Incontri. Rivista europea di studi italiani https://rivista-incontri.nl/ <p>Since 1985, <em>Incontri. Rivista europea di Studi Italiani</em> has been an international forum for academic publications related to Italian history and culture. As an interdisciplinary journal, <em>Incontri</em> publishes both academic research in various fields (history, literature, linguistics, philosophy, art history, music, cinema and theatre etc.) and contributions that cross the boundaries of traditional Humanities disciplines.</p> <p><em>Incontri</em> is the journal of the<a title="wis" href="https://www.italiestudies.nl/"> Werkgroep Italië Studies</a> (WIS), an Italian Studies workgroup based in the Dutch and Flemish academic research community.</p> Werkgroep Italië Studies en-US Incontri. Rivista europea di studi italiani 0169-3379 <p>Authors who publish with this journal agree to the following terms:</p> <p>a. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p> <p>b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p> From Xáos to Kaos https://rivista-incontri.nl/article/view/8868 <p>Il saggio discute diversi aspetti relativi alla trasposizione cinematografica di sei novelle di Luigi Pirandello nel film <em>Kaos</em> dei fratelli Taviani. La rilevanza dell’argomento emerge dalle posizioni di Pirandello nei confronti del mezzo cinematografico, da costui considerato particolarmente adatto a conferire una forma alla propria filosofia artistica. L’arte, racchiusa in una forma permanente e immutabile, è l’unico modo eterno di esistenza, al contrario di quello temporaneo in cui devono vivere i soli mortali. Di conseguenza, Pirandello sostiene che i personaggi immaginari siano più vivi dei loro modelli in carne ed ossa. Il cinema, e in particolare la produzione dei Taviani, è quindi un mezzo particolarmente pertinente da considerare.</p> <p>Si discutono alcune modalità, dispositivi e leitmotiv con cui le trasposizioni cinematografiche rappresentano elementi essenziali dei racconti pirandelliani, tra cui la storia stratificata della Sicilia (dall’antica conquista greca all’attuazione dell’unificazione italiana), e il senso lunare del tempo, il cui andamento ciclico sembra poter essere sovvertito soltanto da una rivoluzione che sconvolga l’ordine sociale. Pur rifiutando di dare una raffigurazione manichea della società, nella rappresentazione delle problematiche sociali siciliane sia Pirandello che i fratelli Taviani chiamano il pubblico ad accorgersi della necessità di un cambiamento.</p> Nourit Melcer-Padon Copyright (c) 2023 Nourit Melcer-Padon https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 13 10.18352/inc8868 ‘Il limite che mi conteneva nell’ordine’ https://rivista-incontri.nl/article/view/11680 <p>Emilio Cecchi (1884-1966) reached the United States in August 1930 as a visiting professor at the University of California, Berkeley. At this occasion, he visited Mexico, passing through Arizona and New Mexico. Out of this experience, <em>Messico</em> (1932) was born. The book is the author’s first literary reportage: a collection of prose texts that had previously been published in the Milanese newspaper <em>Corriere della Sera</em>. This article focuses precisely on the transition from the <em>essay</em> form, which the author had successfully experimented with in his first collection, <em>Pesci rossi</em> (1920), to the literary reportage. It investigates some of the (inter)textual and conceptual characteristics of <em>Messico</em>, as a result of this transition. To begin with, we will look at the influence of Henri Bergson’s theories on time; we will then move on to the importance that essays on film montage had on the prose and structure of <em>Messico</em>; in particular, we will consider the writings of Sergei Michajlovič Ejzenštejn, whom Cecchi knew from his earliest translations. We will then conclude with a reflection on the influence that Carlo Cattaneo, with his essay <em>Gli antichi messicani</em>, had on Cecchi (and on <em>Messico</em>) in terms of method and style.</p> Rachele Buzzetti Copyright (c) 2023 Rachele Buzzetti https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 15 10.18352/inc11680 L’Italia e il mondo nella "Fiera Letteraria". https://rivista-incontri.nl/article/view/11754 <p><em>La Fiera Letteraria</em> is one of the most popular literary journals of the fascist era. It is not addressed to specialists or professional readers but has a very eclectic setting and gives place to different tendencies, offering a wide and various limelight of the literary landscape. <em>La Fiera</em> tends to inform more than to form, to represent rather than elaborate: it is mainly a gazette, a chronicle of what moves and happens in the literary world, reflecting all different positions. This paper investigates the link between <em>La Fiera</em> and the fascist regime, which started at that time its cultural politics. These were based on the role that intellectuals could play as creators and diffusers of a popular Italian culture, both at home and abroad, through journals, conferences, expositions, and all sorts of cultural events. This policy was driven by a dual mission: the internal conquest (the creation of a new ‘fascist Italian’); the external conquest, also called ‘spiritual imperialism’ (the use of myths and ideas, disseminated abroad, to promote Italian cultural identity, interests, influence, and hegemony). This dual mission involved the problem of the relationship between the Italian and global culture, a huge topic that fell fully within the perimeter beaten by <em>La Fiera</em>, which was very attentive to various foreign cultures, and particularly to their literary landscape.</p> Rosario Gennaro Copyright (c) 2023 Rosario Gennaro https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 13 10.18352/inc11754 Decentering the Human through Narrative Forms https://rivista-incontri.nl/article/view/12758 <p><strong>Decentrare l’umano tramite forme narrative. La ‘chiusura impossibile’ del <em>Pasticciaccio </em>di Gadda e della <em>Trilogia dell’Area X</em> di VanderMeer</strong></p> <p>Il presente articolo si pone l’obiettivo di individuare ed esaminare le caratteristiche narrative formali capaci di suggerire una concezione di vita come intricata matassa di incontri e relazioni fra esseri umani e non umani. Partendo dal presupposto che le innovazioni formali moderniste abbiano anticipato le narrative postumane contemporanee, l’articolo offre una comparazione neo-formalista fra <em>Quer pasticciaccio brutto della via Merulana </em>(1957) di Carlo Emilio Gadda e <em>La trilogia dell’Area X </em>(<em>Annientamento</em>,<em> Autorità</em>,<em> Accettazione</em>, 2015) di Jeff VanderMeer. In entrambe le opere sono identificabili due caratteristiche peculiari: la prima consiste in una comune impronta autoriale che segue un principio di accumulamento e complicazione manifestantesi in un accavallarsi di teorie non soddisfacenti e spesso incomplete, ma che comunque cercano di dare una soluzione o spiegazione ai misteri al centro dei rispettivi testi. La seconda corrisponde all’affidamento della narrazione ad una moltitudine di personaggi che si rivelano sempre parziali in quanto inabili a comprendere i fenomeni accaduti nella loro interezza. Infatti, i testi analizzati riescono a ridimensionare l’eccezionalità umana dimostrando che la realtà è sempre più complessa ed intrecciata di quanto sia umanamente comprensibile. Da questo ridimensionamento consegue l’impossibilità ad avere una conclusione che si possa definire finale.</p> Santi Luca Famà Copyright (c) 2023 Santi Luca Famà https://creativecommons.org/licenses/by/4.0 2023-08-11 2023-08-11 37 1 10.18352/inc12758 La diffusione del mesmerismo nell’ambiente culturale napoletano https://rivista-incontri.nl/article/view/12866 <p>Federigo Verdinois (1844-1927) was an Italian journalist, translator and writer, one of the most influent intellectuals of the Neapolitan milieu in the post-unification years. He published a collection of short stories in 1886 entitled <em>Racconti inverisimili di Picche</em>, which manifest his interest in spiritism and, particularly, mesmerism. Mesmerism, a therapeutic practice based on magnetism and theorized at the end of the 18<sup>th</sup> century by the German physician Franz Anton Mesmer (1734-1815), enjoyed considerable success in Italy in the 1870s and 1880s. In this paper, I analyse the particular forms that Mesmerism took in the Neapolitan milieu, focusing on Verdinois’ <em>Racconti inverisimili</em>.</p> Gennaro Ambrosino Copyright (c) 2023 Gennaro Ambrosino https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 14 10.18352/inc12866 ‘Una Monaca, opera di Leonardo da Vinci’ https://rivista-incontri.nl/article/view/13331 <p><strong>‘A Nun, a Work of Leonardo da Vinci’</strong></p> <p>This essay, starting from a fragment of information concerning a copy of the <em>Gioconda (Mona Lisa) </em>from the unpublished 1771 Roman inventory of the collection of paintings by Maria Laura Dal Pozzo Boccapaduli, reconstructs the critical fortune in the eighteenth century of an important sixteenth-century painting nowadays exhibited in the Uffizi (Ridolfo del Ghirlandaio, <em>Portrait of a Woman (The Nun)</em>, oil on panel, 65x48 cm, Inv. 1890, no. 7380).</p> <p>The work is a portrait of a woman whose author is discussed but was in the eighteenth and nineteenth century believed to be a Leonardo autograph. The portrait was well known to fellow artists and connoisseurs in eighteenth-century Florence. This research makes clear that the work is also documented in the art literature field as belonging to the Niccolini collection. For the austere shape of her clothes, the woman on the panel was considered to be ‘a nun’ for a long time and therefore known as ‘Leonardo’s Nun’. Its fame also reached Rome when a Tuscan artist, Giovanni Sorbi, who had been called to draw up the inventory of the Dal Pozzo Boccapaduli paintings, identified the copy of the <em>Gioconda</em> from the collection (Leonardo da Vinci’s workshop, <em>La</em> <em>Gioconda</em>, oil on panel transferred to canvas, 70x50,5 cm, Rome, National Galleries of Ancient Art, Palazzo Barberini, Inv. 864) as ‘Leonardo’s Nun’, attributing to her a very high price (500 scudi). The confusion between the <em>Nun</em> and the <em>Mona Lisa</em> in the eighteenth century testifies the little knowledge that the public had until that date of the iconography of the <em>Gioconda</em>, even among connoisseurs, in Florence and abroad.</p> Maria Forcellino Copyright (c) 2023 Maria Forcellino https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 10.18352/inc13331 Dante Versione 2.0. https://rivista-incontri.nl/article/view/12868 <p>Recensione di: Stefano Lazzarin (a cura di), <em>Dante trash. Sulla desacralizzazione della </em>Commedia <em>nella cultura contemporanea</em><em>,</em> Manziana (Roma), Vecchiarelli Editore, 2021, 148 p., ISBN: 9788882474638, € 30.</p> Inge Lanslots Copyright (c) 2023 Inge Lanslots https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 3 10.18352/inc12868 Calvino bio-logist https://rivista-incontri.nl/article/view/13223 Enrica Leydi Copyright (c) 2023 Enrica Leydi https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 3 10.18352/inc13223 Giorgio Vasari als overgangsfiguur? https://rivista-incontri.nl/article/view/13261 <p>Bespreking van: Laura Overpelt, <em>‘By a Single Painter’. </em><em>The Organization and Representation of Giorgio Vasari’s Decorative Projects in the Palazzo Vecchio</em>. Dissertatie Open Universiteit, 2022, 2 vols, 464 en 428 p., ISBN 9789464217063.</p> Henk Th. van Veen Copyright (c) 2023 Henk Th. van Veen https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 3 10.18352/inc13261 Questioni di traduzione. Da Johan Huizinga a Rachida Lamrabet https://rivista-incontri.nl/article/view/14850 <p>L'intervista, tenuta a seguito del sedicesimo convegno di MediterraNed (19-21 maggio 2022 presso il Dipartimento IUSLIT dell'Università di Trieste), intende offrire un approfondimento delle tematiche discusse da Franco Paris e Annaclaudia Giordano nei loro interventi sulla scrittrice Rachida Lamrabet. Dalla presente intervista emergono diverse problematiche riscontrate da traduttori alle prese con un testo, nonché alcune delle strategie adoperate per superare ostacoli di tipo linguistico-culturale. Più in generale, si mette in rilievo il ruolo del traduttore all’interno del panorama letterario italo-olandese.</p> Emma Bologna Copyright (c) 2023 Emma Bologna https://creativecommons.org/licenses/by/4.0 2023-06-27 2023-06-27 37 1 1 7 10.18352/inc14850