Search

Search Results

• For a dream grammar in the "Decameron". Forms and structures of the oneiric themed novels

  96-109

  Tancredi Artico

  Views:

  325

  This paper takes into account the oneiric issue in Giovanni Boccaccio Decameron, with the aim of defining Boccaccio’s overall “grammar of dreaming”: besides an accurate investigation on Decameron’s sources, which range from classic to Medieval literature, it retraces the narrative constructions of the short-novels with oneiric subjects, hypothesizing the existence of two main schemes. In the short-tales on a vision (which are the most known), it is almost always replied the scheme of the “tale in the tale”, due to the creation of a imaginary world with its own rules. Meanwhile, in the short tales of deceiving, the dream is useful to trick the naive antagonist, making him believe something unbelievable. In both cases, it has a deep influence on the so-called “statute of reality” (Amedeo Quondam): in the first, there is the invention of a new reality; in the second it is deconstructed instead.

• Between description and re-enactment: fantasies of a return to the South in the short stories of Giovanni Verga

  Laura Lupo

  Views:

  226

  In his works, Giovanni Verga does not depict Sicily through an accurate description of reality, but through a mental representation of the same from the distant city of Milan, where he lives. Beyond the borders of Sicily, modernity devours characters, whose destiny is not described by Verga. He is the only one allowed to move in this space “di là del mare” (lit.“beyond the sea”), from which he observes “dall’altro lato del cannocchiale” (lit. “as from the other side of the telescope”) the “larve” (lit. larvae) that live in the island. The purpose of this article is to show how Fantasticheria, I dintorni di Milano, Di là del mare, and Passato! have as a common ground a process of recreation of Sicily as a place linked to a past that is never coming back, so the island is described from an idealized and nostalgic perspective. Modernity is indeed a condition as irreversible as death, which, in Passato!, appears as a ruthless conclusion of this process of reconstruction.