Atti innaturali, pratiche innominabili (Italian Edition)

It was in those It was in those periodicals that the most important authors of the period — Joyce, Eliot, Proust, Woolf — were first introduced, examined and translated. The reception of Virginia Woolf in Italy will be here discussed through the analysis of the articles and the translations appeared in Italian literary periodicals in the years between the two World Wars , to analyze her growth through the eyes of her Italian contemporaries, who could read her novels without being influenced by all the apparatus criticus now existing.

The most important critical aspects of her reviews will be analyzed, from which it can be seen how, if in a first moment Italian critics linked the works of Mrs. Woolf to those of Joyce and Proust, within a few years they were able to identify her own style and identity. Italian critics mainly focused their attention on three themes, quite dear to the writer: Virginia Woolf e Katherine Mansfield nelle riviste italiane tra le due guerre.

Virginia Woolf nelle riviste letterarie tra le due guerre: This study underlines the merit of Carlo Linati in introducing the work of Virginia Woolf into Italian literary criticism. Dalloway translated into Italian. Il custode del faro,. Il custode del faro, Jeanette Winterson. Atti innaturali, pratiche innominabili. L'autobiografia come arte, parodia e menzogna. Analisi di due prospettive femminili. Si analizza il tema della scrittura autobiografica in Gertrude Stein e Jeanette Winterson.

Ordinary Minds on Remediated Days. Ian McEwan is well known for the remediation he operated on his own works from literature to cinema The Cement Garden, The Innocent, Enduring Love, Atonement, just to mention the most popular ones. In my paper, however, I am going to In my paper, however, I am going to focus on how literature is remediated by television, and media in general, by examining how McEwan, in his novel Saturday, though presenting a work clearly recalling modernist narrative structures, shows the way in which humans, under the influence of several media, are remediated.

I here wish to analyse how McEwan uses television and media to rewrite and transform modernist literary forms in Saturday, in which media are represented as shaping our minds and ways of perceiving the world.

But the news always fails to provide him with an answer or an explanation, and the understanding of reality only arrives, at the end of the novel, through a kind of epiphany triggered by poetry. I will also examine how McEwan uses media television, internet, mobiles to characterize and contextualize his characters, who are defined by the use they make of them.

Ian McEwan writes a novel concerned with the role and influence of media, examining how, penetrating our minds and brains, they become an integral part of them.

On the contrary, he absorbs them into the narration and represents them through the remediation they operate on human minds. Fuga verso il presente. When The Stone Gods begins, an escape seems the only possibility to survive a planet, incredibly similar to ours, that is going to die.

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But this escape will be useless, because the new arrival, the new hope, will reveal to be our present, But this escape will be useless, because the new arrival, the new hope, will reveal to be our present, Planet Earth, that at the end of the novel is in such a bad condition to offer, once again, escape as the only alternative. Sono molti i nomi illustri a far capolino in queste carte: This expedient gives the author the opportunity to play with words, and leads often to a sequence of sounds, of signifies, sometimes with hilarious results.

Furthermore, the text has been reduced in brief numbered sentences from 1 to in the absurd story The Glass Mountain — of which is given an excerpt in the ex-ergo quotation. One of the most emblematic short story in Barthelme's fiction is The Balloon , due to its openness to interpretation of all kinds.

The story has no plot, and its structure is so simple that it could be divided in two main parts: But it is still necessary to talk about the structure. The tone sharply shifts from plain and descriptive, in third person narrator, to more intimate and emotional, turning in first person narrator, without an apparent connection between the two. If we consider Edgar Allan Poe as the first and maybe the only American theorist of the short story form, it can be seen how his general rules are followed in this Barthelme short story: Of course, if we compare any of Poe's short story with this one, it is clear that the same results are gained with completely different means.

In fact, if we go to more specific rules, as the ones established by Poe, significant differences come through, such as the lack of characterization of the characters and the lack of essential features of a classic plot like the incidents. In The Balloon there are not characters in a traditional sense, but only conventional narrative figures: Nothing is said about the main figures' look or background, neither the names, nor the gender: But still, in the conclusion the reader knows that the narrator was in love, which is the only traditional theme, even if in a parodic way.

Furthermore, if in a classical plot, given a situation, occurs at least one incident for the sake of the final denouement, in this story there are no incidents: Then, here it comes the narrator himself to correct me, at the beginning of the story: That is the paradoxical point in postmodern fiction: The postmodern writer builds a dialogue with the paradigms of the past, reusing them in a critical way, as well as reuses languages and means that come from popular culture and at the same time criticizing them from within.

So, since there is no plot, no characters, no situations, only the balloon hanging on the Midtown Manhattan buildings: A symbol, a metaphor?

What does it mean? Again, the narrator answers to the last question: This is, as well as the previous quote, a parodic statement that challenges the reader in its attempts for interpretations.

But we will see later this function. Now, taken for granted what the narrator says, the balloon has not a meaning at least at the beginning of the story , but it certainly has a use. Hanging in the same position for twenty-two days, people begin to give up understanding its function, and to use it for the most pragmatic needs: Other people try to approach it intellectually, admiring it or rejecting it as if it is a work of art.

Outside of the story, however, many interpretations on the balloon has been given, from which I choose three of different kinds. There are a psychoanalytic one, a philosophical one and a critic one. The first one, by Daniel A.

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Barthelme's balloon thus becomes, according to Dervin, a giant breast that is the first mouth contact for a baby which represents the reaction of the narrator's sexual deprivation Dervin, , p. I believe this interpretation is the lesser suggestive, for two simple reasons: The second interpretation is an interesting comparison between the balloon of the story and the actual High Line Park in Manhattan as two means for legitimize Michel Foucault concept of heterotopia, by Daan Wesselman.

The foucauldian concept is a bit complex and not yet definite, due to the ambiguity of its use by Foucault himself, but the author tries to give a summary definition: Hence, heterotopia is the contrary of utopia: The article thesis is that both the balloon and the High Line Park are examples of heterotopia, because both offer, inside Manhattan, a different point of view on Manhattan.

The High Line Park is a former elevated metro line that has been turned into a park, so that the visitors can walk on it, following the railway above Manhattan streets Wesselman, , pp. Compared with actual heterotopian spaces, the representation of space in language has certain limitations, of course: The key quotation from Barthelme's story, according to Wesselman is: The balloon, for the twenty-two days of its existence, offered the possibility, in its randomness, of mislocation of the self, in contradistiction to the grid of precise, rectangular pathways under our feet Barthelme, , p.

This passage is pretty suggestive, and it leads to Wesselman's interpretation, being the balloon finally represented as a smooth and soft alternative space, in contrast with the concrete of the sharp- cornered streets of the Manhattan grid. Wesselman interpretation, in opposition to Dervin's one, is more focused on the first descriptive part of the story, which is, in my opinion, the most significant part. Although Wesselman analysis is pretty interesting, it remains a philosophical speculation and, in other words, the practical use of the story as a means of legitimization for another concept: This approach eludes certain literary and critical considerations focused on the story for the sake of itself.

The last interpretation is not as specific as the previous two, because it refers to Barthelme's poetics in general. Luca Briasco claims that Barthelme is the writer who better transposes in fiction what Susan Sontag theorizes in her essay Against Interpretation Briasco, Carratello, , p. Briasco underlines also that it is an interesting coincidence that Barthelme's debut Come Back, Doctor Caligari was in , the same year of Sontag's essay publication. Her main critic is oriented against the research of contents, and the consequent devaluation of art works in which there is lack of contents, especially for the contemporary arts.

She believes that such an attitude is poisonous for critical thinking about art. And The Balloon seems to go towards the same direction, describing how people react to something they cannot ignore, but do not understand either.