Il lavoro ha lo scopo di offrire l’edizione critica e il commento dei testi che il ms. 10077 della Biblioteca Nazionale di Spagna, a Madrid (M), tramanda come unico testimone. Si tratta di 25 componimenti in versi, di diverso metro e diversa struttura, ma tutti di argomento morale e religioso. L’edizione vera e propria è preceduta da un’ampia introduzione suddivisa in cinque sezioni: la prima è dedicata alla descrizione e alla storia del manoscritto; la seconda si concentra sul corpus oggetto di edizione; la terza offre invece un quadro di riferimento storico utile non solo per dare uno sfondo alla produzione del codice ma anche per comprendere eventuali riferimenti presenti nei testi; la quarta sezione è dedicata agli appunti sulla lingua; nella quinta, infine, si trovano esposti i criteri di edizione. All'introduzione seguono i testi. Ogni testo è preceduto da una breve introduzione e seguito da un commento, volto soprattutto a cercare di identificare i possibili riferimenti culturali e le possibili fonti dei testi, nonché a mettere in evidenza quelle vicinanze utili ad inserire i componimenti in un clima culturale e spirituale, o in una tradizione, specifici. La scelta di allestire l’edizione degli inediti in unica attestazione (status, è necessario ricordarlo, di per sé molto precario) risiede nella convinzione che alcuni di questi testi tramandati dal solo M hanno una qualche probabilità di essere frutto dell’ambiente in cui M è stato prodotto, cioè la zona orvietana, e di essere rimasti chiusi in quell'ambiente di produzione senza aver trovato poi circolazione altrove. Questi testi possono essere allora molto interessanti per approfondire una realtà culturale ben specifica che acquisisce al suo attivo nuove, preziose, testimonianze.

Oggetto della tesi è l'edizione crtica commentata de "Lo assedio ed impresa de Firenze" di Mambrino Roseo da Fabriano (Perugia, G. Cartolari, 1530). L'elaborato è stato strutturato in tre sezioni. Al testo critico si è premesso lo studio ecdotico, con disamina grafico-linguistica e nota metrica. Si è quindi fatta seguire l'edizione del poemetto in ottave, corredata di ricostruzioni storiche e di un repertorio delle fonti e delle formule canterine. In calce, da ultimo, si è approntato un lessico bellico, raccolta di lemmi e fraseologie proprie della narrazione in ottava rima. / This dissertation focuses on the annotated critical edition of "Lo assedio ed impresa de Firenze" by Mambrino Roseo da Fabriano (Perugia, G. Cartolari, 1530) and is divided into three sections. The critical text is introduced with an ecdotic study, which analyses graphical and linguistic elements too and includes metrical annotations. The second section comprises the edition of this short poem in octave stanzas, featuring historical reconstructions and an index of sources and cantos. Lastly, the endnotes comprise a glossary of war-related language, compiled using terms and expressions characteristic of Italian "ottava rima" texts.

La narrazione letteraria autobiografica si presenta come un genere di difficile definizione e quasi ai confini della letteratura, caratterizzato da un insieme inestricabile di testualità, referenzialità e costruzione. il narratore autodiegetico si pone il complesso obiettivo di riordinare la propria storia di vita, dando un senso ai ricordi, nel momento stesso in cui ne decide l'ordine e la composizione. Ci proponiamo qui di rintracciare le origini del genere autobiografico ed evidenziare la continuità della tradizione dei fondatori in alcuni casi rappresentativi della narrazione letteraria autobiografica del ventesimo secolo. / Autobiography is difficult to define as a literary genre and is almost at the boundaries of literature. It is marked by an inextricable mixture of textuality, referentiality and construction. The autodegetical narrative aims at giving an order to a life story, thus attributing a meaning to memories in the same time as it defines their order and composition. We intend to trace back the origin of the autobiographical genre and underline the continuity of tradition in some representative examples of literary autobiographical narrative of the twentieth century.

edizione e studio dei diari inediti di Nella Berther / edition and study of the unpublished diaries of Nella Berther

La tesi analizza la poesia di Paolo Buzzi dalle "Rapsodie leopardiane" al "Poema dei Quarantanni" (1898-1922), individuando temi e strategie liriche presenti in tutto l'arco temporale esaminato. Poiché Buzzi è noto come poeta futurista, si analizza in particolare la sua produzione riferibile all'avanguardia, per comprendere come egli, considerate le istanze della prima raccolta, abbia inteso il futurismo. / The dissertation analyzes the Poetry of Paolo Buzzi from "Rapsodie leopardiane" until "Poema dei Quarantanni" (1898-1922), identifying lyrical themes and tensions present throughout the time period examined. Since Buzzi is known as a futurist poet, the dissertation analyzes in particular its production attributable to the forefront, to understand how he, considered instances of the first collection, was the intention of futurism.

La critica si è abbondantemente occupata della presenza pervasiva di riferimenti biblici nelle opere di Rimbaud, ma il suo rapporto conflittuale con la religione ha spesso spinto i critici a confondere le opere con la vita dell’autore stesso. Appoggiandoci al concetto linguistico di intertestualità, abbiamo analizzato il dialogo dinamico esistente tra la Bibbia e la poesia di Rimbaud. Seguendo un punto di vista strettamente testuale, abbiamo evitato ogni riflessione di carattere spirituale, mantenendo una distinzione rigorosa tra l’uomo e l’autore. Attraverso la scelta di alcuni fils rouges, il percorso delineatosi ha messo in evidenza un legame profondo tra il progetto poetico di Rimbaud e la relazione intertestuale che la sua poesia ha con la Bibbia. / The critics have already been considerably concerned with the abundant presence of biblical references in Rimbaud’s works. However, the conflicting relation that Rimbaud had with religion often drove critics to mix up Rimbaud’s works with his life. With the support of the linguistic concept of intertextuality, we have analysed the dynamic dialogue between the Bible and Rimbaud’s poetry. Because of our strictly textual point of view, we avoided spiritual considerations and maintained a rigorous distinction between the author and the man. Through the choice of several threads, our analysis has pointed out a deep link between Rimbaud’s poetic project and the intertextual relation that his poetry has with the Bible.

The overall success of the products related to Italy in the economy of the food sector and the one concerning “luxury” is well renowned, but I believe that, as years go by, even in the economy of the culture (or culture industry) there has been an ongoing process, a phenomenon of similar characteristics, namely: • The global spread of Italianness (‘Italianicity’ in Barthes’ terms) in mass culture, meant not only as a geographical setting of the works, but also as the presence of characters related to Italy, or as a narrative element, both principal and secondary, or in general as a cultural reference; • The appropriation of these topics, fascinations, characters, by the global cultural industry, managed mainly by American companies. The purpose behind this research is to document the phenomenon of diffusion of the Italian dream in the global culture, and investigate the causes through an analysis of the recent paraliterature. The beginning of the eighties has been defined as the “Italian rebirth” period. In those years, overcoming the negative stereotypes, the Italians have been able to redefine the image of themselves and of their country, providing a new and definitely positive connotation to the artifacts of their own economy, now proudly defined as Made in Italy. But how and why has this shift occurred? Not only Italy had changed, but even the United States needed something different. If there has been a radical change in the perception of Italy and Italianness in the USA and more generally in the Western world since the end of the 1970s, we must turn our attention to the countries that began looking at Italy with “different eyes”. Which needs did American culture consumers had and why did these needs change in the second half of the 1970s? If these new visions have grown to a global extent, if Italy has become the country of the dolce vita for the whole world, it is due, in large part, to a change in the attitude of foreign countries, the United States and Northern Europe in the first place, which began to perceive Italy as a desirable “The Other”: because, in countries culturally and geographically distant from Italy, a new awareness of their own cultural identity was rising with a new need for otherness. Due to this new articulation in the perception of the Italian spirit this research considers above all, the literary works published starting from the second half of the seventies. The highly successful literary works concerning Italy, written by American authors during the sixties, are completely different from those of the following decades, and not only for stylistic reasons. The vision of Italy, still very traditional, was fundamentally anchored to two aspects: Italy as a country of the Great Culture, and Italy as a country linked to the Catholic Church. Irving Stone and Morris West were two successful authors who wrote about Italianness by adopting this type of perception, and consequently satisfying a certain type of social function. It is true that Puzo published The Godfather in 1969: but it was perhaps the ability to anticipate a great change in the social needs of the audience that earned its author an incredible commercial success. Part II analyzes the social function of Italian-themed literature. The basic question is: “Why is the American reader interested in the idea of Italy?” I started explaining why a certain degree of activism, power of choice and influence on the cultural industry is attributable to the consumer. In this first part two texts from the early sixties based on the vision of Italy as a country of the Great Tradition will be analyzed; later on (Chapter 10) the “dream of saving authenticity” will be explored, starting from two texts of the nineties, the period in which the Italian dream began to spread globally. In the paragraph dedicated to the 2000s, we will observe that the fascination aroused by the Italian dream has now become so pervasive as to have originated a sort of pattern, a consolidated one in the mass literature. Following, a paragraph dedicated to three mainstream works, in order to highlight how much the Italian dream has globally spread even outside of the genre. Finally, in the last paragraph, I will deal with some of the recently published texts, to try to answer the question: Is the Italian dream still fashionable among consumers of global culture? Part III Before addressing the representation of stereotypes through texts, I will remind five great thinkers who have dealt with the theme of ideology in relation to mass culture. With Michail M. Bachtin I linger on the social and ideological component of every word and every speech; Ferruccio Rossi-Landi provides a research program for the unmasking of ideologies in art; Pierre Bourdieu analyzes the internal functioning of social structures related to art; Stuart Hall invites us to consider popular culture in its dual essence of conditioning by the field of power and of resisting and assimilating; Finally, Edward Said invites us to set the research in counterpoint terms, to understand how stories and cultures develop together with their geographical opposites. Chapter 12 illustrates the most important stereotypes about Italy through the use made of it in successful literary works. Even positive visions, if standardized, are to be considered stereotypes. The Italian identity, according to my perspective, is built socially and is so supranational that the same identity problems in reaction to cultural representations are felt, even amplified, in the worldwide Italian communities. Last chapter and conclusions deal with transculturation and with “most visible Italy”, to show how, in many cases, even “Italy told by Italians” is related with the construction of the national character originating from the global media system.

Il presente elaborato si propone di esplorare la tradizione del romanzo di formazione caraibico considerando il genere del romanzo di formazione, le sue caratteristiche, la sua storia, e individuando le peculiarità che il genere ha sviluppato all'interno della tradizione post-coloniale, soprattutto nel contesto caraibico di lingua inglese. Il primo capitolo stabilisce cosa si intenda con “romanzo di formazione caraibico” e introduce i dodici romanzi selezionati per questo studio. La tesi quindi procede identificando quattro argomenti principali, o macro temi, a ciascuno dei quali è dedicato un capitolo, e confrontando il modo in cui questi vengono sviluppati nei diversi romanzi. I temi sono: la scuola e l’istruzione, la cultura e la storia, la politica, la partenza. La tesi si chiude con una breve riflessione sul tema del ritorno. / The present study aims to explore the Caribbean Bildungsroman tradition by considering the Bildungsroman genre, its features, and history, and by pointing out the peculiarities that the genre developed within the postcolonial tradition and specifically in the anglophone Caribbean context. The first chapter establishes what is meant by “Caribbean Bildungsroman” and introduces the twelve novels selected for this study. The study then proceeds by identifying four main topics, or macro themes, each developed in a separate chapter, and by comparing the way such themes are dealt with in each of the novels. The themes are: school and education, culture and history, politics, departure. The study closes on a brief reflection on the possibility of return.

Il presente lavoro offre l’edizione critica del romanzo inedito di Luigi Fallacara (Bari 1890, Firenze 1963), L’occhio simile al sole, dall’autore stesso definito «il suo libro più caro e più importante», scritto, in base agli scartafacci, tra il 1945 e il 1954, durante un periodo di stasi lirica. Le numerose carte accumulate da Fallacara nel suo incontentabile lavoro correttorio, di cui si dà una dettagliata descrizione, sono dislocate in tre Archivi, quello della “Letteratura cattolica e degli scrittori in ricerca” presso l’Università Cattolica di Milano, il Centro manoscritti di Pavia e l’Archivio privato del poeta a Firenze. Si sono ricostruite tutte le fasi dell’iter compositivo, con la distinzione, tra l’altro, all’interno dell’unico Ms di due blocchi di capitoli (Ms1 e Ms2) corrispondenti a due distinte fasi redazionali; attraverso l’analisi dell’imponente materiale genetico e anche di carteggi inediti, si sono poi individuate alcune linee tematiche e interpretative del testo, dalla filigrana neoplatonico-dantesca al simbolismo solare, dal rapporto tra scrittura e pittura alle implicazioni autobiografiche, dalla componente mistico-francescana alle suggestioni montaliane e beethoveniane. Infine, oltre alla bibliografia aggiornata sull’autore, nella sezione iconografica vengono raccolti alcuni quadri di Fallacara che presentano significative analogie con quelli citati nel romanzo. / This thesis offers a critical review of the unpublished novel by Luigi Fallacara (Bari 1890, Firenze 1963), L’occhio simile al sole, which the author believed to be «his dearest and most important book». According to the available documents, the book was written from 1945 to 1954, during the author's hiatus from the creation of poetry. The large volume of notes produced by Fallacara as he tirelessly revised his work over and over, described in detail in this thesis, are stored in three Archives: the archive of “Catholic literature and writer researches” at the Università Cattolica in Milano, the Institute for manuscripts in Pavia and the poet's private Archives in Florence. This work reconstructs all phases of the creative process, identifying the two sets of chapters (Ms1 and Ms2) within one single manuscript, each of which represents a distinct drafting phases. By analysing the voluminous genetic materials as well as the unpublished documents, this work identifies the various themes and interpretative lines in the text, from the neoplatonic-dantesque lief motif to solar symbolism, from the relationship between writing and painting to autobiographical implications, from the mystical-Franciscan elements to the suggestions that emanate from Montale and Beethoven. Finally, alongside the updated bibliography for the author, the iconographic section collects certain paintings by Fallacara, which are poignantly analogous to those described in the novel.

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