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Gerhild Fuchs

University of Innsbruck, Department of Romance Languages, Post-Doc

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Assistant Professor at the Department of Romance Languages and Literatures, University of Innsbruck, Austria, where she also received her PhD (1995) and her Habilitation (2010) in Romance Literatures and Cultures. Her research interests include French Literature of the 18th, Italian Literature of the 14th-16th and of the 20th Centuries, Italian Film and Italian popular music. Her monograph, titled "Von ‚Spaziersehern‘, ‚Erinnerungsflaneuren‘ und ‚pikaresken Wanderern‘: Literarische Topo¬graphien der Poebene bei Celati, Cavazzoni, Benati und anderen" (Winter 2014), deals with documentary, metaphoric and metanarrative representations of space and landscape by the example of the Po Valley.
Address: Innsbruck, Austria

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Papers by Gerhild Fuchs

Neoavantgardistische Essens-und Hungerexzesse bei Luigi Malerba und Gianni Celati

Kimminich, Eva (ed.): GastroLogie. Frankfurt a.M. et al.: Lang, 2005

The two novels to be examined, II serpente (1966), by Luigi Malerba, and Le avventure di Guizzard... more The two novels to be examined, II serpente (1966), by Luigi Malerba, and Le avventure di Guizzardi (1973), by Gianni Celati, were both written within the context of the Italian neo-avantgarde, thus resulting in their common experimental
nature. They also display marked parallels in subject matter and imagery; both works are centered around the subjects of hunger (-ing/starvation), emaciation and eating, combined with sexual images on the one hand and linguistic and communication-related aspects on the other. With regard to the latter, both works also reveal a meta-narrative dimension (which in Malerba is slightly more pronounced), expressed in both by means of one particular metaphor: that of flying.
However, the way in which the thematic components are interwoven in the two novels, along with the connotative levels they each create, ultimately differ significantly.Where Celati's novel is a carnivalesque, consciously lowbrow representation
of corporeality, in Il serpente Malerba avails himself of an intellectualized, estranging comic of the Absurd and the Paradox, which amongst others also makes use of speculatively applied elements of Platonic philosophy.

L’orrore delle frasi: Vom Grauen hinter den Wörtern in Gianni Celatis Erzählungen

Kimminich, Eva / Krülls-Hepermann, Claudia (ed.): Zunge und Zeichen. Frankfurt a.M. et al: Lang , 1999

The following article analyzes selected stories by Celati. Special attention is paid to the quest... more The following article analyzes selected stories by Celati. Special attention is paid to the question how established patterns of perception and communication in general and relationships between language and models of reality in particular are modified by the omnipresence of the new media and of advertising. In Celati’s view, modern civilizations are characterized by an alienation of the senses, a multiplication of contingent experiences and an increase of self-referentiality. These tendencies are reflected in the use of written and spoken language alike. Tue written text gains a dynamism of its own which the reader no longer manages to control. Neither does oral communication prove to be an authentic communication. In both cases, the prevailing impression is that of a threatening impermeability of the world.

Serialität im Provinzkrimi. Francesco Guccinis und Loriano Macchiavellis Sanvito-Zyklus

Hiergeist, Teresa / Winkler, Daniel (eds): Provinz in Serie. Regionalität und Glokalität in seriellen Erzählungen und TV-Serien seit der Moderne. In: HeLix Bd. 15 Nr. 1, https://journals.ub.uni-heidelberg.de/index.php/helix/issue/view/6398, 2023

Macaronì (1997), the first novel in the series about investigator Benedetto Santovito, here still... more Macaronì (1997), the first novel in the series about investigator Benedetto Santovito, here still a "Maresciallo dei Carabinieri", already exhibits the plot pattern of interweaving wider historical contexts (in this case European Fascism as well as Italian mass emigration since the end of the 19th century, which also plays into the crime plot) with the local history, in which popular myths and tales from the rural Apennine region of Emilia-Romagna are mixed in. The protagonist Santovito ends up in the same village in the Apennines several years apart in the subsequent novels by the author duo Guccini/Machiavelli. This article focuses on aspects of seriality in Macaronì and the two following novels of the duo's 'Apennine Trilogy': Un disco dei Platters (1998), where the changed village culture of the early 1960s is a central theme, and Questo sangue che impasta la terra (2001), where the trail of murders, set in the context of political extremism, also leads to the specific urban atmosphere of Bologna.

Postkoloniale und intersektionale Perspektiven auf Elena Ferrantes "L'amica geniale"-Zyklus

Pröll, Julia / Moser, Ursula (eds): Transkulturelle Begegnungsräume. Ästhetische Strategien der Überlagerung, Pluralisierung und Simultaneität in den zeitgenössischen romanischen Literaturen. Würzburg: Könighausen & Neumann, 2020

Le macchiette interculturali di Renato Carosone

"Marsiglia – Napoli: due metropoli musicali transculturali del Mediterraneo". Special issue of ATeM (Archives of Text and Music Studies), 2019

The article wants to demonstrate that some of Renato Carosone's most successful songs, written to... more The article wants to demonstrate that some of Renato Carosone's most successful songs, written together with Nicola Salerno in the 1950s (in particular "Tu vuò fa' l'americano", "Torero", "Caravan petrol" and "'O pellirossa"), are tightly inspired by the ironic and satirical portraits of the 'macchietta napoletana'. Focusing on protagonists who attempt to imitate the behaviors or fashions of other cultures, the analyzed songs reveal an intercultural approach, based on a conception of cultures as distinct or even competing spheres. This attitude is very clear especially at the level of lyrics, also because the proclaimed opinions follow from the point of view of the 'people', whereas the music and, even more, the theatrical performances of Carosone's formations sometimes create a more complex subtlety which can measure up to transculturality, as in the case of "Tu vuò fa' l'americano".

Entangled Histories and Voices: An Introduction

ATeM (Archives of Text and Music Studies), 2022

‘Entanglement’ is not a recent phenomenon, a specificity of the modern era, but characterizes ‘hi... more ‘Entanglement’ is not a recent phenomenon, a specificity of the modern era, but characterizes ‘history’ since its earliest days. In our view, ‘entanglement’ is close to the concept of cultural encounters but also differs from it. Whereas ‘cultural encounters’ seem to rely on a more binary perception of cultures which can meet in a contact zone, ‘entanglement’ suggests a network-based vision of cultures “which are never unitary in themselves nor simply dualistic in relation of Self to Other,” to put it with Homi K. Bhabha (2006, 155). To adopt a perspective of ‘entanglement’ means to look at the different ways in which sounds and words build memories that collide and conflict with the narratives of nation-states and with nostalgic memorizing.
The conference "Entangled Histories and Voices. Popular Music & approcci postcoloniali / approches postcoloniales / acercamientos postcoloniales", organized at the University of Innsbruck and held online in April 2021, provided the papers and the discussions that are presented in the nine contributions of this special issue.

Die Inszenierung Neapels im Musikfilm. Von Napoli che canta (1926) über Carosello napoletano (1954) bis Passione (2010)

Zibaldone. Zeitschrift für italienische Kultur der Gegenwart 72 (Herbst 2021): Neapel als intermediale Bühne, 51-66, 2021

Danteske Intertextualität in zeitgenössischen italienischen Prosadarstellungen der Po-Ebene

Scharold, Irmgard (Hg.): Dante intermedial. Die Divina Commedia in Literatur und Medien. Würzburg: Königshausen & Neumann 2022, 331-354, 2022

Celati selbst bezeichnet seine Kurzerzählungen als "Novellen" und zieht diesen Begriff jenem der ... more

Zwischen einengender Lebensrealität und auffliegender Phantasie – weibliche Befreiungsversuche in einigen früheren Romanen Dacia Marainis

Scharold, Irmgard (Hg.): Scrittura femminile. Zwischen Historie, Fiktion und Autobiographie. Italienische Auto¬rinnen im 20. Jahrhundert. Tübingen: Narr 2002, 69-85., 2002

Von der generationen- und schichtenumspannenden Macht weiblichen Erzählens bei Dacia Maraini

Grugger, Helmut / Holzner, Johann: Der Generationenroman. Berlin: De Gruyter 2021, 2021

Tra parodia e decostruzione: i 'duri' di Fred Buscaglione

ATeM - Archives Text and Music Studies, 2020

With his ironic songs about "pistols, puppets and whisky" (Lanotte 2007, 68), whose protagonists-... more With his ironic songs about "pistols, puppets and whisky" (Lanotte 2007, 68), whose protagonists-gangsters and tough guys-he literally embodied in his live performances, thus establishing a very specific performance persona (Auslander 2004), the singer and jazz musician Fred Buscaglione was particularly successful in Italy in the second half of the 1950s. The following article wants to point out, in a first step, the gender stereotypes and other elements originating primarily from US popular culture and film noir, which fit together in his performance persona. It will then be shown how these tough guys and gangsters are undermined and deconstructed within the song lyrics, on the level of what Auslander calls the characters, through the intervention of female figures no less tough than the male ones. Nella memoria collettiva del pubblico italiano, la personalità artistica di Fred Buscaglione appare strettamente legata alle immagini di un ironico mondo criminale fatto di sparatorie, risse, donne seducenti e, non da ultimo, di whisky e sigarette. Prima di conoscere il grande successo con "quelle strane storie di pupe, pistole e whisky" (Lanotte 2007, 68) nel breve periodo che va dal 1955 alla sua morte prematura nel 1960, Buscaglione si esibisce, sin dalla fine degli anni Trenta, come musicista jazz nei night di Torino dove eccelle in primo luogo come violinista, 2 ma cimentandosi anche al contrabasso, al pianoforte e alla tromba, e sviluppando una forte passione per quella musica venuta dagli Stati Uniti (Lanotte 2007, 18). Il periodo della sua maggiore popolarità, che arriva con le canzoni composte insieme al paroliere Leo Chiosso e interpretate con l'ensemble degli Asternovas, deve molto anche alla tv, sia con le esibizioni del cantante in trasmissioni popolari quali Il Musichiere (Rai), sia con le sue apparizioni cinematografiche in varie commedie 3 e nei 'musicarelli' molto alla moda in quel periodo, da I ragazzi del jukebox fino al suo ultimo film, apparso postumo, in cui recita la parte principale, Noi duri (cf. Lanotte 2007, 68-73 e Ternavasio 1999, 136-141). È in questo periodo che si crea anche quella che chiameremo la performance persona di Buscaglione, cioè la figura dell'uomo duro o addirittura del gangster all'americana, "impla-cabile con i nemici ma sensibile al fascino delle donne" (Lanotte 2007, 51). Diversamente

Fare l’americano, dagli anni Cinquanta a oggi: riflessioni sulle cover versions della hit carosoniana

by Gerhild Fuchs and Gianpaolo Chiriaco

ATeM (Archives of Text and Music Studies), 2019

Since its first release in 1956, Renato Carosone's Neapolitan swing "Tu vuò fa' l'americano" has ... more Since its first release in 1956, Renato Carosone's Neapolitan swing "Tu vuò fa' l'americano" has been covered extensively. The interest in this piece increased significantly after 1999, thanks to its use in the movie The Talented Mr. Ripley and a number of 'interlinguistic' covers. This study aims at identifying the main elements, both in the lyrics and in the music of the original song, that generated this flow of alternative versions, as an attempt to discern the "patchwork of references" that has become a fundamental feature of popular music (Holm-Hudson 2002). It argues that the ironic use of national and cultural stereotypes is at the core of the process of covering "Tu vuò fa' l'americano", together with the fundamentally intercultural sonic and textual representation of a Neapolitan-wannabe-American. Simultaneously, the musical structure has been adopted by the covers as a sort of elastic structure from which each musician and composer can extract bits that are relevant to their artistic discourse while still retaining a recognizable relationship to the original. The article is introduced by an overview of the theoretical discussion around the process of covering that gravitates around-although not restricted to-taxonomies of covers in popular music. The central part focuses on musical and textual components that inspired artists to create different versions of "Tu vuò fa' l'americano". It then provides an interpretation of a substantial, albeit not exhaustive, corpus of different covers of Carosone's hit, dividing them into typologies that aim not only at pointing out the semiotic processes involved, but also at casting light on the reasons why this song has been covered within such a vast array of linguistic and stylistic contexts. Parlare di 'hit' nell'ambito della popular music comporta abitualmente la supposizione che si tratti di una canzone dal titolo e dall'interprete conosciuti da tanti. Nel caso di "Tu vuò fa' l'americano" di Renato Carosone, tale supposizione può essere confermata tutt'al più per un pubblico italiano, mentre fuori dall'Italia né il titolo napoletano né il nome di Carosone suscitano generalmente un effetto di riconoscimento. È invece sicuro che numerosi ascolta-tori ne riconoscono immediatamente la melodia e gli interventi dei fiati; molti altri possono affermare di aver ballato sui suoi ritmi nel corso degli ultimi vent'anni. È a partire dal 1999

Il cannibalismo come motivo polisenso e di critica sociale: 'Porcile' di Pier Paolo Pasolini (1969) e 'Cannibal Holocaust' di Ruggero Deodato (1980)"

Bianchi, Alberto / Reichardt, Dagmar (ed.): Letteratura e cinema. Firenze: Cesati, pp. 71-81. , 2014

I due film che si vogliono esaminare nel presente contributo, non sembrano avere molte caratteris... more I due film che si vogliono esaminare nel presente contributo, non sembrano avere molte caratteristiche in comune a prima vista e appartengono senza dubbio a livelli artistici considerevolmente distanti l'uno dall'altro: da un lato Porcile, film filosofico e sperimentale che Pier Paolo Pasolini fece seguire nel 1969 a Teorema; dall'altro Cannibal Holocaust, film splatter dalle rappresentazioni di violenza e di crudeltà particolarmente esplicite, girato da Ruggero Deodato nel 1980, in una fase di vera e propria fioritura del cinema d'orrore italiano. Come si vorrebbe mostrare tramite le seguenti osservazioni - più approfondite sul film di Pasolini e più brevi su quello di Deodato - ciò che collega le due opere non è soltanto il tema del cannibalismo in sé, ma anche il fatto che esso si configuri, nei due casi, come strumento di critica sociale e, allo stesso tempo, come nucleo tematico polisenso, cioè che si carica di significati concreti e figurati in parte addirittura antitetici. Quanto al termine centrale del 'cannibalismo', è importante tener presente che esso non designa la consumazione di carne umana tout court.

Strategie di 'ibridazione mediterranea' nel rap/raggamuffin napoletano sull'esempio degli Almamegretta

Vox Popular 2, 2018

"Sunnu li me frati": espressioni di affinità e fratellanza tra profughi/immigrati e italiani del sud nella popular music del Meridione

ATeM (Archives of Text and Music Studies), 2018

Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a... more Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a
region which, due to its geographical position, has been confronted with the arrival of thousands of
refugees from Africa and the Middle East, but which, due to its own long history of emigration, is
also able to empathize with their plight. The popular music of Southern Italy reflects this situation in
a striking way, accentuating in many cases the affinities and feelings of brotherhood with those who
arrive in Italy looking for help or asylum. By analyzing a song which can be seen as paradigmatic for
this attitude, “Chiui sta porta” by Sicilian singer-songwriter and artist Salvatore Tartamella, fundamental
strategies will be identified (both textual and musical) that also occur in other songs by southern
Italian singer-songwriters or groups, such as Enzo Avitabile, Eugenio Bennato or Almamegretta.
As will be demonstrated, most of the aesthetic strategies to be discussed (such as the recourse to one’s
own tradition of popular music, often combined with African or Middle Eastern sounds, the use of
dialect, or the mythification of migrants’ fates) result from the assumption that a common basis of
‘subalternity’ between refugees and parts of the Southern population exists. The theoretical frame of
this discussion is based on thinkers such as Antonio Gramsci, Franco Cassano, and Iain Chambers.

Beheimatung und Fremdheit in einem Armenviertel Neapels: Elena Ferrantes L’amica geniale

Jenseits der Hauptstädte. Städtebilder der Romania im Spannungsfeld von Urbanität, Nationalität und Globalisierung, 2019

Cesare Sterbini / Gioachino Rossini, Il barbiere di Siviglia ossia L'inutile precauzione

by Daniel Winkler, Arnold Jacobshagen, sabine schrader, and Gerhild Fuchs

Cesare Sterbini / Gioachino Rossini, Il barbiere di Siviglia ossia L'inutile precauzione, in: Ita... more

Italienisches Theater in Europa

by Daniel Winkler and Gerhild Fuchs

Daniel Winkler/Sabine Schrader/Gerhild Fuchs: Italienisches Theater. Geschichte und Gattungen von 1480 bis 1890. Berlin, Theater der Zeit. 7-32, http://www.theaterderzeit.com/buch/italienisches_theater/32859/komplett, 2015

Erstmals stellt dieses Studienbuch kompakt die Theatergeschichte Italiens vom späten 15. bis zum ... more Erstmals stellt dieses Studienbuch kompakt die Theatergeschichte Italiens vom späten 15. bis zum Ende des 19. Jahrhunderts dar. In diesem Zeitraum von über 400 Jahren konstituiert sich das italienische Theater und strahlt nach ganz Europa aus. Kommen im 20. Jahrhundert die Innovationen oft aus Zentral- oder Osteuropa, so ist es bis ins 19. Jahrhundert hinein meist Italien, wo neue Tendenzen entstehen, die sich dann über den Kontinent verbreiten. Dies gilt für die Herausbildung von Gattungen und poetologischen Diskussionen ebenso wie für Aufführungspraxen, Erfindungen im Bereich der Bühnenmaschinerie oder die Geschichte des Theaterbaus.
Der Band vereint ca. zwanzig Einzelanalysen von Theater-, Literatur- und Musikwissenschaftlern, die den Bogen vom Hoftheater der Renaissance bis hin zur veristischen Oper spannen.

Italienisches Theater in Europa
von Gerhild Fuchs und Sabine Schrader

THEATERFORMEN IM RINASCIMENTO
Angelo Poliziano, Fabula di Orpheo
von Solveig Malatrait

Gian Giorgio Trissino, Sophonisba
Eine Tragödie im Kontext
von Rolf Lohse

Ludovico Ariosto, La Lena
Komödie als Stadt-Theater im Cinquecento
von Rudolf Behrens

Niccolò Machiavelli, La Mandragola
von Angela Oster

Torquato Tasso, Aminta
von Andrea Grewe

Krieg und Gewalt auf der Bühne des Rinascimento
von Sabine Schrader

Commedia all’improvviso, Li tre becchi und La pazzia d’Isabella
Spieltexte aus dem Umfeld der Commedia all’improvviso
von Stefan Hulfeld

THEATERBOOM & -DIVERSIFIZIERUNG ZWISCHEN BAROCK & AUFKLÄRUNG
Ferdinando Saracinelli/Francesca Caccini, La liberazione di Ruggiero dall’isola d’Alcina
von Katharina N. Piechocki

Pietro Metastasio/Domenico Sarro u. a., Didone abbandonata
Eine Opera seria
von Andrea Sommer-Mathis

Gennaro Antonio Federico/Giovan Battista Pergolesi, La serva padrona
von Florian Mehltretter

Carlo Goldoni, Il servitore di due padroni
von Angelo Pagliardini

Carlo Gozzi, Turandot
von Susanne Winter

WEGE ZUM NATIONALTHEATER
Scipione Maffei, La Merope und Vittorio Alfieri, Merope
Die aufklärerische Tragödie zwischen Mitleidsästhetik und Erhabenheit
von Daniel Winkler

Silvio Pellico, Francesca da Rimini
Die Tragödie im frühen 19. Jahrhundert
von Raimondo Guarino

Cesare Sterbini/Gioacchino Rossini, Il barbiere di Siviglia, ossia L’inutile precauzione
von Arnold Jacobshagen

Arrigo Boito/Giuseppe Verdi, Otello
Shakespeare auf den italienischen Bühnen des 19. Jahrhunderts: vom grande attore zu Arrigo Boito
von Alberto Bentoglio

Giovanni Verga/Pietro Mascagni, Cavalleria rusticana
von Sebastian Werr

Autorinnen und Autoren
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Talks by Gerhild Fuchs

Insula Europea 2016

by Angelo Pagliardini, Gerhild Fuchs, and Alexandra Vranceanu Pagliardini

Nel 2013 A. Vranceanu e A. Pagliardini hanno organizzato un colloquio internazionale all'Universi... more Nel 2013 A. Vranceanu e A. Pagliardini hanno organizzato un colloquio internazionale all'Università di Innsbruck su un tema attualissimo come la letteratura europea, di sono uscirti gli atti con il titolo: Rifondare la letteratura nazionale per un pubblico europeo. Da un'idea di Giuseppe Mazzini (Frankfurt, Peter Lang, 2015). Gerhild Fuchs rivolge alcune domande agli autori per sapere come si possa, partendo da Giuseppe Mazzini, le cui idee sull'Europa risalgono alla prima metà del XIX secolo, trattare un tema così presente nel dibattito attuale.

Neoavantgardistische Essens-und Hungerexzesse bei Luigi Malerba und Gianni Celati

Kimminich, Eva (ed.): GastroLogie. Frankfurt a.M. et al.: Lang, 2005

The two novels to be examined, II serpente (1966), by Luigi Malerba, and Le avventure di Guizzard... more The two novels to be examined, II serpente (1966), by Luigi Malerba, and Le avventure di Guizzardi (1973), by Gianni Celati, were both written within the context of the Italian neo-avantgarde, thus resulting in their common experimental
nature. They also display marked parallels in subject matter and imagery; both works are centered around the subjects of hunger (-ing/starvation), emaciation and eating, combined with sexual images on the one hand and linguistic and communication-related aspects on the other. With regard to the latter, both works also reveal a meta-narrative dimension (which in Malerba is slightly more pronounced), expressed in both by means of one particular metaphor: that of flying.
However, the way in which the thematic components are interwoven in the two novels, along with the connotative levels they each create, ultimately differ significantly.Where Celati's novel is a carnivalesque, consciously lowbrow representation
of corporeality, in Il serpente Malerba avails himself of an intellectualized, estranging comic of the Absurd and the Paradox, which amongst others also makes use of speculatively applied elements of Platonic philosophy.

L’orrore delle frasi: Vom Grauen hinter den Wörtern in Gianni Celatis Erzählungen

Kimminich, Eva / Krülls-Hepermann, Claudia (ed.): Zunge und Zeichen. Frankfurt a.M. et al: Lang , 1999

The following article analyzes selected stories by Celati. Special attention is paid to the quest... more The following article analyzes selected stories by Celati. Special attention is paid to the question how established patterns of perception and communication in general and relationships between language and models of reality in particular are modified by the omnipresence of the new media and of advertising. In Celati’s view, modern civilizations are characterized by an alienation of the senses, a multiplication of contingent experiences and an increase of self-referentiality. These tendencies are reflected in the use of written and spoken language alike. Tue written text gains a dynamism of its own which the reader no longer manages to control. Neither does oral communication prove to be an authentic communication. In both cases, the prevailing impression is that of a threatening impermeability of the world.

Serialität im Provinzkrimi. Francesco Guccinis und Loriano Macchiavellis Sanvito-Zyklus

Hiergeist, Teresa / Winkler, Daniel (eds): Provinz in Serie. Regionalität und Glokalität in seriellen Erzählungen und TV-Serien seit der Moderne. In: HeLix Bd. 15 Nr. 1, https://journals.ub.uni-heidelberg.de/index.php/helix/issue/view/6398, 2023

Macaronì (1997), the first novel in the series about investigator Benedetto Santovito, here still... more Macaronì (1997), the first novel in the series about investigator Benedetto Santovito, here still a "Maresciallo dei Carabinieri", already exhibits the plot pattern of interweaving wider historical contexts (in this case European Fascism as well as Italian mass emigration since the end of the 19th century, which also plays into the crime plot) with the local history, in which popular myths and tales from the rural Apennine region of Emilia-Romagna are mixed in. The protagonist Santovito ends up in the same village in the Apennines several years apart in the subsequent novels by the author duo Guccini/Machiavelli. This article focuses on aspects of seriality in Macaronì and the two following novels of the duo's 'Apennine Trilogy': Un disco dei Platters (1998), where the changed village culture of the early 1960s is a central theme, and Questo sangue che impasta la terra (2001), where the trail of murders, set in the context of political extremism, also leads to the specific urban atmosphere of Bologna.

Postkoloniale und intersektionale Perspektiven auf Elena Ferrantes "L'amica geniale"-Zyklus

Pröll, Julia / Moser, Ursula (eds): Transkulturelle Begegnungsräume. Ästhetische Strategien der Überlagerung, Pluralisierung und Simultaneität in den zeitgenössischen romanischen Literaturen. Würzburg: Könighausen & Neumann, 2020

Le macchiette interculturali di Renato Carosone

"Marsiglia – Napoli: due metropoli musicali transculturali del Mediterraneo". Special issue of ATeM (Archives of Text and Music Studies), 2019

The article wants to demonstrate that some of Renato Carosone's most successful songs, written to... more The article wants to demonstrate that some of Renato Carosone's most successful songs, written together with Nicola Salerno in the 1950s (in particular "Tu vuò fa' l'americano", "Torero", "Caravan petrol" and "'O pellirossa"), are tightly inspired by the ironic and satirical portraits of the 'macchietta napoletana'. Focusing on protagonists who attempt to imitate the behaviors or fashions of other cultures, the analyzed songs reveal an intercultural approach, based on a conception of cultures as distinct or even competing spheres. This attitude is very clear especially at the level of lyrics, also because the proclaimed opinions follow from the point of view of the 'people', whereas the music and, even more, the theatrical performances of Carosone's formations sometimes create a more complex subtlety which can measure up to transculturality, as in the case of "Tu vuò fa' l'americano".

Entangled Histories and Voices: An Introduction

ATeM (Archives of Text and Music Studies), 2022

‘Entanglement’ is not a recent phenomenon, a specificity of the modern era, but characterizes ‘hi... more ‘Entanglement’ is not a recent phenomenon, a specificity of the modern era, but characterizes ‘history’ since its earliest days. In our view, ‘entanglement’ is close to the concept of cultural encounters but also differs from it. Whereas ‘cultural encounters’ seem to rely on a more binary perception of cultures which can meet in a contact zone, ‘entanglement’ suggests a network-based vision of cultures “which are never unitary in themselves nor simply dualistic in relation of Self to Other,” to put it with Homi K. Bhabha (2006, 155). To adopt a perspective of ‘entanglement’ means to look at the different ways in which sounds and words build memories that collide and conflict with the narratives of nation-states and with nostalgic memorizing.
The conference "Entangled Histories and Voices. Popular Music & approcci postcoloniali / approches postcoloniales / acercamientos postcoloniales", organized at the University of Innsbruck and held online in April 2021, provided the papers and the discussions that are presented in the nine contributions of this special issue.

Die Inszenierung Neapels im Musikfilm. Von Napoli che canta (1926) über Carosello napoletano (1954) bis Passione (2010)

Zibaldone. Zeitschrift für italienische Kultur der Gegenwart 72 (Herbst 2021): Neapel als intermediale Bühne, 51-66, 2021

Danteske Intertextualität in zeitgenössischen italienischen Prosadarstellungen der Po-Ebene

Scharold, Irmgard (Hg.): Dante intermedial. Die Divina Commedia in Literatur und Medien. Würzburg: Königshausen & Neumann 2022, 331-354, 2022

Celati selbst bezeichnet seine Kurzerzählungen als "Novellen" und zieht diesen Begriff jenem der ... more

Zwischen einengender Lebensrealität und auffliegender Phantasie – weibliche Befreiungsversuche in einigen früheren Romanen Dacia Marainis

Scharold, Irmgard (Hg.): Scrittura femminile. Zwischen Historie, Fiktion und Autobiographie. Italienische Auto¬rinnen im 20. Jahrhundert. Tübingen: Narr 2002, 69-85., 2002

Von der generationen- und schichtenumspannenden Macht weiblichen Erzählens bei Dacia Maraini

Grugger, Helmut / Holzner, Johann: Der Generationenroman. Berlin: De Gruyter 2021, 2021

Tra parodia e decostruzione: i 'duri' di Fred Buscaglione

ATeM - Archives Text and Music Studies, 2020

With his ironic songs about "pistols, puppets and whisky" (Lanotte 2007, 68), whose protagonists-... more With his ironic songs about "pistols, puppets and whisky" (Lanotte 2007, 68), whose protagonists-gangsters and tough guys-he literally embodied in his live performances, thus establishing a very specific performance persona (Auslander 2004), the singer and jazz musician Fred Buscaglione was particularly successful in Italy in the second half of the 1950s. The following article wants to point out, in a first step, the gender stereotypes and other elements originating primarily from US popular culture and film noir, which fit together in his performance persona. It will then be shown how these tough guys and gangsters are undermined and deconstructed within the song lyrics, on the level of what Auslander calls the characters, through the intervention of female figures no less tough than the male ones. Nella memoria collettiva del pubblico italiano, la personalità artistica di Fred Buscaglione appare strettamente legata alle immagini di un ironico mondo criminale fatto di sparatorie, risse, donne seducenti e, non da ultimo, di whisky e sigarette. Prima di conoscere il grande successo con "quelle strane storie di pupe, pistole e whisky" (Lanotte 2007, 68) nel breve periodo che va dal 1955 alla sua morte prematura nel 1960, Buscaglione si esibisce, sin dalla fine degli anni Trenta, come musicista jazz nei night di Torino dove eccelle in primo luogo come violinista, 2 ma cimentandosi anche al contrabasso, al pianoforte e alla tromba, e sviluppando una forte passione per quella musica venuta dagli Stati Uniti (Lanotte 2007, 18). Il periodo della sua maggiore popolarità, che arriva con le canzoni composte insieme al paroliere Leo Chiosso e interpretate con l'ensemble degli Asternovas, deve molto anche alla tv, sia con le esibizioni del cantante in trasmissioni popolari quali Il Musichiere (Rai), sia con le sue apparizioni cinematografiche in varie commedie 3 e nei 'musicarelli' molto alla moda in quel periodo, da I ragazzi del jukebox fino al suo ultimo film, apparso postumo, in cui recita la parte principale, Noi duri (cf. Lanotte 2007, 68-73 e Ternavasio 1999, 136-141). È in questo periodo che si crea anche quella che chiameremo la performance persona di Buscaglione, cioè la figura dell'uomo duro o addirittura del gangster all'americana, "impla-cabile con i nemici ma sensibile al fascino delle donne" (Lanotte 2007, 51). Diversamente

Fare l’americano, dagli anni Cinquanta a oggi: riflessioni sulle cover versions della hit carosoniana

by Gerhild Fuchs and Gianpaolo Chiriaco

ATeM (Archives of Text and Music Studies), 2019

Since its first release in 1956, Renato Carosone's Neapolitan swing "Tu vuò fa' l'americano" has ... more Since its first release in 1956, Renato Carosone's Neapolitan swing "Tu vuò fa' l'americano" has been covered extensively. The interest in this piece increased significantly after 1999, thanks to its use in the movie The Talented Mr. Ripley and a number of 'interlinguistic' covers. This study aims at identifying the main elements, both in the lyrics and in the music of the original song, that generated this flow of alternative versions, as an attempt to discern the "patchwork of references" that has become a fundamental feature of popular music (Holm-Hudson 2002). It argues that the ironic use of national and cultural stereotypes is at the core of the process of covering "Tu vuò fa' l'americano", together with the fundamentally intercultural sonic and textual representation of a Neapolitan-wannabe-American. Simultaneously, the musical structure has been adopted by the covers as a sort of elastic structure from which each musician and composer can extract bits that are relevant to their artistic discourse while still retaining a recognizable relationship to the original. The article is introduced by an overview of the theoretical discussion around the process of covering that gravitates around-although not restricted to-taxonomies of covers in popular music. The central part focuses on musical and textual components that inspired artists to create different versions of "Tu vuò fa' l'americano". It then provides an interpretation of a substantial, albeit not exhaustive, corpus of different covers of Carosone's hit, dividing them into typologies that aim not only at pointing out the semiotic processes involved, but also at casting light on the reasons why this song has been covered within such a vast array of linguistic and stylistic contexts. Parlare di 'hit' nell'ambito della popular music comporta abitualmente la supposizione che si tratti di una canzone dal titolo e dall'interprete conosciuti da tanti. Nel caso di "Tu vuò fa' l'americano" di Renato Carosone, tale supposizione può essere confermata tutt'al più per un pubblico italiano, mentre fuori dall'Italia né il titolo napoletano né il nome di Carosone suscitano generalmente un effetto di riconoscimento. È invece sicuro che numerosi ascolta-tori ne riconoscono immediatamente la melodia e gli interventi dei fiati; molti altri possono affermare di aver ballato sui suoi ritmi nel corso degli ultimi vent'anni. È a partire dal 1999

Il cannibalismo come motivo polisenso e di critica sociale: 'Porcile' di Pier Paolo Pasolini (1969) e 'Cannibal Holocaust' di Ruggero Deodato (1980)"

Bianchi, Alberto / Reichardt, Dagmar (ed.): Letteratura e cinema. Firenze: Cesati, pp. 71-81. , 2014

I due film che si vogliono esaminare nel presente contributo, non sembrano avere molte caratteris... more I due film che si vogliono esaminare nel presente contributo, non sembrano avere molte caratteristiche in comune a prima vista e appartengono senza dubbio a livelli artistici considerevolmente distanti l'uno dall'altro: da un lato Porcile, film filosofico e sperimentale che Pier Paolo Pasolini fece seguire nel 1969 a Teorema; dall'altro Cannibal Holocaust, film splatter dalle rappresentazioni di violenza e di crudeltà particolarmente esplicite, girato da Ruggero Deodato nel 1980, in una fase di vera e propria fioritura del cinema d'orrore italiano. Come si vorrebbe mostrare tramite le seguenti osservazioni - più approfondite sul film di Pasolini e più brevi su quello di Deodato - ciò che collega le due opere non è soltanto il tema del cannibalismo in sé, ma anche il fatto che esso si configuri, nei due casi, come strumento di critica sociale e, allo stesso tempo, come nucleo tematico polisenso, cioè che si carica di significati concreti e figurati in parte addirittura antitetici. Quanto al termine centrale del 'cannibalismo', è importante tener presente che esso non designa la consumazione di carne umana tout court.

Strategie di 'ibridazione mediterranea' nel rap/raggamuffin napoletano sull'esempio degli Almamegretta

Vox Popular 2, 2018

"Sunnu li me frati": espressioni di affinità e fratellanza tra profughi/immigrati e italiani del sud nella popular music del Meridione

ATeM (Archives of Text and Music Studies), 2018

Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a... more Not surprisingly, migration is currently perceived as an important topic in the South of Italy, a
region which, due to its geographical position, has been confronted with the arrival of thousands of
refugees from Africa and the Middle East, but which, due to its own long history of emigration, is
also able to empathize with their plight. The popular music of Southern Italy reflects this situation in
a striking way, accentuating in many cases the affinities and feelings of brotherhood with those who
arrive in Italy looking for help or asylum. By analyzing a song which can be seen as paradigmatic for
this attitude, “Chiui sta porta” by Sicilian singer-songwriter and artist Salvatore Tartamella, fundamental
strategies will be identified (both textual and musical) that also occur in other songs by southern
Italian singer-songwriters or groups, such as Enzo Avitabile, Eugenio Bennato or Almamegretta.
As will be demonstrated, most of the aesthetic strategies to be discussed (such as the recourse to one’s
own tradition of popular music, often combined with African or Middle Eastern sounds, the use of
dialect, or the mythification of migrants’ fates) result from the assumption that a common basis of
‘subalternity’ between refugees and parts of the Southern population exists. The theoretical frame of
this discussion is based on thinkers such as Antonio Gramsci, Franco Cassano, and Iain Chambers.

Beheimatung und Fremdheit in einem Armenviertel Neapels: Elena Ferrantes L’amica geniale

Jenseits der Hauptstädte. Städtebilder der Romania im Spannungsfeld von Urbanität, Nationalität und Globalisierung, 2019

Cesare Sterbini / Gioachino Rossini, Il barbiere di Siviglia ossia L'inutile precauzione

by Daniel Winkler, Arnold Jacobshagen, sabine schrader, and Gerhild Fuchs

Cesare Sterbini / Gioachino Rossini, Il barbiere di Siviglia ossia L'inutile precauzione, in: Ita... more

Italienisches Theater in Europa

by Daniel Winkler and Gerhild Fuchs

Daniel Winkler/Sabine Schrader/Gerhild Fuchs: Italienisches Theater. Geschichte und Gattungen von 1480 bis 1890. Berlin, Theater der Zeit. 7-32, http://www.theaterderzeit.com/buch/italienisches_theater/32859/komplett, 2015

Erstmals stellt dieses Studienbuch kompakt die Theatergeschichte Italiens vom späten 15. bis zum ... more Erstmals stellt dieses Studienbuch kompakt die Theatergeschichte Italiens vom späten 15. bis zum Ende des 19. Jahrhunderts dar. In diesem Zeitraum von über 400 Jahren konstituiert sich das italienische Theater und strahlt nach ganz Europa aus. Kommen im 20. Jahrhundert die Innovationen oft aus Zentral- oder Osteuropa, so ist es bis ins 19. Jahrhundert hinein meist Italien, wo neue Tendenzen entstehen, die sich dann über den Kontinent verbreiten. Dies gilt für die Herausbildung von Gattungen und poetologischen Diskussionen ebenso wie für Aufführungspraxen, Erfindungen im Bereich der Bühnenmaschinerie oder die Geschichte des Theaterbaus.
Der Band vereint ca. zwanzig Einzelanalysen von Theater-, Literatur- und Musikwissenschaftlern, die den Bogen vom Hoftheater der Renaissance bis hin zur veristischen Oper spannen.

Italienisches Theater in Europa
von Gerhild Fuchs und Sabine Schrader

THEATERFORMEN IM RINASCIMENTO
Angelo Poliziano, Fabula di Orpheo
von Solveig Malatrait

Gian Giorgio Trissino, Sophonisba
Eine Tragödie im Kontext
von Rolf Lohse

Ludovico Ariosto, La Lena
Komödie als Stadt-Theater im Cinquecento
von Rudolf Behrens

Niccolò Machiavelli, La Mandragola
von Angela Oster

Torquato Tasso, Aminta
von Andrea Grewe

Krieg und Gewalt auf der Bühne des Rinascimento
von Sabine Schrader

Commedia all’improvviso, Li tre becchi und La pazzia d’Isabella
Spieltexte aus dem Umfeld der Commedia all’improvviso
von Stefan Hulfeld

THEATERBOOM & -DIVERSIFIZIERUNG ZWISCHEN BAROCK & AUFKLÄRUNG
Ferdinando Saracinelli/Francesca Caccini, La liberazione di Ruggiero dall’isola d’Alcina
von Katharina N. Piechocki

Pietro Metastasio/Domenico Sarro u. a., Didone abbandonata
Eine Opera seria
von Andrea Sommer-Mathis

Gennaro Antonio Federico/Giovan Battista Pergolesi, La serva padrona
von Florian Mehltretter

Carlo Goldoni, Il servitore di due padroni
von Angelo Pagliardini

Carlo Gozzi, Turandot
von Susanne Winter

WEGE ZUM NATIONALTHEATER
Scipione Maffei, La Merope und Vittorio Alfieri, Merope
Die aufklärerische Tragödie zwischen Mitleidsästhetik und Erhabenheit
von Daniel Winkler

Silvio Pellico, Francesca da Rimini
Die Tragödie im frühen 19. Jahrhundert
von Raimondo Guarino

Cesare Sterbini/Gioacchino Rossini, Il barbiere di Siviglia, ossia L’inutile precauzione
von Arnold Jacobshagen

Arrigo Boito/Giuseppe Verdi, Otello
Shakespeare auf den italienischen Bühnen des 19. Jahrhunderts: vom grande attore zu Arrigo Boito
von Alberto Bentoglio

Giovanni Verga/Pietro Mascagni, Cavalleria rusticana
von Sebastian Werr

Autorinnen und Autoren
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Insula Europea 2016

by Angelo Pagliardini, Gerhild Fuchs, and Alexandra Vranceanu Pagliardini

Nel 2013 A. Vranceanu e A. Pagliardini hanno organizzato un colloquio internazionale all'Universi... more Nel 2013 A. Vranceanu e A. Pagliardini hanno organizzato un colloquio internazionale all'Università di Innsbruck su un tema attualissimo come la letteratura europea, di sono uscirti gli atti con il titolo: Rifondare la letteratura nazionale per un pubblico europeo. Da un'idea di Giuseppe Mazzini (Frankfurt, Peter Lang, 2015). Gerhild Fuchs rivolge alcune domande agli autori per sapere come si possa, partendo da Giuseppe Mazzini, le cui idee sull'Europa risalgono alla prima metà del XIX secolo, trattare un tema così presente nel dibattito attuale.