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• Notes on László Gáldi's (Italian) stylistics

  108-121

  Diego Stefanelli

  Views:

  119

  The paper deals with László Gáldi’s Introduction to Italian Stylistics (1971), placing it in the coeval context of the methodological discussions between stylistics and structuralism in the 60s and 70s, as well as in the history of the Italian stylistics in the 20^th century.

  It investigates the theoretical sources of Gáldi’s book, which was influenced by different reference points: the European Romance philology, the Russian literary theory (mainly Viktor Žirmunskij’s approach to stylistics) and the Rumanian aesthetics and literary criticism.

  Moreover, it shows the connection between the Introduction and Gáldi’s previous works, particularly the important book on the poetical style of Mihai Eminescu (1964), maybe Gáldi’s most relevant stylistic study, and other significant works of the same period (an interesting stylistic analysis of Musset’ Stances and a historical study of Rumanian versification).

  In doing so, it shows the rich methodological and theoretical sources of Gáldi’s Introduction and the peculiar position of the Hungarian scholar in the history of European stylistics.

• Luigi Russo: the union of science and life

  10-19

  Andrea Manganaro

  Views:

  255

  In his work as a historian and literary critic, Luigi Russo considered literature not in the perspective of the limited disciplinary knowledge, but always tended to correlate it with wider aspects of reality, history, to “make history” rather than to “know how to read”, to always connect “science” and “life”, theory and practice, study and ethi-cal-political values, according to the teaching of Francesco De Sanctis, set out in the extraordinary Neapolitan prolusion of the same name of 1872, interpreted by Russo in the monograph 1928 Francesco De Sanctis e la cultura napoletana. The work of Luigi Russo, anti-authoritarian, anti-demagogic, anti-dictatorial, can still be a point of reference for those who care about the values of culture and the polis together.

• Umberto Eco and The Apocalypse

  146-159

  Giuseppe Palazzolo

  Views:

  69

  The Apocalypse is a mythologema that has provided symbolic forms and narrative structures to contemporary literature: Karl Löwith, Frank Kermode, Ernst Bloch are just some of the scholars who have focused on the endurance and productivity of the apocalyptic paradigm in the secular age. Umberto Eco has entertained a long dealing with the Apocalypse, ever since the publication of Apocalypse Postponed. In his essays and novels, the Apocalypse appears as a dispositive of revelation, but also of concealment and falsification (The Name of the Rose), and as a transmedia model of translation and reuse (Beato di Liebana, Enrico Baj, The Mysterious Flame of Queen Loana).

• Why read the French classics: Calvino and the lesson of the French masters

  119-131

  Marina Paino

  Views:

  73

  Calvino’s move to Paris in 1967 marks a new phase of his life, in which, inevitably, contact with French culture becomes closer and more direct. The essay examines the relationship that, during the years in Paris and in those of his return to Italy, the writer weaves with the great French classics, in scattered writings and within the Norton Lectures.

• Success and Translation of Italian Literature in Hungary

  20-35

  Péter Sárközy

  Views:

  249

  Literary criticism, both in Hungary and in Italy, has paid great attention to the fortune and irradiation of Italian literature in Hungary, just think of the thirteen volumes, the result of the scientific collaboration of the Giorgi Cini Foundation of Venice and of the Hungarian Academy of Sciences. The article aims to offer a broad overview of the success of the Italian literature in Hungary, especially through translations. The article reviews the various historical periods and literary movements that characterized the literary contacts between the two countries. Until the second half of the eighteenth century, the irradiation of Italian literature was first of all manifested in the use of literary models and poetic formulas in the works of the major authors of Hungarian literature. The 19th century saw instead the season of translation of the great classics of the first Italian literature (Dante, Petrarca and Boccaccio) translated again in the twentieth century, thanks also to the commitment of the Magyar Italianists. Finally, the article focuses on the present situation, describing the translations of contemporary authors