Edited Volumes by Roberto Binetti
Brill, 2025
This volume navigates the entangled expressions of mourning across languages, cultures, and tradi... more This volume navigates the entangled expressions of mourning across languages, cultures, and traditions, shedding light on the evolving shapes and discourses of contemporary elegy in world literature. By adopting a transnational approach, this collection offers a much needed conceptualization of what elegy has become today.
Contributors are Nick Admussen, Adele Bardazzi, Roberto Binetti, Emily Drumsta, Francesco Giusti, Roberto Gaudioso, Gail Holst-Warhaft, Karen Leeder, Brandon Menke, Jahan Ramazani, Rachel Elizabeth Robinson, David Sherman and Ivanna Sang Een Yi.
Special Issues by Roberto Binetti
Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1... more Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Papers by Roberto Binetti
L'ospite ingrato 14, 2023
The article explores the controversial and complex relationship that Fortini maintains with psych... more The article explores the controversial and complex relationship that Fortini maintains with psychoanalysis throughout his literary career. Since the early forties, this relationship is primarily manifested through his production of critical essays, reviews, and, in a more subtle manner, within the fabric of his lyric texts. Fortini integrates psychoanalysis into his critical approach through a complex stratification of methods and references (Freud, Jung, Lacan, Fachinelli, Orlando) that are carefully tailored to the specific work or subject of study to which the text is dedicated. The central focus of his interest lies in identifying a tool that can connect the "other" of the text, considered a laboratory of political writing, to the other recipients of the same text through the expression of a sense of "lyric anxiety. "
Zanzotto europeo, ed. by Andrea Cortellessa, Laura Toppan and Giorgia Bongiorno (Florence: Franco Cesati, 2023), 2023
Eugenio Montale fu uno dei primi critici non solo a riconoscere l'inaccessibilità del sistema cit... more Eugenio Montale fu uno dei primi critici non solo a riconoscere l'inaccessibilità del sistema citazionale nella poesia di Andrea Zanzotto, ma anche a evidenziarne le potenzialità mitologiche e mito-biografiche: il progressivo enuclearsi di un mito personale nel linguaggio e attraverso il linguaggio della poesia 1. Come ammette lo stesso Montale, «cercare le fonti di Zanzotto sarebbe come cercare un ago nel pagliaio. Tanta è la violenza a cui lo astringe il suo bisogno di "verbalizzare la vita"» 2. E poco prima: La sua sfiducia nella parola è tanta che si risolve in una felice commistione lessicale. A lui tutto serve: le parole rare e quelle dell'uso e del disuso; l'intarsio della citazione erudita e il perpetuo ribollimento del calderone delle streghe. Sullo sfondo, poi, può esserci tanto il fato del giorno quanto il sottile richiamo mitologico 3. Le glosse ai testi, quando fornite dallo stesso autore, non esauriscono mai la sedimentazione dei vari residui testuali e dei vari precipitati mitologici. Zanzotto è infatti un poeta profondamente legato ai "miti dell'origine": i paesaggi barrati del Montello e dei Colli Euganei, il nitore della neve, le piante diffuse, dimenticate, e l'esplosione dei papaveri, la contrada e i suoi Mistieròi. La poesia di Zanzotto, in questo senso, si rivela come un tentativo continuato di risalire la china, di scavo entro la radice prima di alcune manifestazioni dell'umano, fra cui
Italica 98:1 , 2023
As highlighted by Andrea Cortellessa, Laura Pugno's poetry has its generative sparkle in photogra... more As highlighted by Andrea Cortellessa, Laura Pugno's poetry has its generative sparkle in photographic images. is is particularly relevant in Il colore oro, a poetry collection published in , which sees a collaboration with the artist and photographer Elio Mazzacane. Mazzacane's photographs do not simply function as a complement to the poetic texts, as a sort of illustration of what happens within the collection nor of what the lyric subject sees or envisions, but it provides a parallel series of signi ers that own an intrinsic signifying power. is article will focus on the intermedial dialogue between Mazzacane's photography and Pugno's poetry with the aim to investigate to what extent this dialectical exchange determines the structure of the collection, both at a macrostructural and microstructural level. In particular, it will be shown how this photographic process of subjecti cation impacts both on the internal organization of the book and on the syntactical patterns that are employed by Pugno and Mazzacane.
Journal of World Literature (8:1), 2023
The self-elegy is considered a hyper-literary genre which provides the readers with a self-portra... more The self-elegy is considered a hyper-literary genre which provides the readers with a self-portrait of the poets, while also discussing their own poetics and literary works. This article aims to re-map the genre of self-elegiac writing in contemporary Italy by focusing on two recently published collections: Patrizia Cavalli’s Vita meravigliosa (2020) and Biancamaria Frabotta’s Nessuno veda nessuno (2022). Both collections play with the genre of self-elegiac writing by trying to redefine its boundaries: first, both authors problematize the gender perspective intrinsic to the elegy; second, Cavalli and Frabotta delve into some of the canonical references and the structure of the elegiac genre; third, they insert their elegiac discourse within a global literary community.
Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1... more Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Trasparenze 8, 2022
La redazione di Trasparenze e le Edizioni San Marco dei Giustiniani ringraziano Anne Carson per l... more La redazione di Trasparenze e le Edizioni San Marco dei Giustiniani ringraziano Anne Carson per la disponibilità a concedere i diritti di traduzione dei testi pubblicati, Patrizio Ceccagnoli e Maya Solovej (Aragi Inc.) per la disponibilità, la gentilezza e la competenza con la quale hanno contribuito alla realizzazione di questo numero,
Lettere aperte (06/2019), 2019
Is poetry written by women truly informal while also lacking in depth of historical analysis, as ... more Is poetry written by women truly informal while also lacking in depth of historical analysis, as stated by Mengaldo in his well-known introduction to Poeti Italiani del Novecento? Many Italian women poets have been demonstrating the unreliability of this critical standpoint since the second half of the 20th century. Antonella Anedda can be easily be part of this particular lineage with a particular regard to her last published poetic collection, Historiae (2018). In her last book, Anedda manages to effectively conjugate the meta-historical nature of female writing with her role of witness within History. Indeed, the narration of private traumas gets amplified and tends to be overlapped with historical and collective wounds; thanks to this mechanism, poetry is also in charge of revealing its inner movement towards sublimation. This essay will analyse the collocation of the poetic Subject within the book of poetry, Historiae, by connecting it also to the extra-individual dimension of History. Within this critical frame, the label of "historical lyricism" will be proposed as the most suitable category for the analysis of this entangled poetic phenomenology.
La poesia scritta da donne è veramente votata all’informale e contemporanemante priva di qualsiasi profondità d’analisi storica, come dice Menagaldo nella sua celebre introduzione a Poeti Italiani del Novecento? Molti poeti italiani del hanno sconfessato questo avamposto critico a partire dalla seconda metà del Novecento. Antonella Anedda può essere facilmente accostata a questa tendenza, particolarmente per quanto riguarda la sua ultima raccolta pubblicata, Historiae (2018). In quest’ultimo libro, Anedda riesce con efficacia a coniugare la natura meta-storica della voce femminile con la sua volontà di essere testimone all’interno della Storia. Infatti, la narrazione di traumi privati tende ad essere amplificata fino ad essere sovrapposta a ferite storiche collettive; grazie a questo meccanismo, la poesia è destinata a rivelare il proprio movimento sublimatorio interno. Questo saggio si propone di analizare la collocazione del Soggetto all’interno del libro di poesia, Historiae, al fine di connetterlo poi alla dimensione sopra-individuale della Storia. All’intenro di questa cornice teorica, sarà introdotta la formula di “lirismo storico” come la categoria critica più adatta al fine di analizzare una così complessa fenomenologia poetica.
https://www.lettereaperte.net/ausgaben/ausgabe-62019/una-zona-di-tempo-schiuma-delle-ere-lirica-e-storiografia-in-historiae-di-antonella-anedda
Ticontre, 2019
By adapting the Lacanian notion of the Real order to the literary criticism, this essay aims at a... more By adapting the Lacanian notion of the Real order to the literary criticism, this essay aims at analysing the long poem Gli sguardi, i fatti e Senhal by Zanzotto. Such interpretation ends up being more coherent and respectful towards the sensibility of the author. Moreover, this psychoanalytic reading will avoid any patographic interpretation of Zanzotto’s poetics. Interpreted by Zanzotto as a lunar wound, The trivial event of the moon-landing ought not to be read exclusively as an attempt to colonize people’s subconscious stimulated by the new media-society, and echoed by the use of a language typical of advertising. In this sense, the second section of the essay addresses the problem of the unusual of the long poem and the contextual collocation of the poetic Subject within this complex architecture. In the third part of the essay, the Diana-moon object will be reconnected to a different linguistic dimension. This dimension displays dialogue with the Lacanian notion of the Real, which is central to Zanzotto’s entire ouvrage. Through this perspective, the lunar object could be read as Das Ding, a Freudian expression that indicates the unreachable depths of linguistic representation of the signifier.
Il presente intervento adotta la categoria lacaniana di registro reale al fine di fornire una rilettura del poemetto Gli sguardi, i fatti e Senhal di Zanzotto che sia più coerente alla volontà autoriale, tentando uno smarcamento da qualsiasi interpretazione patografica dell’opera, cercando invece la principale verifica di questa ipotesi interpretativa all’interno del dettato poetico. L’evento banale dell’allunaggio, la ferita lunare, non deve essere letto solo ed esclusivamente come un tentativo di colonizzazione dell’Inconscio, di una sua messa a disposizione della società mass-mediatica che è riuscita a rendere il luogo più recondito della psiche umana attingibile attraverso un controllo degli istinti da parte del mercato e della sua mediatizzazione, a cui concorre la forte presenza di un linguaggio pubblicitario e fumettistico nel poemetto. In questo senso, l’uso di un genere letterario meno praticato nel secondo Novecento sarà affrontata nella seconda sezione del saggio insieme alla collocazione del Soggetto poetico nel cotesto del poemetto. Nella terza parte del saggio, l’oggetto luna-Diana, centro poematico dell’intero componimento, sarà ricollegato ad un’altra dimensione, centrale in tutta la riflessione poetica zanzottiana, ovvero quella che cerca di restituire le dinamiche del registro lacaniano del reale. Attraverso questa prospettiva, l’oggetto lunare è interpretabile come Das Ding, ovvero la Cosa freudiana, il luogo abissale che non può essere rappresentato simbolicamente per mezzo del linguaggio umano.
Studi Novecenteschi. Rivista di storia della letteratura italiana contemporanea, 2018
This article is divided into two sections: the first part of the article gives the theoretical fr... more This article is divided into two sections: the first part of the article gives the theoretical frame to the linguistic analysis that will be developed in the second.
In the first section, the Deleuzian category of "minor literature" (originally used by the French philosopher in order to analyse Kafka's work) is adapted and then applied to Amelia Rosselli's poetry. This theoretical framework motivates the eccentric position of her poetic writings within the Italian literary canon. With this aim, I then looked at the reception of Kafka by Amelia Rosselli, who had always been fascinated by his style and poetics (as a matter of fact, she also indicated Kafka's Diaries as a primary source for her first poetry collection "Variazioni Belliche").
In the second part of the essay, I linguistically assess the poetry of Cesare Viviani and Valerio Magrelli, who were deeply influenced by Rosselli, highlighting the shared similarities with her tendency to "deterritorialize" the poetic language.
Thesis Chapters by Roberto Binetti
Indice 1. Introduzione 5 2. Premessa metodologica -Geografia di un'analisi 11 2.1 Perché la psico... more Indice 1. Introduzione 5 2. Premessa metodologica -Geografia di un'analisi 11 2.1 Perché la psicoanalisi? 15 2.2 Perché gli anni Settanta? 20 2.2.1 Mitobiografia e fantasmatizzazione di un decennio 21 2.2.2 Breve panorama della poesia di un lungo decennio 29 2.3 Perché questi poeti? 33 orientare il lettore verso un'entrata in questa ricostruzione critica che presupponga una lettura orientata dalla disposizione ordinata delle varie sezioni, ma lo invita ad affacciarsi sul testo da qualunque capitolo. La premessa metodologica, in questo senso, non si propone di assumere la formula castrante di un impianto obbligato per l'analisi testuale, che rimane il vero nucleo di questa ricerca, ma vuole accompagnarla e, introducendola, essere implicita ed implicata in ognuno degli esperimenti che verranno condotti sulla materia del testo poetico.
Conference Presentations by Roberto Binetti
Uploads
Edited Volumes by Roberto Binetti
Contributors are Nick Admussen, Adele Bardazzi, Roberto Binetti, Emily Drumsta, Francesco Giusti, Roberto Gaudioso, Gail Holst-Warhaft, Karen Leeder, Brandon Menke, Jahan Ramazani, Rachel Elizabeth Robinson, David Sherman and Ivanna Sang Een Yi.
Special Issues by Roberto Binetti
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Papers by Roberto Binetti
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
La poesia scritta da donne è veramente votata all’informale e contemporanemante priva di qualsiasi profondità d’analisi storica, come dice Menagaldo nella sua celebre introduzione a Poeti Italiani del Novecento? Molti poeti italiani del hanno sconfessato questo avamposto critico a partire dalla seconda metà del Novecento. Antonella Anedda può essere facilmente accostata a questa tendenza, particolarmente per quanto riguarda la sua ultima raccolta pubblicata, Historiae (2018). In quest’ultimo libro, Anedda riesce con efficacia a coniugare la natura meta-storica della voce femminile con la sua volontà di essere testimone all’interno della Storia. Infatti, la narrazione di traumi privati tende ad essere amplificata fino ad essere sovrapposta a ferite storiche collettive; grazie a questo meccanismo, la poesia è destinata a rivelare il proprio movimento sublimatorio interno. Questo saggio si propone di analizare la collocazione del Soggetto all’interno del libro di poesia, Historiae, al fine di connetterlo poi alla dimensione sopra-individuale della Storia. All’intenro di questa cornice teorica, sarà introdotta la formula di “lirismo storico” come la categoria critica più adatta al fine di analizzare una così complessa fenomenologia poetica.
https://www.lettereaperte.net/ausgaben/ausgabe-62019/una-zona-di-tempo-schiuma-delle-ere-lirica-e-storiografia-in-historiae-di-antonella-anedda
Il presente intervento adotta la categoria lacaniana di registro reale al fine di fornire una rilettura del poemetto Gli sguardi, i fatti e Senhal di Zanzotto che sia più coerente alla volontà autoriale, tentando uno smarcamento da qualsiasi interpretazione patografica dell’opera, cercando invece la principale verifica di questa ipotesi interpretativa all’interno del dettato poetico. L’evento banale dell’allunaggio, la ferita lunare, non deve essere letto solo ed esclusivamente come un tentativo di colonizzazione dell’Inconscio, di una sua messa a disposizione della società mass-mediatica che è riuscita a rendere il luogo più recondito della psiche umana attingibile attraverso un controllo degli istinti da parte del mercato e della sua mediatizzazione, a cui concorre la forte presenza di un linguaggio pubblicitario e fumettistico nel poemetto. In questo senso, l’uso di un genere letterario meno praticato nel secondo Novecento sarà affrontata nella seconda sezione del saggio insieme alla collocazione del Soggetto poetico nel cotesto del poemetto. Nella terza parte del saggio, l’oggetto luna-Diana, centro poematico dell’intero componimento, sarà ricollegato ad un’altra dimensione, centrale in tutta la riflessione poetica zanzottiana, ovvero quella che cerca di restituire le dinamiche del registro lacaniano del reale. Attraverso questa prospettiva, l’oggetto lunare è interpretabile come Das Ding, ovvero la Cosa freudiana, il luogo abissale che non può essere rappresentato simbolicamente per mezzo del linguaggio umano.
In the first section, the Deleuzian category of "minor literature" (originally used by the French philosopher in order to analyse Kafka's work) is adapted and then applied to Amelia Rosselli's poetry. This theoretical framework motivates the eccentric position of her poetic writings within the Italian literary canon. With this aim, I then looked at the reception of Kafka by Amelia Rosselli, who had always been fascinated by his style and poetics (as a matter of fact, she also indicated Kafka's Diaries as a primary source for her first poetry collection "Variazioni Belliche").
In the second part of the essay, I linguistically assess the poetry of Cesare Viviani and Valerio Magrelli, who were deeply influenced by Rosselli, highlighting the shared similarities with her tendency to "deterritorialize" the poetic language.
Thesis Chapters by Roberto Binetti
Conference Presentations by Roberto Binetti
Contributors are Nick Admussen, Adele Bardazzi, Roberto Binetti, Emily Drumsta, Francesco Giusti, Roberto Gaudioso, Gail Holst-Warhaft, Karen Leeder, Brandon Menke, Jahan Ramazani, Rachel Elizabeth Robinson, David Sherman and Ivanna Sang Een Yi.
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
La poesia scritta da donne è veramente votata all’informale e contemporanemante priva di qualsiasi profondità d’analisi storica, come dice Menagaldo nella sua celebre introduzione a Poeti Italiani del Novecento? Molti poeti italiani del hanno sconfessato questo avamposto critico a partire dalla seconda metà del Novecento. Antonella Anedda può essere facilmente accostata a questa tendenza, particolarmente per quanto riguarda la sua ultima raccolta pubblicata, Historiae (2018). In quest’ultimo libro, Anedda riesce con efficacia a coniugare la natura meta-storica della voce femminile con la sua volontà di essere testimone all’interno della Storia. Infatti, la narrazione di traumi privati tende ad essere amplificata fino ad essere sovrapposta a ferite storiche collettive; grazie a questo meccanismo, la poesia è destinata a rivelare il proprio movimento sublimatorio interno. Questo saggio si propone di analizare la collocazione del Soggetto all’interno del libro di poesia, Historiae, al fine di connetterlo poi alla dimensione sopra-individuale della Storia. All’intenro di questa cornice teorica, sarà introdotta la formula di “lirismo storico” come la categoria critica più adatta al fine di analizzare una così complessa fenomenologia poetica.
https://www.lettereaperte.net/ausgaben/ausgabe-62019/una-zona-di-tempo-schiuma-delle-ere-lirica-e-storiografia-in-historiae-di-antonella-anedda
Il presente intervento adotta la categoria lacaniana di registro reale al fine di fornire una rilettura del poemetto Gli sguardi, i fatti e Senhal di Zanzotto che sia più coerente alla volontà autoriale, tentando uno smarcamento da qualsiasi interpretazione patografica dell’opera, cercando invece la principale verifica di questa ipotesi interpretativa all’interno del dettato poetico. L’evento banale dell’allunaggio, la ferita lunare, non deve essere letto solo ed esclusivamente come un tentativo di colonizzazione dell’Inconscio, di una sua messa a disposizione della società mass-mediatica che è riuscita a rendere il luogo più recondito della psiche umana attingibile attraverso un controllo degli istinti da parte del mercato e della sua mediatizzazione, a cui concorre la forte presenza di un linguaggio pubblicitario e fumettistico nel poemetto. In questo senso, l’uso di un genere letterario meno praticato nel secondo Novecento sarà affrontata nella seconda sezione del saggio insieme alla collocazione del Soggetto poetico nel cotesto del poemetto. Nella terza parte del saggio, l’oggetto luna-Diana, centro poematico dell’intero componimento, sarà ricollegato ad un’altra dimensione, centrale in tutta la riflessione poetica zanzottiana, ovvero quella che cerca di restituire le dinamiche del registro lacaniano del reale. Attraverso questa prospettiva, l’oggetto lunare è interpretabile come Das Ding, ovvero la Cosa freudiana, il luogo abissale che non può essere rappresentato simbolicamente per mezzo del linguaggio umano.
In the first section, the Deleuzian category of "minor literature" (originally used by the French philosopher in order to analyse Kafka's work) is adapted and then applied to Amelia Rosselli's poetry. This theoretical framework motivates the eccentric position of her poetic writings within the Italian literary canon. With this aim, I then looked at the reception of Kafka by Amelia Rosselli, who had always been fascinated by his style and poetics (as a matter of fact, she also indicated Kafka's Diaries as a primary source for her first poetry collection "Variazioni Belliche").
In the second part of the essay, I linguistically assess the poetry of Cesare Viviani and Valerio Magrelli, who were deeply influenced by Rosselli, highlighting the shared similarities with her tendency to "deterritorialize" the poetic language.
Closed poetic forms are turned into a ghost-like presence in Rosselli’s multi-layered metrical system. As a matter of fact, Rosselli’s sonnet is no longer a sonnet in classical terms (14 hendecasyllables divided into two quatrains and two tercets), as one would find, for instance, in Petrarch’s Canzoniere. It is rather turned into a more mobile and fluid metrical structure: a sort of new ideal and ‘graphic’ sonnet – something that Rosselli, in consonance with Andrea Zanzotto’s Postilla to his Ipersonetto in Il Galateo in bosco, used to define a ‘mandala’. The parallel with the geometrical and regular design of the ‘mandala’ is important as it suggests Rosselli’s emphasis on creating a spatialisation of meter and, consequently, of rhythm. This lecture investigates the dialogue between Amelia Rosselli and Petrarch in light of Rosselli’s spatialization of metrics.
It is well-known that Sbarbaro was an eager reader of Leopardi’s poetry. Lexicographical studies have demonstrated the permeability of Leopardian lexical resources in Sbarbaro’s poetry, while a similar approach was also taken with metrical structures. The majority of these studies have been carried out by focusing on the reception of Leopardi’s Canti into Sbarbaro’s Pianissimo. This has limited the critical reading of the consonance between the two authors to the poetry only. No attention has been given to the influence of Leopardi’s thought on Sbarbaro’s broader production, which includes also prose texts such as Trucioli, Liquidazione, and Fuochi Fatui.
My paper aims to reassess the many ways Sbarbaro innovates the modern self – not limited to lyric poetry - through an ecocritical analysis of the various references to Leopardi’s thought. This will shed new light on the contaminations between the two authors and beyond. I will do so by focusing on an often-overlooked aspect of the connection between the two poets: the relationship between man, nature, and sound.
The dialectic between sound and silence in nature constitutes a central feature in lyric poetry since, at least, the Romantic era. The novelty of Leopardi’s – and consequently of Sbarbaro’s approach - consists of three different degrees of interaction between the subject and nature via a ‘soundscape’, a landscape characterised by the presence or absence of sounds. The very first moment deals with the presence of sounds in nature in the form of ‘canto’, which elicits a fascination towards poetry. This acts as a sort of palingenetic drive on a pre-modern subject. The second aspect consists of the absence of sound. Silence allows the subject to acknowledge the existence of ‘cose vuote’ in nature, empty metaphors that make the subject aware of separate perceptions of nature and therefore of reality. In this sense, this modern sensibility makes the subject independent from the masses and isolates them. The third deals with the notion of echo produced by certain natural objects, such as the ‘ginestra’ for Leopardi or the ‘licheni’ for Sbarbaro. These natural objects are able to produce a reverberation of sounds that provides the subject with symbols of resistance and resilience. The silence of nature is eventually turned into something meaningful and communicative.
Joining Anedda will be Adele Bardazzi (The Queen’s College, University of Oxford) and Roberto Binetti (St Anne’s College, University of Oxford) who will talk about Deledda’s work and will discuss the importance of Sardinia and its traditions in relation to her writing. They will also touch on some contemporary works by the likes of Antonella Anedda herself, and Maria Lai, among others.
http://poesia.blog.rainews.it/2020/05/69130/
Read Franca Mancinelli’s poems in John Taylor’s translation from the same issue:
https://www.asymptotejournal.com/poetry/seven-poems-franca-mancinelli/
Franca Mancinelli is a poet who masterfully navigates the boundaries between the concrete and the abstract, crafting works that are both evocative and intellectually challenging. Her poems are marked by a sense of linguistic precision and control, as well as a deep sensitivity to the textures and rhythms of language itself.
At the heart of Mancinelli’s work is an exploration of the complexities of human experience, as well as a profound engagement with the natural world. Her poems are suffused with a sense of wonder and reverence for the beauty and mystery of the world around us, while also delving into the more troubling aspects of existence, such as loss, grief, and the transience of life. Through her finely wrought lines and carefully chosen words, Mancinelli invites readers to contemplate the profound questions that lie at the heart of our existence, while also reveling in the sheer beauty of the language she employs. Her poetry is a testament to the power of language to move, inspire, and illuminate, and stands as a testament to the enduring vitality and relevance of the poetic form.
Her poems are marked by a profound lyricism and an ability to create vivid, evocative images that linger long in the mind. Whether exploring the natural world, the mysteries of the human psyche, or the shifting currents of the heart, Mancinelli’s poems are suffused with a sense of wonder and reverence for the world around us, as well as a deep engagement with the fundamental questions of existence. Through her masterful control of language and her unflinching gaze at the world, she offers readers a glimpse into the transcendent beauty and complexity of life, reminding us of the power of poetry to move us, challenge us, and help us make sense of the world we inhabit.
A recent conversation we had with Mancinelli for the project Non solo muse that we curated offers valuable insights into the creative processes and thematic concerns that inform her poetry. In this interview, Mancinelli reflects on the ways in which language can be used to create meaning and capture the essence of human experience, as well as on her own personal journey as a writer. Understanding the context in which her poetry is created and the themes that drive her work can provide readers with a deeper appreciation of her poetic vision and the rich complexity of her language.
Moreover, Mancinelli’s interview can also shed light on the translation of her work into English by John Taylor. As a poet who is deeply invested in the nuances and subtleties of language, Mancinelli’s poetry presents a particular challenge for translators. Reading her reflections on the creative process and the ways in which language shapes our understanding of the world can help readers to appreciate the skill and sensitivity required to translate her work effectively. Ultimately, exploring Mancinelli’s poetry in both the original Italian and in English translation, with the added context provided by her recent interview, is a valuable and rewarding experience that offers insights into the power of language and the complexities of the human experience.
—Adele Bardazzi and Roberto Binetti
We are pleased to announce a two-day conference on ‘Conglomerati. Andrea Zanzotto’s Poetic Clusters’ to be held at the University of Oxford on 8–9 March 2021.
‘Conglomerati. Andrea Zanzotto’s Poetic Clusters’
An Interdisciplinary Conference
University of Oxford
8–9 March 2021
We encourage proposals for presentations of twenty minutes in English. Those interested in participating in this conference should send an abstract of 300 words, including title, and, on a separate file, the presenter’s name and contact details, along with a brief biographical profile to [email protected] and [email protected] by 15 June 2020.
Abstracts will be evaluated by the scientific committee and results of acceptance will be communicated by August 2020.
We will be pursuing options for a publication of proceedings from this conference.
Updates about the conference will be shared through its Twitter account: https://twitter.com/AndreaZanzotto
With all best wishes,
The Organisers
Adele Bardazzi, Roberto Binetti, and Nicola Gardini
Italian Studies in Interdisciplinary Spaces,
Transnational Times, and Digital Minds
15–16 September 2023
Senate House Library, London
Organised by
Adele Bardazzi (Trinity College Dublin)
&
Giuliana Pieri (Royal Holloway, University of London)
With the support of The Society for Italian Studies (SIS)
This term all sessions will be online and accessible through Zoom. Poems are read in Italian with an English translation available for non-Italian speakers. If you would like to attend any of the sessions, please contact us in order to receive a link to access Zoom.
More information about forthcoming events can be found on the reading group Facebook page: https://www.facebook.com/Reading-Group-on-Contemporary-Italian-Poetry-University-of-Oxford-108846514029288/
• Week 1, Wednesday 14th October: Francesca Santucci (1991) will read a selection of her poems. Respondent: Olmo Calzolari (Keble College);
• Week 4, Wednesday 4th November: Emanuele Zoppellari Perale (Università di Torino) will read a selection of poems by Giano Perale (1923–1967) with a focus on poems written in Bellunese dialect: ‘An cor che l’è bocia ancora. Giovinezza e morte nella poesia in dialetto di Giano Perale’. Respondent: Prof Rodolfo Zucco (Università di Udine);
• Week 5, Wednesday 11th November: Stefano Dal Bianco will read a selection of his poems. Respondent: Dr Adele Bardazzi (The Queen’s College);
• Week 8, Wednesday 2nd December: Valerio Magrelli will read a selection of his poems: ‘Tra prosa e poesia’. Respondent: Roberto Binetti (St Anne’s College).
All the events will be held online on Wednesday at 5.30 pm (UK Time). A Zoom link will be sent via the Fecebook page dedicated to each event.
• Week 1, Wednesday 20th January: 'Giardino e bosco coincidono', a poetry reading by Laura Pugno. Laura Pugno will be joined in conversation by Roberto Binetti (St Anne's College, Oxford);
• Week 3, Wednesday 3rd February: 'La favola delle pupille, un incontro una lettura' by Tommaso Di Dio. Tommaso Di Dio will be joined in conversation by Dr Carmen Gallo (La Sapienza University of Rome);
• Week 5, Wednesday 17th February: 'Casella mio, per tornar altra volta / là dov'io son, fo io questo viaggio', a poetry reading by Giulia Martini. Giulia Martini will be joined in conversation by Prof. Niccolò Scaffai (University of Siena);
• Week 7, Wednesday 3rd March: 'What I am is a window', a poetry reading by Franca Mancinelli. Franca Mancinelli will be joined in conversation by the writer and translator John Taylor.
All the events will be held online on Wednesday at 5.30 pm (GMT, London Time). A Zoom link will be sent via the Facebook page dedicated to each event.
The prize is in collaboration with The Queen’s College at the University of Oxford, the Italian Cultural Institute in London, and Nuovi Argomenti.
All the events will be held online on Wednesday at 5.30 pm (GMT, London Time), with the only exception of the last event of term which will be held on Thursday 9th December.
Wednesday 20th October 2021, 5.30pm
Fabio Pusterla: L’inferno è non essere gli altri. In conversation with Will Shutt.
Chair: Dr Adele Bardazzi
Zoom link: https://us06web.zoom.us/j/88258882744?pwd=VDNmZjBWUFJLbWV1b2Z0U29rbmJjUT09
FB event page: https://www.facebook.com/events/1227444467731268
Wednesday 3rd November 2021, 5.30pm
Carmen Gallo, Uscirne Vivi. In conversation with Roberto Binetti
Zoom link: https://us06web.zoom.us/j/84832158261?pwd=clBkSC90UXkzRmdoTVM3RXU2alA4UT09
FB event page: https://www.facebook.com/events/3010848859232811
Wednesday 1st December 2021, 5.30pm
Alessandra Carnaroli, Figurine: Donne e panine. In conversation with Dr Marzia D'Amico
Zoom link: https://us06web.zoom.us/j/82998284203?pwd=OVRLbDh5eElrczNuaVMyN3RYZERUZz09
FB event page: https://www.facebook.com/events/371007908064535
Thursday 9th December 2021, 5.30pm
IPT Poetry Prize: Awards Ceremony and Poetry Reading
Zoom link: https://us06web.zoom.us/j/89897502487?pwd=SGtGS3g5Z0w1NlpQczh4dTNXLzBkZz09
FB event page: https://www.facebook.com/events/574205660460252
“Antonella Anedda è una di quelle voci che sanno coniugare – cosa rara – i caratteri della poesia più densamente espressiva con le ragioni di quella più raffinata e analitica. Già stabilmente accolta nel canone letterario dei nostri giorni, dalla sua prima raccolta di versi, ‘Residenze invernali’ del 1992, all'ultima, ‘Historiae’ del 2019, l'autrice ha mantenuto intatta la propria vocazione originaria, in un tragitto che ha visto affilarsi sempre più gli strumenti e le tecniche di una poesia originale, spesso sorprendente, a tratti ironica. In questo suo nuovo libro, dove la lingua poetica è magistralmente cucita nella stoffa della prosa, Anedda parla di luoghi, dalla foresta pietrificata di Lesbos al monte Toc, di isole e di mari, usuali e allo stesso tempo straordinari. Ma sullo sfondo di ‘Geografie’, dietro i luoghi che evoca, c'è la riflessione sul significato profondo dei mutamenti, siano questi biologici o geologici, politici o climatici.”
This Seminar will be chaired by Prof. Jonathan Culler (Cornell University)
La recente pubblicazione dell’ultima raccolta di Laura Pugno, Noi (Amos Edizioni, 2020), costituisce l’ultima tappa di un viaggio poetico di oltre un ventennio. Questa esplorazione viene intrapresa dall’autrice in territori poetici dove ‘giardino’ e ‘bosco’ appaiono come universi comunicanti e tuttavia solo parzialmente accessibili; molto di più che semplici metafore cognitive, questi sono i luoghi immateriali in cui la parola poetica accade. Fortemente ancorata a questa componente spaziale, la parola poetica appare come strumento geografico, sestante e mappa dei significanti, fondamentale al fine di orientare il lettore all’interno della ricerca del significato. Una ricerca, quella di Laura Pugno, che verrà ripercorsa a ritroso attraverso una lettura delle forti antinomie che animano la sua poesia e che restituiscano una cartografia di un ‘territorio selvaggio’ della parola.
in dictionary rhymes: it drives one mad.
So, why sonnets? Because I shall be glad
to build a form, a shape, against the dust.
For which I chose this skeleton of verses:
I think in fact that such a structure saves
our weak voice, our whisper, and braves
demolishing Time and all its reverses.
In poetry, less is more, and if you can’t
control a language, then, as with a horse,
you can just use, as a unique resource,
strong reins, or some other kind of restraint.
Riding without brakes results in trauma.
Ecco. Io salvo immagini, Simona.
(Valerio Magrelli, La lingua restaurata e una polemica. Otto sonetti a Londra, 2014)
Drawing on his experience in London in 2014, Valerio Magrelli will analyse his transition from poetry to prose, which culminated in a series of sonnets written in English. Along with other prose texts, these sonnets were later included in a volume titled La lingua restaurata e una polemica. Otto sonetti a Londra (Manni, Lecce, 2014). Valerio Magrelli will be joined in conversation by Roberto Binetti (St Anne’s College, University of Oxford). The event is organised in collaboration with the Italian Cultural Institute London and The Queen's College, Oxford.
Valerio Magrelli (Rome, 1957) is a writer, translator, and full professor of French literature at Roma Tre University. He published his first poetry collection at twenty-three, Ora serrata retinae (Feltrinelli, 1980). His first collection were then followed by other five books: Nature e venature (Mondadori, 1987), Esercizi di tiptologia (Mondadori, 1992), Didascalie per la lettura di un giornale (1999), Disturbi del sistema binario (2006), and Il commissario Magrelli (2018). The first three collections were then included in the volume Poesie (1980-1992) e altre poesie (Einaudi, 1996). Since 2003, he published also prose texts such as Nel condominio di carne (Einaudi 2003), La vicevita. Treni e viaggi in treno (Laterza 2009), Addio al calcio (Einaudi 2010), Il Sessantotto realizzato da Mediaset (Einaudi 2011), Geologia di un padre (Einaudi 2013), La vicevita (Einaudi 2019) e Sopruso: istruzioni per l'uso (Einaudi 2019). In 2002 the Accademia Nazionale dei Lincei awarded him the Feltrinelli Prize for Italian poetry. He collaborates with the cultural page of ‘Repubblica’ and writes on the blog il Reportage.
While celebrating the centenary of the poet’s birth, this two-day conference (18th- 19th November 2021) seeks to elicit discussion on the multi-faceted importance of Zanzotto’s writing and thought, and on the numerous strands of its legacy, both within and beyond the intellectual European canon.
Not only is Conglomerati the title of his last published collection, but it also represents a central and recurring metaphor in his work. In geological terminology, ‘conglomerate’ refers to composed fragments of pre-existing rocks that have cemented together. For Zanzotto, it designates a mixture of various elements clustered in one single linguistic entity without making a coherent whole. Such elements derive from various disciplines, languages, and traditions. Each element remains individual while also gaining a new metaphorical significance within the all-encompassing structure. The ensuing spectrum of gnoseological options is encyclopaedic, bringing forward a never-ending idea of modernity.
Zanzotto's vast production reveals a unique connection with the present. According to his interpretation, poetry is not only a linguistic medium but must also be read as an ‘event’. On the one hand, this characteristic of Andrea Zanzotto's poetic thought has a deep connection with the past and the roots of modern thought; on the other hand, it provides an instrument for exploring the future, propelling the reader to investigate seemingly unpoetic fields, such as ecology, psychology, and sociology. Poetry, in this sense, is able to live anchored with solid roots in the past while it also aspires to act as an instrument apt for the investigation of the future.
Therefore, this conference offers an unprecedented chance not only to re-assess one of the most interesting voices of Italian literature, but also to re-think the role of poetry within the present times. In addition to scholars from within Italian Studies, Conglomerati, in this sense, welcomes a broader participation from different subjects and fields of inquiry.
L'intervento intende mettere a fuoco la traiettoria intellettuale del
francesista e teorico della letteratura Francesco Orlando (Palermo
1934-Pisa 2010) al fine di verificare come dal suo corpus teorico
consegua un modo nuovo, duttile e insieme rigoroso, di porre la
questione della storicità delle forme e dei temi e un modo
altrettanto rigoroso e altrettanto prensile - di considerare le
costanti figurali di una singola opera, - e di porre il problema
dell’interpretazione. A tal fine, si esamineranno non solo le opere
edite (il cosiddetto " ciclo freudiano" e il libro sugli oggetti
desueti) ma anche e soprattutto la ricerca postuma (il libro sul
soprannaturale letterario e gli studi sulle "figure dell'invenzione")
capace di risemantizzare e riorientare l'intera proposta orlandiana.
On the Edge of Traditions
(Hilary Term 2020) - University of Oxford
Professor Nicola Gardini (Keble College, Oxford), "Seeing Rhymes"
Rhyme is a quintessential phonetic strategy. In this session, Nicola Gardini will discuss the relation between rhyme and vision, presenting his latest collections of poetry (Il tempo è mezza mela, 2018, and Istruzioni per dipingere, 2018) as an enquiry about this. He will deal with such issues as attention, image-making, and painting as writing (and vice versa).
Tuesday 11th February 2020, 5 pm
Lecture Room B, The Queen's College, University of Oxford
Questo panel si propone di investigare la rappresentazione letteraria dell’afasia e del silenzio in una serie di testi poetici e in prosa del Novecento. Partendo dalle considerazioni offerte da Pierpaolo Antonello (2005) e Alberto Casadei (2011) sulla necessità di unire nozioni scientifiche a metodologie più tipicamente letterarie, questo panel si presenta quale laboratorio in cui si intende esaminare la validità delle nostre ipotesi interpretative e testare la portata delle metodologie impiegate. In accordo con queste premesse, le presentazioni raccolte adotteranno una varietà di approcci teorici ibridi che uniscono riflessioni di carattere storiografico, filologico o biografico, a concetti provenienti da discipline quali la psicologia, le neuroscienze, la sociologia e l’informatica.