1. Saggi
      • ROSSANA CAIRA LUMETTI

        Il senso della masserizia nella Vita di Benvenuto Cellini - pp. 419-440

        In his “autobiography” Benvenuto Cellini deals with the clients and the fortunate commissions which allowed him to reach a social position that also marked his transformation from an artisan into an artist.

      • SRECKO JURISIC

        D’Annunzio e il mito moderno: la riscrittura del mito di Faust - pp. 441-454

        Many essays have been written which deal with the importance of classical mythology in Gabriele D’Annunzio’s poetics. Very few of them, however, take into account his rewriting of modern myths (Don Juan and Faustus, for instance). D’Annunzio e il mito moderno. La riscrittura del mito di Faust analyses the relationship between D’Annunzio’s early short story L’origine degli zolfanelli and the Faustian myth. The reader is struck by his parodistic rewriting of the vitalistic myth, which means that from the very start of his literary career D’Annunzio condemns his supermen to failure.

      • RICCARDO SCRIVANO

        Struttura e senso di Uno, nessuno e centomila - pp. 455-469

        The author’s painstaking historical and philological analysis of Pirandello’s last novel results into a redefinition of its structure and to a comprehensive view of Pirandello’s definition of individual life as a non-concluding experience.

      • SARAH DECOMBEL

        Per una retorica dell’ascolto. Gli scritti sulla musica di Savinio e Bontempelli - pp. 470-503

        Though the act of “speaking music” is impossible, the most abstract of arts has often aroused the interest of many writers, for instance of Alberto Savinio and Massimo Bontempelli. Their writings on music, collected in Scatola sonora (1955) and Passione incompiuta (1958), clearly reflect their musical background and activity. This paper aims at analyzing the rhetorical devices Savinio and Bontempelli make use of in order to describe, characterize and suggest music. A close reading of their texts allows us to define a “rhetoric of hearing” and compare it with the traditional rhetoric, more strongly based on visual perception.

      • AMBRA MEDA

        «Il sogno di evadere l’educativo manicomio». Gadda viaggiatore “sedente” - pp. 504-522

        This essay analyzes the hodoeporic theme in Carlo Emilio Gadda’s works. Travelling around the world, Gadda realized that journey had ceased to be a bodily experience and a gnoseological medium to become, as he maintains in I viaggi della morte, an aesthetic adventure. In his opinion places are mirrors reflecting specific ethical questions, and it is worth noticing how nowadays, in the so called globalization era, the only purpose left to travelling is to enlighten social, political, ideological and historical problems, as Gadda had already tried to demonstrate in Le meraviglie d’Italia, Il castello di Udine and La Madonna dei filosofi.

      • FABIO PIERANGELI

        L’’Uomo’: Pavese e Moravia - pp. 523-540

        In L’uomo come fine e altri saggi Alberto Moravia gives expression to ideas that Cesare Pavese had already put orward in Ritorno all’uomo, an article published in “L’Unità” (Turin, 20th May 1945). While underlining a surprising concurrence of words and purposes, this essay aims at catching the mutual personal dislike and the literary rivalry which marked the relationships between Turin, Rome and Milan, and undeniable affinities, especially when they, faced with “a city in ruins”, appeal to strong ethical values. The definition of literature as humanism can be applied to the civil and social world seen as a whole, and remains a symbol for both the authors.

    2. Meridionalia
      • TONI IERMANO

        “Sarebbe piaciuto a Maupassant”. Mater camorra di Luigi Compagnone - pp. 541-566

        The Cuocolo Trial was also the first in which the 19th century Camorra was forced to undergo a public legal action. In his Mater Camorra Luigi Compagnone reconstructs those days blending history, literature, social habits and behaviours into a harmonious whole. Making a wise use of personal memories, he succeeds in intertwining priggish sermons, polemic digressions, temperamental judgements and a deep commitment to the problems of Southern Italy. The trial also gives him the possibility to show the rationality of grief and to describe a reality both nonsensical and funny. Describing the Viterbo’s travesty of justice, Compagnone seizes the opportunity to consider from a moral viewpoint the history of the town and the very definition of “napoletanità”.

    3. Contributi
      • MARCO ROMANELLI

        Moderno e postmoderno nel primo Saba: la suite di Monte Oliveto - pp. 567-590

        Saba’s poetry conceals, under an apparent simplicity, an extremely complex content. A useful contribution to comprehend this contradiction can derive from examining the texts that the poet excluded from the canon of the Canzoniere. For this reason, the five lyrics of the suite Monte Oliveto, composed by Saba in 1907, have been taken into consideration. The texts analysis shows their collocation in a modern dimension that contradicts the dominant spirit of the Canzoniere, characterized by the overcoming of modernity and the fragmentation of the subjective I, which anticipates of at least half a century what will be definited as postmodernism. This is why Monte Oliveto was excluded and other poems, clearly of less value but better responding to the general inspiration of the Canzoniere, were included.

      • ALESSANDRA OTTIERI

        Levi, Sinisgalli e il mito del Centauro - pp. 591-606

        Every myth can be - and as a matter of fact is - reshaped or rewritten by poets and philosophers. It is precisely this pliability that explains its survival through centuries. The myth of the Centaur played a significant role in the history of Italian literature. The so called “impure or dimidiated writers” of the 20th century revisited it from their different views of the world and poetics. In the Centaur, the creature marked by a human and animal nature, authors like Primo Levi and Leonardo Sinisgalli saw a mirror of their divided selves and a symbol of the contrast between science and creative writing. Levi, in particular, experienced this contrast as a spiritual trauma.

    4. Recensioni
      • Accademia dei Filomarini. Lectura Dantis Interamnensis, diretta da G. Rati, Roma 2006 (Stefania Della Badia) - pp. 607-610

      • GIULIO DI FONZO

        Immagini di natura e ritualità classica. Studi sui "Sepolcri" e sulle "Grazie" del Foscolo, Soveria Mannelli 2008 (Emerico Giachery) - pp. 610-615

      • GIUSEPPE SAVOCA

        Leopardi. Profilo e studi, Firenze 2009 (Maria Grazia Caruso) - pp. 615-617

      • ANTONIO SACCONE

        «Qui vive/sepolto/un poeta». Pirandello Palazzeschi Ungaretti Marinetti e altri, Napoli 2008 (Maria Laura Vanorio) - pp. 617-619

      • LUIGI INCORONATO

        Gli Apache del Molise e altri racconti di emigrazione, a cura di Francesco D'Episcopo e Miriam Lombardi, Salerno 2009 (Apollonia Striano) - pp. 619-620

      • ILARIA CROTTI

        Mondo di carta. Immagini del libro nella letteratura italiana del Novecento, Venezia 2008 (Beniamino Mirisola) - pp. 620-622

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