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• «Siete voi qui, ser Brunetto?» .The faces of Brunetto Latini Representation and self-representation

  96-107

  Noemi Ótott

  Views:

  166

  As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.

• Un esperimento didattico. Tre parole per Dante: esilio, desiderio, destino

  8-16

  Carmelo Tramontana

  Views:

  57

  The article, starting from a brief reflection on Dante’s 2021 anniversary, attempts to offer an overall representation of the author Dante through a concentrated form that mixes scientific precision and brevitas, symbolic concentration and narration; the study therefore presents itself as an experiment that takes place halfway between public discourse and scientific discourse on Dante, in that intermediate area, of equally cultural and political value, which is teaching

• The polygenesis of the subject: from Ovid to the modern and back

  177-185

  Attilio Scuderi

  Views:

  36

  The Essay reconstructs, in a longue durée Perspective, the Polygenetic Process of «the Birth of the Self», from the Classic Theme in Plauto and Ovidio, through Dante, the Medieval commedia elegiaca, and the Humanistic Tradition of “Cantari”, up to the Florentine Scene and the Machiavellian Turn. As a conclusion, the Subject is not a Modern Invention, but a continuous and open Phenomenon of Rediscovery in Western Culture.

• Sardinia between legend and reality: 'Sa female accabadora', the one who gives the good death, in the images and words of some Sardinian authors

  77-84

  Gisella Murgia

  Views:

  484

  The term accabadora refers to a woman entrusted with the task of facilitating the passing of the dying people. She killed for pity, called by the families of the patients to relieve their sufferings on their own deathbed. Basically, she practiced a sort of ante litteram euthanasia. But that carried out by the woman was also a necessary action for the survival of relatives who, most of the time, did not have the necessary resources to alleviate the sufferings of the kinsmen. Furthermore, in small towns, the doctor was often several days away on horseback. While the accabadora took life away, on the other hand, she gave it back, helping the women of her community to give birth. Everyone in the village knew the activity of these women but all of them were silent. They were convinced that the work of the accabadora was a meritorious work because it took the burden of putting an end to the sufferings of the patient. They implicitly recognized in it a social utility. After outlining the figure of 'sa fèmmina practica', this report analyses some works by Sardinian authors who are interested in it. Above all, we will mention the novel by Michela Murgia, Accabadora (Campiello prize 2010); the film by Enrico Pau, L'accabadora; the novels L’ultima agabbadòra by Sebastiano Depperu and L'agabbadora. La morte invocata by Giovanni Murineddu; the short film Deu ci sia by Gianluca Tarditi, winner of the 2011 Golden Globe at 48th New York Film Festival; Ho visto agire s’accabadora by Dolores Turchi; Eutanasia ante litteram in Sardegna. Sa femmina accabadora by Alessandro Bucarelli and Carlo Lubrano and S’accabadora e la sacralità del femminino of Maria Antonella Arras.

• 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