Erich Auerbach

This article outlines a systematic theory of style that aims to combine "social formalism" with narratology. Beginning with a reading of a little-known essay by Raymond Williams on the history of English novelistic prose, the article argues that Williams's insights into the social preconditions of modern style can be suggestively combined with Mikhail M. Bakhtin's theory of the inherent multiplicity of novelistic discourse and Richard Walsh's pragmatic theory of narrative "voice" to produce a core definition of style. Style is (1) a linguistic mode of social relation; (2) one of several subordinated, relatively autonomous linguistic operations or "substyles " (Walsh's instance, idiom, interpellation); or more properly, (3) the total mode of configuration of these substyles. The article then proceeds to embed this definition within a broader critical poetics. It argues that stylistic production in the novel is literally "informed" by several factors, for example, the "linguistic situation" (the state of language as a writer would have experienced it, including its inner tensions and social stratifications), "stylistic ideology" (the self-conscious stylistic projects that writers develop), and the linguistic proprieties of inherited novelistic genres, types, and forms (which are themselves mediations of sociality). These categories are exemplified through an analysis of Virginia Woolf 's To the Lighthouse (1927).

“La letra embrolla” escribió Ricardo Gutiérrez. Un aire de sospecha pesa sobre ella. Para poder leer más los lectores involucionan, desconfían, desconocen los textos, se ven obligados a “poner la erudición a la altura del barro” arriesga Mercedes Álvarez en su poemario Imitación de los pájaros. Para empezar ¿se puede transmitir sentido por intermedio de palabras?, ¿se puede dominar lo que se inscribe en una página?, ¿es el sentido una frecuencia entre las palabras y las cosas? Por otra parte ¿es posible dar sentido al universo sin conectarse con una forma de lenguaje en un intento de aproximarlos entre sí a riesgo de provocar la caída en lo inefable?, ¿el sentido debe buscarse en la unidad o en la diferencia, en el origen simbólico o en su devenir irrefrenable? Y la forma ¿es una unidad mínima de contenido o una especie de ángel que se escapó del paraíso del sentido para vagar eternamente en busca de una comunidad perdida? Las preguntas se encadenan hasta fondear un mar de confusiones.

This paper explores the curious issue of crowd noise on "live" records.  What does it mean to call a recording "live"?  When we hear a crowd road through speakers, who is the performer and who is the audience?  Using Baudrillard's notion of hyperreality and Auerbach's juxtaposition of the mythic vs. the legendary, this paper posits a typology of crowd noise.

The three figures presented in this essay are textile diagrams: patterns for lace and embroidery, notation systems for loom weaving, and sewing diagrams. Each embodies the historical and economic conditions from which it emerges. (The terms figure, pattern, and diagram often overlap and are somewhat interchangeable here; the point is that they all provide schematic presentations of a material process.) The present text is a draft, a kind of map for a future project that will study how the field of textile production began, in the proto-industrial workshops and mills of the sixteenth century, to codify textile practices and to render them repeatable. Consider an example: a page of weave drafts for twill patterns, from the Treatise on the Art of Weaving, published in Scotland in 1827 by a certain John Murphy. Identified as patterns, figures, and numbers (subsets), such illustrations ostensibly managed the activities of a population of divided textile-factory workers: those who tied up the loom and those who shuttled the weft. These images were part of a system that abstracted the conditions of labor by making it more efficient. But we might also understand these images as devices of figuration, and more specifically, perhaps, as figures of thought. 1 In Rhetorica ad Herennium, the anonymous author differentiated "Figures of Diction" (4.19-46) from "Figures of Thought" (4.47-69); while the former are identifiable in the language itself, the latter "belong in the pragmatic or situational and functional dimension of language"-that is, in the utterance (perhaps, we could say, the practice or labor of expression). 2 These devices are "compelling because they map function onto form or perfectly epitomize certain patterns of thought or argument." 3 Perhaps a bit more on the philology of the word figure is needed, especially as it pertains to patterns and diagrams, and the relationship between verbal and visual iconicity. 4 According to Erich Auerbach, the Latin figura initially referred quite plainly to "plastic form"; in its earliest occurrence, in Eunuchus (161 BCE), the Roman playwright Terence wrote of a young girl with an "unaccustomed form of face," a nova figura oris (line

El trabajo examina los planteos teóricos y metodológicos expuestos por el filólogo y crítico literario alemán Erich Auerbach en torno del problema del realismo.
Para tal fin me basé fundamentalmente en su texto Mímesis (AUERBACH, 1946), donde desarrolla una historia de la representación de la realidad en la literatura europea occidental, desde Homero hasta Joyce, Proust y Virginia Woolf, en un lento y aglutinador crescendo histórico que tendrá como momento clave el del realismo francés del siglo XIX.

Illustrious is the roll of those who have made prescriptions and predictions declaring that poetry has had its day. Plato wanted to keep poets out of his ideal republic. Love Peacock, Shelley's friend, thought poetry has little place in the modern age of progress and reason. Literary critics like Harold Bloom and Geoffrey Hartman theorize about the demise of poetry after the unsurpassable achievements of Wordsworth and Blake. Theodor Adorno declared that there could be no poetry after Auschwitz, and today many hold that new poets cannot make themselves heard or read amid the cacophony arising from today's World Wide Web, popular culture and advertising trivia. Somehow poetry hangs on. Why? Ultimately this question boils down to the issue of the connection, if any, between literature, especially poetry, and life. This issue in turn cannot be extricated from a study of methods of interpreting literary texts

Why then should we give credit to humanism? And what is humanism according to Said? It is not reckless to maintain that the recovery and the refounding of humanism in Said’s literary and cultural criticism tout court are inconceivable without the rediscovery of Erich Auerbach, especially in relation to his life as a refugee while writing Mimesis. One should in fact remember that Auerbach escaped from Germany during the Nazi regime: he went to Turkey in 1936 and then he left for the United States in 1947, where he died in 1957. Auerbach has been read as one of the greatest representatives of the highest phase of Eurocentric literary criticism, just like Ernst Robert Curtius, T.S. Eliot, or Leo Spitzer; yet Said turns Auerbach into the key that may open a deep revision of humanism’s limits, in order to lead it into the new millennium.

This paper analyses how Auerbach influences the work of Pasolini, in view of the main concept of Stilmischung in Mimesis: Pasolini uses this category not just as a mean to deal with language (and therefore with thought), but mainly as the instrument that enables him to create a fundamental bridge between reality and the representation. The main concept of “mixture of styles”, borrowed from Auerbach and filtered through the plurilinguism theory of Contini, is the instrument Pasolini uses to make the two meet, from both a critical and creative point of view: critical, as observer and commentator and creative, as poet- artist.  Among other things, a theoretic essay like Il cinema di Poesia will reveal as one of the best examples of this kind of contact, through the mixture of narrative and representative points of view which becomes, in the end, a mixtures of styles and languages.

Questo lavoro analizza la presenza e l’influsso di Auerbach in Pasolini alla luce dell’«idea direttiva» di Stilmischung tratta da Mimesis: una categoria che Pasolini adotta non tanto come metro unico di misurazione del linguaggio (e di conseguenza del pensiero), piuttosto come strumento che, accordato ad altri, lo aiuta a creare quel ponte fondamentale tra rappresentazione e realtà. L’idea-guida della “mescolanza degli stili”, mutuata da Auerbach e filtrata – ma prima ancora sperimentata – dalla teoria del plurilinguismo di Contini, è infatti il compasso con cui Pasolini mette a contatto e confronta le due istanze, sia dal punto di vista critico – come osservatore e commentatore – che da quello creativo, in quanto poeta-artista. Tra le altre cose, un saggio teorico (dalla forte vocazione linguistico-stilistica) come Il cinema di poesia sarà uno dei documenti più evidenti di questo contatto, attraverso la percussiva analisi della mescolanza dei punti di vista narrativi e rappresentativi che diviene, in definitiva, mescolanza di diversi linguaggi e stili.

Odysseus’ Scar and Erich Auerbach’s ‘Searchlight’ — Abstract

The first chapter of E. Auerbach’s Mimesis (“Odysseus’ scar”) is an impressive tour de force in which the great German philologist lays out the principles and the tools of his method. It is also a subtle piece of militant criticism, where the primacy of the Judaic tradition over classical culture is clearly advocated. This paper investigates some of the peculiarities of Auerbach’s anticlassical stance, which may even owe something to F. Nietzsche’s Birth of Tragedy.

Martedì 3 maggio, ore 17.30
Sala Azzurra, Ca' Bernardo
Dipartimento di Studi Linguistici e Culturali Comparati
Università Ca' Foscari, Venezia

Letteratura mondiale e metodo
di Erich Auerbach
Con Guido Mazzoni (Università degli Studi di Siena)
modera Alessandro Raveggi (Ca' Foscari, DSLCC)
partecipano Mimmo Cangiano (Ca' Foscari, DSU) e Stefano Ercolino (Ca' Foscari, DSLCC)

Letteratura mondiale e metodo raccoglie gli scritti teorici che hanno reso possibile Mimesis di Erich Auerbach.
Ne parliamo assieme al professore Guido Mazzoni, uno dei curatori della collana Extrema Ratio (Nottetempo edizioni) che pubblica il volume.

Evento in collaborazione con il Dipartimento di Studi Umanistici e Libreria Marco Polo

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A reedição em pleno curso de Mímesis: desafio a pensamento (Editora UFSC, 2014) e Vida e mímesis (Editora Martelo, no prelo), de Luiz Costa Lima merece ser não apenas celebrada, mas, como demanda sua própria textura argumentativa, são obras que pedem uma leitura apurada, o confronto com pontos de vistas divergentes, a reflexão sobre a validade de suas formulações, o grau de consistência de sua rede de conceitos, em suma, o debate de ideias. Junto com Mímesis e modernidade (2ª ed. Paz e Terra, 2003) e o pequeno, porém importante ensaio "Representação social e mímesis" a ser republicado pela mesma editora da UFSC, em volume único (também no prelo), com o projeto editorial de Sérgio Alcides, reunindo as coletâneas de ensaios Dispersa demanda e Pensando nos VITRUVIUS | RESENHASONLINE ano 14, n. 161.01, maio 2015 2 ISSN 2175-6694 trópicos, subintitulado Dispersa demanda II ( 1 ), os livros agora reeditados concentram os passos mais arrojados do projeto teórico de Costa Lima sobre a reconsideração da velha categoria da mímesis. Essa convergência editorial é tanto mais oportuna quanto sua repaginação oferece às gerações mais novas de leitores a chance de romper com a indigência teórica que tem caracterizado o quadro universitário brasileiro, não só de Letras, mas no âmbito das chamadas ciências humanas, notadamente entre filósofos, historiadores, sociólogos, antropólogos e psicanalistas, com os quais a inquietação reflexiva de LCL mantém permanente interlocução. Para que se ressalte, em primeiro lugar, o inusitado da reedição quase simultânea, embora relativamente tardia, das duas obras mais complexas do conjunto, recordamos sumariamente o estado da recepção dos tríptico em questão, isto é dos três mímesis. Como já observamos em outro lugar, embora tenham sido originalmente publicados em 1980, 1995 e 2000, é sintomático que no intervalo de mais de três décadas, nem a reedição do primeiro, nem as publicações originais dos seguintes tenham sido acompanhadas de uma recepção pautada pelo debate de ideias. Isto quando chegaram a ser objeto de alguma recensão. Com efeito, do primeiro mímesis, mal se pode dizer que recebeu uma resenha por ocasião de sua primeira edição. A única então publicada constituía, na verdade, um artigo maledicente que, desde o título irônico, "Estudos miméticos" ( 2 ), o acusava de não repisar mais que o já sabido sobre um conceito evidente. Assim pensando, que enunciava seu acusador senão uma obsoleta concepção de mímesis como repetição? Se a regularidade com que os livros do autor têm sido reeditados e traduzidos, numa média de duas publicações anuais, basta para desmentir o juízo de Wilson Martins, a incompreensão que cerca a obra de Costa Lima, por vezes considerado "ilegível" (como elogio!), chegaria a ponto de um escritor do relevo de Roberto Schwarz considerá-lo, ainda na década de 1990, um crítico antimimético ( 3 ). Como o 1 O mesmo ensaio já recebera nova edição revista pelo autor na coletânea: LIMA, Luiz Costa. Escritos de véspera. Organização e apresentação de Aline Magalhães Pinto e Thiago Castañon. Florianópolis, Editora UFSC, 2012. A sair pela Martelo Casa Editorial, além de Vida e mímesis, também estão no prelo os volumes Lira e antilira, Teoria da literatura em suas fontes (edição revista e ampliada, em três volumes) e uma tradução inédita, feita por Luiz Costa Lima, de Odo Marquard, Estética e anestética: reflexões filosóficas, primeiro livro do autor a aparecer em língua portuguesa. 2 MARTINS, Wilson. "Estudos miméticos". In: Caderno B, Jornal do Brasil, Rio de Janeiro, 1981. 3 SCHWARZ, R. "Adequação nacional e originalidade crítica". In: Sequências brasileiras. São Paulo, Companhia das Letras, 1999, pp.39-40.

“This is a brilliant and highly original investigation of how Cold War politics shaped the emergence of world literature and new forms of cultural authority, literary consecration, and political surveillance in the aftermath of the Second World War. Eye-opening and provocative, Archives of Authority is indispensable reading for all serious scholars of world literature, Cold War cultural politics, and globalization.”
—Anne McClintock, Simon de Beauvoir Professor, University of Wisconsin-Madison

“Examining the period after World War II, when the United States took on an imperial role previously played by Britain, this remarkable book shows the ways in which Western cultural policies, in opposition to Soviet cultural-political efforts, helped literary culture establish certain authors, while excluding others from attention, leading to a new phase of world literature. The research is extensive and impressive.”
–——Jonathan Arac, Professor of English, University of Pittsburgh

“Enacting a kind of literary archaeology, Rubin’s illuminating and necessary book traces the administration of literary culture and its shift from Anglo to American imperial power. Systematic without being sensationalistic, Rubin’s journey through the archive allows us to see the epochal changes of Cold War culture that are still with us in ever greater relief.”
—Ammiel Alcalay, CUNY Graduate Center


"His new book Archives of Authority, in addition to being a groundbreaking and original piece of research and scholarship, is a further illustration of this. Refusing all the mystification and obfuscation of so much that passes for literary or cultural studies, Professor Rubin rolls up his sleeves and delves deeply, more deeply I would claim than anyone before him, into the interstices of one of our culture’s most neglected legacies: the literary and cultural archive of the national security state." —Ammiel Alcalay, CUNY Graduate Center

“This is an exciting exploration of important categories in world literature, a lucid explanation for its rise and fall, and an excellent argument for its careful reconsideration.”
—Paul Bové, Distinguished Professor, University of Pittsburgh

“Rubin reminds us how the insights of a literary way of thinking to the assessment of geopolitical history are inimitable. This meticulously researched and broad-minded book reopens the terrain of oppositional criticism embedded in a humanist pedagogy during an epoch that perversely fetishizes its own catastrophic anti-intellectualism as resistance.”
—Stathis Gourgouris, Professor of Comparative Literature, Columbia University

“This rigorous and intrinsically interesting book is the academic equivalent of a Cold War spy novel, replete with intriguing archival findings and the implication of its author in the bureaucratic Kafkaesque structure of CIA document censorship. It is sure to appeal to a wide audience in literature, Cold War history, political science, and law.”--Emily Apter

Truman Capote, an American author in the "Southern Gothic" style, is credited with having accomplished the first modern "nonfiction novel." His work, published in 1966, having been labored over for many years before, begins with the following acknowledgement:

The first, theoretical part of this study pursues the question of how meaning was generated and how an ambivalent-or polyvalent-object, for example, an allegory, was or can be understood. The interweaving of acts of interpretations involving things, ideas, nature, and-in the specific case of a work of art-the artist, that is to say, the material history of matter and artistic traditions, can be described as allegoresis. As this study demonstrates, the scholar who most vigorously shed light on the medieval exegesis of nature through allegoresis was Friedrich Ohly. The second part of the essay is a case study of an object executed in émail en ronde bosse, combined with an extremely fine relief carved in mother-of-pearl, that unfolds the various layers of the object's meaning through an analysis of the ambivalence of its iconographic motifs, its cultural origin (the courtly practices of gift-giving in French families), and its artistic origin in Paris about 1400, in the workshop of a goldsmith with an extraordinary expertise in only recently developed artistic techniques (rouge cler, émail blanc, painted enamel, and pointillé). The aim of this article is not to provide one interpretation of this object but, rather, to elucidate its ability to oscillate between multiple possible meanings and to reveal how insisting on just one of them would deprive the object of its ability to function in di erent contexts-secular and sacred. FIGURE 1. Reliquary, gold, mother-of-pearl, and enamel, 10.5 × 8 × 7 cm, Paris, ca. 1400, front view, stolen from Museu d'Art de Catalunya, Barcelona (photo: © Ramon Manent). FIGURE 2. Reliquary, gold, mother-of-pearl, and enamel, 10.5 × 8 × 7 cm, Paris, ca. 1400, back view, stolen from Museu d'Art de Catalunya, Barcelona (photo: © Ramon Manent).

In medieval art, there are numerous examples of pictorial programmes composed according to a system of typological opposition between scenes from the Old and the New Testaments, in which scenes from the New are seen as the typological fulfillment of prophecies from the Old. Normally, scenes from both Testaments are juxtaposed, so that the fulfillment under Christ can be seen together with the scene that prefigures it. In the works of the Florentine painter Fra Angelico, this system is softened. His series of 36 small panels from the Armadio degli argenti, now in the Museo di San Marco (Florence), is apparently a quite conventional representation of "highlights' from the Gospel story. However, the inscriptions that accompany each panel reveal a typological scheme at heart of the pictorial programme. This paper studies the compositional and expressive devices applied in Fra Angelico's subtle rendering of well-established theological concepts. Further, the paper argues that the same devices appear in a group of paintings of the Annunciation which can be attributed to Fra Angelico or his school.

Conversazione con Francesco Orlando è la trascrizione di un’intervista effettuata da Alessandra Diazzi
e Federico Pianzola a Pisa il 26 giugno 2009. Per gentile concessione del Prof. Orlando, la medesima intervista viene anche proposta, interamente, in modalità video. Abbiamo voluto rendere
disponibile il resoconto dell’incontro in queste due modalità perché non siamo in presenza di
un’intervista soltanto, bensì soprattutto di una lezione magistrale in cui l’illustre studioso racconta del suo passato, dei suoi maestri, del lavoro che ha alle spalle e dei suoi progetti futuri; inoltre
si sofferma su tematiche a lui care quali, citando soltanto alcuni passaggi, il tempo trascorso con
Lampedusa, il ruolo fondamentale di Auerbach nella sua impostazione, l’importanza del messaggio psicanalitico di Freud e Matte Blanco, il binomio mimesi-convenzione, la difficoltà per
una voce italiana originale di farsi udire nel mondo degli studi umanistici degli anni ’70. Interessante è anche l’ultima parte della conversazione in cui il teorico e critico letterario lascia spazio
all’autore; Francesco Orlando, infatti, parla con passione ed entusiasmo della sua prima opera
narrativa, il romanzo La doppia seduzione, di prossima pubblicazione presso Einaudi (febbraio
2010). La riflessione su questo testo, dall’interessante genesi, costituisce un discorso più ampio
su temi quanto mai attuali oltre che sulla voce dello scrittore di fiction all’interno della società
contemporanea.
L’intervista è stata interamente ripresa in video e poi montata in un secondo momento. La
trascrizione è naturalmente del tutto fedele per quanto riguarda i contenuti; la forma, lo stile e la
sintassi sono stati parzialmente rivisti per rendere più scorrevole il discorso. Inoltre, è stato aggiunto un apparato di note (interamente di mano dei curatori) che mira a semplificare e chiarire
in alcuni punti la lettura, dando tutte le informazioni necessarie ad una piena comprensione. Il
risultato finale e la sua pubblicazione in forma scritta sono stati approvati dall’intervistato.

Reading Erich Auerbach’s highly influential Mimesis: The Representation of Reality in Western Literature, it quite quickly becomes evident that Auerbach is not seeking to supply us with a universal recipe for realism in literature, if such a recipe even exists. As Edward Said writes in the introduction to Mimesis ”Auerbach offers no system, no shortcut to what he puts before us as a history of the representation of reality in Western literature” (Said xxxii). Rather, we embark on an intriguing ride through Western literature across thousands of years, in order to understand just how closely style and history are related. Through focusing on, and analysing passages of texts written by various writers throughout time, Auerbach expands into connecting the text with its historical environment. Focusing on the 13th chapter of Mimesis, ”The Weary Prince”, in which Auerbach discusses Shakespeare, I will use the ”gravedigger scene” form Shakespeare’s tragedy Hamlet, to test and analyse Auerbach’s views on realism in Mimesis.

Drawing on recent calls for a return to philology and on the experience of the international research programme "Zukunftsphilologie: Revisiting the Canons of Textual Scholarship", this essay seeks to problematise these calls by examining some of the potential and fruitful avenues of inquiry as well as some of the challenges that lie ahead for a future "World Philology".

Montaigne, Aeneis’in VIII. Bölümündeki birkaç dize ile ilgili şunları söyler: “Venüs çıplak halde, Vergilius’ta olduğu gibi çok güzel, canlı ve heyecanlandırıcı değildir.” (Denemeler, III, 5). Bu yaratma sürecinin kutsanması anlamındaki ifade “mimesis”in varacağı son noktada sanatkarın tanrıyı oynaması ile karşılık bulabilir. Giordano Bruno (1548-1600) yaratma gücünün tanrısal kaynaklarına sahip olan sanatçıyı “eski tanrı”, “başka bir tür tanrı” sayacak kadar betimlemeyi abartır.
Mimesis sadece yeniden oluşturma süreci etrafında dönen bir kavram değil, aynı zamanda modern zamanların en şuursuz hastalıklarının da taşıyıcısıdır. Jean Baudrillard tabiri ile günümüz bireyi Sudan iç savaşı ile tuvalet kağıdı reklamını aynı duyarsızlıkta seyretmektedir. Bu duygusuzluk hali Adorno’nun söylediği gibi, sevmeye yeterince açık olmadığı için sevgiye muhtaç hastalıklı bireyler doğurmuştur.
Günümüz/ post-modernizmin “post” atladığı zamanın aydınları ağırlıkta olmak üzere “mimesis”in doğuşundan günümüze kadarki serüvenini özetledik. Devamen katharsis ele alınacak. Gayret bizden tevfik Allah’tan.

Proust décrit le temps des cercles dans son roman. C’est pourquoi j’ai pensé que « le temps perdu » et « le temps retrouvé » chez Proust correspondent au « Paradise Lost » et au « Paradise Regained » chez Milton. J’aimerais citer la phrase qui peut étayer cette hypothèse. "...les vrais paradis sont les paradis qu’on a perdus." (Proust, À la recherche du temps perdu, Bibl. de la Pléiade, IV, Gallimard, Paris, 1989, p. 449)

In: Bolte, Rike / Haase, Jenny / Schlünder, Susanne (Hg.): La Hispanística y los desafíos de la globalización en el siglo XXI. Posiciones, negociaciones y códigos en las redes transatlánticas. Madrid - Frankfurt am Main: Iberoamericana - Vervuert 2018, pp. 347-398.

Immagine di copertina: Andi Kacziba, Vìola project, Talee IV., 2015. Foto di Alessio Melloncelli L'editore resta a disposizione di tutti gli eventuali proprietari dei diritti sulle immagini riprodotte nel caso non si fosse riusciti a reperirli per chiedere detta au torizzazione. In caso di cortese segnalazione si, provvederà tempestivamente a porre rimedio a eventuali omissioni e/o errori di riferimenti relativi e, in caso di conclamata violazione dei diritti si provvederà alla rimozione di suddette immagini dalle successive ristampe. © 2019 -Copyright by Gruppo Editoriale Castel Negrino Proprietà letteraria e artistica riservata Riproduzione e traduzione anche parziali vietate Marchio del Gruppo Editoriale Castel Negrino Strada per Castel Negrino, 8 20886 Aicurzio (MB) info@virtuosa-

Vertige de lire La Bruyère après Molière et de se laisser (trop) rapidement convaincre que le Tartuffe de notre mémoire culturelle n'est jamais qu'un faux faux dévot quand l'Onuphre de La Bruyère serait le vrai faux dévot par excellence (si l'on peut dire). Vertige ensuite de recourir, pour arbitrer ce débat, à l'autorité d'un autre lecteur et de découvrir que celui-ci, Auerbach pour le nommer tout de suite, ne nous donne jamais à lire que sa propre lecture, soit un autre texte, lui-même classique désormais (on voudra bien m'accorder que Mimèsis est un des "classiques" -  ils ne sont pas si nombreux - de la théorie littéraire).

Translation has largely been dismissed by the field of comparative literature as being considered a mere mediator and an unnecessary tool for the true comparatist. But it is the comparatist who should master the languages in which the works to be compared are written. In recent decades, following the "cultural turn", scholars have come to study translation from a cultural and comparative perspective in increasing numbers. This chapter further develops this orientation by addressing the issue of reflexivity as essential to comparative literature qua multilingual research. Furthermore, comparative literature is here considered from the perspective of translation, with a special focus on the fact that comparative literature in the age of globalization is increasingly characterized by world literature.

Pasolini e Dante. La "divina mimesis" e la... pubblicato da Le parole e le cose -http://www.leparoleelecose.it/?p=21517 Pasolini e Dante. La "divina mimesis" e la politica della rappresentazione di Emanuela Patti [Quest'anno si celebrano i 40 anni dalla morte di Pasolini e i 750 anni dalla nascita di Dante, due autori accumunati dall'interesse per il valore politico della lingua e della rappresentazione. A chiusura di questo periodo di anniversari pubblichiamo l'anticipazione di un libro di Emanuela Patti, Pasolini After Dante. The 'Divine Mimesis' and the Politics of Representation in uscita presso Legenda (Oxford),. Le pagine che seguono riprendono, per frammenti e in traduzione, alcune delle questioni trattate nel volume] I Mimesi.

Wherever one looks one finds a consensus among scholars that Auerbach’s vision of literary history can be read through the lens of figural reading, as though he had adopted this interpretive technique and made it his own, not only in “Figura,” where Auerbach is giving a historical account without endorsing a thing, but also in Mimesis, whether in his reading of the Hebrew Bible in the famous first chapter of that work or even in later chapters where his analysis concerns secular and no longer Jewish or Christian writing. At another extreme, it can be asserted that history is grasped by Auerbach as itself a figural mechanism under the sign of mimesis. Figura here becomes something like a master trope in Auerbach’s conceptual armory, and it threatens to overwhelm the whole of his thinking. Can the figure of figure bear so much meaning? I doubt that it can. A closer look at the role of figura in Auerbach’s writings will bring out some of the intricacies of this concept and will show that figura functions for him more as a vanishing mediator than as a master trope, much as late antiquity was in Auerbach’s mind a watershed but also a passing moment in the history of Western culture. Auerbach had a keen sense of the direction that history had taken, and his writings demand that we situate him within this perspective.

Este tercer número de Cuadernos de teoría y crítica, revista independiente cuyo objetivo es la publicación de traducciones o de textos de escasa circulación, ha sido dedicado a Erich Auerbach. Contempla 5 textos publicados por el filólogo alemán entre 1921 y 1953, 4 de ellos traducidos por primera vez al español.

In this Philological Conversation, Carlo Ginzburg reflects on the place of philology in his work and explores the connections between philology, microhistory, and casuistry. We talk about the people who inspired his early thinking, including his father Leone Ginzburg, his mother Natalia, and his grandfather, moving on to Erich Auerbach, Leo Spitzer, and Sebastiano Timpanaro. We discuss the ethical and political implications of his research and reflect on the power of philology to give voice to the marginalized and suppressed. The conversation, which was edited for readability, took place during the Corona pandemic over three meetings via Zoom on July 13, September 10, and September 17, 2021.

così od'io che solea far la lancia d'Achille e del suo padre esser cagione prima di trista e poi di buona mancia (Dante, Inf. XXXI, L'ultimo capitolo di Mimesis arriva ad abbracciare alcuni aspetti della narrativa contemporanea, muovendo come di consueto dall'analisi dettagliata di un brano (tratto, in questo caso, dalla prima parte di To the Lighthouse di Virginia Woolf), per poi estendere progressivamente la visione a tematiche più ampie. Prima delle conclusioni, tuttavia, un breve excursus sposta il fuoco dell'osservazione sul metodo, come già era accaduto nei capitoli su Montaigne e Stendhal (Mimesis, II, 35-36 e II, 230-231), ma con una differenza sostanziale: mentre il procedere saggistico di Montaigne, «apparentemente capriccioso e non guidato da un piano», oppure il proposito stendhaliano di «prendre au hasard tout ce qui se trouve sur ma route» offrivano solo spunti isolati e si presentavano come anticipazioni di uno spirito critico ancora lontano dall'affermarsi pienamente, nelle tecniche dei romanzieri degli anni Venti e Trenta Auerbach rileva invece una vera e propria omologia con i metodi di alcuni critici e filologi moderni, e nella «solidarietà "stilistica" fra tutte le manifestazioni spirituali di un'epoca» 1 individua uno dei fondamenti della propria ricerca: Il tema: Il secolo di Auerbach 52 * Riporto di seguito le traduzioni italiane dei libri di Auerbach che cito in sigla nel presente scritto, rinviando alla Bibliografia minima ragionata dell'Introduzione per ulteriori indicazioni: Mimesis = Mimesis. Il realismo nella letteratura occidentale, con un saggio introduttivo di A. Roncaglia, Einaudi, Torino 1956, 2 voll.; LLP = Lingua letteraria e pubblico nella tarda antichità latina e nel Medioevo, Feltrinelli, Milano 1960; SSD = Studi su Dante, Prefazione di D. Della Terza, Feltrinelli, Milano 1963; SFDV = San Francesco Dante Vico ed altri saggi di filologia romanza, De Donato, Bari 1970; DMAP = Da Montaigne a Proust. Ricerche sulla storia della cultura francese, Garzanti, Milano 1970; IFR = Introduzione alla filologia romanza, Einaudi, Torino 1963. 1 A. Roncaglia, Saggio introduttivo, in Mimesis, I, XXV.

Este artigo procura ofertar uma reflexão crítica sobre o
conjunto de textos escritos pelo poeta anglo-americano Wystan
Hugh Auden referentes à obra de J.R.R. Tolkien, tentando precisar
suas linhas de força. Dentre estas, nosso foco analítico privilegia a
noção de demanda heroica e a constituição de seu protagonista,
assim como a natureza do bem e do mal em O Senhor dos Anéis.
Com base nas observações de Auden, procuramos pensar a relação
entre a presença singular dos hobbits e a construção de um
realismo particular e, complementarmente, a importância da
imaginação na composição de um ethos tolkieniano marcado por
uma dimensão subversiva em constante tensão com a noção de
alegoria.