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• Dictionaries, synonymies and usage labels

  108-122

  Maurizio Trifone

  Views:

  273

  The extraordinary richness of the Italian language is not always adequately enhanced by dictionaries. In the era of the digitization of the dictionary, while outdated some definitional procedures continue to survive. Present or past participles that also have adjective functions (e.g. nascente) are sometimes defined with the formula “In the meanings of the verb”. The nouns indicating quality, condition or status (e.g. ordinariness) are often defined with the formula “being + basic adjective (ordinary)”. These definitions, whose informative value is practically zero, certainly do not help to the reader. The structure of a dictionary of synonyms is completely different, which must try to guide the reader in the maze of possible lexical alternatives with the aim of helping him to find the most suitable terms to express the different nuances of the same concept. The search for semantic equivalences thus becomes a discovery of the relevant differences that exist between one word and another. Of essential importance in this regard is the function of the usage labels: the distinction between basic words, words of high use, words of high availability and common words, very useful in many areas, is not of great help for a writer interested in information stylistic. The classification by frequency bands does not warn us e.g. that volto is of higher register than faccia, autovettura is of more formal register than macchina, cinematografo in the sense of ‘cinema hall’ is antiquated compared to cinema

• «In piedi, guardando dal finestrino». Memoria, parola, corpo nell’immaginario ferroviario di Leonardo Sciascia

  73-84

  Andrea Schembari

  Views:

  40

  A disruptive and recurring image in Italian novels and novellas, starting from the mid-nineteenth century, the train assumes, in the work of Leonardo Sciascia, a peculiar function, not simply thematic. Linked to the indelible memory of the first journey of his childhood, the train soon becomes, for the writer from Racalmuto, a topos to resort to for the representation of some of the literary motifs dearest to him: the exercise of memory, the power of the word, the joy of bodies. Through the textual findings considered most significant, the contribution intends to offer a representative exemplification of the arguments proposed.