Reception of Dostoevsky’s Artistic Heritage in the Works of Italian Writers at the Turn of the 19th–20th Centuries

At present, there is no doubt about the recognition and high assessment of the artistic, journalistic and epistolary heritage of F.M. Dostoevsky in Italian culture and literary criticism. S. Aloe described in detail the difficult process of acquaintance of Italian Slavists and writers with the work of Dostoevsky, complicated for a number of years by the lack of translations of his works into Italian — readers could only get acquainted with French translations of his texts [Aloe]. The readers’ notes in the Viesse Cabinet in Florence, which allowed researchers to get acquainted with the writer’s reading circle, after 1881, the year of the writer’s death, showed the growing interest of Italian readers and foreign travelers to the works of Dostoevsky. The article analyzes the reception of the ideological and artistic heritage of F.M. Dostoevsky in the works of Italian writers, representatives of the verist movement, Gabriele D’Annunzio, Luigi Capuana and Grazia Deledda, at the turn of the 19th and 20th centuries.

A moufl on is waiting on the doorstep. Cosima by Grazia Deledda as a literary transformation of a biography

The article analyzes the methods of a literary transformation of the biography of Grazia Deledda in her unfi nished novel Cosima (editio posthuma 1937). This novel marks an important attempt to expand the autobiographical context of Grazia Deledda’s literary output insofar as, in generic terms, it represents „a novel of transformation” (analogous to Bildungsroman but presented from a woman’s perspective). Deledda’s method of rewriting a biographical narrative consists employing some elements of a fairy tale, with the moufl on as an allegory of the fate of a woman who tries to compromise her desire of artistic freedom and obligation to fulfi l gender roles. Thus literary biography of the novel’s protagonist (and also of Grazia Deledda herself) establishes a paradigm of fight as an expression artistic freedom in the face of various forms of cultural imposition.

The english translation of Grazia Deledda’s La Madre and the relevance of culture in translating Landscape metaphor

Este artigo explora o impacto da estrutura cultural do tradutor na tradução da metáfora relacionada à paisagem por meio de uma análise contrastiva de La madre, de Grazia Deledda, Prêmio Nobel de Literatura, e a tradução de 1922, The Mother, realizada por Mary Steegman. A cultura influencia a visão da natureza ao fornecer normas e ideologias distintas sobre como as pessoas se relacionam com os outros e com o mundo natural. A linguagem do espaço de Deledda se originou de uma percepção subjetiva, assim como seu uso de metáforas relacionadas ao espaço. Na tradução, no entanto, a negociação de significado envolvendo metáforas da paisagem se torna mais complexa. A percepção subjetiva e a individualidade do autor do original se sobrepõem à subjetividade do tradutor, que impacta o texto de chegada com consequências políticas e ideológicas. Esta contribuição examina em particular o antropomorfismo e a relação entre metáfora e símile. Argumentar-se-á que a interpretação do tradutor pode remodelar o relacionamento e a compreensão dos leitores-alvo desse cenário. A análise será baseada na teoria conceitual de metáfora e na hipótese de tradução cognitiva de Mandelblit (1995). A ecoestilística fornecerá uma estrutura adicional para examinar os padrões que revelam a abordagem do tradutor em relação à natureza e paisagem.

The traditional figures of women in Sardinian cinema

In this article I focus my attention on the archetype of women in Sardinian cinema. First of all, I explain the definition of the cinematographic movement which dominates Sardinia and I try to find the answer if Sardinian cinema cinema sardo exists. The next part of this paper shows the division of the cinema in Sardinia into two categories: seen from an external perspective by authors originating off the island and its culture, defined as hetero-representation, and seen from an internal point of view, developed by directors born and culturally raised in Sardinia, defined as self-representation.In the second part of the paper, I write about the term il deleddismo, which means the picture of Sardinia seen by the writer Grazia Deledda. Gianni Olla uses this term with reference to the cinema, il deleddismo cinematografico, as a way to enter the Sardinian world from the cinematic point of view. In early Sardinian cinema, stereotypes aimed at educating society and in the case of women by the merits of 20th-century ideology — to show them how they should behave. In recent decades this has not changed completely, but the figure of the modern woman is more often shown as the main character, who possesses far more power than her predecessors.

Free to choose: Female characters in the stories of Grazia Deledda

Grazia Deledda’s strategies of female characters’ construction and agency are at the core of this essay. The goal is to investigate how the Nobel prize winner shapes the identity as the actions of her female characters in a decidedly eccentric manner if compared to contemporary Italian narrative. The path of the essay is chiefly chronological as it starts from her first short stories 1888, published in the context of widely circulated periodicals, to ends with Cosima, the autobiographical novel published in 1936, the year of Deledda’s death. A typology of her characters emerges in relation both to the cultural assumptions that strongly influence the first production of Deledda as well as to the heterogeneous literary models with which the writer weaves a dense and uninterrupted dialogue.