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• The renewal of the ethical-political conception of historical studies

  8-13

  Marco Trotta

  Views:

  182

  This essay proposes to analyse aspects and issues of the ethical-political paradigm of historical studies, starting from the teaching of Benedetto Croce in the early twentieth century up to the developments of the Italian historiographical panorama in the twenty-first century.

• Sardinia of linguists and Sardinia for tourists: discursive consonances and dissonances at the beginning of the twentieth century

  10-29

  Diego Stefanelli

  Views:

  273

  The aim of this contribution is to tackle an already highly researched subject by adopting a fairly unprecedented perspective. I would like to concentrate on the representation of Sardinia in one of the most important historical moments for the construction of the image of the island in a modern perspective: the first decades of the twentieth century. I will try to make two apparently distant text types interact: tourist guides and travel reports written by linguists. I will focus on two prototype examples: on one hand the Reisebilder aus Sardinien by Max Leopold Wagner; on the other, the Touring Club Guide dedicated to Sardinia, written by Luigi Vittorio Bertarelli. My intent is to trace the similarities and differences of the two textual typologies in presenting a region at the time universally imagined (and narrated) as different, atypical and in any case "peculiar". In doing so, I will also try to highlight continuity and discontinuity with respect to the nineteenth-century representative methods.

• "Please, milady". The representation of the schoolmistress in literature and cinema: from Maria Messina to Alberto Lattuada

  49-64

  Sonia Rivetti

  Views:

  172

  This article aspires to open a new prospective of study on the figure of the schoolmistress in the first half of the Italian twentieth century. The essay focuses on three lesser-known narrative works (two by women writers), with a look at two movies of the 1940s and 1950s. The study offers a thematic analysis on the character of the schoolmistress, who is not always adequately recognized and analysed. In the first part, a group of three short stories is analysed: Maria Messina’s L’ora che passa (1911) revolves around an emptied and disillusioned teacher, Rosalia, who has not found the means to emancipate herself in her profession; Ada Negri’s Anima bianca (1917) instead presents a teacher, Rosanna, fully realized in her role to the point of letting herself die when an event undermines her ability to teach; finally, Federigo Tozzi’s Un’osteria (1920) opens a contemporary debate on the suffering of those teachers, like Assunta, forced to work far from home. In the second part of the essay the discussion shifts to cinema: Vittorio De Sica’s Maddalena... zero in condotta (1940) is the parable of the teacher Elisa Malgari, who has to learn the most important lesson: letting herself be loved by a man. Finally, Alberto Lattuada’s Scuola elementare (1954) opens a glimpse into the crisis of the substitute teacher Laura Bramati in search of her true professional identity.

• Translate or not, foreign words

  8-37

  Maurizio Trifone

  Views:

  259

  In the early twentieth century, Gabriele D’Annunzio successfully proposed tramezzino instead of the English sandwich. Equally successful are some proposals formulated by Bruno Migliorini in the 1930s: autista and regista for the French chauffeur and régisseur. However, the original coinages of Arrigo Castellani in 1987 fail to take root: fubbia for smog, guardabimbi for babysitter, intredima for weekend, velopattino for windsurf, and vendistica for marketing. At the beginning of the 2000s, the volume by Giovanardi, Gualdo, and Coco Italian – English 1-1 reopened the debate among scholars. In 2015 the petition “Dillo in italiano”, launched by Annamaria Testa, achieved enormous success and demonstrated the intolerance of a large part of public opinion towards the massive influx of anglicisms. Following the petition, the Accademia della Crusca established the Incipit Group, a group of experts responsible for monitoring the entry of new anglicisms and suggesting possible Italian alternatives. In 2017, the Nuovo Devoto-Oli dictionary included in its lemmary the section Per dirlo in italiano, containing over 200 cards, that trace a brief history of as many English words or phrases that have penetrated Italian, explaining their meaning and context of use and suggesting a possible Italian equivalent. Il Nuovo Devoto-Oli broadly welcomes the most common anglicisms, helping those who do not know their precise meaning; but at the same time it has no reluctance to propose an Italian alternative, in the profound belief that such an approach is helpful to the reader and makes a positive contribution to the Italian language itself.

• «Odio finanche la lingua che si parla». Power and freedom in Vincenzo Consolo's Nottetempo, casa per casa

  85-95

  Giuseppe Traina

  Views:

  80

  The essay studies the relationships between the novel Nottetempo, casa per casa and the linguistic considerations disseminated by Consolo in other texts. Consolo does not limit himself to criticising the language of fascism but broadens his critical analysis to the language of power as such and the languages of opposition, when they are tainted by empty rhetoric. In this sense, the protagonist’s final escape also takes on a palingenetic value from a political point of view

• Spiritualism and positivism in Luigi Capuana's short narrative

  Debora Bellinzani

  Views:

  380

  Luigi Capuana believed in the immortality of the soul as conceived by theosophical theories, as well as in the perceptibility of the manifestations of the spirits. At the same time, his short stories and essays reflect his faith in the positivistic approach and in experimental sciences. During a period that sees the proliferation of seances evoking spirits, Capuana writes his only four short stories that depict the perceptible manifestation of a ghost. In Creazione (1901), La evocatrice and Forze occulte (1902), and Un vampiro (1904), the spirits appear and show a noticeable originality when compared to the ones that haunt contemporary ghost stories. By examining the structure of the mystery through Freud’s “uncanny”, and by exploring the content of the stories through Capuana’s key science concepts, the analysis will demonstrate how the subtraction of mystery as well as the reflection on science create a common literary ground where Spiritism and Positivism can surprisingly coexist. On that ground, the scientific openness to the discoveries of the Twentieth Century emerges with the strength of reassuring ghosts.