked in the novel, an ahistorical medieval Sarmatia (Poland); these examine the perception of a distant land and show the functional use of geographical elements to testify the historicity of an incredible story.
LIVING AND GROWING UP IN ORDER TO ACQUIRE SELF-AWARENESS. IL BACIO DEL PANE BY CARMINE ABATE
the article, while focusing on the protagonist-narrator, demonstrates the structures that are typical of the novel of education and consequently points to the genre of the newest work by Carmine Abate, entitled Il Bacio del Pane. Over the course of one summer, Francesco—mostly because of his having met Lorenzo, the main witness in a mob trial who was forced to hide in the ruins of the old mill, near Spillace—turns from a careless teenager into a youth who becomes dramatically aware of such serious problems running in his community as the existence and operation of organised criminal groups. What is presented, then, are the psychological processes that take place in the internal world of the main character, who can also correctly describe the state he finds himself in. the analysis is carried out in relation to different theories (Bachelard, Freud, Jung).
A RENAISSANCE ACCOUNT OF CLIMBING THE VOLCANO IN DE AETNA BY PIETRO BEMBO. INNOVATION OR CONTINUATION OF THE TRADITION?
This article presents how Pietro Bembo described his journey towards the summit of Mount etna, focusing specifically on the journey’s Renaissance connotations and the way that Petrarch’s Epistolae Familiares 4.1 influenced Bembo. there are similarities and differences between Petrarch’s account of climbing Mont Ventoux and Bembo’s text. the aim is to present two sides of Bembo’s descriptions: the innovation, which is that of empiricism, or, rather, illusory empiricism (called as such because of the unlikely probability of an authentic etna explosion, allegedly seen by the author), and the continuation of the literary tradition of writing about etna.
THE POET IN HIS TENT: THE INFLUENCES OF GIUSEPPE UNGARETTI AND VITTORIO SERENI ON NELO RISI’S EARLY WORKS
L’Esperienza (Experience, 1948) can truly be considered the first stage of Nelo Risi’s (b. 1920) poetic career. However, this early work of his was poorly received when it first came out. Some poems of this collection were included in two later editions of a book by the title Polso Teso (Strained Wrist), in the section entitled Le Vacche Magre (Lean Cows). this editorial decision marked the author’s willingness to use his first real poetic work as the starting point of his solid and personally chosen literary journey. However, as a detailed analysis of L’Esperienza reveals, the lyrical onset of the author is still heavily influenced by the literary tradition. As a result, the first section of the book, La Tenda (The Tent), comprises elements borrowed from Giuseppe Ungaretti’s Il Porto Sepolto (The Buried Harbour) and Vittorio Sereni’s Diario d’Algeria (Algerian Diary). All of this is in stark contrast with the author’s actual aim, which is to distance himself from literature in order to embrace reality. In particular, the common topos of ‘tent’, which is a narrow and precarious space, becomes the sign of the poet’s permanent condition of imprisonment and also exile after the war. therefore, homecoming is a problematic occurrence because it is very difficult for the poet to return, to come back to himself and thus regain his primary identity.
D’ANNUNZIO’S WEDDING. A READING OF PER NOZZE IN PRIMO VERE
the author of this article examines the genesis of D’Annunzio’s Primo vere, published when D’Annunzio was 16 while he attended the famous Cicognini college in Prato. the first edition appeared in 1879 (the second, in the following year) and it was considered a great work; in fact, it was reviewed by Giuseppe Chiarini, one of the most popular writers of his time. Next, the author provides an analysis of Per nozze, one of the Alcaic lyrical poems in D’Annunzio’s book. this ode belongs to an established literary genre (for instance, poems by Catullus, Claudian, theocritus, and Sappho are of this genre), and it is an important one because it allows us to foresee the later and greater D’Annunzio. At the end of the article, the author investigates why D’Annunzio used the Alcaic metre in this ode. It is not only a tribute to Horace (one of D’Annunzio’s favourite poets; in the appendix of Primo vere are some of Horace’s lyrics translated by D’Annunzio), who used this metre in 37 of his poems; there is another reason. In fact, we can establish a parallel between the metre and the ode: the Alcaic one has ascending and descending rhythms like D’Annunzio’s Per nozze, and it is full of happiness (a marriage takes place), but also of sadness, as he wants to underline the brevity of life and its vanity.
LITERATURE AND THE SACRED SCRIPTURES. BIBLICAL REFERENCES IN SELECTED WORKS OF 20TH-CENTURY ITALIAN PROSE
this essay examines biblical references, inspirations and motifs in 20th-century Italian prose. It investigates the longstanding significance of the Sacred Scripture as one of the fundaments of Western civilisation and the Scripture’s changing influence on the imagination and sensibilities of modern Italian writers; it also attempts to provide an explanation of this trend. the Bible, a source of inspiration with extensive historical presence and numerous translations, has been met with multiple interpretations extending far beyond its purely theological dimension. It has shaped european cultural heritage in terms of its themes as well as its languages, symbols, concepts and metaphors, which have permeated european works of culture in the centuries past. the Bible has encouraged creators, including authors, to continue to operate within its tradition, albeit outside the strict confines of faith itself. It is a timeless code not just because of its longstanding presence, but also because it cannot be dismissed out of hand if we are to understand not simply the works of great, world-renowned classics, and those shaped by religion in particular, but notably the works of modern writers of both Christian and secular backgrounds.
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