Pasolini tal friúl. Un’indagine variantistica sulle poesie in friulano di Pier Paolo Pasolini

The figure of Narcissus has always exerted an uncanny power of attraction. The story of the beautiful boy, who falls in love with his own reflected imago and then dies in the moment of recognition, seems in fact to concern every subject in his own process of identification. Many writers have thus reused Narcissus as a metaphor for the artistic subject, where the mirror image and the death of the boy display the intrinsic tragic duplicity of every work of literature. This article explores differences and similarities between the works of two poets—José Lezama Lima (1910–1976) and Pier Paolo Pasolini (1922–1975)—who have explicitly used Narcissus in their poems. Particularly, it focuses on Lezama Lima's earliest published production, the poem Muerte de Narciso (1937) (Death of Narcissus), and on Pasolini's overarching double collection of poetry in Friulian, La meglio gioventù (1954) (The Best Youth) and La nuova gioventù (The New Youth) (1975). The comparison demonstrates how both Pasolini and Lezama, albeit the differences between Italian and Cuban approach to modernity and modernism, have used the figure of Narcissus as an image of the poetic subject in order to define a double dialectics of identity and dissemination.

The intention of this contribution is to investigate the relationship between Dante Alighieri and Pier Paolo Pasolini through a comparative approach. The object of comparison regards the early poetic work of each author, the first rime (ca. 1283-95) and Poesie a Casarsa (1942), which they both then included in later works, an act of repurposing that effectively constitutes the creation of long-term poetic laboratories. Dante reused some of the rime for the Vita Nova (ca. 1295) and for the Convivio (1304-07) and mentioned three of them in the Commedia (1304-21). Pasolini republished Poesie a Casarsa in La meglio gioventù (1954) and later in La nuova gioventù (1975). This study intends to compare Dante’s and Pasolini’s poetic laboratories with the aim of highlighting the strategies employed by the two authors to renew and repurpose their early work. In particular, the intention is to demonstrate that, for both poets, reusing their early poems implied a retrospective re-interpretation of the previous poetic work, which contributed to the construction of the author’s poetic autobiography.

The Saudi modern poetry has been largely influenced with the modern trends in Western and American poetry. One of the contemporary trends in Western poetry is the emphasis on the poetic experience. The traditional Saudi poetry results from a temporary occasion affecting the mood of poet producing his poem. However, the poetic experience is shaped by long-standing internal feelings and a permeate psychological state. Therefore, the present study aims to reveal the poetic experiences in the collection of poems titled “Deprivation Revelation” and “Wahi Alhirman.” The present study draws heavily on psychoanalysis and stylistic approaches to help reflect the aspects of poetic experience in the poetry of Alfaisel. The present study uses the psycho-analysis approach to interpret the poetic experience in Alfaisel's collection of poetry, The Deprivation Revelation, "Wahi Alhirman," from a psychological perspective. We then adopt a stylistic perspective to explain how the poet's internal psychological condition could significantly reshape and rebuild his poetic style, and how this condition could influence the language and meanings. The present study has yielded several significant findings, the most significant of which is that a comprehensive psychological analysis of the poet's poetic experience can yield innovative and creative understandings, as well as unprecedented interpretations of the meanings of Al-Faisel's poetry. The poetic experience enables readers to perceive the laden and invisible meanings embedded in Saudi poetry.

Two concepts of time and history are found in Pier Paolo Pasolini’s creative work. The linear or objective concept of time can be traced back to Aristotle, as well as to Christian and New European philosophy. The cyclical or subjective concept of time can be traced back to mythology, common psychology and Aristotle’s concept of uniform circular motion. The significance of Pasolini’s use of the Friulian dialect in the “Meglio gioventù” poetry collection lies in the fact that it is a “private” language, never before used for poetry, which can obscure, estrange and thus preserve a mythical world in its wholeness. As a Marxist, Pasolini believes in the linear model of time and in progress, but, as a poet, he feels a need for a worldview in which “not a grass blade” ever changes. When he leaves Friuli, his subjective poetic view of the region evolves, and the past, reflected in poetry, seems to change with the present. This finds its expression in the final version of his Friulan poetry collection, titled “Nuova gioventù”.

Italian literature is usually neglected by ecocriticism. This lack of attention is only partly explained by the fact that Italian ecocritical studies are few and recent. The main reason might be that Italian literature entails ecocritical questions of its own, in which the environment is present more as a crossroads of history, society, and culture than as a focus for nature writing. Italian literature thus appears to be the environmentally sensitive scholar as an unexploited resource. Patrick Barron is perfectly aware of this opportunity. His collection of Andrea Zanzotto's poetry and prose follows in the footsteps of Italian Environmental Literature, a useful anthology of Italian environmental literature that he co-edited in 2003 with Anna Re. Some poems by Zanzotto were already included in this earlier book. Born in 1921, Zanzotto is considered Italy's most influential living poet. His writing deals with many subjects, from linguistics and landscape to political historiography and the natural sciences. His life and work resonate within a complex socio-political and cultural moment of Italian history. As Barron notes in his introduction, Zanzotto “straddles generations and historical geographical realities—specifically the shift from a pre-war, largely agrarian, and dialectal Italy to the current highly industrialized and urbanized one” (2). In this shift, Zanzotto molds his artistic personality by shaping his own “tradition”—one consisting of earlier and recent poetry (from Dante and Petrarch to Vittorio Sereni and Pier Paolo Pasolini, passing through Hölderlin, Rilke, and García Lorca), as well as theoretical stances taken from postmodernism, existentialism, and psychoanalysis (Barthes, Heidegger, Lacan, Freud). Most of all, Zanzotto builds the bridge between language and landscape that has characterized his work since his first book, Dietro il paesaggio (Behind the Landscape), was published in 1951.

This article examines two films, Pasolini: un delitto italiano/Who Killed Pasolini? (1995) by Marco Tullio Giordana and La prima linea/The Front Line (2009) by Renato De Maria, in relation to their revisiting of traumatic and unresolved events of the 1970s in Italy. Giordana’s film investigates the 1975 murder of intellectual and director Pier Paolo Pasolini using a variety of media sources, while La prima linea is a fictional reconstruction of particular moments of the terrorist campaign of the group Prima Linea. The article places the films in the context of contemporary Italian cinema’s obsession with the return to the 1970s, and examines the use of archive footage as part of a strategy by the filmmakers to negotiate the problematic memories of the period. Finally, it considers the consequences of this return to the archive for thinking about historical memory, postmemory, and the difficult and sometimes tortured dynamic between the present and the past in relation to the 1970s in Italy, and elsewhere

Questa sezione è articolata in 72 note, raggruppate frammento per frammento: la prima per ciascun frammento discute la sua posizione all’interno del poema, il suo contenuto e i suoi personaggi; le successive sviluppano i suoi principali problemi ecdotici ed esegetici. I rimandi interni fra le note, o fra una determinate nota e l’Introduzione, consentono di ricostruire una trattazione più unitaria dei temi principali del commento, quali ad esempio il rapporto di Stesicoro con Omero, con la tragedia ateniese di V secolo e con la poesia ellenistica, la tendenza stesicorea a redundare ed effundi, la rielaborazione personale della dizione omerica e la possibile esistenza di una formularità propria.

This paper explores how Wordsworth’s “The Ruined Cottage” embodies and directs the course that Romantic poetry will take, predating his poetic world, the meaning of his poetry, and the essence of poetic theory proclaimed in the Preface to his poetry collection, Lyrical Ballads. In doing so, this paper shall focus on the representation of nature and suffering, considering the dramatic frame as the focal point through which we can glimpse the transformation of Wordsworth’s thought. In “The Ruined Cottage” Wordsworth chooses an ordinary person, Margaret, as the subject matter for a tragic poem, and undertakes the work of mourning. This approach overturns or deviates from the dominant principles of Neo-classicism, allowing Wordsworth to implement his empathy for common people within the realms of literature and criticism. I shall argue that this choice represents novelty and poetic experimentation, serving as a revolutionary declaration about poetry, and impling a subdued form of political engagement. The attitude towards nature and humanity displayed by the wandering peddler and his meditative mind is similar to Wordsworth's perception of nature and humanity revealed through the ruined monastery in “Tintern Abbey”.

Starting from the examination of a marginal text like Letter of the translator, this article analyzes Pier Paolo Pasolini’s translation of the prologue to Aeschylus’ Agamemnon. The paper delves into the central image of Pasolini’s Letter: the comparison between the translator and a dog picking a bone. This juxtaposition alludes to the method used by the translator, which is based on an instinctive approach to the text, similar to that of a beast. I think that this rhetorical figure was suggested to Pasolini by the figure of the lookout on the roof of Atrides’ royal palace; his solitary nocturnal vigil is compared to the derelict condition of a dog. In the association between man and dog made by Aeschylus at the beginning of his trilogy (Orestea), Pasolini finds an expressive way very congenial to himself. In fact, this analogy is used in many points of his entire production as a writer to indicate the marginalization of the intellectual. The immediate proximity that the contemporary poet feels to the canine world implies an unconscious identification of the translator with the hardships of the Aeschylean character. This direct relationship between the human sphere and the animal sphere would explain the free and personal aspect of some interpretative choices about the introductory monologue of the Greek tragedy. It would also explain why Pasolini intended to reuse the prologue of Agamemnon, which he translated into a chapter of the posthumous novel entitled Petrolio.

"Strokes of havoc":Tree-Felling and the Poetic Tradition of Ecocriticism in Manley Hopkins and Gerard Manley Hopkins Mariaconcetta Costantini (bio) Manley Hopkins' formative influence on his son Gerard has long been recognized by critics. A successful businessman and amateur writer, whose eclectic interests ranged from science to literature, Manley "possessed certain qualities which it is possible also to see in Gerard, the most obvious being voracity of mind."1 Hopkins biographers have suggested that the young poet derived from his father a strong intellectual curiosity, which accounts for the variety of his pursuits. It is most likely that his inquiring attitude was fostered by the learned environment in which he grew up. But the full extent of Manley's influence is yet to be explored. One aspect of neglect is the relevance of the model of poetic creativity provided by the father, who was endowed with a talent for poetry. During his long life, Manley acquired public reputation as an intellectual figure with many interests. Known to the Victorian readership for his works on maritime insurance and other non-literary topics, he also wrote poetry and published three collections of verse. As a child, Gerard must have read and listened to his poems (some were musical pieces and nursery ballads) and certainly knew the poem written to celebrate his birth: "To my child, Gerard Manley" (White, pp. 10-11). His interest in his father's verse did not abate with adulthood. On January 23, 1879, when he was a curate at St. Aloysius' Church, Gerard wrote to his friend Robert Bridges and sent him a new poem by Manley: "I enclose some lines by my father, called forth by the proposal to fell the trees in Well Walk (where Keats and other interesting people lived) and printed in some local paper. See what you think of them. And return them, please."2 The closing sentence, in which he asks to receive the poem back, is a testimony to the appeal that Manley's poetry still held for him. Although he would prove to be a more gifted poet, Gerard drew constant inspiration from his father's verse, which contributed to shaping his artistic imagination. But how pervasive was this influence? And how far did he depart [End Page 487] from the model offered by Manley? Critics generally agree on the presence of the father's "fanciful vein" in his early poems,3 but some maintain that "it is difficult to be precise about the nature of the influence" since Gerard "did not emulate him directly."4 More scrupulous is the comparative analysis conducted by Joseph Feeney.5 After giving an outline of their personal relationship, Feeney shows that both Manley and Gerard had a lively sense of humor, were fond of puns, used similar images, and enjoyed combining ideas and words in eccentric ways. His arguments, which are copiously supported by quotations from the father's and the son's works, invite a critical reflection. If it is true that the Hopkinses shared some tastes and linguistic habits, why were they so unequal in their poetic skill and vision? Feeney himself suggests that Manley's poetry lacks the visual appeal, the shaping force, and the musical intensity of his son's. This gap in style and thought, which is unanimously acknowledged by critics,6 is not only ascribable to the poetic genius of Gerard. It is also the result of important differences in their aesthetic choices, their approaches to reality, and their sense of continuity with the poetic past. By pondering on the formative role played by Manley, which merits recognition, we can discover new hermeneutic paths to explore some aspects of the poetic experimentation carried out by Gerard. A new impulse to compare their poetry has come from a recent essay published by Jude Nixon, which uncovers the text of the Manley poem on the Well Walk trees that for years had remained speculative. The poem, entitled "The Old Trees," first appeared anonymously in the weekly Hampstead & Highgate Express (December 28, 1878) as a response to a public controversy over the decision of the Trustees of the Wells Charity "to cut down the trees on one side of...

In the late 18th century and early 19th century, during a period of extensive changes in the writing and reading culture, there was an increase not only in the number of readers but also in the importance that was being attributed to them. This importance manifested itself primarily in an increasingly widespread collective patronage but also a rising number of inscriptions to the collective reader that flourished at about the same time as the collective patronage phenomenon. Although books continued to be dedicated to various dignitaries throughout this period, most frequently as a token of gratitude for financial support but also inspired by friendship and family, the writers, who still rarely lived off the fruits of their labour, started to adopt a different attitude towards the reader. Using examples drawn from analysis of the entire book production in Dalmatian printing and publishing centres Zadar, Split and Dubrovnik in the period between 1815-1850, this paper intends to show to what extent inscriptions to the collective reader, generally identifiable by the fact that they address an unspecified reader or an entire community of readers, can reflect a growing significance that started to be attributed to the reader as early as the end of the 18th century and particularly in the first half of the 19th century. The analysis focused on the number and context in which inscriptions of that type are found, their variants, meaning, as well as reasons for their introduction into practice. Research has shown that inscriptions to the general readership became a common and regular form of communication with an entire community of readers as far back as the ‘20s. Although they were still not the most common type of inscriptions and failed to reach the number of inscriptions to prelates, their continuity was maintained during the next two centuries, which was particularly noticeable in the ‘40s. Moreover, the general readership was mainly dedicated literary works - poetry collections printed on the occasion of emperor’s birthday, works of Dubrovnik literature, plays and biographies. A smaller number of books were of religious origin or those in the field of history, geography, social anthropology, linguistics and even architecture. Inscriptions were used in an effort not only to make books and reading popular but also to reinforce readers’ love for their national tongue, i.e., national consciousness in general, just the same as it was endeavoured to be done through subscription system. Moral-didactic and religious works were intended to strengthen readers’ spirit and morality. It has been concluded that continued increase in the number of inscriptions to the general readership as well as the fact that they flourished precisely during the period of significant changes in the field of reading culture witness of an increasing importance of readers that marked the first half of the 19th century.

In the twenty-first century, literature is no longer confined to printed books or written text but is mediated by digital technology in multisensory ways. These technological and sensory changes call for a fundamentally intermedial perspective on literature. This article presents intermediality as a crucial framework for unpacking the changing interplay between objects, communicative resources, and literary conventions. Specifically, Lars Elleström’s intermedial framework (2021) enables a more fine-grained exploration of the digital condition of literature. Analysing Johannes Heldén and Håkan Jonson’s digital artwork Evolution (2014) using Elleström’s media modalities allows us to trace how technological changes transform our literary experience, compared to a printed poetry collection or AI-generated poems. Beyond interart relationships and approaches to digital literature, an intermedial perspective highlights the potential of literary language use and offers valuable insights to human-machine creativity.

This Research seeks to clarify signs and indicative connotations contained in the latest poetic experiences of the poet Mohammed Abdelbari in his Collection (Diwan) titled: “Song for Crossing the River Twice”. The latter was characterized by indicative and semiotic features on multiple levels. Therefore, the first section focused in studying the semiotics of textual parallelism across three themes: semiotics of the title, semiotics of quotation, and the semiotics of visual formation. In addition, the second section studies the semiotics of the structure of the poetic text through three themes: the linguistic sign, numerical sign, and the color sign, using the data of the semiotic approach based on monitoring and tracking the main signs in the poetic experience, and identifying their indication.

In essence, the research is aimed at detecting, identifying and dismantling religious figures and characters , and its significance to the poet Yousef Al-Azem. The poet used to employ this rich source - whose characters and symbols are insatiable in his ten poetry collections - to enrich his poems, This is evidence of the qualities and characteristics of these religious figures and symbols that their users can employ, in addition to tracking their influence on the psyche of the poet, and the disclosure of this religious phenomenon, which has been and continues to be present in literary works dealing with human, social, political and intellectual issues, And to show their relevance to the nature of the event that required them to be summoned, so that they are benign and enriching. The study showed that the poet Yousef Al-Azem has the hiring power associated with the symbolic symbolic ability of various religious and historical figures, The poet was able to single out each character, linking it to a particular event, There is no doubt that each personality has its privacy and symbolism, which it relays from others, even if they are all under Islamic cover. And to be able to know the language mechanism used to recruit these characters and their symbolic objects text, as it relates to existential and human aspects, has a deeper influence on the psyche of its recipients, deepening its poetic experience and the way it treats religious figures and symbols to serve its ideas and directions.

George Herbert's poetic experiments are guided in part by a desire to influence how the early modern English ate. This article demonstrates that Herbert's verse collection The Temple is shaped by his responsibility as a rural parish priest for ensuring that his community was fed not just spiritually but also physically: as a country parson, he was tasked with collecting agricultural tithes and redistributing them to the hungry. Writing in a time of severe food insecurity, Herbert draws on a vast variety of poetic methods, from metrical sentences to verse emblems to hymns, in order to persuade his readers to join him in addressing the crisis of hunger that early modern England was facing through collectively restricting their consumption.