Božansko u Petrićevoj Poetici

Author(s): Mladen Živković / Language(s): Croatian Issue: 03/2005

The works of Frane Petrić have been studied intensively in Croatia and abroad in the last decades. Petrić does not stop to amaze us with his great erudition. Ali the themes he wrote about - beginning with his juvenile works and taking its mature shape in Nova de Universis Philosophia - were studied systematically and in opposition to authorities and contemporanities. This also applies to his Poetics. That huge work is not fully presented in this article, but, instead, it’s one aspect have been investigated. This work is considered to be a specific defense of poetry, which has been taken by Petrić’s unbreakable connection and joining together poetic and divine, which has the miracle as their common. In reading this work, we could not help but to be amazed over the quantity of issues it elaborates. Even more amazing is the clarity of Petrić’s language in most complicated themes, as vvell as the impression that in front of us we have a book which can say a lot to contemporary scholars of poetics and aesthetics.

Polskie opisy Rzymu ze zbiorów Gabinetu Starych Druków BUW. Studium proweniencyjne

Author(s): Martyna Osuch / Language(s): Polish Issue: 1 (54)/2020

Descriptions of the Eternal City written or translated by Poles began to appear in print in the second half of the 16th century. Before 1800 only eight titles were published, three of which are kept in the Early Printed Books Department of the University of Warsaw Library. Analysing the individual characteristics of the copies, such as ownership marks, marginalia, or bindings, an attempt is made to establish the identity of the owners of the books, their interests and reading practices, and to determine the ways in which Rome was perceived by readers born in the Polish-Lithuanian Commonwealth. The aim of the study is also to show how the way of thinking about the Eternal City changed over the years and to present the purposes for which the former guides and accounts about Rome were used by the 17th, 18th, and 19th century readers. Five editions and eight copies of three titles were analysed. These are: O Rzymie pogańskim i chrześcijańskim (On Pagan and Christian Rome) by Andrzej Wargocki (two editions, five copies), Delicyje ziemie włoskiej (Italian Delicacies) by Georg Kranitz (two editions, two copies), and Droga rzymska z nawrotem do swojej ojczyzny (A Return Journey to Rome) by Kazimierz Kognowicki (one edition, one copy).

Primul text de matematică tipărit în Moldova. Elementi aritmetice arătate firești (Iași, 1795)

Author(s): Liliana Soare / Language(s): Romanian Issue: 14/2021

The first mathematics textbook printed in Moldavia (Iași, 1795) was not sufficiently examined, although the translation offers us valuable information on the Italian influence on the Romanian language and a precious linguistic material as regards both the configuration of the Romanian literary language in Moldavia at the end of the 18th century and the constitution of mathematical terminology. The linguistic material excerpted reflects phonetic and morphologic norms specific of the author’s dialect, sometimes going beyond the criteria illustrated by the local tradition, especially in the morphosyntax field. The lack of a terminological tradition is to be observed in the high number of un-adapted terms, semantic loans and old terms. Amfilohie’s intense activity of translating from Italian (the scholar being a genuine forerunner of the Italianate movement in Moldavia) is proof of the depths of the cultural contacts with the western world, resulting in the intensification of the renewing of the Romanian vocabulary by assimilating Latin-Romance borrowings in general and Italian ones, in particular.

The first mathematics textbook printed in Moldavia. Elementi aritmetice arătate firești (Iași, 1795)

Author(s): Liliana Soare / Language(s): English Issue: 14/2021

The first mathematics textbook printed in Moldavia (Iași, 1795) was not sufficiently examined, although the translation offers us valuable information on the Italian influence on the Romanian language and a precious linguistic material as regards both the configuration of the Romanian literary language in Moldavia at the end of the 18th century and the constitution of mathematical terminology. The linguistic material excerpted reflects phonetic and morphologic norms specific of the author’s dialect, sometimes going beyond the criteria illustrated by the local tradition, especially in the morphosyntax field. The lack of a terminological tradition is to be observed in the high number of un-adapted terms, semantic loans and old terms. Amfilohie’s intense activity of translating from Italian (the scholar being a genuine forerunner of the Italianate movement in Moldavia) is proof of the depths of the cultural contacts with the western world, resulting in the intensification of the renewing of the Romanian vocabulary by assimilating Latin-Romance borrowings in general and Italian ones, in particular.

La concretezza come procedimento. Contributo per una storia di Memorial

Author(s): Simone Guagnelli / Language(s): Italian Issue: 1/2023

The present article offers a brief history of the Russian non-governmental organisation Memorial, a recent winner of the Nobel Peace Prize, from its origins in the 1980s to the present day. It also proposes an attempt to create a bibliography which could be used for a larger monographic volume, a more detailed work capable of going into more detail about the founding instances of the most important cultural movement of resistance in Russian and post-Soviet society. The nearly simultaneous invasion of Ukraine and the banning of Memorial make the publication of such a work urgent. It would not only outline the organisation’s development but also become a manifesto of concrete common action for a new Europe arising at the end of the conflict, which could thrive on the shared themes of historical memory and the defense of civil rights.

SocGoldoni. “Il servitore di due padroni” nell’interpretazione di Krystyna Skuszanka

Author(s): Paulina Kwaśniewska-Urban / Language(s): Italian Issue: 19/2019

The following paper is devoted to the performance of Carlo Goldoni’s comedy The Servant of Two Masters, which was staged in Teatr Ludowy (the Ludowy Theatre) in Nowa Huta. The play, which was directed by Krystyna Skuszanka, is set in the history of the Polish reception of Goldoni’s comedy. The analysis of remarks and comments, which were published by Polish reviewers who watched the play in Nowa Huta in 1957, as well as Italian reviewers who saw the performance a few months later in the Venetian Biennale, is an attempt at showing some basic discrepancies regarding the reception of the play and answering the question about the cause of such differences. In such a short form it is not possible to investigate all the intricacies of reading Goldoni in Poland in the period 50s-60s from an anti-ideological perspective, or to determine a broader historical-cultural context. The paper is only a section of in-depth research conducted by the author.

Jedna, żadna i sto tysięcy. Włoszka jako medium

Author(s): Katarzyna Woźniak / Language(s): Polish Issue: 19/2019

The stake in a heated discussion on reviving tarantism in the Salentian culture by initiators and partcicipants of the project ‘The spider of a dancing god’ was the reinterpretation of the phenomenon itself: tarantism, which was perceived as a thing of the past and an embarrassing social problem, was to become artistically modified, namely isolated from life and displayed on stage. Rejecting tarantism as a folk practice and an attempt at representing it could also be interpreted as turning a blind eye to the problem of a woman’s position in society, without proposing anything in turn. Technological and social progress did not go hand in hand with the emancipation of an Italian woman. Luigi Piradnello in his drama, and Franka Rame in her monodrama captured this phenomenon brilliantly

The spatial representation of the Blessed Mary in Italian poetry at the time of the Second Vatican Council

Author(s): Magdalena Maria Kubas / Language(s): English Issue: 2/2023

The representation of the Holy Virgin has long constituted one of the most important thematic lines in Italian poetry, both sacred and profane. In terms of the representation of space, the Blessed Mary was traditionally placed in far-away, celestial hierarchies. In more recent periods, this figure is often placed in the space of earthly life, with which the lyrical subject (the enunciator) is more familiar. Juri Lotman’s perspective on the space of the typological description of culture shows that divinities belong mainly to the exterior (E) space of culture. Building on these considerations, the purpose of this article is to analyse recent Marian representations – both poetic and theological – in Italian culture. I will demonstrate that, during the 20th century in Italy, Marian sacrum was moved closer to or even inside interior space (I), as the Blessed Virgin started to appear mostly in scenes of daily life and her divine traits gradually lost importance. This kind of spatiality is also found in the ecumenical dialogue. The Second Vatican Council normalized both Marian theology and the faithful’s practices, which influenced textual production and brought about further changes in the spatial placement of Mary. While the general social trend towards secularization has been increasing the distance between the human and the divine, Mary’s sanctity was transferred to the interior space (I) of everyday life – and this could be one of the factors that relaunched Marian poetry.

Le impressioni sulla Polonia del 1953 di Tommaso Fiore

Author(s): Simone Guagnelli / Language(s): Italian Issue: 2/2023

The article contextualizes and presents an unpublished paper by Tommaso Fiore that served as the text for the series of lectures on Poland given between 1953 and 1954 throughout Italy following his 1953 trip, which would result in the book I corvi scherzano a Varsavia (The crows joke in Warsaw). The document presents in a concise form all the most favourable themes and impressions that had struck the Apulian writer and politician on Poland undergoing reconstruction after the disaster of World War II, in a continuous and hopeful comparison with the fate of the Italian peninsula.

Mapa i mafia. O „Drodze krajowej numer 106” Antonia Talii

Author(s): Giulia Kamińska Di Giannantonio / Language(s): Polish Issue: 2/2023

The author undertakes an analysis of the reportage volume Droga krajowa nr 106. The text reconstructs not only the image of the ‘ndrangheta (i.e., the Calabrian mafia) presented in the reportage but also of Calabria itself, the region from which this criminal organization originates, the local population, the prevailing way of understanding sacrum, and even the atmospheric phenomena typical of the region.

Ezio Mauro e il suo scrittore senza nome. Mauro Ezio, „Lo scrittore senza nome. Mosca 1966: processo alla letteratura”, Milano, Feltrinelli, 2021, 333 p.

Author(s): Anna Mezzina / Language(s): Italian Issue: 2/2023

This review deals with the most recent novel written by Italian journalist and former editor-in-chief of la Repubblica Ezio Mauro, Lo scrittore senza nome: processo alla letteratura (2021). The plot revolves around the events that precede and follow the arrest and trial of Russian authors Andrei Sinyavsky and Yuli Daniel. However, from the very beginning, the reader is made aware of the character around whom the story is centered: Yuli Daniel. To tell this story, the author writes a journalistic novel, which is a variation of the traditional literary genres combining fictional and non-fictional elements.

The Image of the Danube in Contemporary Novels Associated with Hungarian Culture

Author(s): Monica Manolachi / Language(s): English Issue: 1/2023

The natural elements of inhabited areas often shape people’s lifestyles, psychology and worldviews, influencing their moods, decisions and actions. Rivers in particular are often associated with the historical development of human relationships and the emergence of settlements and urban life. This paper explores the representations of the Danube in four contemporary novels by Hungarian authors or set in Hungary: The White King (2008) by György Dragomán, Train to Budapest (2008) by Dacia Maraini, Under Budapest (2013) by Ailsa Kay and Los Amantes Bajo el Danubio (2016) by Federico Andahazi. The aim of this analysis is to show how the river operates as a framework of “liquid modernity” (Bauman, 2000) in each of these works, it has a representative power of its own and determines people’s destinies and human relationships in heterogeneous cultural contexts. It functions both as a natural backdrop for historical events and as a means of expressing and conveying emotions, creating a transnational political identity that is both socio-cultural and deeply intimate.

Bridging Cultures, Intersecting Paths of Recognition: Larabi’s Ox: Stories of Morocco (1992) by Tony Ardizzone

Author(s): Elisabetta Marino / Language(s): English,Italian Issue: 28/2023

As well as being an academic, Chicago-born Tony Ardizzone is one of the most prominent American writers of Sicilian origin. In 1985 he travelled to Morocco and settled in Rabat, where he taught at Mohammed V University. As he has elucidated in more than one interview, he had no intention of writing about Morocco, even though, during his stay, he kept a diary. He travelled to Morocco a second time, in 1988, and, when he came back, he decided to weave some of the stories he had already started to draft into one collection of fourteen interlaced pieces, entitled Larabi’s Ox: Stories of Morocco, re-issued in 2018 as The Arab’s Ox to mark the 25th anniversary of the book publication. As this essay sets out to demonstrate, by setting the collection in a foreign territory at the crossroads (between Europe, Africa, and the Arab world), by choosing American characters (not just Italian Americans) who are struggling to balance their identity in a country whose mores they do not fully understand, Ardizzone aims at casting light on the difficulties and the negotiations each person of ethnic origin has to grapple with, in his/her path of recognition in America.

ŠUME ĆE NAS PRIMITI U MRAK

Author(s): Marko Raguž / Language(s): Bosnian Issue: 37-38/2023

Bertolt Brecht je negdje napisao da je "kuknjava pred-fašističko stanje". Premda su nam puna usta demokratije i ljudskih prava, evropska društva kao da su obolila od mutiranih omikron virusa nacizma i fašizma, samo što se ta dijagnoza kukavički krije. Ali kao da je vrijeme koje je predviđeno za to prikrivanje iscurilo. Sada je svima jasno da sve ovo itekako prevazilazi stanje socijalne nepravde, i polako dobija Hitlerove obrise lica. Samo što danas živimo u vremenu Tehnologije, koja u rukama "tamnih sila" ima sasvim nove mogućnosti kontrole i terora. Brazilski post-punk bend "Plastique noir" je u jednoj pjesmi rekao da imaginarni (virtuelni) zidovi imaju uši. Možda su baš to "Adolfove uši", kako je nedavno jedan naš pjesnik naslovio svoju novu knjigu. Budući da je Europa u ne tako davnoj prošlosti imala grdne muke da se otrese nacizma i fašizma, postoje neki (anti-fašistički) autoriteti i parametri, putem kojih možemo, ako ništa, spoznati u kolikoj mjeri trenutno društveno stanje otklizava u pravcu fašizma. Jedan od takvih autoriteta je i Italo Calvino.

ЗАМКЕ У ПРЕВОЂЕЊУ ПОЛИСЕМИЧНИХ ЛЕКСЕМА – ПРЕВОЂЕЊЕ ВИШЕЗНАЧНИЦА У ПРЕВОДУ ЗБИРКЕ "ШУМ" РАНКА РИСОЈЕВИЋА НА ИТАЛИЈАНСКИ ЈЕЗИК

Author(s): Milica M. Galić Petrović / Language(s): Serbian Issue: 82/2023

The main the main purpose of this work was to observe polysemic lexemes when translating an artistic text into another language. After a detailed analysis, we concluded that the trap that polysemic lexemes set before the translator was suc- cessfully circumvented by applying different translation techniques. One of the main characteristics that we noticed on polysemic lexemes from this corpus is that they do not always have equivalent meanings and that, in the case when polysemic lexemes from the source language do not have their polysemic equivalent in the language of translation, it is most often resorted to the descriptive translation, and somewhat less frequently to the use of the lexemes that have only one meaning.

За енигмите и парадигмите в женското писане (Гешева, Р., 2023, Енигми и парадигми при някои италиански писателки от ХХ век)

Author(s): Ilka Birova / Language(s): Bulgarian Issue: 1/2024

Ofelia Pirandella: rozważania nad kobiecym szaleństwem

Author(s): Aleksandra Koman / Language(s): Polish Issue: 17/2017

The article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which draws inspiration from an actual event connected with questions on the identity of a person suffering from amnesia. Unlike the real incident, the main character of Pirandello’s is a woman known only by her alias Stranger, as the main theme of the drama is establishing her true identity. The present article aims at proving that Pirandello’s drama is not a criminal mystery, but rather a deep reflection on the notion of human personality which in the case of a woman receives new, interesting meanings. One of them is spotting the correspondence between Pirandelli’s Stranger and Shakespeare’s Ophelia, as madness of both characters appears to have similar roots: female’s insanity seen through the prism of both dramas appears as defiance against the culture of patriarchy, but also stems from the conviction of one’s own emptiness and undefinedness. In this context, referring to studies on feminist criticism (E. Shawalter, K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even though the structure of drama appears to lead to a finale in which the truth about the character is uncovered, Pirandello does not reveal her true identity. However, questions on female identity and female madness are worth reflecting upon, even if they remain unanswered.

In the Mirror of Translation. The Translator’s Biography of Cristina Campo

Author(s): Małgorzata Ślarzyńska / Language(s): Polish Issue: 47/2023

The subject of this article is the translation work of the Italian writer Cristina Campo (born Vittoria Guerrini), one of the most prominent Italian writers of the 20th century, poet, translator, and essayist, analysed in a biographical key. The aim is to look more closely at Cristina Campo’s biography – described so far in the only biography book (De Stefano 2002), but also recorded in the voluminous correspondence the writer left behind – through the framework of her translation activity. Of interest from this point of view become both her translation choices and reading choices (“the lovely kinsmen of the shelf,” as the writer called her favourite books) – related to a large extent to Campo’s literary temperament, her experiences in her private life, and her friends – as well as her choice of translation activity itself, largely conditioned by the need to spend a large part of her life in seclusion due to the incurable heart disease that Campo suffered from since her birth. An attempt will be made to answer the question of how illness and other life circumstances influenced her choice of translation activity, the selection of texts to be translated and the translator’s actual working conditions.

L’editio princeps di “Kënëkëz pollithike” (Canto politico) di Francesco Antonio Santori

Author(s): Oreste Parise,Merita Bruci / Language(s): Italian Issue: 01-02/2023

Kjo këngëzë politike (Kënëkëz pollithike) e Franqisk Anton Santorit vjen për herë të parë nën kujdesin tonë në versionin integral. Ky botim ndjek vazhdën e një fushate të rivlerësimit të prodhimit letrar të F. A. Santorit duke ia hequr pluhurin arkivor dhe duke e shpëtuar atë nga harresa. Vepra të pabotuara të tij që po shohin mundësinë e botimeve kritike hedhin një dritë të re mbi autorin, dhe na lejojnë ta vlerësojmë figurën e tij jo vetëm si letrar, por edhe si një vëzhgues i mprehtë politik që botën e sheh nga dritarja e një manastiri të humbur diku në Kalabri. Këndi i tij i vëzhgimit është shumë i ngushtë, por analizat e tij janë të mprehta dhe ia mbërrijnë të shprehin frymën e kohës së tij shumë më mirë se protagonistët aktivë, tepër të përfshirë me veprimet e tyre personale, aq sa arrin të ketë një vizion gjithëpërfshirës të ngjarjeve. Aftësia e tij parashikuese mbetet akoma një aspect pak i njohur i personalitetit të tij. Këngëza politike e Santorit është një akt dëshpërimi që shpreh të gjithë pakënaqësinë nga procesi i bashkimit të Italisë, rezultat i një lëvizje që njihet nën emrin Risorgimento italiane. Ky bashkim në jugun e Italisë solli zhgënjim, shfrytëzim ekonomik, humbje të shpresës për të ardhmen. Në këtë këngëzë shfaqet vetëm dëshpërimi pa një të ardhme. Zhgënjimi i popullsisë së Italisë së Jugut, sidomos i arbëreshve, qe i madh. Ata e kuptuan shpejt se ç’po ndodhte: përkeqësim i kushteve të jetesës dhe një karakter shtypës i politikës piemonteze e cila synonte të nënshtronte Jugun pa pyetur për pasojat shkatërruese që po shkaktonte kjo politikë e rrezikshme e një integrimi të sforcuar. Kundërshtimi u shfaq edhe në poezitë dhe këngët popullore në të gjithë Jugun me një numër të bollshëm krijimesh që shprehnin një protestë të ashpër e që këndoheshin nëpër sheshe e panaire. Kjo përhapje nuk u pa me sy të mirë, po nuk u ngrit në nivelin e shtypjes së dhunshme. Këngëza përmban 136 vargje, të ndara në 19 strofa me 8 vargje seicila. Sa i takon kohës së krijimit, të dhëna historike dhe zgjedhjet alfabetike të autorit tonë na ndihmojnë të shtrojmë hipotezën që vargjet e këngëzës janë shkruar, në mos më 1869, para ose pak kohë pas këtij viti.

L’editio princeps di “Kënëkëz pollithike” (Canto politico) di Francesco Antonio Santori (Vijon nga numri paraardhës)

Author(s): Oreste Parise,Merita Bruci / Language(s): Italian Issue: 03-04/2023

Francesco Antonio Santori's Kënëkëz pollithike (Political Song) has never been published. Recently an effort has been made to remove dust and oblivion in which his manuscripts were buried. The increasingly number of posthumous works gradually published sheds new light on the author. It allows us to evaluate his figure not only as a man of letters, but also as an acute political observer who looks at the world from a window in a remote village in Calabria. His angle of observation is very narrow, but his analyses are very penetrating and express the Zeitgest of his era better than the active protagonists, who are too involved in their personal affairs, that they are unable to have a clear vision of the events. His predictive skill still remains a little-known aspect of his personality. Santori's Kënëkëz pollithike is a scream of desperation that expresses all the disappointment of the process of Italian unification which in the South - in the Kingdom of the Two Sicilies - brought only disappointment and economic prostration with the loss of all hope for the future. The disappointment, especially among the arbëresh, was terrible, as they soon realized what was happening: the worsening condition of the South, the repressive nature of Piedmontese politics. The aim of new government was to reduce the former Bourbon Kingdom to obedience without caring about its terrible conditions, and the disastrous consequences of forced integration. The price to pay was the eradication of any cultural or linguistic difference and the loosing of their identity. Dissent was particularly present in popular poetry and country songs throughout the South, giving rise to a large number of violent protest songs repeated in villages and fairs, a local diffusion that was poorly tolerated, without reaching levels of violent repression. Santori's singing fits right into this line and demonstrates once again how his ability of grasping the spirit of the time, even locked in a far corner with few information sources. The song contains 136 verses, divided into 19 stanzas with 8 verses each. Regarding the dating, historical indications and Santorian alphabetical choices help us to hypothesize that the text of the Kënëkëz Pollithike was composed around the year 1869, shortly before or after that date.