Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
…
2 pages
1 file
amelia rosselli from Documento 1 translated by Kristina Olson I would like to give you all my blood. But it runs in small entangled rivulets, and doesn't scratch on your front door with enough tenderness to keep us afloat.
Carte Italiane
Amelia Rosselli (1930-1996) was one of the greatest poets of the 20''' centun'. These poems are taken from the volume Dociiiiwiito 1966-1973 (Milano: Garzanti, 1976), Rosselli's third and efFectively last collection of poetry. In Doaimcuto 1966-1973, Rosselli changes her style and approach dramatically, striving for a clearer, more communicative and less cryptic diction. In this collection she also iises shorter lines, unconstrained by the rigoroLis geometrie structure of her previous poetry. While the poetry in this volimie is in many ways intensely personal, it is also a "document" of the politicai and sexual turmoil and euphoria of 1968 and its aftermath. Rosselli, who became a meiiiber of the Italian Commumst party in 1958, working assiduously in the Rome precinct of the PCI near her house in Trastevere, declared in an interview "In Doaimcuto ... I tried to express
Testo a Fronte 58, 2018
Women Language Literature in Italy / Donne Lingua Letteratura in Italia, 2020
Italian Studies, 2010
California Italian Studies, 2022
The theoretical responses that constellate the recent debates around the pandemic often neglect the contradictory, painful tensions that arise in the aftermath of historical lacerations. What would it mean to approach the lyric, instead, when thinking about the diseased body, the dangers and potentialities of isolation, and the everyday fear of contagion? How could we turn to an understanding of poetry that might proudly elude a practical answer, escape the assumed (but not always achieved) lucidity of a comforting solution, and help us grasp the ineffability of the current crisis? Some of Amelia Rosselli’s Variazioni belliche (1964) could lead us into thinking beyond the mediatic hygiene that bombards us with graphs and projected figures, thus disclosing an eidetic and experiential horizon able to illuminate the present (in a way, to infect it). One of Rosselli’s lyrics, in particular, comments upon (and dislodges) the prohibition of touching contained in the Noli me tangere story, echoing the long-lived fascination that Western critical theory has felt towards Judeo-Christian tales as sites of “critical inquiry”. Delving into Rosselli’s lyrics will offer a glimpse of a new language of loss and seclusion able to question the well-worn constructs through which we are accustomed to reading the pandemic: beyond the abstraction of the biopolitical subject, and the numeric reports circulated by the media, the poet conflates civic participation and solitude, invoking the materiality of death and of the sacred within the vertigo of a personal and epochal shift.
Journal of Italian Translation, Vol. XIII, N. 2, Edited by Luigi Bonaffini, 94-115, 2018
Dialogues in Human Geography, 2024
Εκδόσεις Μπαλτά, 2021
Scientific Reports, 2024
The Wiley World Handbook of Existential Therapy, 2019
International Journal of Food Properties, 2017
The American Journal of Forensic Medicine and Pathology, 2002
Infectious Disease Clinics of North America, 2004
Mutation Research: Fundamental And Molecular Mechanisms Of Mutagenesis, 2017
Photochemical and Photobiological Sciences, 2008
The Astrophysical Journal, 2010