Diss.--Philosophische Fakultät I--Zürich--Universität Zürich, 1991. / Bibliogr. p. 251-264.

An investigation of Piazza della Libertà in Trieste calls for a resurrection of its western garden along the harbour wall, and replacement of Sala Tripcovich, the former bus station which is used for theatre, with a new public building. The following project proposes a building with three small but different theatres for high-quality performances and lectures, a shared workshop, café, and a roof garden with views over the harbour wall. Its orientation on the site clarifies a path between the stations for trains and airport buses and the City's waterfront, and its V-shaped floor plans provide a wide range of spaces: from intimate and vertically entangled balconies to horisontally scattered rooms for gatherings, and slopes and terraces in the roof garden. Double-skin facades give a good acoustic environment, thermal insulation, and ventilation. The architecture intends to meaningfully reflect and catalyse the multiplicity of movements and city patterns at Piazza della Libertà. / En undersökning av Piazza della Liberà i Trieste efterlyser en återupplivning av dess västra trädgård längs tullmuren, och ersättning av Sala Tripcovich, fd busstationen som används för teater, med en ny publik byggnad. Det följande projektet föreslår en byggnad med tre små men olika teatrar för högkvalitativa föreställningar och föreläsningar, en gemensam verkstad, café, och en takträdgård med utsikt över tullmuren mot hamnen. Dess orientering på platsen klargör en väg mellan stationerna för tåg och flygbussar och stadens sjösida, och dess V-formade våningsplan ger ett brett utbud av rum: från intima och vertikalt intrasslade balkonger till horisontellt utspridda rum för sammankomster, och sluttningar och terrasser i takträdgården. Dubbelfasader ger en bra akustisk miljö, värmeisolering, och ventilation. Arkitekturen avser att meningsfullt återspegla och katalysera mångfalden av rörelser och stadsmönster på Piazza della Libertà.

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An important field of interpreting research, neurolinguistic approach emerged soon after the shift towards an interdisciplinary approach to research into interpreting. The mutually beneficial collaboration between neurolinguists and interpreters has been centred mainly on the issue of language representation in interpreters as bilingual subjects, namely on the role each of the two cerebral hemispheres plays depending on the task (automatic speech production, shadowing, translation of single words or phrases, simultaneous interpreting), choice of interpreting strategy (literal vs. meaning-based interpretation) or on the direction of interpreting (B to A vs. A to B language). The thesis focuses on the research into hemispheric lateralization done at SSLMIT, University of Trieste, Italy - the place where, in the 80s, the neurolinguistic approach was first adopted. The Trieste School then remained its centre for approximately ten years. The beginning chapters of this theoretical study present the fundamentals of neuranatomy, neurophysiology and neurolinguistics, necessary for understanding of the mental processes underlying simultaneous interpretation. Furthermore, relevant neuroimaging methods are introduced that either have already been used in or could be applied to interpreting research in the...

Seppur premiata da una fortuna minore rispetto a quella occorsa alle opere narrative, la produzione teatrale di Svevo rappresenta una parentesi determinante della sua carriera letteraria: il triestino, infatti, ci ha lasciato un corpus teatrale significativo, composto da tredici copioni, distribuiti su un arco biografico che si estende dal 1880, anno dell’Ariosto governatore, fino ad arrivare, con La rigenerazione, agli anni immediatamente precedenti alla morte. Si consideri, inoltre, che quella per il teatro fu una passione che accompagnò Svevo per l’intera esistenza, sia come frequentatore di spettacoli tanto in Italia quanto all’estero, sia come critico per le più importanti testate triestine. Per questi motivi, è parso opportuno in questo lavoro di ricerca tornare su un tema – quello delle commedie di Svevo – meno considerato dalla critica. Nella prima sezione della tesi, intitolata Svevo e il teatro, dopo un rapido profilo della critica e della storia delle rappresentazioni, si è cercato di delineare i confini del rapporto che unì Svevo al mondo del palcoscenico. Nella seconda sezione di del lavoro, intitolata Trasgressione, ribellione e falsificazione nel teatro sveviano, sono state prese in analisi le pièces del triestino; le commedie sono state raggruppate in base a tre nuclei tematici: trasgressione, ribellione e falsificazione. / Although rewarded by a minor fortune than that which occurred to the novels, Svevo’s plays are a determinant parenthesis of his literary career: in fact, the writer has left thirteen commedies, distributed over a biographical arch which extends from 1880, the year of Ariosto governatore, up to, with La rigenerazione, the years immediately preceding his death. Consider, too, that the theater was a passion that accompanied Svevo for the whole of life, both as a frequenter of shows in Italy and abroad, both as a critic for the most important newspapers in Trieste. For these reasons, it seemed appropriate in this research back on a theme - that of Svevo’s plays - less regarded by critics. In the first section of the thesis, entitled Svevo e il teatro, after a short outline of the criticism and of the history of representations, we tried to delineate the borders of the relationship that joined Svevo to the world of the stage. In the second section of the work, entitled Trasgressione, ribellione e falsificazione nel teatro sveviano, were taken into analysis the plays; comedies were grouped according to three themes: transgression, rebellion and forgery.

La présente étude conduit les traditions fragmentées de la culture littéraire de Trieste vers les préoccupations contemporaines de la littérature mondiale à l’époque actuelle où la mondialisation est largement perçue comme le paradigme historique prédominant de la modernité. Ce que j’appelle la « littérature globalisée » renvoie à la refonte de la Weltliteratur – envisagée par Goethe et traduite comme « world literature » ou la « littérature universelle » – par des discours sur la culture mondiale et le post-nationalisme. Cependant, lorsque les études littéraires posent les questions de la « littérature globalisée », elles sont confrontées à un problème : le passage de l’idée universelle inhérente au paradigme de Goethe entre le Scylla d’un internationalisme relativiste et occidental, et le Charybde d’un mondialisme atopique et déshumanisé. Les spécialistes de la littérature mondiale qui tendent vers la première position acquièrent un fondement institutionnel en travaillant avec l’hypothèse implicite selon laquelle les nations sont fondées sur les langues nationales, ce qui souscrit à la relation entre la littérature mondiale et les littératures nationales. L’universalité de cette hypothèse implicite est réfutée par l’écriture triestine. Dans cette étude, je soutiens que l’écriture triestine du début du XXe siècle agit comme un précurseur de la réflexion sur la culture littéraire globalisée du XXIe siècle. Elle dispose de sa propre économie de sens, de sorte qu’elle n’entre pas dans les nationalismes littéraires, mais elle ne tombe pas non plus dans le mondialisme atopique. Elle n’est pas catégoriquement opposée à la littérature nationale; mais elle ne permet pas aux traditions nationales de prendre racine. Les écrivains de Triestine exprimaient le désir d’un sentiment d’unité et d’appartenance, ainsi que celui d’une conscience critique qui dissout ce désir. Ils résistaient à l’idéalisation de ces particularismes et n’ont jamais réussi à réaliser la coalescence de ses écrits dans une tradition littéraire unifiée. Par conséquent, Trieste a souvent été considérée comme un non-lieu et sa littérature comme une anti-littérature. En contournant les impératifs territoriaux de la tradition nationale italienne – comme il est illustré par le cas de Italo Svevo – l’écriture triestine a été ultérieurement incluse dans les paramètres littéraires et culturels de la Mitteleuropa, où son expression a été imaginée comme un microcosme de la pluralité supranationale de l’ancien Empire des Habsbourg. Toutefois, le macrocosme projeté de Trieste n’est pas une image unifiée, comme le serait un globe; mais il est plutôt une nébuleuse planétaire – selon l’image de Svevo – où aucune idéalisation universalisante ne peut se réaliser. Cette étude interroge l’image de la ville comme un microcosme et comme un non-lieu, comme cela se rapporte au macrocosme des atopies de la mondialisation, afin de démontrer que l’écriture de Trieste est la littérature globalisée avant la lettre. La dialectique non résolue entre faire et défaire la langue littéraire et l’identité à travers l’écriture anime la culture littéraire de Trieste, et son dynamisme contribue aux débats sur la mondialisation et les questions de la culture en découlant. Cette étude de l’écriture triestine offre des perspectives critiques sur l’état des littératures canoniques dans un monde où les frontières disparaissent et les non-lieux se multiplient. L’image de la nébuleuse planétaire devient possiblement celle d’un archétype pour le monde globalisé d’aujourd’hui. / The present study brings the fragmented traditions of Triestine literary culture to bear on contemporary preoccupations with world literature at a time when globalization is widely perceived as the predominant historical paradigm that informs modernity. What I am calling “global literature” refers to the refashioning of Weltliteratur – envisioned by Goethe and translated as “world literature” or “littérature universelle” – by discourses on global culture and post-nationalism. However, when literary studies take on questions of global literature they are faced with a problem, navigating the universal idea of Goethe’s paradigm between the Scylla of a relativist, occidental internationalism and the Charybdis of a dehumanized, atopian globalism. Proponents of world literature who lean towards the former position gain an institutional foothold by working with the implicit hypothesis that nations are based in language, which underwrites the relationship between world literature and national literatures. The universality of this implicit hypothesis is what Triestine writing disproves. In this study, I argue that Triestine writing in the first decades of the twentieth century acts as a precursor to thinking about global literary culture for the twenty-first century. It has its own economy of sense, whereby it doesn’t fit into literary nationalisms, but it doesn’t fall into atopian globalism either. It is not emphatically opposed to national literature; rather it does not admit national traditions to take root. Triestine writers expressed a desire for a sense of unity and belonging, as well as a critical conscience that undoes that desire. It resists the idealization of its particularities, and never successfully coalesces into a unified literary tradition. Consequently, Trieste has often been thought of as a non-place and its literature as antiliterature. In bypassing the territorial imperatives of the Italian national tradition – as the case of Italo Svevo illustrates – Triestine writing was later caught up in the literary-cultural parameters of Mitteleuropa, where its literary expression was imagined as a microcosm of the former Habsburg Empire’s supranational plurality. However, the projected macrocosm of Trieste is not a unified image, like a globe; but instead it is a nebula – as Svevo had imagined it – where no universal idealizations could gain a foothold. This study interrogates the image of the city as a microcosm and as a nowhere and how that relates to the macrocosm of the atopias of globalization, in order to demonstrate that Triestine writing is global literature ante litteram. The unresolved dialectics of doing and undoing literary language and identity through the act of writing that animates Triestine literary culture plays out in globalization debates and the questions of culture that arise from it. Triestine writing offers critical perspectives on the status of canonic literatures in a world of disappearing borders and placeless places, where the nebula is a master image for today’s world.