Sbiancare un etiope. La pelle cangiante di un topos antico

The book is part of a multi-year investigation on the historical construction and representation of ethnic otherness through the use of language, and focuses on the history of the tópos expressed by the proverb Lavare/sbiancare un etiope (‘to wash an Ethiop white’), a tópos which is traceable in different languages across many centuries (and since II c. A.D.), which stays for either ‘to attempt the impossible’ or ‘to do something useless’. The research also tries to shine a light upon the cultural and social contexts in which ‘Ethiopian’ otherness have generated. Its final goal is to find out how the washing-the-Ethiopian tópos (in its verbal and iconographical forms) has become long-lasting, ductile and semantically productive key expression whose heterogeneous use not only document but also produce and fix otherness in time.

Il realismo di un nuovissimo medio evo: Boccaccio in the age of neorealism

After the war Italian artists and intellectuals saw a significant and necessary confluence between their political desire to create a "new." Italy and their cultural ambition to re-invigorate the study of medieval Italy. This tendency is particularly evident, I argue, in the post-war scholarly and critical focus on Boccaccio, and especially Boccaccio’s Decameron. Not only within the academy but also in the popular press, Boccaccio was granted pride of place in the canon, venerated as the pioneer of socially conscious vernacular literary realism, the archetype for the pursuit of artistic truth in the face of social upheaval. As a result, I wish to suggest, Italian neorealism, which rose to prominence in the first years after the Second World War, was in a significant sense imbued with and realised through a profound engagement with the work of Boccaccio. In turn, the cultural currents affiliated with neorealism influenced Boccaccio studies, whose operative notions of medieval «realism» were to a perhaps surprising degree stimulated by approaches to the neo-realist poetics at work in the Italian films, novels, and criticism of the 1940s and ’50s. Situating the critical discourse surrounding Boccaccio within the post-war Italian context can therefore serve to shed unexpected light on both the cultural affirmation of neorealism and the disciplinary configuration of Italian medieval studies.