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E.T.A. Hoffmann (1776-1822) was proficient in the Italian language and frequently incorporated Italian characters into his works. In this paper, we will examine the names of Italian women in four stories that predominantly take place in Germany. While Hoffmann primarily employs Cratylic (speaking) names that appear to shed light on the characters' traits due to their transparent meanings, these names are not always genuine. Quite often, their meanings are deceptive, rendering them false (lying) names. [ABSTRACT FROM AUTHOR]

The extensive presence of names and toponyms in Alberto Arbasino's works makes it an ideal case study for exploring the significance of proper names and lists of names in literature. This paper aims to examine the role of names in Arbasino's work, starting with an analysis of the names found in the paratexts, such as titles, intertitles, indexes, and indexes of names. These names serve as structural elements that reflect the author's inclination towards classification and combination. Moving forward, I examine the role of names within the main text itself. By comparing them to the works of Proust, Flaubert, and Auden, it becomes evident that names in Arbasino's writing take on a dual nature, encompassing both seriousness and facetiousness. This duality allows his prose to oscillate between memoir and biting satire, as well as between self-portrayal and self-parody. This applies to various forms of his writing, whether it be prose, non-fiction, or hybrid works like Fratelli d'Italia. In conclusion, I offer some observations on the use of homonyms and synonyms in Arbasino's work, employing semiotic tools to analyze their significance. [ABSTRACT FROM AUTHOR]

The Bible contains numerous lists of anthroponyms, organized according to genealogical structures. This article specifically focuses on five of these lists, which include: 1) the genealogy of Cain, son of Adam, as described in the fourth and fifth chapters of Genesis; 2) the genealogy presented in the book of Chronicles, spanning chapters 1.1 to 9.44; 3) the genealogy of Jesus outlined in the Gospel of Matthew; 4) the genealogy of Jesus as recorded in the Gospel of Luke; and 5) the concise repetition found throughout the Bible: «I am the God of Abraham, Isaac, and Jacob.» The underlying question this text seeks to address is: what purpose do these extensive lists of anthroponyms serve in a text that is meant to convey a divine revelation? To explore this query, the article delves into two significant aspects of Judeo-Christian religions. Firstly, the prohibition on pronouncing the name of God, and secondly, the covenant of alliance between God and His people. These two aspects of the relationship between humans and God may appear contradictory. However, it is suggested that these lists of anthroponyms, which serve as the starting point of the research, may help reconcile this contradiction. The faithful, unable to directly invoke the name of God, can instead invoke Him through the names of His sons. This is because the 'Holy Spirit' is believed to have been infused by God into the spirit of Adam, and subsequently transmitted from one generation to another, dwelling within the spirits of those descended from Adam. The paper concludes by proposing the hypothesis that these extensive series of anthroponyms constitute the formula that enables the naming of the unutterable, representing an infinite periphrasis for the unpronounceable name of God. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the role of proper nouns in generating wordplays within French trench journals. Following a brief introduction to the corpus and the connection between proper nouns and wordplay, we present several examples to illustrate the frequent use of puns in these publications, intended to entertain and divert the soldiers. [ABSTRACT FROM AUTHOR]

This paper delves into the intricate connection between names and identity in the migrant novel Fiamme in Paradiso by Abdel Malek Smari. Within the context of migration, the protagonist Karim undergoes a symbolic journey, adopting various identities, changing his name as a means of concealment during challenging times, and even being bestowed new names by Italian individuals. By examining this symbolic trajectory through the lens of onomastics, we aim to unravel the significance of names and naming in the migration process. Additionally, an interview with the author will provide further insights into the author's intentions and perspectives on the relevance of names in the novel. [ABSTRACT FROM AUTHOR]

This paper delves into the significance of anthroponyms in Katja Petrowskaja's literary debut, Vielleicht Esther. Geschichten. In this book, the Ukrainian novelist writes in German about her family's history, engaging with postmemorial research that problematizes the processes of memory and identity construction. Proper names play a crucial role in Petrowskaja's exploration as she seeks to uncover her ancestors' history using scarce documents, fragmented recollections, and sparse notes. These proper names serve a primary documentary function, affirming the existence of individuals who have often been entirely erased from the annals of history. By analyzing Petrowskaja's writing and considering her unique approach to postmemorial discourse, which embraces her diverse linguistic and cultural backgrounds, we observe how proper names assume a central position in her narrative journey through her family's history. She endeavors to uncover what might have been, delving into the realm of possibilities rather than focusing solely on what actually transpired. [ABSTRACT FROM AUTHOR]

This paper examines the portrayal of significant anthroponyms in both the initial Italian translation (1968) and a recent retranslation (2022) of Witold Gombrowicz's short story titled "Biesiada u hrabiny Kotłubaj" (literally: "The Banquet at Countess Kotłubaj's"). Originally written in 1928, the story features proper names that conceal humorous puns, alluding to the characters' social background or containing polysemic, primarily erotic references. Through a comparative analysis of the two translations, we uncover the changes that have unfolded over half a century in terms of translation strategies, readers' preferences and competencies, and the role of translated texts within the target culture. [ABSTRACT FROM AUTHOR]

This essay highlights the longstanding tradition of associating members of academies with names that reflect their specific qualities and roles within the organization. This practice has been deeply ingrained in the life of academies since their modern reestablishment. Exploring the "institutional" history of academies within Italian literary culture is a valuable research endeavor that focuses on the significance of academic naming and its central role in defining identity. The paper particularly emphasizes a significant scholarly work from the early eighteenth century, Giacinto Gimma's Idea della storia dell'Italia letterata, which serves as a precursor to Italian literary history. [ABSTRACT FROM AUTHOR]

The paper analyses the onomastic variations of the main characters of El cielo árido, a novel by Emiliano Monge. During the course of the novel, the protagonist - Germán Alcántara Carnero - changes his name with the changing of the events that he becomes involved in; at the same time and with similar dynamics, the names of men and women whose existence is linked to that of the protagonist also change. For the creation of these names - which we might call 'biographical' - Monge resorts to audacious univerbation procedures, leading to fanciful syntagmatic names. By analysing these names, the paper will identify the morphological and motivational processes that led to their formation, as well as their translation in the Italian version of the novel (Cielo arido). On the basis of the peculiarities that emerge, the analysis will highlight how Monge's naming processes configure, within the fictional onomastics, a sui generis typology of 'speaking names': namely descriptive names that vary with the changing of the events and roles in which the characters are involved, and therefore narrative names (or narrative allonyms), which replace and alternate with each other and distributed functionally throughout the narration so as to amplify the reader's empathic processes. [ABSTRACT FROM AUTHOR]

This paper examines the names given to theatrical characters representing «the parasite» in several vernacular translations of Plautus' comedies (reference is also made to works by Terence) and in a number of Neolatin and Italian comedies and tragicomedies between the sixteenth and seventeenth century. The first part looks at Greek and Latin sources, and the Humanistic and Renaissance developments of the name Pamphagus, while the second considers non-Italian works with diverse dramaturgical features, in order to illustrate the typological and onomastic differences of the characters, whose names naturally follow the outcomes of the articulated creative processes of reuse and adaptation of classical models to contemporary historical situations and events. [ABSTRACT FROM AUTHOR]

This paper concerns one of Collodi's many reflexions on proper names and on the importance of their choice; in particular, the developments and consequences of the attribution of inappropriate names are analyzed here. Collodi made the inadequate name a recurring subject in many of his writings, a comic topos that was repeated and refined through the years. The Florentine writer satirized in particular names chosen to convey a racist message, as well as those whose choice was influenced by literary and melodramatic fashions, in contrast with more traditional names now considered unpleasant or even 'common'. Collodi hits out at such fads and artificial attitudes as found in the snobbery typical of the nascent bourgeoisie, in its attempt to rid itself of what might be seen as pre-unification provincialism. He even brought his own satirical vision to bear on embarrassing names at the very beginning of Pinocchio, with that amused, paradoxical onomastic decision made by Geppetto in endowing his puppet with a name chosen because, he says, he knew a family of Pinocchi where everyone was well-off and the richest among them was a beggar!. [ABSTRACT FROM AUTHOR]

The world of Hoffmann's fairy tale, The Strange Child, is divided into the spheres of everyday life and the Supernatural. Whereas the names of the first sphere are well-chosen, normal ones, supernatural beings either have no names at all or have names which are in some way uncanny. According to Freud 'the uncanny' is related to strangeness. In this paper I analyze first the names of the everyday world and subsequently those of the supernatural sphere. I show that the most uncanny name of this tale, Pepser, fits in with Freud's theory that the uncanny is that class of the terrifying which at first glance looks like something long known to us, something familiar. Another aspect of the uncanny is that it is a quality of something that ought to have remained hidden and secret and yet comes to light. This quality too can be identified in the name Pepser. [ABSTRACT FROM AUTHOR]

Many characters in Theodor Fontane's novels bear inadequate names, i.e. names indicating a contradiction with a particular feature of the character in question. Such a contradiction may be based on his/her physical appearance, behaviour or profession. Onymic inadequacy can be either semantically motivated or dependent on the socio-cultural background. In the first case, inadequate names are meaningful names («speaking names» or redende Namen) pointing to a quality the literary character does not possess. In the second case, inadequate names are antithetic and consist of a sophisticated first name and an ordinary surname. The present paper deals with the coinage and function of thirteen inadequate names of characters in Fontane's novels Irrungen, Wirrungen, Frau Jenny Treibel, Effi Briest and Der Stechlin. [ABSTRACT FROM AUTHOR]

The character of Juduška, the protagonist of The Golovlyov Family (1880), a novel by Russian writer Saltykov-Ŝedrin, is an interesting example of renaming. Juduška is not, in fact, only a nickname (made up of the name Juda, Judah, and the term duška, 'pleasant, gentle person'), tainted by suggestions of duplicity, deception and betrayal; it almost immediately becomes the name that designates his identity. Juduška conceals the original Porfirij, a solemn, royal pre-name, an allusion to the colour purple, an alienating name, and is completed by a second epithet, krovopivuška, 'leech'. This paper aims to investigate the functional relations between the names of Porfirij-Juduška, his actions and his destiny in the microcosm he represents. [ABSTRACT FROM AUTHOR]

This paper is articulated in two parts: the first heuristic, the second hermeneutic. In the first, the author attempts to follow the development of Salvatore Di Giacomo's creativity regarding the plot and characters to which the author was to return in his play, Assunta Spina, and establishes a dialogue between it and the lyrical and narrative texts in question; in the second, the aim is to conduct an investigation, sub specie nominum, of this articulated corpus, with particular attention to the creative "density", intrinsic to Di Giacomo's art, of the echoes from the Classical poetic tradition and the Romantic and Decadent literary, dramaturgic and operatic tradition. [ABSTRACT FROM AUTHOR]

This paper examines the different naming strategies adopted in Latin, Old High German and Romance spells before and during the Middle Ages: the altered name, the speaking name or effective name, the taboo denomination. In particular, the study focuses on the protagonists of a series of incantations for the prevention of bleeding that presuppose a common subtext. The names of these characters appear to the reader to be hermetic or alienating and an attempt is made to explain them. [ABSTRACT FROM AUTHOR]

The theatrical and narrative production of Pier Maria Rosso di San Secondo stretches for about forty years between the first and fifth decade of the twentieth century. They were years of transition and redefinition of individual and social roles and spaces. The neuroses of many authors find in the theater the natural dimension in which to represent feelings of guilt and pain, of the shattering of subjectivity and of loss of reference points. Pier Maria Rosso di San Secondo, son of sunny and sulphur-bearing central Sicily, ranged from narrative to the theater and represents one of the most interesting Central European literary experiences. In this paper we analyze two plays composed and staged between 1918 and 1919: Marionette, che passione! and La bella addormentata. Although these have two very different settings, one bourgeois and the other the world of fable, the onomastic choices share the use of chromatism with an expressionist value. [ABSTRACT FROM AUTHOR]

The onomastic source of Silvia and Nerina, two young women who died young but live on in two of Leopardi's Canti, has been unanimously identified by scholars in Torquato Tasso's Aminta. Without denying this hypothesis, my paper examines the rich tradition that the two names boast in classical and humanistic poetry both in Latin and in the vernacular, especially in the pastoral genre. However, I suggest that, along with literary texts, Leopardi consulted ornithological treatises and derived from them a number of onomastic suggestions, as well as several features that the two women - like the poet as he portrays himself in Il passero solitario - share with the birds to whom he dedicated a warm Elogio in the Operette morali and many notes in the Zibaldone. [ABSTRACT FROM AUTHOR]

The paper focuses on the fictional names in the novel The Bird's Nest (1954) by Shirley Jackson. The analysis is conducted exploiting: 1) the pattern of the «intralinguistic mind», developed by Sasso (1993) to identify the anagrammatic computations in poetic texts; 2) the theories on phonosymbolism developed by (psycho)linguistic studies on the phenomenon; 3) an experimental test created ad hoc. The overall results of the research reveal the strong semic dynamism of the Jacksonian names, able to catalyze the thematic cores of the narration through a triggering of a dense network of phono-conceptual and phono-symbolic associations in the mind of the author and reader. [ABSTRACT FROM AUTHOR]

The paper is the first study of Orengo's onomastics, a subject hitherto neglected despite the growing critical interest for this author, and focuses on La curva del Latte; the analysis of names and nicknames is centered on the choices, always carefully calibrated, often ironic and out of the ordinary, as are many curious characters in the novel. Reference to the memorial album Terre blu, contemporary with the novel, and several collected testimonies, enable the author to distinguish between real and fictional names and therefore to explore the relationship between reality and fiction. [ABSTRACT FROM AUTHOR]

Le avventure di Pinocchio (1883) by Carlo Collodi presents a complex onomastic system that poses a challenge to translators. In this paper we examine the rendering of names in six Spanish translations, published between 1912 and 2019. Using a contrastive and diachronic approach, we compare the solutions adopted not only in the different translations but also within each of them. A methodology that combines onomastics, translanguaging and corpus linguistics is applied with the aim, among others, of testing Retranslation Hypothesis. [ABSTRACT FROM AUTHOR]

This paper looks at the various meanings of the title Il quarantotto, which may be defined as an 'emeronym', or proper name consisting in a date, which acts as a 'designator of events', capable in itself of evoking a whole series of ideological and commemorative connotations. In this case, the title shows the ideological, thematic and perspective complexity of Sciascia's vision of the history of the Risorgimento. [ABSTRACT FROM AUTHOR]

In his "Sonetti Romaneschi", Giuseppe Gioachino Belli speaks, not in person, but through a series of anonymous, lower-class characters. Critics have tried to identify those sonnets in which the wily poet hides behind the mask of the speaker to whom he often lends details of his biography and ideas. This paper examines the use of the poet's two names (Giuseppe and Gioachino), their familiar form (Peppe) and his initials (ggb, encrypted in the number 996). The author analyses the texts, showing that on one hand the poet aimed to represent objectively the life of the common people, while on the other remaining aware of his own poetic personality. [ABSTRACT FROM AUTHOR]

The paper analyzes the nicknames, or terms of endearment, created by Gabriele d'Annunzio in letters to friends and collaborators, painters and engravers especially in the years of the Vittoriale, through which the poet created particular intellectual and artistic relationships with them (for example, Benigno Palmerio, Gian Carlo Maroni, Guido Cadorin, Napoleone Martinuzzi, Pietro Chiesa, Renato Brozzi, Adolfo de Karolis and his daughters). Some of these nicknames are an expression of the 'Franciscanism' which d'Annunzio delighted in as an author. [ABSTRACT FROM AUTHOR]

Names and surnames registered by users on different online accounts not only allow data curation and profile marketing operations, but also enable algorithms to practice facial recognition through photographs tagged on social media. This paper examines metaphors used in contemporary poetry to question the violations of privacy, favored by the dissemination online of names and personal data. The analysis focuses on the spread of the digital infosphere vocabulary in contemporary Italian poetry and describes how it helps to transform names in virtual gateways to data raking and tracking from a post-human perspective. [ABSTRACT FROM AUTHOR]

This paper attempts to single out the changes that occur in onomastic functions when a literary name is translated to the target language. After introducing the main functions outlined by Polish scholars and presenting the specificity of the onomasticon in the fantasy genre, the author describes the main changes that onomastic functions undergo in the Italian version of Sapkowski's fantasy saga: preservation, loss, addition, alteration, accumulation, substitution. [ABSTRACT FROM AUTHOR]

The titles of Giorgio Manganelli's books clearly display a search for unusual linguistic combinations. The reader is often required to make an effort of interpretation. In this paper, the titles are examined, their lexical components analyzed and an interpretation offered in the light of the author's poetics. The tendency to play with linguistic elements is interpreted not only in itself, but as an instrument of knowledge. [ABSTRACT FROM AUTHOR]

Beneath an apparently traditional and realistic structure, Boris Pasternak's opera summa is a strongly symbolic novel whose plot develops through suggestion and epiphany. The Name is one of the privileged modes which expresses the book's archetypal substance. Pasternak is at ease in the world of onomastics, because he is the interpreter of two great traditions that are intertwined in his person: on the one hand, onomatodoxy, name-worship (imeslavie) and the discussions on the Name of God and on the other, the mythological school with its twentieth-century precursors (the Marrism that so much influenced Olga Frejdenberg, Pasternak's cousin to whom he was very close). The paper focuses in particular on Hamlet (a fundamental figure in the Pasternakian imagination), on Saint George (after whom the protagonist Jury Živago is named) and Magdalene, whose reverberation spreads throughout the novel and bridges the gap between the heroine Lara and the poet Marina Cvetaeva. [ABSTRACT FROM AUTHOR]

Comics convey a culture of images; this characteristic makes them approachable to the minds of deaf people, who have a visual culture and use a visual language (sign language). Léo, l'enfant sourd is a French comic strip. Its theme is the daily life of deaf people: Léo is a deaf child who experiences a continuous series of adventures caused by his deafness; all the episodes are presented in a humorous way. This comic strip, created by Yves Lapalu (a deaf cartoonist), is bilingual: in addition to the comic speech bubble with the text, the hands of the characters reproduce the signs in LSF (French Sign Language). This paper aims at analysing the anthroponyms in this comic strip, by observing the methodological choices of the author, who sometimes uses sign language and draws the sign, and sometimes uses the written text. Lapalu also changes the name of the main character, Léo: at the beginning his name is Jack; in the same way, the «name sign» (the sign used to refer to a certain person inside a deaf community) changes many times during his life; so this literary proceeding is in line with a real dynamic. The choice of all the names is well thought out in order to be ironical or to recall the history of deaf people, etc. Through the analysis of the names, this work aims at observing deaf culture, presenting it from the point of view of a child. [ABSTRACT FROM AUTHOR]

This paper focuses on the variation of the names of the principal characters of the four books constituting the Neapolitan Novel by Italian writer, Elena Ferrante. This variation is essential in the construction of the complex and layered identity of Elena Greco and Raffaella Cerullo. The onomastic stages that the two girls go through, in fifty years of Italian history, highlight their relationship with the various identities, strongly desired or fiercely opposed, which they assume in the course of their lives. [ABSTRACT FROM AUTHOR]

Taking a lead from a remark made by Pirandello concerning the name of the character, 'Claudio Cantelmo', in D'Annunzio's Vergini delle rocce, already used by the same author in his Trionfo della morte, this paper focuses on a particular kind of onomastic migration, which consists in using the same name for two (or more) characters in different works by the same author. This phenomenon is found in writers as far apart in time and literary genre as Roberto Bolaño and Giovanni Boccaccio, and is usually seen in the light of a 'holistic' or 'suprasegmental' conception of the onomastic strategy of any given author. [ABSTRACT FROM AUTHOR]

The paper focuses on the analysis of the name of the protagonist of Cristina Peri Rossi's work La nave de los locos, which is part of the corpus of Hispano-American novels that have exile as their central theme. The protagonist of the novel chooses to give himself a name/non-name, an anonymous name: Equis. My article shows that this choice meets several objectives. First of all, the name Equis turns the protagonist into an incarnation of the exile par excellence, its phonetics suggesting the prefix ex and hence words like exiliado and extranjero, among others. Moreover, the decision to give himself an anonymous name responds to the protagonist's desire for self-determination and escape from an imposed, monolithic identity. The latter, in fact, is considered to be the basis of a series of binary oppositions - such as self/other, native/foreigner, wise/foolish, man/woman - that give rise to practices of oppression and marginalization, of which Equis himself is a victim. [ABSTRACT FROM AUTHOR]

This paper examines naming variation in several Italian translations of Erich Kastner's novel Das doppelte Lottchen. Starting from the analysis of proper names and naming processes in Kästner's book, this study aims to show how the onomastic dissimilarity occurring in its different Italian versions has to do not only with the ever shifting translation methods and techniques in the way of adapting names to the target culture, but mostly with the constantly renewed critical (and editorial) approach to the novel over the years. [ABSTRACT FROM AUTHOR]

This paper compares the onomastic use of newspapers and the case file of a crime committed in Turin in 1930. These sources were the inspiration for two different works by a Turin writer, Guido Ceronetti, who as a child listened to the story told by his mother and as an adult creatively returned to memories, testimonies and archival sources. [ABSTRACT FROM AUTHOR]

This paper investigates the subtle play of references related to each character name variation, based on crucial points in the plot. Galateo, the title of the work, derives from the Latinized name of the dedicatee, Galeazzo Florimonte. This is in line with the Ciceronian habit in vogue in the sixteenth century consisting of the use of an anthroponym inserted in the title. Galeazzo Florimonte - bishop of Aquino and Sessa Aurunca, Casa's friend during the years he lived in Rome, whose Libro delle inezie is an essential point of Della Casa's volume - also appears as a real, historical figure. Finally, there is Galateo, the fictional character who comes to life and intersects the story line, becoming an integral part of it. [ABSTRACT FROM AUTHOR]

In the early decades of the twentieth century, the affirmation of children's literature as a kind of popular entertainment was facilitated in Italy both through books that enjoyed a wide readership and through stories and novels published in episodes in magazines of the time. My paper, by means of significant examples, offers some reflections on the use of recurrent personal names and common onomastic strategies in various authors, also in the light of the great inspiring models of the late-nineteenth-century fantasy-adventure genre. [ABSTRACT FROM AUTHOR]

In the second half of the nineteenth century, the famous American dwarf, Charles Stratton, called Tom Thumb, toured Europe with the theatrical show organized for him by Phineas Barnum, enjoying international success and fame. His name, changed to Tom Pouce, became synonymous in Italy with a 'very small person or thing': a frequently repeated antonomasia, with phonetic and graphic adaptations of the nickname. This paper aims to show the significance and repeated testimonies of this artistic name in the newspapers and books of the time, until its definitive lexicographic attestation. [ABSTRACT FROM AUTHOR]

The preparatory drafts for the first edition of L'ippopotamo (Einaudi 1989) are kept at the Centro Manoscritti of Pavia and record a crucial strategy within Luciano Erba's poetic system: the removal of toponyms and names. Vividly described objects, specific place names and family members are openly named in sketches and outlines, to be finally erased in the printed edition. Basically, L'ippopotamo aims at depersonalization in order to visualize as an onomastic blank the loss of solid and tangible objects, the unbridgeable distance from actual places met with in the past, and the absence of loved ones. After a philological screening of different case-studies, the paper focuses on the reason for such a process. Erba's strategy conveys in his verse the image of a weakened subjectivity, metaphorically placed on the defensive, in order to withstand the distress provoked by a certain sense of emptiness and fear of absence itself. Hence the persona opts not to engage with the idea of loss and chooses to leave a blank space. [ABSTRACT FROM AUTHOR]

The aim of this paper is to complete the analysis of the onomastic system in Giuliano Scabia's four novels based on the character and the adventures of Nane Oca, focusing on documents found in the author's archive. The onomastic practice of the author is deeply connected with his conception of language as a repository of stories: names are traces that refer to the childhood of the author and to the agricultural culture of the Veneto region, with its myths, its specific vocabulary, its characters. Particular attention is paid to those names which do not appear in the printed edition, but are well documented in the archive. [ABSTRACT FROM AUTHOR]

Antonio Delfini (1907-1963), regarded as a minor writer, «unknown» according to his own ironic definition, was the author of prose works, short stories, articles, essays, even of a Manifesto per un partito conservatore e comunista and, not least, of some papers partially published in 1982 by Giovanna Delfini and Natalia Ginzburg under the title of Diari (1927-1961). In such a fragmented, elusive production, proper names play an important role. Pseudonyms, paronomasia, grotesque creations and other kinds of onomastic effects are employed, especially in the diaries, in different and sometimes surprising ways. [ABSTRACT FROM AUTHOR]

In the context of the 'Scapigliatura' movement in the region of Piedmont, the figure of Achille Giovanni Cagna is particularly interesting: a self-taught and enthusiastic writer, he discovered his poetic vein thanks to the fortunate encounter with Giovanni Faldella, after the «worrisome beginnings» reported by Contini (1953). This paper aims at stressing the onomastic relationships in the works of these two authors, highlighting the evolution of their repertoire and the changes in the naming practice. Autograph corrections approved in the subsequent edition of the Bozzetti and the critical thinking documented by the epistolary exchanges, help to assess the progressive abandonment of clichés typical of sentimental literature in favour of a more disenchanted observation of truth. [ABSTRACT FROM AUTHOR]

Researchers of the transition from proper name to common name in Spanish have at their disposal two important lexicographical works: Deonomástica hispánica. Vocabulario científico, humanístico y gergal (García Gallarín, 1997) and De Magnol a magnolia diccionario histórico de deonomástica (García Gallarín, 2017). With the help of the electronic resources of the Real Académia Española (www.rae.es), this paper focuses on several names of literary origin recorded in these two dictionaries. Specifically, El nuevo tesoro lexicográfico de la lengua española (NTLLE) will be used, which makes it possible to consult online the dictionaries from 1495 to 2006, as well as El Nuevo diccionario histórico del español (NDHE). In addition, the following corpora will permit us to examine the diachronic and diatopic distribution and the type of texts in which deonomastics are certified: the Corpus diacrónico del español (CORDE, from the origins of the language to 1975), the Corpus de referencia del español actual (CREA, from 1976 to 2000) and the Corpes XXI (from 2001 to 2019). [ABSTRACT FROM AUTHOR]

During his lifetime Giovanni Pascoli took great pleasure in changing and distorting the names of friends, colleagues, schoolboys into humorous 'speaking' names (mostly in letters), aimed at obtaining ludic-parodic effects (for false friends) or, on the contrary, at showing affection and friendliness (mainly for schoolboys). My paper analyzes the processes of these onomastic transpositions for some of Pascoli's more important correspondents (some of them homonymous), such as Manara Valgimigli, Gabriele Briganti, Gabriele d'Annunzio, Guido Biagi, Guido Mazzoni, Luigi Valli, Luigi Pietrobono, Luigi Siciliani and Emma Corcos. [ABSTRACT FROM AUTHOR]

In this paper we present the preliminary results of a cartographic reconstruction and a geo-literary investigation of the place-names that mark the pages of Mai Tardi. Diario di un alpino in Russia, written by Nuto Revelli and published at the end of World War II. [ABSTRACT FROM AUTHOR]