2017 / 22 Prospero. Rivista di letterature e culture straniere
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CONTENTS / SOMMARIO
Pirro Maurizio
Estetica del comico e funzioni della commedia nell’opera di Johann Elias Schlegel
Aouadi Leila
Larangé Daniel
La pornocratie: la question sociale au cœur de la théologie politique de P.-J. Proudhon
Marangoni Alessandra
“Les Complaintes par Monsieur Jules Laforgue". De l’humour au sujet du cœur
Zenobi Luca
Intermedialità e Kulturkritik: la ricezione di Sade in Peter Weiss e Pier Paolo Pasolini
Serra Valentina
Ein Schluck Erde. (Gemeinschafts-) Utopie und Dystopie im Werk von Heinrich Böll
Corona René
Giovannelli Laura
Del Villano Bianca
Pragmatica e genere: la ustopia ecocritica di Margaret Atwood
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- PublicationProspero. Rivista di letterature e culture straniere N° XXII - MMXVII(EUT Edizioni Università di Trieste, 2017)Prospero. Rivista di letterature e culture straniere è una rivista annuale a stampa e online ad accesso aperto del Dipartimento di Studi Umanistici dell’Università di Trieste (DiSU), pubblicata dal 1994 presso la casa editrice EUT Edizioni Università di Trieste. È apparsa in precedenza con il complemento di titolo Rivista di letterature e civiltà Anglo-germaniche e, dal 2005 al 2011, con quello di Rivista di Letterature straniere, Comparatistica e Studi culturali. La rivista pubblica contributi originali dedicati alle letterature di lingua inglese, tedesca e francese. Prospero ospita contributi inediti di studiosi italiani e stranieri che pongono il testo letterario e l’analisi testuale al centro di più ampie riflessioni di carattere ermeneutico, filologico e storico-culturale. In particolare, si apre alle convergenze di carattere interdisciplinare e transdisciplinare tra la letteratura e gli altri saperi. Numeri monografici curati da guest editors italiani e stranieri su temi specifici si alternano a numeri miscellanei.
359 2676 - PublicationIntermedialità e Kulturkritik: la ricezione di Sade in Peter Weiss e Pier Paolo Pasolini(EUT Edizioni Università di Trieste, 2017)Zenobi, LucaPeter Weiss’s play "Marat/Sade" can be considered as the most important outcome of an aesthetic reflection based not only on an ideological conflict but on a medial experimentation as well. The Marquis de Sade and the dramaturgical “translation” of his philosophy are part of Weiss’s complex considerations about the relationship between word and image, particularly as they are developed in the essay "Laokoon oder über die Grenzen der Sprache" (1965). A sphere where word and visual representation merge, theatre thus becomes the crucial element of an aesthetics based on an articulate dialectical structure: de Sade’s “bildhafte[s] Denken” ("Anmerkungen zum geschichtlichen Hintergrund unseres Stückes" [1963]) finds its tangible fulfillment on the stage. Pasolini’s confrontation with de Sade occurs in a late phase of his artistic production in which the “visual representation” of the latter’s nihilistic ideology is part of his aesthetical experiment through cinema ("Salò o le 120 giornate di Sodoma" [1975]). The paths they trace as multimedia artists – Weiss from cinema to literature, Pasolini from literature to cinema – evolve along a common line: Sade’s literary work and philosophy are for them a congenial ground to exercise, by way of innovative medial formats, a radical critique of western ideology and culture.
523 830 - Publication«'Les Complaintes' par Monsieur Jules Laforgue». De l’humour au sujet du cœur(EUT Edizioni Università di Trieste, 2017)Marangoni, AlessandraThis article begins with the analysis of an anonymous review of a new book published in Paris in 1885: “Les Complaintes par Monsieur Jules Laforgue”: in fact, the first poetical collection by Laforgue. The anonymous reviewer is indeed the poet himself, whose first aim is to distinguish his work from the grotesque collection "Les Déliquescences" d’Adoré Floupette, edited at the same time by the same Parisian publisher: Léon Vanier. Why does Laforgue insist on using the word humour? Isn’t he the first French Poet who introduces this English word not only in his prose writings but also in his poems, what’s more in a collection of complaints? Why has he changed the title of his ancient poem “Litanies de mon triste coeur” in “Complainte-litanies de mon Sacré-Coeur”? Is it only a question of humour? Here are some of the questions answered in the present article.
589 847 - PublicationFace aux “ Épiciers du roman ” Raymond Guérin dit son mot. Relecture de l’œuvre : Alceste revisité à travers sa propre critique(EUT Edizioni Università di Trieste, 2017)Corona, RenéRaymond Guérin (1905-1955) is a mordant author who at first disappeared to resurface again later on, thanks to an enlightened academic critique and by the word-of-mouth of his fond readers. A successful author in the years before the war, and a scandalous one after the war ("L’apprenti"), each and every book he published offers us a new writer, and a different style. His career comes to an end quite briskly, alas, with his masterpiece "Les Poulpes", which is today almost impossible to find. A friend of Henri Calet, Jean Grenier, Marcel Arland, Curzio Malaparte but of Jean Paulhan too, he is a writer endowed with a great style, capable of mixing linguistic registers, making use of an acrid sarcasm at its extreme. In a small book, published in 1948 (and republished in 1997), "Un romancier dit son mot", Guérin offers us a personal, intimate, unapologizing view on his work and on novel in general. Such a view is intentionally critical, explicative, and decidedly outside the rules. Guérin was a caustic, provocative, anti-conformist spirit, a sort of Girondist Alceste, truthful to his friends and ready to use his venom in his dialectic attack against his foes. He represents nonetheless a figure of a tormented artist, conscious of his talent, intolerant to criticism and yet open to discussion. The project will build its investigation from this book, in order to reconstruct the atmosphere of the period of its writing, and the points of view of a rather important - however undervalued - epoch as far as the novel goes. His grievances against a certain type of critique, which he deems as close-minded, will allow us to better grasp his vision about writing. Such a perspective will moreover turn this book into a sort of ‘anti-systemic’ pamphlet, which may shed light on the reasons why some 1950’s authors (that the research will also address) had disappeared from the literary scene to reappear once again only in the 1980s.
338 635 - PublicationQuestioning Legacies, Fashioning the Postcolonial Self: A Reading of James Gregory’s "Goodbye Bafana: Nelson Mandela, My Prisoner, My Friend"(EUT Edizioni Università di Trieste, 2017)Giovannelli, LauraThis paper deals with the topic of reconciliation and nation building in postapartheid South Africa by focusing on James Gregory’s memoir "Goodbye Bafana: Nelson Mandela, My Prisoner, My Friend". Written in collaboration with British journalist Bob Graham and strategically published in 1995, when Mandela’s iconic status as ‘Father of the Nation’ was at its highest, this book tells the exemplary conversion story of one of Madiba’s prison guards during his long years of incarceration. It shows how the racist Afrikaner warder turned into a sympathetic confidant and friend through the epiphanic discovery of the moral stature and commendable humanity of the ‘black terrorist’. While considering the vexed question of "Goodbye Bafana"’s historical reliability and controversial reception, especially in South Africa, my aim is to better investigate the discursive policy, semantic layers, and identity-construction strategies in a work that has been so far largely neglected by critics. Via his self-portrayal as a ‘redeemed Afrikaner’ (and Graham’s mediating voice), Gregory appears to promote solidarity, social repair, and a new sense of community belonging.
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