Papers by Maddalena Vaglio Tanet
In the first part of this paper I briefly present the life and work of multilingual poet Amelia R... more In the first part of this paper I briefly present the life and work of multilingual poet Amelia Rosselli (1930-1996). I then focus on – often multilingual – lexical fusions and distortions in Rosselli’s texts, questioning Pasolini’s interpretation based on the notion of Freudian slip. After a detailed analysis of a poem and a range of textual examples, and with the aid of hermeneutical tools borrowed from the philosophy of language, I claim that Rosselli’s poetry aims on the one hand at mirroring reality, and on the other at making textual experience potentially infinite, thus engaging the reader in a never-ending interpretation
Tutti i diritti riservati. Nessuna parte di questa rivista può essere in alcun caso riprodotta se... more Tutti i diritti riservati. Nessuna parte di questa rivista può essere in alcun caso riprodotta senza il consenso scritto dell'editore.
web by Maddalena Vaglio Tanet
Da "Il passaggio del tempo", ottobre 2014
Talks by Maddalena Vaglio Tanet
Obscurity is one of the most important stylistic and ideological feature of modern poetry. The ph... more Obscurity is one of the most important stylistic and ideological feature of modern poetry. The phenomenology of modern obscurity includes displacement, concealment, estrangement, and deferral of meaning, and it has strong historical and formal connections with Freud's redescription of the psyche. Writing and reading poetry is not the same since Freud started exploring the ways in which the unconscious lifts the veil of awareness to manifest itself through dreams, slips, associations, and puns. Especially polyglot puns. In twentieth century poetry, the result of multilingualism is often obscurity, and both have a lot to do with the language of the unconscious: in multilingual poems the consistency and integrity of language and of the psyche are threatened, at times dissoluted.
In this paper I focus on the trilingual work of Amelia Rosselli, who has long been depicted as the poet of obscurity and irrationality, starting with Pasolini's famous comment. There, to indicate her cospicuous linguistic distortions, he used the notion of lapsus (Freudian slip) and offered an interpretation that influenced later critics. More recent studies have borrowed psychoanalitic concepts to illuminate her language, but no one concerns specifically the multilingual quality of her writing. I aim to articulate Pasolini's intuition through a discussion of the essay "The Wolf Man's Magic Word: A Cryptnonymy" by Nicholas Abraham and Maria Török. They deal with the relation between alternative languages and trauma in a multilingual patient, conceiving a theory of readability and translatability that, I believe, can help us to rethink multilingual obscurity in poetry.
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Papers by Maddalena Vaglio Tanet
web by Maddalena Vaglio Tanet
Talks by Maddalena Vaglio Tanet
In this paper I focus on the trilingual work of Amelia Rosselli, who has long been depicted as the poet of obscurity and irrationality, starting with Pasolini's famous comment. There, to indicate her cospicuous linguistic distortions, he used the notion of lapsus (Freudian slip) and offered an interpretation that influenced later critics. More recent studies have borrowed psychoanalitic concepts to illuminate her language, but no one concerns specifically the multilingual quality of her writing. I aim to articulate Pasolini's intuition through a discussion of the essay "The Wolf Man's Magic Word: A Cryptnonymy" by Nicholas Abraham and Maria Török. They deal with the relation between alternative languages and trauma in a multilingual patient, conceiving a theory of readability and translatability that, I believe, can help us to rethink multilingual obscurity in poetry.
In this paper I focus on the trilingual work of Amelia Rosselli, who has long been depicted as the poet of obscurity and irrationality, starting with Pasolini's famous comment. There, to indicate her cospicuous linguistic distortions, he used the notion of lapsus (Freudian slip) and offered an interpretation that influenced later critics. More recent studies have borrowed psychoanalitic concepts to illuminate her language, but no one concerns specifically the multilingual quality of her writing. I aim to articulate Pasolini's intuition through a discussion of the essay "The Wolf Man's Magic Word: A Cryptnonymy" by Nicholas Abraham and Maria Török. They deal with the relation between alternative languages and trauma in a multilingual patient, conceiving a theory of readability and translatability that, I believe, can help us to rethink multilingual obscurity in poetry.