vol. XLIX (2004)
M. Čale
“Diviso da l’imagine vera”: rappresentazione, disuguaglianza e il “doppio lavoro” del Canzoniere
Nel discorso critico, la duplicità viene associata a diversi aspetti della scrittura petrarchesca: si riferisce talvolta alla coesistenza del latino e dell’italiano, dei modelli classici e della tradizione della lirica volgare, dell’umanesimo e dell’etica cristiana, della prosa e dei versi; comprende la varietà di stile e di stati d’animo annunciati dal sonetto proemiale, gli apporti del registro lirico “dolce” e “aspro”, la fusione del materiale autobiografico-documentario con il repertorio dei consacrati motivi letterari e schemi retorici, l’oscillare tra l’unitarietà del progetto ideologico-narrativo e la frammentarietà, la scissione e lo sdoppiamento del soggetto lirico, l’incongruenza reciproca e il metamorfismo delle raffigurazioni attoriali di Laura, i motivi dello specchio e di Narciso, la propensione all’accostamento di enunciati lirici contraddittori e la generale ambiguità delle Rime sparse. Partendo dal presupposto che il programma poetico del Petrarca non si sbilancia mai a favore di uno degli elementi contrapposti, bensì persiste a coltivare la differenza tra questi, il saggio esplora la dimensione metatestuale del motivo del “doppio lavoro” (XL) e della “disaguaglianza” (CCCXVI) nei componimenti lirici petrarcheschi, mettendoli in relazione con la nozione di “diversitas” (Fam. XXIII, 19, IV) adoperato dall’autore nel suo discorso teorico sull’imitazione per designare il rapporto auspicabile tra il modello e l’imitatore. La diversità si profila così come tema del rapporto tra l’originale e la rappresentazione quale questione che riguarda tanto il rapporto tra il testo e la referenzialità, quanto quello tra il testo e gli altri testi, tra cui, accanto ai classici, ad Agostino e alla lirica provenzale e italiana, Dante occupa un posto particolare. Alla luce della tesi che si tratta del problema dominante della scrittura petrarchesca, vengono presi in considerazione i sonetti LXXVII e LXXVIII, dedicati al ritratto di Laura eseguito da Simone Martini su commissione del poeta, e le loro tradizionali interpretazioni in chiave platonica, nonché vari altri componimenti, segnalati come rilevanti in rapporto a tale tema (soprattutto XVI, XC, XCIV, CXXVI).
N. Ivić
Le nazioni slave in formazione di Giuseppe Mazzini: un contributoall’analisi di Lettere slave
Nell'articolo vengono analizzate le Lettere slave di Giuseppe Mazzini. Vengono evidenziate le opposizioni binarie nazioni/nazioni in formazione, stabiliti i rapporti reciproci dei concetti, tratteggiato il contesto. Si rimanda ai successivi punti di vista teorici sullo stato delle nazioni e della storia nazionale.
J. Spaccini
Le peintre dans l’univers du roman: les antécédents ou de l’archéologie
En raison de la prolifération de romans contemporains portant sur la peinture et/ou ayant un peintre comme personnage principal, on recherche dans cette étude les origines modernes de ce phénomène. L’intérêt est centré sur trois textes narratifs français du 19e siècle: Le Chef-d’œuvre inconnu de Balzac, Manette Salomon des frères Goncourt et L’Œuvre de Zola.
Au terme de nos observations textuelles, on découvrira qu’en définitive, les peintres qui en sont les protagonistes, Frenhofer, Coriolis et Claude Lantier, ne se ressemblent que par leur métier, chacun proposant une notion différente de l’artiste: titan chez Balzac; dandy chez les Goncourt et esclave de sa passion chez Zola. En tous cas, ces peintres sont tous voués à l’échec, tous exprimant l’idée artistiquement littéraire de leurs auteurs, qui étaient à la fois écrivains et critiques.
Ce qui ferait l’occasion pour une ultérieure recherche sur ce qu’est que la présence de la peinture dans la littérature, sur ses enjeux , ses conséquences.
S. Malinar
Marulić’s Private Letters: selection of Language as Means of Diastratic and Diaphasic Differentiation
We are here dealing with certain aspects relevant in the social-linguistic context of a rather recently discovered segment of Marulić's prose, providing an array of interesting information about the circumstances surrounding the writing of Marulić's published and unpublished, or not yet discovered, texts. At issue are seven of Marulić's private autograph letters from the period 1501-1516, which are kept in the Venetian State Archives, and were discovered and published by Miloš Milošević. Three are written in Italian, more precisely in the Venetian dialect, and are addressed to Jerolim Ćipiko from Split, canon of the St Doimus' Cathedral and a close friend of Marulić. The other four letters are written in Latin, and form part of the correspondence between Marulić and Venetian canon, notary and chancellor of the Senate of the Republic, Jacopo Grasolari, who took upon himself to care for the printing of Marulić's works). Private and family affairs, as well as considerations arising from current events, are reserved for the letters to Jerolim Ćipiko, written in Italian. Individual circumstances relating to the process of the printing of Marulić's works are the main topic of three letters sent to Jacopo Grasolari, while in one of them he discusses the traits of genuine Christian love and friendship. The author's communicational intention and his selection of topic, and partially the linguistic medium, determine the dominant formal and constructional features of two bodies of letters, or rather, of their particular segments.
S. Grgas
Flann O’Brien and the Question of National Identity
The theoretical background from which the author initiates his argument is the contention that the phenomenon of nationalism has been dangerously undertheorized and, consequentially, inadequately differentiated. In the central part of his article he goes on to argue how the recognition of the specificity of Irish literary texts necessitates the application of the national parameter. To corroborate this claim the author shows the need for a more analytic and differentiated approach to the concept of nationalism. The bulk of the paper is devoted to an analysis of how even such a decidedly modernist writer as Flann O’Brien is unimaginable outside the enabling conditions of his national identity.
I. Lupić
The Native Hue of Revolution: Foreign Shakespeare and Foreign Shakespeare Scholars
What do scholars exactly mean when they write about Shakespeare being “removed from his homeland and his native tongue”? Who is Shakespeare really native to? Finally, are we all supposed to “go native” when we read, watch, study or write about Shakespeare, whatever “Shakespeare” may represent and whatever “native” is intended to describe? It is, fortunately, impossible to “go beyond” these questions if one is concerned with “Shakespeare” as a (supra)national phenomenon and if one is willing to acknowledge cultural and historical difference where it seems to be denied. This discussion is haunted by the shadows of the recent Shakespearean past(s) and worried about the emerging spectres of the Shakespearean future(s). It stubbornly, and obviously unfashionably, laments the lack of awareness of where we stand when we watch, where we sit when we read, and where we are heading when we write or (often quite heedlessly) lecture about that infinite variety of things which, we are still taught, is best termed “Shakespeare”.
S. Malinar
Italian Translations of Ivo Vojnović’s Dubrovačka trilogija (Dubrovnik Trilogy)
To the Memory of Frano Čale
Following the initiative of Italian Slavist Arturo Cronia, Dubrovačka trilogija (Dubrovnik Trilogy), the most famous and the most successful work by Ivo Vojnović, was translated to Italian language and published in the edition Teatro di tutto il mondo in the year 1965. Cronia accompanied the translation with an extensive comment, with special emphasis, in the article from the year 1963, on the Italian version of the first one-act play in the Trilogy, Allons enfants, which he ascribes to Vojnović himself, adducing as evidence a manuscript he found in the year 1939 in a private library in Zadar. The other two one-act plays, Suton (Twilight) and Na taraci (On the Terrace), were translated by Carmen Cronia, the scholars’s wife. It was a particular situation, in which the translator of the first part of the Trilogy to the Italian language is at the same time the author of the original work, which allows him the creative independence, which usually is not permitted as regards the original. It gave an excuse to Arturo Cronia to claim that the Italian version is more mature and artistically more successful than the Croatian original. Croatian scholar Frano Čale, analysing Vojnović’s creative approach and giving especially emphasis to the stressed demiurge potential, pregnancy and evocativeness of Vojnović’s language and its specific, the Dubrovnik character, opposes Cronia’s statements about the translation that has outshined the original. Carmen Cronia, in the role of an “ordinary” translator, offered a reliable, yet not slavish translation, limited to the minimal transcodification, within which she made an effort to evoke the local colour and the language stratification of the original.
J. Mihaljević Djigunović
Beyond Language Anxiety
The article focuses on the relationship of language anxiety and a number of other individual difference variables. In order to understand the role of language anxiety in second language acquisition and behaviour, the author describes a study in which she tried to check the validity of five hypotheses based on findings of previous studies. She looks into the correlations of the included individual difference variables with language anxiety and with foreign language achievement and self-assessment of foreign language skills. Only one of the hypotheses was confirmed by her findings. She concludes that the impact of anxiety on language learning and use should be reconsidered and suggests some directions for future research.