La partecipazione femminile al giornalismo politico-letterario. Italia e Francia tra Otto e Novecento.

By examining seven major reviews (the French ���Revue des deux Mondes���, the ���Revue de Paris��� and the ���Nouvelle Revue���; the Italian ���Nuova Antologia���, the ���Rassegna Nazionale���, the ���Rivista europea��� and the ���Revue internationale���) this thesis investigate the female participation in high quality journalism in Italy and France between the 1870s and the First World War. The aim is to show that despite some obvious limitations, women found room in that apparently very ���male��� space of culture and emerged on a considerable scale in all walks of the profession. Many women regularly published on high quality reviews. Some of them even rose to high positions on editorials board. With the exception of a few fields of knowledge ��� albeit fundamental to the journals��� overall structure ��� such as economics, finance and matters to do with the army and the colonies, women contributors covedered nearly all the range of subjects contained in this periodicals: not only fiction, but also literary criticism, travelogues, politics and others. Quality and cultural journals offered women writers a considerable space for entering the public sphere, as both authors and readers. It may thus construed on a dual plane: as an opportunity for women writers to join the new professional ranks of modern publishing, but also as an important terrain for acknowledgment of their standing as intellectuals.

"Narrativa di frontiera". Fenomenologia di una forma aperta.

��Fiction of frontier��. Phenomenology of an open form/voice. Francesco Giustini���s PhD dissertation fits into a genre of research usually neglected by the literary criticism which nevertheless is arousing much interest in recent years: the relationship between Literature and Space. In this context, the specific issue of his work consists in the category of the Frontier including its several implications for the XX century fiction. The preliminary step, at the beginning of the first section of the dissertation, is a semantic analysis: with precision, Giustini describes the meaning of the word ���frontier��� here declined in a multiplicity of cultural, political and geographical contexts, starting from the American frontier of the pioneers who headed for the West, to the exotic frontiers of the world, with whose the imperialistic colonization has come into contact; from the semi-uninhabited areas like deserts, highlands and virgin forests, to the ethnic frontiers between Indian and white people in South America, since the internal frontiers of the Countries like those ones between the District and the Capital City, the Centre and the Outskirts. In the next step, Giustini wants to focus on a real ��� myth of the frontier���, able to nourish cultural and literary imagination. Indeed, the literature has told and chosen the frontier as the scenery for many stories; especially in the 20th Century it made the frontier a problematic space in the light of events and changes that have transformed the perception of space and our relationship with it. Therefore, the dissertation proposes a critical category, it traces the hallmarks of a specific literary phenomenon defined ��� Fiction of the frontier��� ,present in many literary traditions during the 20th Century. The term ���Fiction��� (not ���Literature��� or ���Poetics���) does not define a genre but rather a ���procedure���, focusing on a constant issue pointed out from the texts examined in this work : the strong call to the act of narration and to its oral traditions. The ���Fiction of the Frontier��� is perceived as an approach to the world, a way of watching and feeling the objects, an emotion that is lived and told through the story- a story where the narrator ,through his body and his voice, takes the rule of the witness. The following parts, that have an analytic style, are constructed on the basis of this theoretical and methodological reflection. The second section gives a wide range of examples into we can find the figure and the myth of the frontier through the textual analysis which range over several literary traditions. Starting from monographic chapters (Garcia Marquez, Callado, McCarthy), to the comparative reading of couples of texts (Calvino and Verga Llosa, Buzzati and Coetzee, Arguedas and Rulfo). The selection of texts is introduced so as to underline a particular aspect or a form of the frontier at every reading. This section is articulated into thematic voices which recall some actions that can be taken into the ambiguous and liminal space of the frontier (to communicate, to wait, to ���trans-culturate���, to imagine, to live in, to not-live in). In this phenomenology, the frontier comes to the light as a physical and concrete element or as a cultural, imaginary, linguistic, ethnic and existential category. In the end, the third section is centered on a more defined and elaborated analysis of two authors, considered as fundamental for the comprehension of the ���Fiction of the frontier���: Joseph Conrad and Jo��o Guimar��es Rosa. Even if they are very different, being part of unlike literary traditions, these two authors show many connections which are pointed by the comparative analysis. Maybe Conrad is the first author that understand the feeling of the frontier , freeing himself from the adventure romance and from the exotic nineteenthcentury tradition. Jo��o Guimar��es Rosa, in his turn, is the great narrator of Brazilian and South American frontier, he is the man of sert��o and of endless spaces of the Centre of Brazil. His production is strongly linked to that one belonged to the author of Heart of Darkness.

La traduzione letteraria in Unione Sovietica (1930-1955)

In Unione Sovietica il partito mette in atto un sistema di istituzioni per controllare il mondo culturale e la produzione scritta: il Glavlit, il massimo istituto censorio, l���Unione degli scrittori, un���editoria centralizzata e statalizzata e un unico metodo creativo possibile, il realismo socialista. Il settore della traduzione letteraria e della ricezione della letteratura straniera vengono ugualmente posti sotto controllo. All���interno dell���Unione degli scrittori operano la Sezione dei Traduttori, a cui spetta la formazione dei nuovi traduttori sovietici, e la Commissione Straniera, che stabilisce quali autori e quali libri occidentali debbano essere tradotti. Il Reparto straniero del Glavlit controlla il materiale a stampa proveniente dall���estero, la sua distribuzione e le modalit�� di consultazione e si occupa di effettuare una censura sia sul testo in lingua straniera che su quello tradotto in lingua russa. Parallelamente, il codice estetico e normativo del realismo socialista comincia a influenzare lo sviluppo della teoria della traduzione. La traduttologia si allinea alla critica letteraria ufficiale e promuove un approccio libero al testo che permetta l���introduzione di modifiche testuali arbitrarie da parte del traduttore o del redattore.

La resistenza dei legami. Narrazioni e rappresentazioni della famiglia nella trilogia di romanzi ���Past Imperfect��� (2004-2011) di Nuruddin Farah

Il presente progetto di ricerca riguarda la terza trilogia di romanzi di Nuruddin Farah, ���Past Imperfect��� (2004-2011). L���analisi dei tre testi che compongono la trilogia ��� ���Links��� (2004), ���Knots��� (2007) e ���Crossbones��� (2011) ��� evidenzia la persistente rilevanza delle narrazioni e delle rappresentazioni della famiglia all���interno di tutta la produzione letteraria dell���autore. Questa prospettiva critica richiede l���impiego di una metodologia che riunisce vari aspetti della critica letteraria di matrice post-strutturalista e, per altri versi, di stampo materialista, assecondando cos�� le due principali tendenze critiche presenti all���interno degli studi postcoloniali. Lo stesso approccio teorico-metodologico pu�� essere applicato anche in altri due ambiti critici chiamati in causa dalla trilogia di Nuruddin Farah: la cosiddetta ���world literature��� e la cosiddetta ���failed-state fiction���. L���analisi delle narrazioni e delle rappresentazioni della famiglia richiede, inoltre, un approccio interdisciplinare molto esteso, stimolando ricerche negli ambiti della semiotica, dell���antropologia, della psicanalisi, dei Gender Studies e dei Trauma Studies.

Ricezione e Finzione. Una teoria della lettura tra struttura e risposta estetica

Attraverso l���analisi di teorie della lettura ���centripete��� e ���centrifughe���, tra fenomenologia, semiotica e teoria della risposta estetica, questa ricerca punta a definire la lettura come un���esperienza estetica di una variabile e plurale letterariet��, o per essere pi�� precisi, come una relazione estetica ad una funzione nel linguaggio, che di volta in volta diviene immanente e trascendente rispetto al linguaggio, immanente nella percepibilit�� espressiva del segno e trascendente nella sua ristretta finzionalit�� o fittivit��, aperta alla dimensione del senso. Cos��, la letterariet�� �� vista, dal punto di vista di una teoria della lettura, come una funzione che nega o sovverte il linguaggio ordinario, inteso come contesto normale, ma anche una funzione che permette il supplemento di senso del linguaggio. Ci�� rende la definizione di cosa sia letteratura e di quali testi siano considerabili come letterari come una definizione dipendente dalla lettura, ed anche mette in questione la classica dicotomia tra linguaggio standard e linguaggio deviante, di secondo grado e figurativo, comportamento che distinguerebbe la letteratura. Questi quattro saggi vorrebbero dimostrare che la lettura, come una pratica estetica, �� l���espressione di una oscillazione tra una Finzione variabile nei suoi effetti ed una Ricezione, la quale �� una risposta estetica controllata dal testo, ma anche una relazione estetica all���artefatto a natura verbale. Solo in questo modo pu�� essere compresa la caratteristica paradossale della lettura, il suo stare tra una percezione passiva ed un���attiva esecuzione, tra un���attenzione aspettuale ed una comprensione intenzionale. Queste modalit�� si riflettono anche sulla natura dialettica della lettura, come una dialettica di apertura e chiusura, ma anche di libert�� e fedelt��, risposta ad uno stimolo che pu�� essere interpretato come una domanda, e che presenta la lettura stessa come una premessa dell���interpretazione, come momento estetico. Cos�� una teoria della lettura dipende necessariamente da una teoria dell���arte che si presenta come funzionale, relativa pi�� al Quando vi �� arte?/Come funziona? piuttosto che al Che cosa �� Arte?, che rende questo secondo problema legato al primo. Inoltre, questo Quando dell���Arte, che definisce l���opera d���arte come un���arte- all���-opera, dipende a sua volta, in un campo letterario, dalla domanda Quando vi �� esperienza estetica letteraria? e dalla sue condizioni, quelle di finzione e ricezione.

Letteratura postmoderna e comunicazione pubblicitaria, problemi teorici e analisi testuali

Premise: In the literary works of our anthropological and cultural imagination, the various languages and the different discursive practices are not necessarily quoted, expressly alluded to or declared through clear expressive mechanisms; instead, they rather constitute a substratum, a background, now consolidated, which with irony and intertextuality shines through the thematic and formal elements of each text. The various contaminations, hybridizations and promptings that we find in the expressive forms, the rhetorical procedures and the linguistic and thematic choices of post-modern literary texts are shaped as fluid and familiar categories. Exchanges and passages are no longer only allowed but also inevitable; the post-modern imagination is made up of an agglomeration of discourses that are no longer really separable, built up from texts that blend and quote one another, composing, each with its own specificities, the great family of the cultural products of our social scenario. A literary work, therefore, is not only a whole phenomenon, delimited hic et nunc by a beginning and an ending, but is a fragment of that complex, dense and boundless network that is given by the continual interrelations between human forms of communication and symbolization. The research hypothesis: A vision is delineated of comparative literature as a discipline attentive to the social contexts in which texts take shape and move and to the media-type consistency that literary phenomena inevitably take on. Hence literature is seen as an open systematicity that chooses to be contaminated by other languages and other discursive practices of an imagination that is more than ever polymorphic and irregular. Inside this interpretative framework the aim is to focus the analysis on the relationship that postmodern literature establishes with advertising discourse. On one side post-modern literature is inserted in the world of communication, loudly asserting the blending and reciprocal contamination of literary modes with media ones, absorbing their languages and signification practices, translating them now into thematic nuclei, motifs and sub-motifs and now into formal expedients and new narrative choices; on the other side advertising is chosen as a signification practice of the media universe, which since the 1960s has actively contributed to shaping the dynamics of our socio-cultural scenarios, in terms which are just as important as those of other discursive practices. Advertising has always been a form of communication and symbolization that draws on the collective imagination ��� myths, actors and values ��� turning them into specific narrative programs for its own texts. Hence the aim is to interpret and analyze this relationship both from a strictly thematic perspective ��� and therefore trying to understand what literature speaks about when it speaks about advertising, and seeking advertising quotations in post-modern fiction ��� and from a formal perspective, with a search for parallels and discordances between the rhetorical procedures, the languages and the verifiable stylistic choices in the texts of the two different signification practices. The analysis method chosen, for the purpose of constructive multiplication of the perspectives, aims to approach the analytical processes of semiotics, applying, when possible, the instruments of the latter, in order to highlight the thematic and formal relationships between literature and advertising. The corpus: The corpus of the literary texts is made up of various novels and, although attention is focused on the post-modern period, there will also be ineludible quotations from essential authors that with their works prompted various reflections: H. De Balzac, Zola, Fitzgerald, Joyce, Calvino, etc��� However, the analysis focuses the corpus on three authors: Don DeLillo, Martin Amis and Aldo Nove, and in particular the followings novels: ���Americana��� (1971) and ���Underworld��� (1999) by Don DeLillo, ���Money��� (1984) by Martin Amis and ���Woobinda and other stories without a happy ending��� (1996) and ���Superwoobinda��� (1998) by Aldo Nove. The corpus selection is restricted to these novels for two fundamental reasons: 1. assuming parameters of spatio-temporal evaluation, the texts are representative of different socio-cultural contexts and collective imaginations (from the masterly glimpses of American life by DeLillo, to the examples of contemporary Italian life by Nove, down to the English imagination of Amis) and of different historical moments (the 1970s of DeLillo���s Americana, the 1980s of Amis, down to the 1990s of Nove, decades often used as criteria of division of postmodernism into phases); 2. adopting a perspective of strictly thematic analysis, as mentioned in the research hypothesis, the variations and the constants in the novels (thematic nuclei, topoi, images and narrative developments) frequently speak of advertising and inside the narrative plot they affirm various expressions and realizations of it: value ones, thematic ones, textual ones, urban ones, etc��� In these novels the themes and the processes of signification of advertising discourse pervade time, space and the relationships that the narrator character builds around him. We are looking at ���particle-characters��� whose endless facets attest the influence and contamination of advertising in a large part of the narrative developments of the plot: on everyday life, on the processes of acquisition and encoding of the reality, on ideological and cultural baggage, on the relationships and interchanges with the other characters, etc��� Often the characters are victims of the implacable consequentiality of the advertising mechanism, since the latter gets the upper hand over the usual processes of communication, which are overwhelmed by it, wittingly or unwittingly (for example: disturbing openings in which the protagonist kills his or her parents on the basis of a spot, former advertisers that live life codifying it through the commercial mechanisms of products, sons and daughters of advertisers that as children instead of playing outside for whole nights saw tapes of spots.) Hence the analysis arises from the text and aims to show how much the developments and the narrative plots of the novels encode, elaborate and recount the myths, the values and the narrative programs of advertising discourse, transforming them into novel components in their own right. And also starting from the text a socio-cultural reference context is delineated, a collective imagination that is different, now geographically, now historically, and from comparison between them the aim is to deduce the constants, the similarities and the variations in the relationship between literature and advertising.

Il teatro e Derek Walcott. Prospettive postcoloniali e multiculturali

This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.

"All'opera ha fatto seguito il ballo": Danza e stampa nell'Italia fascista

Basata sul reperimento di un���ampia mole di testi giornalistici (come cronache, interviste, elzeviri e articoli di ���Terza���) dedicati alle pratiche coreiche e pubblicati in Italia nel corso del ventennio fascista, la tesi ricostruisce i lineamenti di quello che, seppure ancora embrionale e certo non specialistico, si pu�� comunque ritenere una sorta di ���pensiero italiano��� sulla danza del Primo Novecento. A partire dalla ricognizione sistematica di numerose testate quotidiane e periodiche e, pertanto, dalla costruzione di un nutrito corpus di fonti primarie, si �� proceduto all���analisi dei testi reperiti attraverso un approccio metodologico che, fondamentalmente storiografico, accoglie tuttavia alcuni rudimenti interpretativi elaborati in ambito semiotico (con particolare riferimento alle teorizzazioni di Jurij Lotman e Umberto Eco), il tutto al fine di cogliere, pur nell���estrema variet�� formale e contenutistica offerta dal materiale documentario, alcune dinamiche culturali di fondo attraverso le quali disegnare, da un lato, il panorama delle tipologie di danza effettivamente praticate sulle scene italiane del Ventennio,e, dall���altro, quello dell���insieme di pensieri, opinioni e gusti orbitanti attorno ad esse Ne �� scaturita una trattazione fondamentalmente tripartita in cui, dopo la messa in campo delle questioni metodologiche, si passa dapprima attraverso l���indagine dei tre principali generi di danza che, nella stampa del periodo fascista, si ritenevano caratteristici della scena coreica internazionale ��� qui definiti nei termini di ���ballo teatrale���, ���ballo russo��� e ���danze libere��� ��� e, successivamente, si presenta un approfondimento su tre singolari figure di intellettuali che, ognuno con un���attitudine estremamente personale, hanno dedicato alla danza un���attenzione speciale: Anton Giulio Bragaglia, Paolo Fabbri e Marco Ramperti. Un���ampia antologia critica completa il lavoro ripercorrendone gli snodi principali.