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Nowadays, there are not comprehensive studies on the idioms used by Pier Paolo Pasolini in his vast literary and non-fiction production. There is only one essay, although rich in data and starting points, on a proverb cited in an article published in the weekly «Il mondo» in 1975 (Rondinelli 2017). This paper, therefore, essentially has three objectives: 1) to trace the idioms used by the Emilian writer, also referring to other interesting phraseology for the purposes of the research; 2) to provide information on the identified idioms, retracing the most significant elements of their history; 3) to identify the clues that explain their use in Pasolini. [ABSTRACT FROM AUTHOR]

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Index scriptorum listed at the end of volume VII of the Grammatici Latini edited by Heinrich Keil (1855–1880) includes four quotations of Cassius Severus, a Roman rhetor who lived during Augustus’ and Tiberius’ reigns. Not all these four fragments (two of which are quoted two times, by two different authors) have a place in Cassius Severus’ modern editions. For this reason, in this paper, even if we cannot always conclude that we are actually dealing with Cassius Severus’ fragments, we will offer an analysis of these previously rather neglected quotations. [ABSTRACT FROM AUTHOR]

The aim of this paper is drawing attention to a passage of the Ethiopian Stories by Heliodorus of Emesa (9,9,3) on the divinization of the Nile borrowed from Life of Moses (2,195) by Philo of Alexandria. This textual relationship, well known to Philo's scholars, has so far not been considered instead by most Heliodorus' scholars. Other possible intertextual references (lexical parallels, stylisations and analogies), noticed in this paper, point to the work by Philon as deliberately exploited inspiration for some passages of Heliodorus' novel. All this is of greater importance for the Ethiopian novel and his author. [ABSTRACT FROM AUTHOR]

This paper will examine the linguistic component and innovations of the Nineteenth-century play Ψευτοξενοδόχος (The Fake Innkeeper) by a certain K. Π., in relation to some linguistic satire precedents such as Iakovos Rizos Nerulòs, author of the Korakistiká and Dimitrios K. Vyzantios, author of the Babylonia. Furthermore, the identification of the author with the famous historian Konstantinos Paparrigopulos is proposed. [ABSTRACT FROM AUTHOR]

The aim of this paper is to place the first period of Leonardo Sciascia's literary activity, between the 1950s and the 1960s, within a unitary framework which finds one of its main features in the dialogue established with hispanidad, with contemporary history and with Hispanic literary culture. Through the references to George Orwell's and Federico García Lorca's literary works, to Unamuno's thought and Vittorio Bodini's activity as translator and cultural mediator between Italy and Spain, a Hispanic constellation of texts and suggestions takes shape, nourishing both the civil and the literary profile of the Sicilian writer. [ABSTRACT FROM AUTHOR]

The paper relates Elias's thought to Mead's, starting from the embodied dimension of emotions. The approach of the two authors to emotions is affected by a conception of society as deeply intertwined with biological and somatic aspects. Rediscovering and enhancing these aspects is configured as a radical challenge to the disciplinary barriers with which such topics are traditionally addressed. This allows to relate the thought of the two authors within a theoretical framework that can shed light on the embodied aspects of emotional action. [ABSTRACT FROM AUTHOR]

The paper deals with the publishing history in the post-Soviet era of three very prominent works in Gulag literature in Italian translation – Life and Fate by Vasilij Grossman, Kolyma Tales by Varlam Šalamov and The Gulag Archipelago by Aleksandr Solženicyn – in order to reconstruct their Italian reception in the years 1991-2022. The controversies surrounding the publication of these works in Italy are also discussed, and it is noted how the Italian press has paid particular attention to them, with major Italian writers reviewing the editions and contributing to their Italian reception. Finally, the lack of critical reflection by Italian Russianists on Gulag literature is discussed. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of TECHNE: Journal of Technology for Architecture & Environment is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I discuss the relationship between Cornelius Castoriadis and Ancient Greece by focusing on the meaning of tradition and on the possibility to produce new philosophical and political reflections through it. I analyze the general features of his reading and I argue that his interest also develops in many texts and forms. I distinguish different dimensions of this relationship, which does not concern only the analysis of Greek society but also that of philosophers and their works. I clarify that Castoriadis turns to ancient authors' texts in order to philosophize through them and to develop his own thinking. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines Ingo Schulze's novel Die rechtschaffenen Mörder (2020) in the light of the considerations on estrangement expressed by the author in his speech for the Brecht Prize in 2013. This paper highlights how the novel is about two types of 'estrangements': the first, along Brecht's lines, is at the service of committed literature, capable of representing an "alternative project" for society; the second, on the other hand, is functional to the author's self-reflective moment and characteristic of the postmodern novel. The analysis of the novel argues that 'estrangement', from being a tool of political and social commitment aimed at demystifying power relations, ultimately becomes a merely formal device that preserves the status quo in the market of artistic forms produced by the "mass-democratic postmodernity" (Kondylis) in which Schulze operates, thus counteracting Brecht's and perhaps even Schulze's own initial aim. [ABSTRACT FROM AUTHOR]

The aim of this paper is to reconstruct the philosophical frame of Rosaria Caldarone's work La filosofia in fiamme. Saggio su Pascal in order to interpret it in the light of the authors who represent the Wegmarken of her work. Starting from this reading, the main issue around which my questions revolve is: what new figure of reason can be reborn from the flames of philosophy - flames that, like the biblical burning bush, burn but do not consume the thought? [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

My focus in this paper is the epic Albanian poem "Lahuta e Malcís" (Gjergj Fishta, 1937) and its translation into German, Italian and English. I will analyse translations by three authors: Maximilian Lambertz (1958), Ernest Koliqi (1973) and Robert Elsie (2005). As a result, I will show how these three translations fail to fully convey certain aspects of Albanian culture to the German, Italian and English readers. In theoretical terms, I will briefly address the issue of how the translator should best preserve not only the meaning of the original text, but also the style in which the work is written. [ABSTRACT FROM AUTHOR]

Copyright of Phainomena is the property of Phenomenological Society of Ljubljana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I seek to respond to some of the remarks raised by the authors invited by the journal Etica & Politica / Ethics & Politics to discuss my book on philosophy of birth Nascere. Una fenomenologia dell'esistenza (Carocci, Roma 2020). In the first part I discuss some comments on the methodological approach. Then I focus on objections by my interlocutors that allow to clarify and to formulate better some main theoretical points of my proposal. Finally, I deepen the distinction between the categories of natality and nativity. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The comedy Gustos y disgustos son no más que imaginación was written by Pedro Calderón de la Barca in the Thirties and it was performed at court in 1680 on the occasion of the wedding of king Charles II with the French Marie Louise d'Orléans, Louis XIV's niece, just a year before the death of the author. This paper explores, from a diachronic perspective, the different meanings and aims conveyed by the various vital stages of this Calderonian comedy -- writing, performance and publication -- with a specific focus on its 1680 performance at court. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the theatre work of Nina Vladimirovna Sadur (Novosibirsk, October 15th, 1950), Russian writer, playwriter and screenwriter, whose artistic world reflects mythological, folkloric and Christian traditions. The analysis aims to focus, through a general examination, on the mostly recurrent themes also in the light of a re-elaboration of the classics of Russian literature: the evil of living in its various manifestations, the antinomy Good-Evil, the clash between the real and the unreal, the socio-psychological discomfort. [ABSTRACT FROM AUTHOR]

Self-representation of creative process is a common strategy for several samizdat authors, mainly those who approach literary creation from an aesthetic point of view that is very close to the modernist one. These texts are characterized by peculiar features, such as an emphasis on the author himself and his more or less distinct hypostases (the author often becomes the addressee of his own text); by their physicality, bodily nature, evidence of a paper-made, typewritten text; by a focus on underground writers’ community, their interaction, reciprocal role as readers, advisors, co-authors, as well as on the fundamental role of the underground community of readers, which allows to distribute and multiply samizdat texts. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, I will claim that a plausible account of fictional narration must involve a conceptual distinction among the three following figures: real authors, fictional narrators, fictional authors. Real authors may coincide, albeit rarely, either with fictional narrators or with fictional authors. A fictional narrator, however, can never coincide with a fictional author, for either figure is the 'fictional agent', the contextual factor that contributes to yielding a semantic (truth conditional) content to the fiction-involving sentences that, in their fictional use, either figure narrates. Because of this, however, we need to distinguish between a fictional narrator and a fictional author for reasons that only partially coincide with those that Currie (1990) advocates. We need a fictional author precisely for the very same semantic reasons for which we need a fictional narrator; that is to say, as I hinted at before, in order to account for the fictional truth conditions and fictional truth values that fiction-involving sentences have in their fictional use. We indeed need either a fictional narrator or a fictional author in order to have an 'agent' of the relevant fictional context that enables a fiction-involving sentence, in its fictional use, to fictionally say something, i.e., to have a fictional semantic (truth conditional) content, hence to have also a fictional truth value. Yet we do not need a fictional author for 'epistemic' reasons, which have to do with reliability in narration; pace Currie (1990), just like the fictional narrator, that author must not be omniscient. [ABSTRACT FROM AUTHOR]

This paper deals with the analysis of the works and theories by Paul Otlet and Otto Neurath, focusing on their positions on the visual value attributed to images as a worldwide knowledge-democratization means. In detail, the theories properly defined by the authors and also the existing scientific studies in the literature referring to the visual communication conceived as a resource by which disseminate and achieve knowledge on a wide level will be illustrated. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Borchardt spent in Italy most of his life, in what he initially considered to be a voluntary exile. This article aims to investigate how his displacement affected his literary work. Moving from his close connection with German Bildung, it will focus on the emblematic alter-ego that the author seeks in Dante and Virgil, to exiled writers whose views Borchardt shares. The article discusses to what extent Borchardt's displacement plays a significant role in his interpretation of the Aeneid and the impact his relocation in Italy produced on his own works. [ABSTRACT FROM AUTHOR]

Chapter 8 of Auerbach's Mimesis on Canto X of Dante's Inferno, where Dante meets Farinata and Cavalcante, begins with a long quotation that ends just before Farinata's prediction of Dante's exile from Florence. It almost seems as if Auerbach does not want to directly address this issue that involves him personally. However, according to David Damrosch, we can find a complex overlay of Dante's characters, Dante the author and Auerbach himself: on the one hand, Dante, the "poet of the earthly world", took over earthly reality, passions and characters into his beyond. On the other hand, Auerbach writes in Istanbul a "German book" which "would not have been thinkable in any other tradition than in that of Hegel and the German Romantics". [ABSTRACT FROM AUTHOR]

This article analyses the representation of the pandemic in modern and contemporary literature, according to a thematological perspective. It aims to show the way in which the motives of guilt and destiny are inevitably mixed, through some declinations of the theme proposed by great writers -- from Defoe to Camus, from Saramago to Philip Roth. [ABSTRACT FROM AUTHOR]