The paper investigates the relation of intertextuality and parallelism between Louis MacNeice's p... more The paper investigates the relation of intertextuality and parallelism between Louis MacNeice's poem "Carrickfergus" and Colette Bryce's poem "Derry". The obvious debt of the younger Northern Irish poet to MacNeice is explicit even from the first line of "Derry" and is recognized as such by Bryce in multiple instances. Besides an overview of the main poetic questions which bring the two poets together, an analysis is conducted of the two poems in parallel, to show their several points of contact.
The thesis analyses two poetic works in English by Irish authors, published respectively in 1968 ... more The thesis analyses two poetic works in English by Irish authors, published respectively in 1968 and 1972, The Battle of Aughrim by Richard Murphy and The Rough Field by John Montague. Both published in their definitive form after long years of gestation, the works in question present in narrative poetic form two intersecting visions of Irish history. These visions are steeped in two different and complementary perspectives. On the one hand, Richard Murphy belonged to a family of the Anglo-Irish Protestant Ascendancy, and he lived and published in the Republic of Ireland. On the other, John Montague had Northern Irish Catholic origins; born in Brooklyn to parents who emigrated from Ulster after the political division of 1922, he returned to County Tyrone at the age of four and, after his years of education in Ulster and Dublin, led a cosmopolitan life between Ireland, France and the United States.
Both poets represent, in these works, a journey within themselves, to define or rediscover their own identity; at the same time, they investigate, in a journey through history, the roots of the division of Ireland, each poet going back to a symbolic moment. This moment, for Murphy, is the Battle of Aughrim in 1691, which marks the definitive affirmation of English rule, the beginning of the era of the Penal Laws and of the golden age of the Anglo-Irish Ascendancy. Montague, instead, takes as a point of reference the defeat of Hugh O'Neill at Kinsale in 1601, a moment in which the logic of the English colonization of the island, with the definitive reconquest by the Tudors, caused the fall of the old Gaelic order.
A comparative approach is adopted between the two works, aiming at underlining their differences and similarities. A particular focus is reserved to the modes of remembrance in the two communities, and to the ways in which the two poets deal with the same historical and cultural issues, from religious divisions to the aspects of modernity erasing old lifestyles. In both cases, the analysis highlights how a form of exile is evident in the poets’ stance, deriving mainly from the severed ties with family origins and backgrounds and from the poets’ new position in the society of 1960s Ireland. It is not perhaps by chance that two historical exiles, the Flight of the Earls and that of the Wild Geese, play such an important role in the poems.
The insistence on historical matter, and the position of outsiders in relation to their own social groups account for the several points of contact between the two works as analysed in the fifth chapter: from the impact of modernity on old, ritualized ways of living, to the presence of the past in today’s reality, both in the minds and in a sort of archaeological quest for remains; from the portraits of rebels and planters, to the subsistence of old symbols, such as the severed head, and the prehistorical references to hillforts defaced by new roads; and finally, the question of the land, of its ownership, and of its narrowness, both in its physical reality and as a mental effect on the narrowing of thought on successive generations. The result is a picture of Ireland made from complementary points of views, starting from the poets’ backgrounds, memories and experienced realities to give shape, in the end, to very different poetical expressions of their journeys, after having followed similar paths and having encountered the same problems.
In this paper, the dubbing into Italian of the film “Legend” (2015) will be analysed, from the ma... more In this paper, the dubbing into Italian of the film “Legend” (2015) will be analysed, from the main perspective of slang and swear words translation. Given its specific sociolinguistic context, a short part of the analysis will be devoted to the rendering of the Cockney dialect which predominates in the film.
Nel presente lavoro si esplorano i meccanismi narrativi indiretti e obliqui utilizzati da Conrad ... more Nel presente lavoro si esplorano i meccanismi narrativi indiretti e obliqui utilizzati da Conrad in Lord Jim, nel quadro di una visione scettica della realtà e di anticipazione delle istanze moderniste, nell’impossibilità di rendere una rappresentazione unitaria e coerente dei fatti narrati e della coscienza dei protagonisti. Si evidenzia, seguendo da vicino l’andamento della narrazione, come lo stile sia caratterizzato dal continuo intrecciarsi di narratori multipli, narrazione nella narrazione, salti cronologici e ricostruzione indiretta dei fatti da fonti parziali, nella consapevolezza del ruolo centrale della vista e dei processi di percezione sia del narratore, sia dei protagonisti. A tal fine, si segue l’analisi di John G. Peters che classifica i meccanismi narrativi conradiani in tecniche di scala ampia e di scala ristretta, e se ne ricercano gli esempi nell’andamento del testo. L’analisi dello stile mette inoltre in rilievo la tendenza di Conrad al paradosso, evidenziata da J. Lothe, e causata dalla tensione tra i diversi punti di vista e dall’alternanza tra le tecniche narrative. Particolare attenzione è riservata anche, sulla scorta dell’analisi di I. Watt, al meccanismo della decodifica ritardata delle situazioni dovuta alla limitatezza del punto di vista. L’analisi è condotta in modo parallelo all’andamento del romanzo e ai suoi principali focus narrativi: l’incidente della nave Patna, la vita errante di Jim nei porti orientali e la sua fine a Patusan. Si evidenziano inoltre le fasi di ricostruzione della narrazione compiuta da Marlow e da questi presentata ai suoi ascoltatori nel romanzo: i meccanismi narrativi utilizzati hanno come esito il tentativo frustrato di interpretazione della vita e della condotta morale di Jim, frustrazione resa evidente sia dall’impossibilità di un commento da parte degli ascoltatori, sia dall’accumularsi di domande senza risposta che Marlow pone agli stessi fino all’ultimo paragrafo di Lord Jim.
Il presente lavoro analizza la ricezione della figura di Medea nella tragedia di Pierre Corneille... more Il presente lavoro analizza la ricezione della figura di Medea nella tragedia di Pierre Corneille, con riferimento ai modelli euripideo e senecano, e la inquadra nell'ambito degli studi di ricezione con particolare riferimento alle nozione bachtiniana di riaccentuazione e al più generale interesse per l'analisi delle motivazioni alla base della ripresa drammaturgica, della sopravvivenza o scelta degli elementi fondanti la figura classica in epoca, cultura, contesti diversi e determinati.
This paper follows the life and career of Jean-Baptiste Lully in his relationship with Louis XIV,... more This paper follows the life and career of Jean-Baptiste Lully in his relationship with Louis XIV, highligthing the coincidence of their meeting and the special attachment of the King to the young Italian, who will go on to become the dictator of French music, opera and musical entertainment business for nearly a century.
The paper investigates the relation of intertextuality and parallelism between Louis MacNeice's p... more The paper investigates the relation of intertextuality and parallelism between Louis MacNeice's poem "Carrickfergus" and Colette Bryce's poem "Derry". The obvious debt of the younger Northern Irish poet to MacNeice is explicit even from the first line of "Derry" and is recognized as such by Bryce in multiple instances. Besides an overview of the main poetic questions which bring the two poets together, an analysis is conducted of the two poems in parallel, to show their several points of contact.
The thesis analyses two poetic works in English by Irish authors, published respectively in 1968 ... more The thesis analyses two poetic works in English by Irish authors, published respectively in 1968 and 1972, The Battle of Aughrim by Richard Murphy and The Rough Field by John Montague. Both published in their definitive form after long years of gestation, the works in question present in narrative poetic form two intersecting visions of Irish history. These visions are steeped in two different and complementary perspectives. On the one hand, Richard Murphy belonged to a family of the Anglo-Irish Protestant Ascendancy, and he lived and published in the Republic of Ireland. On the other, John Montague had Northern Irish Catholic origins; born in Brooklyn to parents who emigrated from Ulster after the political division of 1922, he returned to County Tyrone at the age of four and, after his years of education in Ulster and Dublin, led a cosmopolitan life between Ireland, France and the United States.
Both poets represent, in these works, a journey within themselves, to define or rediscover their own identity; at the same time, they investigate, in a journey through history, the roots of the division of Ireland, each poet going back to a symbolic moment. This moment, for Murphy, is the Battle of Aughrim in 1691, which marks the definitive affirmation of English rule, the beginning of the era of the Penal Laws and of the golden age of the Anglo-Irish Ascendancy. Montague, instead, takes as a point of reference the defeat of Hugh O'Neill at Kinsale in 1601, a moment in which the logic of the English colonization of the island, with the definitive reconquest by the Tudors, caused the fall of the old Gaelic order.
A comparative approach is adopted between the two works, aiming at underlining their differences and similarities. A particular focus is reserved to the modes of remembrance in the two communities, and to the ways in which the two poets deal with the same historical and cultural issues, from religious divisions to the aspects of modernity erasing old lifestyles. In both cases, the analysis highlights how a form of exile is evident in the poets’ stance, deriving mainly from the severed ties with family origins and backgrounds and from the poets’ new position in the society of 1960s Ireland. It is not perhaps by chance that two historical exiles, the Flight of the Earls and that of the Wild Geese, play such an important role in the poems.
The insistence on historical matter, and the position of outsiders in relation to their own social groups account for the several points of contact between the two works as analysed in the fifth chapter: from the impact of modernity on old, ritualized ways of living, to the presence of the past in today’s reality, both in the minds and in a sort of archaeological quest for remains; from the portraits of rebels and planters, to the subsistence of old symbols, such as the severed head, and the prehistorical references to hillforts defaced by new roads; and finally, the question of the land, of its ownership, and of its narrowness, both in its physical reality and as a mental effect on the narrowing of thought on successive generations. The result is a picture of Ireland made from complementary points of views, starting from the poets’ backgrounds, memories and experienced realities to give shape, in the end, to very different poetical expressions of their journeys, after having followed similar paths and having encountered the same problems.
In this paper, the dubbing into Italian of the film “Legend” (2015) will be analysed, from the ma... more In this paper, the dubbing into Italian of the film “Legend” (2015) will be analysed, from the main perspective of slang and swear words translation. Given its specific sociolinguistic context, a short part of the analysis will be devoted to the rendering of the Cockney dialect which predominates in the film.
Nel presente lavoro si esplorano i meccanismi narrativi indiretti e obliqui utilizzati da Conrad ... more Nel presente lavoro si esplorano i meccanismi narrativi indiretti e obliqui utilizzati da Conrad in Lord Jim, nel quadro di una visione scettica della realtà e di anticipazione delle istanze moderniste, nell’impossibilità di rendere una rappresentazione unitaria e coerente dei fatti narrati e della coscienza dei protagonisti. Si evidenzia, seguendo da vicino l’andamento della narrazione, come lo stile sia caratterizzato dal continuo intrecciarsi di narratori multipli, narrazione nella narrazione, salti cronologici e ricostruzione indiretta dei fatti da fonti parziali, nella consapevolezza del ruolo centrale della vista e dei processi di percezione sia del narratore, sia dei protagonisti. A tal fine, si segue l’analisi di John G. Peters che classifica i meccanismi narrativi conradiani in tecniche di scala ampia e di scala ristretta, e se ne ricercano gli esempi nell’andamento del testo. L’analisi dello stile mette inoltre in rilievo la tendenza di Conrad al paradosso, evidenziata da J. Lothe, e causata dalla tensione tra i diversi punti di vista e dall’alternanza tra le tecniche narrative. Particolare attenzione è riservata anche, sulla scorta dell’analisi di I. Watt, al meccanismo della decodifica ritardata delle situazioni dovuta alla limitatezza del punto di vista. L’analisi è condotta in modo parallelo all’andamento del romanzo e ai suoi principali focus narrativi: l’incidente della nave Patna, la vita errante di Jim nei porti orientali e la sua fine a Patusan. Si evidenziano inoltre le fasi di ricostruzione della narrazione compiuta da Marlow e da questi presentata ai suoi ascoltatori nel romanzo: i meccanismi narrativi utilizzati hanno come esito il tentativo frustrato di interpretazione della vita e della condotta morale di Jim, frustrazione resa evidente sia dall’impossibilità di un commento da parte degli ascoltatori, sia dall’accumularsi di domande senza risposta che Marlow pone agli stessi fino all’ultimo paragrafo di Lord Jim.
Il presente lavoro analizza la ricezione della figura di Medea nella tragedia di Pierre Corneille... more Il presente lavoro analizza la ricezione della figura di Medea nella tragedia di Pierre Corneille, con riferimento ai modelli euripideo e senecano, e la inquadra nell'ambito degli studi di ricezione con particolare riferimento alle nozione bachtiniana di riaccentuazione e al più generale interesse per l'analisi delle motivazioni alla base della ripresa drammaturgica, della sopravvivenza o scelta degli elementi fondanti la figura classica in epoca, cultura, contesti diversi e determinati.
This paper follows the life and career of Jean-Baptiste Lully in his relationship with Louis XIV,... more This paper follows the life and career of Jean-Baptiste Lully in his relationship with Louis XIV, highligthing the coincidence of their meeting and the special attachment of the King to the young Italian, who will go on to become the dictator of French music, opera and musical entertainment business for nearly a century.
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Papers by Davide Scalia
Both poets represent, in these works, a journey within themselves, to define or rediscover their own identity; at the same time, they investigate, in a journey through history, the roots of the division of Ireland, each poet going back to a symbolic moment. This moment, for Murphy, is the Battle of Aughrim in 1691, which marks the definitive affirmation of English rule, the beginning of the era of the Penal Laws and of the golden age of the Anglo-Irish Ascendancy. Montague, instead, takes as a point of reference the defeat of Hugh O'Neill at Kinsale in 1601, a moment in which the logic of the English colonization of the island, with the definitive reconquest by the Tudors, caused the fall of the old Gaelic order.
A comparative approach is adopted between the two works, aiming at underlining their differences and similarities. A particular focus is reserved to the modes of remembrance in the two communities, and to the ways in which the two poets deal with the same historical and cultural issues, from religious divisions to the aspects of modernity erasing old lifestyles. In both cases, the analysis highlights how a form of exile is evident in the poets’ stance, deriving mainly from the severed ties with family origins and backgrounds and from the poets’ new position in the society of 1960s Ireland. It is not perhaps by chance that two historical exiles, the Flight of the Earls and that of the Wild Geese, play such an important role in the poems.
The insistence on historical matter, and the position of outsiders in relation to their own social groups account for the several points of contact between the two works as analysed in the fifth chapter: from the impact of modernity on old, ritualized ways of living, to the presence of the past in today’s reality, both in the minds and in a sort of archaeological quest for remains; from the portraits of rebels and planters, to the subsistence of old symbols, such as the severed head, and the prehistorical references to hillforts defaced by new roads; and finally, the question of the land, of its ownership, and of its narrowness, both in its physical reality and as a mental effect on the narrowing of thought on successive generations. The result is a picture of Ireland made from complementary points of views, starting from the poets’ backgrounds, memories and experienced realities to give shape, in the end, to very different poetical expressions of their journeys, after having followed similar paths and having encountered the same problems.
ricostruzione indiretta dei fatti da fonti parziali, nella consapevolezza del ruolo centrale della vista e dei processi di percezione sia del narratore, sia dei protagonisti. A tal fine, si segue l’analisi di John G. Peters che classifica i meccanismi narrativi conradiani in tecniche di scala ampia e di scala ristretta, e se ne ricercano gli esempi nell’andamento del testo. L’analisi dello stile mette inoltre in rilievo la tendenza di Conrad al paradosso, evidenziata da J. Lothe, e causata dalla tensione tra i diversi punti di vista e dall’alternanza tra le tecniche narrative. Particolare attenzione è riservata anche, sulla scorta dell’analisi di I. Watt, al meccanismo della decodifica ritardata delle situazioni dovuta alla limitatezza del punto di vista.
L’analisi è condotta in modo parallelo all’andamento del romanzo e ai suoi principali focus narrativi: l’incidente della nave Patna, la vita errante di Jim nei porti orientali e la sua fine a Patusan. Si evidenziano inoltre le fasi di ricostruzione della narrazione compiuta da Marlow e da questi presentata ai suoi ascoltatori nel romanzo: i meccanismi narrativi utilizzati hanno
come esito il tentativo frustrato di interpretazione della vita e della condotta morale di Jim, frustrazione resa evidente sia dall’impossibilità di un commento da parte degli ascoltatori, sia dall’accumularsi di domande senza risposta che Marlow pone agli stessi fino all’ultimo paragrafo di Lord Jim.
Both poets represent, in these works, a journey within themselves, to define or rediscover their own identity; at the same time, they investigate, in a journey through history, the roots of the division of Ireland, each poet going back to a symbolic moment. This moment, for Murphy, is the Battle of Aughrim in 1691, which marks the definitive affirmation of English rule, the beginning of the era of the Penal Laws and of the golden age of the Anglo-Irish Ascendancy. Montague, instead, takes as a point of reference the defeat of Hugh O'Neill at Kinsale in 1601, a moment in which the logic of the English colonization of the island, with the definitive reconquest by the Tudors, caused the fall of the old Gaelic order.
A comparative approach is adopted between the two works, aiming at underlining their differences and similarities. A particular focus is reserved to the modes of remembrance in the two communities, and to the ways in which the two poets deal with the same historical and cultural issues, from religious divisions to the aspects of modernity erasing old lifestyles. In both cases, the analysis highlights how a form of exile is evident in the poets’ stance, deriving mainly from the severed ties with family origins and backgrounds and from the poets’ new position in the society of 1960s Ireland. It is not perhaps by chance that two historical exiles, the Flight of the Earls and that of the Wild Geese, play such an important role in the poems.
The insistence on historical matter, and the position of outsiders in relation to their own social groups account for the several points of contact between the two works as analysed in the fifth chapter: from the impact of modernity on old, ritualized ways of living, to the presence of the past in today’s reality, both in the minds and in a sort of archaeological quest for remains; from the portraits of rebels and planters, to the subsistence of old symbols, such as the severed head, and the prehistorical references to hillforts defaced by new roads; and finally, the question of the land, of its ownership, and of its narrowness, both in its physical reality and as a mental effect on the narrowing of thought on successive generations. The result is a picture of Ireland made from complementary points of views, starting from the poets’ backgrounds, memories and experienced realities to give shape, in the end, to very different poetical expressions of their journeys, after having followed similar paths and having encountered the same problems.
ricostruzione indiretta dei fatti da fonti parziali, nella consapevolezza del ruolo centrale della vista e dei processi di percezione sia del narratore, sia dei protagonisti. A tal fine, si segue l’analisi di John G. Peters che classifica i meccanismi narrativi conradiani in tecniche di scala ampia e di scala ristretta, e se ne ricercano gli esempi nell’andamento del testo. L’analisi dello stile mette inoltre in rilievo la tendenza di Conrad al paradosso, evidenziata da J. Lothe, e causata dalla tensione tra i diversi punti di vista e dall’alternanza tra le tecniche narrative. Particolare attenzione è riservata anche, sulla scorta dell’analisi di I. Watt, al meccanismo della decodifica ritardata delle situazioni dovuta alla limitatezza del punto di vista.
L’analisi è condotta in modo parallelo all’andamento del romanzo e ai suoi principali focus narrativi: l’incidente della nave Patna, la vita errante di Jim nei porti orientali e la sua fine a Patusan. Si evidenziano inoltre le fasi di ricostruzione della narrazione compiuta da Marlow e da questi presentata ai suoi ascoltatori nel romanzo: i meccanismi narrativi utilizzati hanno
come esito il tentativo frustrato di interpretazione della vita e della condotta morale di Jim, frustrazione resa evidente sia dall’impossibilità di un commento da parte degli ascoltatori, sia dall’accumularsi di domande senza risposta che Marlow pone agli stessi fino all’ultimo paragrafo di Lord Jim.