TEST Ticontre. Theory Text Translation
type: channel
description: The scientific journal Ticontre. Theory Text Translation (e-ISSN 2284-4473) provides a platform for open discussion on the literary text that is not only innovative but also keen to acknowledge core components of the European and American tradition.
publisher: Università degli Studi di Trento
language: en
publication name: TEST Ticontre. Theory Text Translation
issn: 2284-4473
items: Introduzione
items: «Gli europei non hanno fortuna nei rapporti con i cinesi»
items: Modern Landscapes, Modern Spaces
items: «Il posto del paesaggio» nella poesia di Antonella Anedda
items: Le geografie oscillanti
items: Memoria
items: Memoria e oblio della Shoah
items: «There were always the stories. And they weren’t just stories, they were the truth»
items: L’ecobiografia
items: “Guernica, el último viaje” (2006)
items: Il contagio della memoria
items: La memoria sulle soglie del testo
items: «El paisaje es memoria»
items: La escritura del luto paterno y la reconstrucción de la memoria de vida
items: Il Portogallo come «passato che non passa»
items: Sul buon uso della memoria in Antoine Volodine
items: Multiperspective Fictions of Memory and the Implicated Narrator
items: Modernismo letterario e pensiero antidigitale nella filosofia di Byung-Chul Han
items: Tempi di percorrenza di “Via del Popolo”
items: Memorie rivisitate nella poesia di Ana Luísa Amaral
items: (Un)gewolltes Aufbegehren
items: Giulio Mozzi e la realtà “avvenuta-non-avvenuta”
items: «Dentro quali sguardi ti muovi?»
items: L’architettura nell’opera di Francesco Pecoraro
items: Virginia Woolf and Dostoevsky’s «Great Dialogue»
items: Echi pastorali da Longo a Kuzmin
items: La non-fiction metabiografica
items: «Im Scheinwerfer der Abreise»
items: Risonanze batailliane negli esordi di Dario Bellezza
items: Lachmann traduttore di Petrarca

Introduzione
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description: Introduction to the monographic section regarding Antonella Anedda.
subject: Sotto la lente: Antonella Anedda. Spazi, luoghi, paesaggi
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creator: Claudia Crocco
creator: Marco Villa
rights: Copyright (c) 2025 Claudia Crocco, Marco Villa https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 7
ending page: 10
doi: 10.15168/ticontre.vi24.3996

«Gli europei non hanno fortuna nei rapporti con i cinesi»
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description: This contribution investigates the reception of Goethe in Alfred Döblin's essays and narrative work. Starting with an analysis of some of the Berlin writer's autobiographical writings and the essays Goethe und Dostojewski and Wissen und Verändern!, the complex evolution of his relationship with Weimar Classicism is outlined and the influence of Goethe's morphology in Döblin's thought is highlighted. On the basis of the study of poetological writings, the points of contact between the classical concept of the autonomy of the parts and the modern epic conceptualised by Döblin are then shown. Finally, through the analysis of the structure and intertextual elements in the exile novel Amazonas, we focus on Döbllin's reading of the Faustian theme.
subject: Saggi
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creator: Claudia Cippitelli
rights: Copyright (c) 2025 Claudia Cippitelli https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 97
ending page: 119
doi: 10.15168/ticontre.vi24.3672

Modern Landscapes, Modern Spaces
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description: Approaching the subject from within the history of literary genres, this essay explores several key compromises forged between poetry and the world of prose. At a theoretical level, the problematic outcomes of this encounter continue to manifest themselves in the ambivalent usage of the terms «landscape» and «space». The literary works most closely associated with «Modern Lyric Classicism» similarly exhibit traces of symptomatic negotiations, reflecting an unresolved underlying tension. In both directions, the work of Anedda constitutes a privileged point of observation.
subject: Sotto la lente: Antonella Anedda. Spazi, luoghi, paesaggi
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creator: Michela Davo
rights: Copyright (c) 2025 Michela Davo https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 61
ending page: 75
doi: 10.15168/ticontre.vi24.3668

«Il posto del paesaggio» nella poesia di Antonella Anedda
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description: The present article seeks to provide a reconstruction of the forms and functions of landscape, understood as relational space, as it appears in Antonella Anedda’s poetry. The objective of this study is to demonstrate the pivotal function of prior literary and figurative references in the ostensibly immediate depiction of the encounter between a subject and a segment of nature in poetic compositions. This article focuses in particular on two texts, Paesaggio (Dal balcone del corpo) and Esilii (Historiae), which illustrate how meditation on death, the body and identity falls variously within the orbit of the discourse on Anedda’s landscapes.
subject: Sotto la lente: Antonella Anedda. Spazi, luoghi, paesaggi
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creator: Emma Pavan
rights: Copyright (c) 2025 Emma Pavan https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 11
ending page: 37
doi: 10.15168/ticontre.vi24.3658

Le geografie oscillanti
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description: The article analyzes the relationship between geography, writing, and ethics in the work of Antonella Anedda, adopting a geocritical and geopoetic approach. Through close readings of both poetry and prose (in particular Isolatria, Geografie, Notti di pace occidentale, and Historiae), it highlights how maps and borders are not mere backdrops or themes, but formal and narrative devices that articulate an oscillating perspective between the inside and outside, individual and collective, past and present. The map becomes a means of relating the self to the world, while the border is constantly challenged. Anedda’s writing, hybrid in both form and perspective, constructs an ethical space in which geography is grounded in a network of relationships, also including a reflection on media and the relationship between human beings and the environment.
subject: Sotto la lente: Antonella Anedda. Spazi, luoghi, paesaggi
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creator: Martina Mileto
rights: Copyright (c) 2025 Martina Mileto https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 39
ending page: 59
doi: 10.15168/ticontre.vi24.3636

Memoria
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description: Introduction to the journal’s monographic section Memory. The Present of the Past.
subject: Monographic section: Memory. The Present of the Past
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creator: Francesca Lorandini
creator: Daniele Giglioli
creator: Pietro Taravacci
creator: Elsa Rita Dos Santos
rights: Copyright (c) 2025 Daniele Giglioli, Francesca Lorandini, Elsa Rita Dos Santos, Pietro Taravacci https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 7
ending page: 14
doi: 10.15168/ticontre.vi23.3582

Memoria e oblio della Shoah
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description: Werner Kofler’s play Tanzcafé Treblinka, premiered at the Klagenfurt Municipal Theatre on 12th May 2001, explores memory and oblivion of the Shoah in Austria. The drama consists of two speeches that follow one another without leaving room for dialogue. In the first, an elderly performer (A) recounts his remembrances of National Socialism and the Final Solution to a young man (B). In the second monologue, B denies the reported information. In developing his exposition, the character seems to possess historical knowledge, although he has no intention of remembering past events. The title of the work hints at Ernst Lerch’s biography, a post-war manager of a family business in Klagenfurt who was responsible for the mass extermination in the General Government during the early forties. Moreover, it calls to mind forgetfulness blended with entertainment (Tanzcafé) and memory of Nazi crimes (Treblinka).
subject: Monographic section: Memory. The Present of the Past
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creator: Daniele Robol
rights: Copyright (c) 2025 Daniele Robol https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 15
ending page: 40
doi: 10.15168/ticontre.vi23.3578

«There were always the stories. And they weren’t just stories, they were the truth»
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description: How can memory be preserved when historical evidence is no longer there? Is it really possible to reconstruct a multi-layered history starting from a few remains left by a culture in danger of extinction? Do the red stones displayed in a souvenir shop really have “memory and power,” as Native American poet Joy Harjo believes in “New Orleans”? By analyzing a selection of poems included in the collection Weaving Sundown in a Scarlet Light: 50 Poems for 50 Years (2023), the essay explores the relation between individual memory, tribal stories, and contemporary challenges. In traditional oral cultures, such as the Native American one, it is the art of telling stories that has the noble task of recovering, passing on, and preserving memory. In order to combat the cultural amnesia resulting from the annihilation and cultural alienation induced by colonialism and aggressive assimilative practices, it is towards the earth that one must turn. By listening to the stories contained in it, by amplifying them, and by passing them down to the next generation, Harjo recovers a memory buried in the bowels of the earth for millennia, while also interrupting and complementing official colonial historiography with alternative truths. With the earth as its focus, in this essay I will explore the role played by individual and collective memory in Harjo’s poetry and more in general in contemporary Native American poetry. Come preservare la memoria quando le evidenze storiche non ci sono più? È possibile ricostruire una storia stratificata a partire da pochi resti lasciati da una cultura in via d’estinzione? Davvero le pietre rosse esposte in un negozio di souvenir sono dotate di «memoria e potere», come afferma la poeta nativo-americana Joy Harjo in "New Orleans”? Attraverso l’analisi di poesie selezionate dalla raccolta Weaving Sundown in a Scarlet Light: 50 Poems for 50 Years (2023), il saggio interroga il rapporto tra memoria individuale, storie ancestrali e sfide contemporanee. Nelle…
subject: Monographic section: Memory. The Present of the Past
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creator: Lisa Marchi
rights: Copyright (c) 2025 Lisa Marchi https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 201
ending page: 221
doi: 10.15168/ticontre.vi23.3573

L’ecobiografia
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description: The exchange between geographic knowledge and literary criticism has seen an increase in recent years following the recent spatial turn. In particular, since 2000s, numerous narrative texts have focused on the representation of everyday places and peripheral territories. This article suggests the term “ecobiography” to identify those texts whose narrative revolves around one or more places and in which the dynamics between society and nature are observed through a perspective that is halfway between the human and the non-human. Through Pianura (2021) by Marco Belpoliti and Una voce dal profondo (2023) by Paolo Rumiz, this analysis seeks to highlight the stylistic and thematic characteristics that give ecobiography an active socio-territorial function, recognising a historical, cultural and physical significance to places and the environment. Lo scambio tra sapere geografico e critica letteraria ha riconosciuto negli ultimi anni un incremento in seguito al recente spatial turn. In particolar modo, a partire dagli anni Duemila numerosi testi narrativi si sono interessati alla rappresentazione dei luoghi della quotidianità e dei territori periferici. Il seguente contributo propone il termine “ecobiografia” ad identificare le narrazioni in prosa incentrate intorno ad uno o più luoghi dei quali vengono descritte le dinamiche tra società e ambiente, adottando uno sguardo equidistante tra umano e non-umano. Attraverso Pianura (2021) di Marco Belpoliti e Una voce dal profondo (2023) di Paolo Rumiz, l’analisi mira a mettere in luce le caratteristiche stilistiche e tematiche che conferiscono all’ecobiografia una funzione socio-territoriale attiva, che riconosce un significato – storico, culturale e fisico – ai luoghi e all’ambiente.
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creator: Irene Cecchini
rights: Copyright (c) 2025 Irene Cecchini https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 159
ending page: 179
doi: 10.15168/ticontre.vi23.3562

“Guernica, el último viaje” (2006)
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description: Laila Ripoll is an outstanding author of contemporary Spanish theatre, who has dedicated an important part of her work to the theme of Memory. Like the radiodrama Guernica, el ultimo viaje, a dramatisation of an episode of the Civil War that has become a universal symbol. The text was issued in 2006, on the occasion of the 25th anniversary of the painting's return to Spain in 1981. The story is brought to life by some of the figures of the painting, the Bull, the Mare and the Cockerel, who come to life, speak and interact with Picasso and other characters. The article summarises the results of the research on the strategies and techniques of dramatisation of the event. These include the animation and anthropomorphisation of the characters of the painting, the presence of the muertos vivientes, characteristic of Ripoll’s theatre, such as Picasso, his partners and the architect Josep Lluís Sert, who commissioned the work from the artist on behalf of the Government of the Spanish Republic, and the role of Guernica (the event, the place and the painting) as a repository of Memory. Laila Ripoll es una autora señalada del teatro español contemporáneo, que ha dedicado una parte importante de su obra al tema de la Memoria. Como el radioteatro Guernica, el último viaje, dramatización de un episodio de la Guerra Civil que se ha convertido en un símbolo universal. El texto fue emitido en 2006, con motivo del 25 aniversario del regreso del cuadro a España en 1981. La historia revive a través de la narración del Toro, la Yegua y el Gallo, que aparecen en el cuadro, cobran vida, toman la palabra e interactúan con Picasso y otros personajes. El artículo recoge los resultados de la investigación sobre las estrategias y las técnicas de dramatización del acontecimiento. Entre ellas, destacan la animación y antropomorfización de las figuras del cuadro, la presencia de los muertos vivientes –característicos del teatro de Ripoll–, como Picasso, sus parejas y el arquitecto Josep Lluís Se…
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creator: Veronica Orazi
rights: Copyright (c) 2025 Veronica Orazi https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 41
ending page: 61
doi: 10.15168/ticontre.vi23.3550

Il contagio della memoria
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description: The essay explores the relationship between identity, nostalgia, and cultural memory in Georgi Gospodinov’s Time Shelter. The analysis aims to reflect on how the novel portrays the dynamics and risks involved in reconfiguring the past within the context of contemporary European society. Combining literary theory and cultural memory studies, the paper examines two pivotal elements of the novel, namely the autofictional genre and “time shelters”—time rooms that allow individuals to experience the past as if immersing themselves in the fictional worlds of literature. Particular attention is given to the double, ambivalent nature of (auto)fictional writing as both a biased mediator of cultural memory and a genuine tool for constructing personal identity. L’articolo indaga il legame tra identità, nostalgia e memoria culturale in Cronorifugio di Georgi Gospodinov. L’obiettivo dell’analisi è esaminare i modi in cui il romanzo rappresenta le dinamiche e i rischi connessi alla riemersione nostalgica del passato nel contesto della società europea contemporanea. Affiancando gli strumenti e le tesi dei cultural memory studies ai ferri del mestiere della teoria letteraria, il saggio si focalizza su due importanti componenti romanzesche: il carattere autofinzionale della scrittura e i “cronorifugi”, stanze del tempo che permettono di fare esperienza del passato secondo modalità simili all’immersione nei mondi della finzione letteraria. Particolare attenzione è posta alla funzione bifida della scrittura (auto)finzionale, mediatrice tendenziosa della memoria culturale e allo stesso tempo strumento autentico di costruzione dell’identità personale.
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creator: Luca Diani
rights: Copyright (c) 2025 Luca Diani https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 265
ending page: 283
doi: 10.15168/ticontre.vi23.3549

La memoria sulle soglie del testo
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description: Manuel Rivas (A Coruña 1957) is one of the most prominent contemporary Galician authors. His production ranges from fiction to poetry, theater to journalistic prose. The present study focuses on A man dos paíños (2000), which is divided into three parts: a fictional story (after which the book is titled), a photographic story (O álbum furtivo), and a journalistic story (Os náufragos). The main peculiarity of the work lies in the literary and aesthetic wager of ‘genre smuggling’. The author, who has always been refractory to pigeonholing, uses this metaphor to refer to the fusion of poetry and prose, reality and fiction, text and image. In the present study we will observe how this mixing of genres and codes, along with the rich paratextual apparatus, is functional to the transmission of memory and the creation of a shared gaze between the reader and the emigrant/castaway. Manuel Rivas (A Coruña 1957), figura di spicco della letteratura galega contemporanea, vanta una produzione che spazia dalla narrativa alla poesia, dal teatro alla prosa giornalistica. A man dos paíños (2000), l’opera oggetto del presente studio, si configura come un trittico composto da un racconto di finzione che dà il titolo al libro (A man dos paíños), un racconto fotografico (O álbum furtivo) e un racconto giornalistico (Os náufragos). La principale peculiarità dell’opera risiede nella scommessa letteraria ed estetica del ‘contrabbando di generi’, in una felice metafora coniata dall’autore, da sempre refrattario agli incasellamenti, per riferirsi alla fusione di poesia e prosa, realtà e finzione, codice verbale e codice iconico. Nel presente studio si osserverà come questa commistione di generi, insieme al ricco apparato paratestuale, sia funzionale alla trasmissione della memoria, principale filone tematico dell’opera, nonché alla creazione di uno sguardo condiviso tra il lettore e l’emigrante/naufrago.
subject: Monographic section: Memory. The Present of the Past
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creator: Chiara Albertazzi
rights: Copyright (c) 2025 Chiara Albertazzi https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 125
ending page: 139
doi: 10.15168/ticontre.vi23.3542

«El paisaje es memoria»
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description: This study focuses on an analysis of the interaction between the mechanisms of memory and the representation of landscape in Julio Llamazares’s Distintas formas de mirar el agua (2015). In this novel – which could be considered the culmination of a poetics in which memory plays a decisive role in its thematic and formal constants – the sentimental bond interwoven with the natural setting is configured, above all, as a form of symbolic reparation for the pain produced by a loss. Likewise, the author gives a structural value to the stories of small family groups, who are entrusted with the task of narrating the recent past of a betrayed homeland, where the alteration of the natural balance, caused by the economic crisis and the structural reforms promoted by the Franco government, represents only a part of the violence already suffered by the Spanish land during the Civil War. Lo studio intende analizzare l’interazione tra i meccanismi del ricordo e la rappresentazione del paesaggio in Distintas formas de mirar el agua (2015). Nel romanzo di Julio Llamazares, approdo di una ricerca estetica, attraversata da costanti tematiche e formali in cui la memoria assume un ruolo decisivo, il vincolo sentimentale intessuto con lo scenario naturale se da un lato si configura come la simbolica riparazione del dolore legato a una perdita, dall’altro consolida il valore attribuito alle storie di piccoli gruppi familiari: ad esse è demandato il compito di narrare il passato recente di una patria tradita, in cui l’alterazione degli equilibri naturali messa in campo dalle riforme economico-strutturali, promosse dal governo franchista, è solo una parte della violenza già subita dalla terra spagnola durante la Guerra Civile.
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creator: Ida Grasso
rights: Copyright (c) 2025 Ida Grasso https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 181
ending page: 200
doi: 10.15168/ticontre.vi23.3541

La escritura del luto paterno y la reconstrucción de la memoria de vida
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description: This paper aims to analyze two examples of contemporary mourning memories: Tiempo de vida (2010), by Marcos Giralt Torrente and No entres dócilmente en la noche quieta (2020), by Ricardo Menéndez Salmón. Firstly, the importance of this subgenre is contextualized: it’s a valid alternative to the homogeneous presentation of intimacy in the public sphere. Next, from the concept of autobiographical pact, we reflect on the metaliterary dimension of these works. In particular, both authors consider that the difficulty of writing on mourning it’s found in the tension between the unspeakable personal experience and the need to frame it in a public narrative. In the second part of the paper, an attempt is made to recognize the dominant public narrative in both works –namely, the acceptance of the father's legacy in a time in which it has lost its symbolic value– and the means that both authors use for its presentation and improvement. El objetivo del presente trabajo se sustancia en el análisis de dos ejemplos de memorias de duelo contemporáneas: Tiempo de vida (2010), de Marcos Giralt Torrente y No entres dócilmente en la noche quieta (2020), de Ricardo Menéndez Salmón. En la primera parte del trabajo, se contextualiza el interés que presenta este género literario en la actualidad y se razona sobre su validez como alternativa a la presentación homogénea de la intimidad en la esfera pública. A continuación, a partir de una reflexión sobre el pacto autobiográfico, se razona sobre la dimensión metaliteraria de estas obras. En particular, ambos autores cifran la dificultad de la escritura del duelo en la tensión entre la vivencia personal indecible y la necesidad de enmarcarla en una narrativa pública. En la segunda parte del artículo, se intenta reconocer la narrativa pública dominante en ambas obras –a saber, la aceptación de legado del padre en una época en la que ha perdido su valor simbólico– y los medios que utilizan ambos autores para su presentación y superación.
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creator: Carlos Frühbeck Moreno
rights: Copyright (c) 2025 Carlos Frühbeck Moreno https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 83
ending page: 106
doi: 10.15168/ticontre.vi23.3540

Il Portogallo come «passato che non passa»
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description: The Lusitanian Tetralogy by Almeida Faria represents an erratic journey through the landscapes and imaginaries of Portuguese cultural identity. The objective of this article is to examine the problematisation of these coordinates in the saga and especially in the three novels published after 1974 through the lens of cultural memory and oblivion. The novels address themes of decadence and intergenerational conflict within a family of landowners in the Alentejo region at the time of the Carnation Revolution. This paper aims to observe the process of reworking narratives and mythologies from the past as an important element in the attempt to provide new foundations for the process of national self-reflection. La Tetralogia lusitana di Almeida Faria si costituisce come percorso erratico tra paesaggi e immaginari dell’identità culturale portoghese. Obiettivo di questo articolo è osservare attraverso le categorie della memoria culturale e dell’oblio la problematizzazione di queste coordinate nella saga e soprattutto nei tre romanzi successivi al 1974. Tematizzando la decadenza e i conflitti generazionali di una famiglia di latifondisti dell’Alentejo a cavallo della Rivoluzione dei Garofani, si osserva la centralità della rielaborazione di narrazioni e mitologie del passato nel tentativo di dare nuove basi al processo di autognosia nazionale.
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creator: Eugenio Lucotti
rights: Copyright (c) 2025 Eugenio Lucotti https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 63
ending page: 82
doi: 10.15168/ticontre.vi23.3539

Sul buon uso della memoria in Antoine Volodine
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description: The article aims to show the dialectic between remembering and forgetting within the post-exotic literature created by Antoine Volodine over the last forty years. Through the analysis of various works, this literature is interpreted as an attempt to re-elaborate the end of communist-oriented emancipation movements and to create the surrogate of a political action that has now become impossible: arising from the impracticability of the present with the aim of reconstructing the conditions of possibility for action in the future, it presents a transitory and subordinate character, functional to the transformation of melancholy into mourning, and therefore new life. L’articolo intende mostrare la centralità della dialettica tra memoria e oblio all’interno della letteratura post-esotica creata da Antoine Volodine nel corso degli ultimi quarant’anni. Grazie all’analisi di varie opere, tale letteratura viene interpretata come tentativo di rielaborare la fine dei movimenti di emancipazione di matrice comunista e di creare il surrogato di un’azione politica ormai divenuta impossibile: nascendo dall’impraticabilità del presente con il fine di ricostruire le condizioni di possibilità di un’azione futura, essa presenta un carattere transitorio e subordinato, funzionale alla trasformazione della malinconia per un mondo perduto in lutto, e quindi nuova vita.
subject: Monographic section: Memory. The Present of the Past
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creator: Emiliano Zanelli
rights: Copyright (c) 2025 Emiliano Zanelli https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 243
ending page: 264
doi: 10.15168/ticontre.vi23.3538

Multiperspective Fictions of Memory and the Implicated Narrator
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description: Drawing on research at the intersection of memory studies and narrative theory, this article explores multiperspectivity as a storytelling mode particularly well-suited to engaging with representations of collective memory in contemporary fiction. While often celebrated as a narrative strategy that fosters perspective-awareness and enables counter-narrativity, I argue that multiperspective storytelling must move beyond simplistic dichotomies to effectively convey a multidirectional understanding of collective memory. Building on concepts such as postmemory and the implicated subject, I then introduce the notion of pseudo-multiperspectivity to examine both the potential and risks inherent in the proliferation of characters’ perspectives and memories. Prendendo le mosse dall’intersezione di memory studies e teoria della narrazione, l’articolo esamina il multiprospettivismo come strategia narrativa particolarmente adatta ad affrontare le complessità della memoria collettiva nella narrativa contemporanea. Sebbene il multiprospettivismo sia spesso considerato come una strategia formale in grado di contrastare forme narrative dominanti, il contributo cerca di mostrare come le narrazioni multiprospettiche debbano andare oltre facili dicotomie per offrire una comprensione multidirezionale della memoria collettiva. Prendendo ispirazione da concetti quali post-memoria e soggetto implicato, propongo quindi la nozione di pseudo-multiprospettivismo per esplorare le potenzialità e i rischi della moltiplicazione delle prospettive e dei ricordi dei personaggi finzionali.
subject: Monographic section: Memory. The Present of the Past
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creator: Gabriele D’Amato
rights: Copyright (c) 2025 Gabriele D’Amato https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 223
ending page: 242
doi: 10.15168/ticontre.vi23.3537

Modernismo letterario e pensiero antidigitale nella filosofia di Byung-Chul Han
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description: Contemporary Korean-German philosopher Byung-Chul Han developed in recent years a severe and harsh analysis of digital technologies, critically assessing them in their essence and their mass application, which causes profoundly negative psycho-social behaviors. In particular, Han’s discourse focuses on the idea of loss of the world; in fact, the digital cancels all contact with reality and things, nullifying the relationship with material physicality, with its weight, body and contrasting consistency. The article intends to analyze the significant presence of the great 20th century modernist literature (especially Kafka, Musil, Proust) and coeval thought (W. Benjamin) in Han’s works. Modernist works pose some fundamental questions, starting from the unknowability of the world and his unwillingness to a quick and certain decoding. These elements, which the modernists interpret as problematic and negative, become, when viewed through a contemporary lens instead, full of a partly positive and significant value. Hence, Han develops an interpretation of modernism in which things have, on the one hand, a resistant charge together with an alienating presence, and, on the other, a epiphanic and auratic power. Ultimately, modernism becomes an initiatory and contemplative ideal opposed to the practical triviality of digital society.
subject: Saggi
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creator: Andrea Rondini
rights: Copyright (c) 2025 Andrea Rondini https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-19
publication date: 2026-03-19
starting page: 139
ending page: 178
doi: 10.15168/ticontre.vi24.3258

Tempi di percorrenza di “Via del Popolo”
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description: The paper focuses on the pièce Via del Popolo, an autobiographical work by playwright and director Saverio La Ruina, set on the eponymous street in Castrovillari, the author’s hometown and the place of his childhood. In the play, memory emerges prominently both as a theme – intertwining private and familial recollections with collective, social, and historical time – and as a method of dramaturgical construction. Employing a contemporary ars memoriae, evocative of the principles detailed in ancient mnemotechnical treatises, La Ruina transforms a small village street into a mnemonic and scenic space where lost local figures, customs, and both intimate and communal stories are brought back to life. Il contributo intende analizzare la pièce teatrale Via del Popolo, opera autobiografica del drammaturgo e regista Saverio La Ruina ambientata nella strada omonima della cittadina di Castrovillari, luogo dell’infanzia dell’autore. Nell’opera la memoria emerge potentemente sia come tema – la memoria di un tempo privato e familiare che si intreccia con il tempo sociale, collettivo, storico – sia come pratica di costruzione della drammaturgia da parte dell’autore. Attraverso una contemporanea ars memoriae, che rimanda curiosamente ai precetti degli antichi trattati di mnemotecnica, La Ruina trasforma una piccola strada di paese in uno spazio mnemonico e scenico, dove rivivono figure e consuetudini locali scomparse, storie intime e comunitarie.
subject: Monographic section: Memory. The Present of the Past
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creator: Angela Albanese
rights: Copyright (c) 2025 Angela Albanese https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 107
ending page: 123
doi: 10.15168/ticontre.vi23.3535

Memorie rivisitate nella poesia di Ana Luísa Amaral
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description: With the metaphor of the visiting rooms, Portuguese poet Ana Luísa Amaral presents a conception of memory and revisitation, both personal and cultural, that reduces the distance between lived life and memory, whether individual or collective, embracing the coexistence and overlap of different times. In both realms—personal and cultural—a process takes place that we can define, borrowing the poet’s own terms, as one of inversion or reversal. Cultural, poetic, or historiographic revisitation is not merely a retelling of what is already known but becomes a rewriting that places the act of remembering within an intimate dimension, overturning traditional perspectives on memory. This reversal of traditional memory opens the way to a more inclusive cultural and historiographic vision, one that intertwines individual experiences with collective memory. The metaphor of the visiting rooms effectively captures the complexity of this approach, rooted in a balance between ethics, freedom, and intimacy in the act of remembering. Con la metafora delle sale delle visite, la poetessa portoghese Ana Luísa Amaral presenta una concezione del ricordo e della rivisitazione, sia personale che culturale, che riduce la distanza tra vita vissuta e memoria, individuale e collettiva, abbracciando la coesistenza e la coabitazione dei tempi. In entrambi gli ambiti – personale e culturale – si compie un’operazione che possiamo definire, riprendendo le parole della stessa poetessa, di inverso o rovescio. La rivisitazione culturale, poetica o storiografica, non si limita a essere un semplice retelling di ciò che è già noto, ma diventa una riscrittura che colloca l’atto di ricordare in una dimensione intima, capovolgendo le prospettive tradizionali della memoria. Questo rovesciamento della memoria tradizionale apre la strada a una visione culturale e storiografica più inclusiva, capace di intrecciare il vissuto privato con il ricordo collettivo. La metafora delle sale delle visite sintetizza con ef…
subject: Monographic section: Memory. The Present of the Past
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creator: Elsa Rita dos Santos
rights: Copyright (c) 2025 Elsa Rita dos Santos https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 141
ending page: 157
doi: 10.15168/ticontre.vi23.3530

(Un)gewolltes Aufbegehren
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description: The act of translating the oeuvre of Giuseppe Ungaretti into German demands a dual undertaking on the part of translators: the preservation of the poet’s surreal imagery whilst maintaining the semantic ambiguity that characterises his oeuvre to a remarkably high degree. Translation into a language such as German also necessitates compliance with different rules, particularly in terms of syntax, morphology and word formation. Ungaretti’s poetic texts, especially in the first decades of their reception in the German-speaking world (namely from the 1930s to the early 1960s), were translated individually in many literary magazines and anthologies and ‘reinterpreted’ by numerous intellectuals, Italian literature scholars and distinguished readers. Since 1960, the already considerable number of Ungaretti’s translators has been further augmented by the incorporation of eminent figures in German-language literature, including Ingeborg Bachmann, Paul Celan, Hans Magnus Enzensberger and Hilde Domin. This continuous negotiation (which had singular outcomes both before and after the ‘watershed’ 1960) led to the establishment of reference points that could be literary-cultural or purely linguistic. It is at these points that each translator of Ungaretti elects to ‘adapt’ or ‘de-adapt’ the German text from the original. The present contribution aims to identify the linguistic aspects (in terms of semantics, metre, syntax, morphology, productivity and lexicon) in which both adaptations and de-adaptations occur.
subject: Teoria e pratica della traduzione
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creator: Giovanni Giri
rights: Copyright (c) 2025 Giovanni Giri https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 243
ending page: 269
doi: 10.15168/ticontre.vi24.3527

Giulio Mozzi e la realtà “avvenuta-non-avvenuta”
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description: This paper examines Giulio Mozzi’s literary work, from his early stories to Le ripetizioni (2021). Using the category of weird in a broad sense, drawing on the reflections of Mark Fisher and others, it highlights Mozzi’s constant evasion of the categories of realistic and fictional, as well as the blending of genres and registers throughout his writings. To focus on the main themes of this production, which includes short stories, essays, poems etc., some key texts are examined, in particular the ‘poetic’ collection Il culto dei morti nell’Italia contemporanea (2000 and 2018) and the collection of short stories Il male naturale (1998 and 2011): in them characters (Mario, Bianca, Santiago…) and situations emerge, often of uncertain status (real-fictitious), which will then be taken up and completed in the novel Le ripetizioni, which alludes from the title to a work by Kierkegaard known in Italy as La ripetizione (1843). Mozzi worked on it, with long interruptions, for over twenty years, ultimately proposing a montage of scenes without a precise chronological order and with a decidedly alienating overall effect. Many models have been cited, from the works of the Nouveau Roman to the film Eternal Sunshine of the Spotless Mind (2004), but the analysis focuses primarily on the narrative outcome. Overall, this text, and many others by Mozzi, raise the question of how to achieve an effective realism suited to our times, in which a notable fictional and weird component is grafted almost by necessity and in any case without fractures.
subject: Saggi
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creator: Alberto Casadei
rights: Copyright (c) 2025 Alberto Casadei https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 223
ending page: 238
doi: 10.15168/ticontre.vi24.3513

«Dentro quali sguardi ti muovi?»
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description: This paper examines the phototextual strategies employed by Benedetta Tobagi in La Resistenza delle donne (Einaudi, 2022), a hybrid work in which the dialogic interplay between visual and essayistic narrative codes reshapes the historical discourse on women’s Resistance. The analysis is framed within two theoretical axes: visual culture and phototext theory on one hand, and critical reflection on the essay as a liminal literary form on the other. Through a montage-based structure, the interweaving of oral, memorial, and literary sources, and the author-narrator’s discursive stance, the work constructs a polyphonic and counter-hegemonic memory. The phototext thus emerges as a critical device capable of redefining the relationship between testimony and representation, between the visible and the sayable, within an intermedial perspective that questions the very genealogy of historical narration.
subject: Saggi
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creator: Caterina Miracle Bragantini
rights: Copyright (c) 2025 Caterina Miracle Bragantini https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 203
ending page: 221
doi: 10.15168/ticontre.vi24.3507

L’architettura nell’opera di Francesco Pecoraro
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description: After decades of architectural study and practice, Francesco Pecoraro made his literary debut at the age of sixty with the collection Dove credi di andare (2007). At the time, he was working as urban planner for the Municipality of Rome, where he had previously held the position of architect. Drawing on both his education and professional experience, this article explores the kinship between architecture and writing in Pecoraro’s work. Particular attention is paid to the aesthetic criteria and formal devices underlying the composition of his texts, to the points of contact between urban fabric and written text, and to the ways in which physical and literary spaces are conceived. Finally, the article seeks to highlight the author's intimate spatial vision and to outline a specific compositional logic – an ars aedificandi – through which Pecoraro’s forms and meanings may be more deeply understood.
subject: Saggi
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creator: Nicolò Cudini
rights: Copyright (c) 2025 Nicolò Cudini https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 179
ending page: 201
doi: 10.15168/ticontre.vi24.3505

Virginia Woolf and Dostoevsky’s «Great Dialogue»
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description: This paper presents a reading of Unwritten Novel by Virginia Woolf as an experimental narrative answer to her encounter with what Mikhail Bakhtin has called Dostoevsky’s dialogism. It thus contributes to a better understanding of cross-cultural influence, interaction and communication between geographically and temporally distant worlds. Building on recent studies on the cultural contacts between British Modernism and Russian literature such as Rebecca Beasley’s Russomania (2020), this paper analyses Woolf’s narrative as a dialogic incorporation of Russian elements into her modernist poetics, achieved through the act of critical reading and translation of Fyodor Dostoevsky’s works. Drawing on the Bakhtinian idea that dialogue is the essential nature of the Russian writer’s narrative, I will show how in An Unwritten Novel Woolf takes on Dostoevsky’s dialogism exactly by initiating a dialogue between her narrative creative process and Dostoevsky’s writing. I will show how she incorporates and answers to the dialogical nature of Dostoevsky’s work through a narration based entirely on the imaginary dialogue between the narrator and the other characters, between the narrator and the readers and finally between Woolf herself and her critical reading of Dostoevsky. In this way, I will argue, the narrative mediation constructed in the short story becomes Woolf’s testing ground for her dialogic rewriting of Russian literature.
subject: Saggi
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creator: Letizia Dolcini
rights: Copyright (c) 2025 Letizia Dolcini https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-19
publication date: 2026-03-19
starting page: 121
ending page: 137
doi: 10.15168/ticontre.vi24.3510

Echi pastorali da Longo a Kuzmin
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description: This study analyses how Longus’s Hellenistic novel The Pastoral Adventures of Daphnis and Chloe (3rd century) influenced Mikhail Kuzmin’s Kuranty lyubvi (1910), a central figure of twentieth-century Russian Symbolism. For Kuzmin, classical antiquity represented a source of expressive freedom. His pastoral cycle, organised into four seasonal sections, harmoniously blends poetry, music, and visual arts, reflecting his prominent position in Symbolist culture and his collaboration with intellectuals such as Vyacheslav Ivanov and Alexander Blok. Comparative analysis reveals significant parallels between the works: both depict the amorous initiation of young adolescents guided by mythological figures, attribute to music and dance the role of privileged vehicles for emotional expression and feature a fragmentary narrative structure like a mosaic of interconnected scenes. Longus’s influence is also evident in the choice of the name “Chloe” for one of the key characters in Kuranty lyubvi and in the general setting of the story. The interdisciplinary dimension constitutes the core of the research: just as Longus defines his work starting from the description of a fresco, Kuzmin integrates poetry, music (composed by himself), and visual arts (illustrated by S. Sudeikin and N. Feofilaktov), demonstrating how a classical model can be regenerated through creative interpretations.
subject: Saggi
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creator: Alessandra Elisa Visinoni
rights: Copyright (c) 2025 Alessandra Elisa Visinoni https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2026-03-18
publication date: 2026-03-18
starting page: 79
ending page: 96
doi: 10.15168/ticontre.vi24.3496

La non-fiction metabiografica
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description: This study aims to reevaluate the diverse critical interpretations of metabiography in order to examine the distinctive characteristics of non-fiction metabiography. This paradoxical genre challenges traditional biographical endeavors by shifting their central quest. Metabiographical nonfiction is characterized as a deeply reflective subgenre, focused on a fundamental question: What constitutes the essence of a life genuinely committed to art and science? Il presente studio si propone di partire dalle diverse elaborazioni critiche della metabiografia per esaminare le peculiarità della non-fiction metabiografica. Questo genere paradossale mina ogni progetto biografico, riorientando la sua quête. La non-fiction metabiografica si presenta come un sottogenere fortemente speculare, incentrato su una domanda più profonda: cosa si cela alla base di un’esistenza autenticamente dedita all’arte e alla scienza?
subject: Saggi
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creator: Marine Aubry-Morici
rights: Copyright (c) 2025 Marine Aubry-Morici https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 287
ending page: 305
doi: 10.15168/ticontre.vi23.3257

«Im Scheinwerfer der Abreise»
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description: This contribution aims to analyse part of the poetic production of the Germanist and comparative scholar Lea Ritter Santini (1928-2008), starting with the collection of poems she published in 1986 in the German magazine «Akzente», entitled Fremdenschein and never translated into Italian, except unofficially and amicably by the writer Fabrizia Ramondino. In an attempt to provide a thematic analysis of Fremdenschein, reference will be made to the genre of the poetry of exile, and it will be shown how Lea Ritter Santini’s collection fits right into the latter, in its expression of the experience of uprooting and the continual renegotiation of the self within the confines of a disrupted space and history. An attempt will also be made to bring to light the traces, disseminated by Lea Ritter Santini in her poetry in the form of figures and types, of the work on literature, and especially on German and Italian literature, which she carried out in the academic sphere; among these, the Jewish figure of the Schlemihl will be singled out in particular, which was adopted by Adelbert von Chamisso, Rahel Varnhagen and Hannah Arendt and placed by the academic at the centre of her poetry, as an elective metaphor for living on the margin between worlds and languages. Il presente contributo è volto ad analizzare parte della produzione poetica della germanista e comparatista Lea Ritter Santini (1928-2008), a partire dalla raccolta poetica pubblicata da quest’ultima nel 1986 sulla rivista tedesca «Akzente», intitolata Fremdenschein e mai tradotta in italiano, se non in via amicale e ufficiosa dalla scrittrice Fabrizia Ramondino. Nel tentare di restituire un’analisi tematica di Fremdenschein, si farà riferimento al genere della poesia dell’esilio e si mostrerà come la silloge di Lea Ritter Santini si inserisca a pieno titolo in quest’ultima, nel suo dare parola all’esperienza dello sradicamento e della rinegoziazione continua di sé tra i confini di uno spazio e di una storia dissestati.…
subject: Saggi
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creator: Chiara Maciocci
rights: Copyright (c) 2024 Chiara Maciocci https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-12-31
publication date: 2024-12-31
starting page: 55
ending page: 70
doi: 10.15168/ticontre.vi22.3010

Risonanze batailliane negli esordi di Dario Bellezza
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description: The essay proposes a comparative study focused on the Italian translations of Historie de l’œil and Madame Edwarda by Georges Bataille, made by Dario Bellezza in 1969 and 1972, and his debut works – which date back to the same period. Bataille’s literary work represents a crucial point of reference in the formation of Bellezza’s poetics and aesthetics. By adopting a hermeneutic approach that is both philological and comparative, this analysis confirms the assumption through the identification of numerous interdiscursive and intertextual points of contact between the texts of the two authors. Focusing on Bellezza’s first novel (L’innocenza, 1970), his first poetry collection (Invettive e licenze, 1971), and the two volumes he translated, the article aims to explore these connections and highlight their significance. L’articolo propone uno studio delle traduzioni italiane di Historie de l’œil e Madame Edwarda di Georges Bataille realizzate da Dario Bellezza nel 1969 e nel 1972, e la loro messa in rapporto alle pubblicazioni d’esordio di quest’ultimo – risalenti allo stesso periodo. L’opera di Bataille costituisce infatti, per il ‘primo’ Bellezza, un termine di raffronto fondamentale nella costituzione della sua poetica e della sua estetica. Nell’ambito dell’analisi testuale, adottando un approccio ermeneutico parimenti filologico e comparativo, tale assunto viene confermato dalla rilevazione di numerosi punti di contatto interdiscorsivo e intertestuale tra i testi dei due autori. Con particolare riferimento al primo romanzo (L’innocenza, 1970) e alla prima raccolta poetica (Invettive e licenze, 1971) di Bellezza, e ai due volumi da lui tradotti, lo scopo dell’articolo è offrire una ricognizione su tali momenti di relazione, e metterne in luce l’importanza.
subject: Teoria e pratica della traduzione
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creator: Stefano Bottero
rights: Copyright (c) 2025 Stefano Bottero https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 309
ending page: 332
doi: 10.15168/ticontre.vi23.3253

Lachmann traduttore di Petrarca
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description: In 1880, the German magazine «Zeitschrift für deutsches Altertum und deutsche Literatur» published posthumously an unpublished essay by the young Karl Lachmann, edited by Gustav Hinrichs, dating back to 1819 (III. Lachmann über Petrarca, pp. 361-373). In the essay, the philologist provides translations—and, in five cases, brief comments—on twelve sonnets from the Canzoniere, two of which (“La gola, e ’l sonno, e l’oziose piume” and “Mai non vedranno le mie luci asciutte”) serve as responses to “Io vorrei pur drizzar queste mie piume,” attributed to Giustina Levi-Perotti, and “Se le parti del corpo mio distrutte,” by Giacomo Colonna. Aside from demonstrating Lachmann’s particular care as a translator of Petrarch, the essay is also of great interest due to the presence of a sonnet of dubious authenticity, the text “Io vorrei pur drizzar queste mie piume,” which the scholar defines as a sixteenth-century forgery, basing his analysis on metrical arguments. Lachmann also provides his own German translation of this false sonnet, thereby contributing to its circulation in Germany. Although there exists a review by Emilio Teza («Rivista critica della letteratura italiana» I, 1884), the essay has been entirely forgotten. Its reissue in Italian would thus represent a true recovery of a youthful work, in which it is not surprising to find the seeds of the analytical and textual study skills that would characterize Lachmann’s subsequent philological work. Nel 1880, sulla rivista tedesca «Zeitschrift für deutsches Altertum und deutsche Literatur», viene pubblicato postumo da Gustav Hinrichs un saggio inedito del giovane Karl Lachmann, risalente al 1819 (III. Lachmann über Petrarca, pp. 361-373.). Nel saggio, il filologo offre la traduzione – e, in cinque casi, un breve commento – di dodici sonetti del Canzoniere, due dei quali (La gola, e ’l sonno, e l’oziose piume e Mai non vedranno le mie luci asciutte) costituiscono le risposte rispettivamente a Io vorrei pur drizzar queste m…
subject: Reprints
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creator: Karl Lachmann
creator: Alessia Serluca
creator: Giorgia Voi
rights: Copyright (c) 2025 Karl Lachmann; Alessia Serluca; Giorgia Voi https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-08-24
publication date: 2025-08-24
starting page: 335
ending page: 355
doi: 10.15168/ticontre.vi23.3255