Literary Anthropology

Following Wolfgang Iser’s studies, literary criticism could no longer avoid a confrontation with the phenomenology of the act of reading. This has led the analysis of a literary text towards new researches regarding the reader’s response theory . In particular, it is impossible to define the field of literary investigation, its coordinates and characteristics, without considering the anthropological dimention which defines the epistemological nature of literature itself. We propose in this study a new approach that we call “neurohermeneutic approach”. Unlike an analytical or descriptive approach, the neurohermeneutic approach investigates broth the relations that the reader’s mind establishes with the text figurations and how these figurations stimulates the reader’s mind in that inexhaustible, always new and surprising act of the reading. A partire dagli studi di Wolfgang Iser, la riflessione critica non ha piu potuto evitare il confronto con la fenomenologia dell’atto della lettur...

Il codice arcadico ovvero Venus magistra vitae 1 Quando, nell'ottobre del 1749, l'Accademia di Digione sollevò pubblicamente la questione "se il ristabilimento delle scienze e delle arti avesse contribuito a purificare i costumi", un interlocutore praticamente sconosciuto rispose in maniera imprevista 1. Probabilmente l'Accademia dava per scontato il consenso intorno al grande progetto dell'Illuminismo. Ma Rousseau divenne celebre perché, ribaltando i termini della questione, suggeriva che, a grandi linee, al massimo grado di raffinatezza culturale consegue un livello minimo di virtuosità. Una "barbarie della riflessione" era il pronostico formulato quasi allo stesso tempo anche da Giambattista Vico a proposito di una cultura della ragione giunta al culmine del suo sviluppo 2. Ma comunque incontestato rimaneva l'illuministico movente centrale: come giungere a una felicità umanamente possibile. Essenzialmente si trattava quindi di individuare il percorso giusto. In realtà, già nel suo primo Discorso, Rousseau lascia intendere in quale parte della natura umana egli ritenga di trovarla (coeur). Ma in questa fase è ancora impegnato a dimostrare soprattutto come la moderna storia della civiltà abbia condotto l'uomo a una condizione di improprietà esistenziale. Il comportamento calcolatore dello spirito (esprit) si è imposto in maniera 'depravante' sul sentire naturale del corpo (corps). Un processo, questo, inaugurato già dalle grandi civiltà del mondo antico.

Taylor brings an ethnographer’s eye, ear, and many years of experience to this fictional portrait of life along the US/Mexico desert border. In these linked short stories, readers are taken on a wild ride from San Diego to Nogales, into Mexican and Chicano neighborhoods, failed spas and defunct mining towns, rambling Native American reservations and besieged Wildlife Refuges. Along the way they will share the conflicts, calamities, and occasional triumph of an engaging cast of characters. While these tales treat such familiar border themes as drug- and people-smuggling or hybrid and conflicting cultures and identities, they do so with a literary flair that revels in the rich diversity of border life as well as in its ambiguity, ambivalence, irony and often unexpected humor.

This graduate seminar is an invitation to think through what it takes to do and write ethnography. You will alternate between readings that explicitly address methods for conducting fieldwork and those that enact and theorize the transformation of that research into writing. In tandem with the readings and our class discussions, you will complete a number of exercises aimed at familiarizing yourself with some of the practical and epistemological issues raised by fieldwork and helping you develop what we might think of as ethnographic sensibilities. Building on three fieldwork exercises, each student will design and implement a small fieldwork project based on observation and interviewing, which will be the basis of an analytical case study. The goal is to explore various ways of attuning yourself to the demands—pragmatic, conceptual, political, aesthetic, to name a few—of producing knowledge that is grounded in experience. As such, the readings and exercises will help you cultivate various modes of attention, participation, and observation; gain experience writing fieldnotes and producing other forms of documentation; analyze the fieldwork material that you gather/produce; grapple with the ethics of accountability and representation; and experiment with forms of writing that might be adequate to the task of weaving analysis, narration, and theorization into a genre recognizable as “ethnography.”

The study analyses the development and change of gender semantics during the 'long 19th century', based on the premiss of the constitutive role of literature as a medium where socio-historical concepts are formed and reflected upon. In contrast to previous research, the focus thereby lies not on literature of the Fin de Siècle but on the German Naturalism: As the study shows by detailed analysis, the era of Naturalism can be regarded as an initial phase where the perceived crisis of traditional 'complementary' gender roles is being addressed in literary as well as in poetological discourse in a significant way. A core piece of the analysed texts consists of dramas of the non-canonical author Elsa Bernstein (1866-1949). Due to the close linkage of naturalist aesthetics and the issue of conflicting gender roles that characterises Bernsteins texts, their interpretation thus provides a 'burning glass' which helps to shed light on the significance of changing gender semantics regarding the discourse of Naturalism as a whole. All in all, the study emphasises the relevance of the naturalist era as a liminal but not marginal epoch of literary modernims which plays a crucial role with respect to 19th century literary anthropology.

Identità relazionale, sintagmatica e paradigmatica La categoria del personaggio è tornata al centro della riflessione teorico-letteraria, dopo l'eclissi narratologica, e dunque mi pare meritevole anche di un tentativo di analisi nel quadro di un approccio che si vuole 'antropologico' e che si trova particolarmente a suo agio nel dominio medievale; come mi pare giusto in un contesto seminariale, quale quello odierno, e come il titolo del mio intervento dichiara, non sono in grado di proporre una teoria compiuta ma soltanto alcune prove, alcuni assaggi in questa direzione.

This master's thesis tries to answer the research question “What is post-irony, and how does it manifest itself on social media?”. The study was conducted through fieldwork carried out on the visual- and auditory- social world of VRChat, using traditional anthropological methods and virtual reality hardware.

The Communism has pleaded for uniforms, believing that it will erase social differences, and the literature is one of the most interesting channels for receiving this state of affairs as depersonalization by clothing in the Communist times. The writer does not show that care for clothes, but in constructing a story, and therefore the clothing is placed on a second plan, encompassing an auctorial attitude towards the phenomenon, often in an involuntary way, transmitted to the literary imagery. With this idea, I chose twenty of the most representative epic works of the communist period and I followed sequences containing clothes descriptions. Adopting the method of anthropological symbolism of Gilbert Durand, I watched the types of synthems, registered in the sphere of the confusion. From the sequences analyzed, we see that communist ideology was built on the following idea: the clothes must express a certain type of decency, supported largely by population, with a resignation that has helped create an attitude of scheduled disregard of clothing.

Realizzazione editoriale: Omnibook, Bari Finito di stampare nel febbraio  dalle Arti Grafiche Editoriali Srl, Urbino ISBN --- Riproduzione vietata ai sensi di legge (art.  della legge  aprile , n. ) Senza regolare autorizzazione, è vietato riprodurre questo volume anche parzialmente e con qualsiasi mezzo, compresa la fotocopia, anche per uso interno o didattico. Volume pubblicato con il contributo dell'Università degli Studi di Macerata e del Progetto Nazionale di Ricerca cofinanziato dal MIUR "Letteratura Medievale, Moderno, Postmoderno", Unità di Ricerca "Comico, satira, parodia: temi e pratiche medievali, moderni e postmoderni".

2022. ¿Se sigue hablando de "la ciencia del hombre" para referirse a la antropología? Las agendas contemporáneas parecerían indicar que no, pero la evidencia documental sugiere lo contrario. O mejor: indica que la elección y uso de palabras es un poco más embrollada.

Opposed to Czech literary criticism, which draws inspiration from anthropological knowledge very reluctantly, contemporary literary criticism in Poland is barely thinkable without “an anthropological perspective”. A great number of literary scholars claim that their “method” is anthropological. Nevertheless, they do not always conceive it the same. The article examines three different ways of understanding the “anthropologization” of literary criticism: one of Ewa Kosowska, in which a literary work becomes a document or an illustration of non-literary reality; one of Grzegorz Godlewski which is greatly influenced by Mikhail Bakhtin as well as by postcolonial theories; and finally it examines works of Ryszard Nycz and his colleagues from the Faculty of Polish Studies of the Jagiellonian University whose often thought-provoking ideas do not often yield to an easy theoretical categorization.

The conventional definition of a conceptual class is that its members must possess certain properties in common. Vygotsky and Wittgenstein have shown that this definition is unrealistic and logically unnecessary. The resultant recognition of classificatory concepts formed by family resemblances has recently led to a revision of anthropological analyses of kinship and of belief statements. The present article reports the discovery that, by a remarkable convergence of ideas in the past decade, family resemblance predicates had already been adduced in certain natural sciences under the term 'polythetic classification'. The methodological and experimental results of this approach are set out, and a variety of consequences for social anthropology are drawn from them. A main conclusion is that comparative studies carried out in the stock classificatory terms of anthropology are subverted by the realisation that they refer not to common features but to polythetic classes of social facts. It is suggested that effective comparison may nevertheless be practicable by reliance on a purely formal terminology of analytical concepts, and it is envisaged that these may permit the determination of basic predicates in the study of human affairs. 1. Per un breve commento sulla storia delle metafore 'di famiglia', si veda Needham (1972: 113 n. 4). Agli scritti citati si può aggiungere il parallelo presentato da Nietzsche (1886: 25), che fa riferimento alle filosofie indiana, greca e tedesca come caratterizzate da somiglianze di famiglia (Familien-Ähnlichleit). Sappiamo inoltre che Nietzsche, come Wittgenstein, era un ammiratore di Lichtenberg, un grande precursore di questo genere di pensiero. Egli giudicava gli aforismi di Lichtenberg essere degni di far parte del meglio della prosa tedesca e li reputava degni di essere letti ripetutamente. Allo stesso tempo va ricordato che Familien-Ähnlichleit era un'espressione adottata da più di un secolo prima che Wittgenstein scrivesse le sue Ricerche filosofiche. Grimm, nel suo Deutsches Wörterbuch (vol. 3, 1862) glossa la parola con il latino gentilissimilitudo (1306). Thomas Braun mi ha indicato l'affermazione nella prefazione (vol. 1 1854, col. xxxix-xli) dove si dice che gli equivalenti latini vengono citati come migliore modo di fare chiarezza e mi ha gentilmente dato la sua opinione, secondo cui la frase non è un'etichetta letteraria, tale da indicare l'origine classica della nozione. Per una buona analisi filosofica di questo concetto si veda Campbell (1965). 2. In un precedente riferimento a questa convergenza (Needham 1972: 11-14), pensavo di avere riportato una scoperta, ma scoprii successivamente, che ero stato anticipato da Stephen Toulmin (1969). Mi rammarico per la mia ignoranza rispetto al saggio di Toulmin, che sono felice di aggiungere. Toulmin afferma di avere letto Vygotsky alternatamente a Zettel (1967) di Wittgenstein, ricavandone molti stimoli intellettuali: «i paralleli teoretici, le somiglianze nell'attitudine generale, anche i toni dei due autori erano troppo simili, per essere interamente indipendenti» (pp. 71-72). Egli suggerisce, inoltre, un'ulteriore connessione tra Vygotsky e Wittgenstein cioè lo psicologo Karl Buhler, citato spesso da Vygotsky in ThoughtandLanguage, conoscente della sorella di Wittgenstein, nella cui casa Wittgenstein potrebbe averlo incontrato, che fu uno tra coloro che maggiormente contribuirono della teoria linguistica moderna. 4 RodneyNeedham 3. Sull'ambiguità del sintagma 'somiglianze di famiglia ', si veda Needham (1972: 112-13). Avevo in precedenza alluso a tali somiglianze come 'somiglianze seriali ' (1972: 119, n. 6, 1974a: 49), ma complessivamente l'aggettivo sporadico mi sembra più adatto.

Tavern in the Grand Duchy of Lithuania
Summary

A tavern or a pub in the Grand Duchy of Lithuania could be interpreted in two paradigms. One of them is based on the carnival culture theory of Michail Bachtin. In this case, a pub represents culture which is opposite to official culture of Church and State in the Middle Ages. Nevertheless, in West European town, a pub and a church stand on the same squire and are related by the Christian festivity. Another paradigm was formed in Ortodox culture. There, a tavern or a pub is associated with a sphere of devil and totally excluded from official culture of Church.
The article analyses representations of a tavern in texts of  Polish, Lithuanian and Ukrainian authors of the 19th century – Adam Mickiewicz, Motiejus Valančius and Nikolai Gogol. All of them represent tavern and its keeper a Jew. The figure of Jew is a main common feature for that locus in the Grand Duchy of Lithuania. The only one Mickiewicz depicted in Pan Tadeusz architectural peculiarities of a tavern. The poet related them with the Jewish culture. Mickiewicz also can be distinguished for his sympathy for the keeper of the tavern.
Lithuanian writer Valančius was a Catholic bishop ​and treated a tavern from the moral point of view. In his opinion, a tavern is a bad place for socialization because people behave in an immoral way there. In his tale Juzė from Palanga, Valančius pointed out a confessional border between  Jews and Catholics and said that if Jews don’t go to Catholics’ places to celebrate their weddings, so why Catholics should go to the place of Jews.
Gogol represents a tavern keeper as a Jew only in tales about Ukraine in the 17th century. A figure of a Jew in the same role was showed in Ukrainian vertep. In vertep, a Jew was portrayed as a comic personage and humiliated in spite of his suffering. Gogol borrowed from the vertep a comic representation of a Jew as well as his relation with a locus of a tavern. Jankel in “Taras Bulba” is the closest character to a Jew of the vertep.
The nationality of tavern keepers in Gogol’s “Ukrainian” tales on time later than 17th century is not mentioned. Nevertheless, a tavern in his texts does not lose its margin character and occurs as a border of real and fantastic spaces.
Every author represents a tavern as a place of transition. In Pan Tadeusz, it is a transition to another type of culture. In Juzė from Palanga, the locus of the tavern is represented as an opposition to Church, and as a place of transition to the amoral behaviour. In tales of Gogol, a pub is a place for the transition to the unreal fantastic world. It is interesting to note, that the attitude to the tavern of a Catholic bishop Valančius is the closest to the position of the Orthodox Church.

This book tells the remarkable story of the friendship between Liria Hernández, a Roma woman from Madrid, and Paloma Gay y Blasco, a non-Roma anthropologist. In this unique reciprocal experiment, the former informant returns the gaze to write about the anthropologist, her life and her environment. Through finely crafted and deeply moving text, Hernández and Gay y Blasco suggest new ways of doing and writing anthropology.

The dialogue between Hernández and Gay y Blasco provides a courageous account of the entanglements and rewards of anthropological research. Drawing on letters, conversations, and fieldnotes gathered over twenty-five years, each of the authors talks about herself, the other, and the impact of anthropology on their two lives. They examine their intertwined trajectories as Spanish women and reflect on the challenges of devising their own reciprocal genre. Blending ethnography, life story and memoir, they undermine the dichotomy between author and subject around which scholarship still revolves.

Reviews
“Engrossing, provocative, moving, analytically fascinating – this reciprocal ethnography is all these. Most importantly, what we find in Writing Friendship is a close-up, laid bare demonstration of how people make meaning out of one another’s ideas and experiences. Fascinating.” (Christina Toren, Emeritus Professor of Anthropology, University of St Andrews, UK)

“On rare occasions you come across a book that you don’t want to finish, a book that inspires so much that it takes your breath away. Writing Friendship is that kind of book.  Through creative experimentation, the authors, who come from very different social worlds in Spain, stitch together a marvelous story. They show us how slowly developed long-term friendships can shape the kind of deep ethnography that underscores the wondrous complexity of the human condition. This is a book that has soul.” (Paul Stoller, author of Yaya’s Story: The Quest for Well Being in the World)

“A wonderfully and beautifully written work. Gay y Blasco and Hernández uniquely position emergent and shared story as a framework for co-interpretation, collaborative research and writing.” (Luke Eric Lassiter, author of The Chicago Guide to Collaborative Ethnography)

La collana intende pubblicare volumi di carattere multi-e interdisciplinare, in italiano e in altre lingue, capaci di misurarsi e dialogare con la critica internazionale, proponendo una innovativa esplorazione e trasgressione dei confini teorici, linguistici, ideologici, geografici e storici delle lingue e delle letterature moderne e contemporanee, al fine di dare un contributo originale al dibattito transnazionale sulla ridefinizione del ruolo delle discipline umanistiche nel XXI secolo. Licenza Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International CC BY-NC-ND 4.0 Andrea Ghidoni Scintille di un archetipo: draghi alla fontana, eroi sonnolenti e fanciulle vigili nella narrativa medievale*

The aesthetic nature of witness-narratives raises theoretical concern insofar as this particular form of storytelling blends different genres and crosses the boundaries of literary, historical, and juridical rhetoric. From the point of view of literary theory, witness-narratives confront critics and theorists with remarkable challenges as to their definition and interpretation. Nonetheless, witness-narratives have become a solid reality in Western literature over the twentieth century, mostly because of the world wars that involved millions of individuals who found in writing a way to deal with their experiences in order to understand them and to control their long-term effects. This volume considers witness-narratives in its aesthetic nature of hybrid mode of storytelling in which historical narration and mythopoeic storytelling combine together. German war accounts of the Russian Campaign (1941-1944) provide an example of a historical and autobiographical narrative, where the mythical-romantic mode (visionary and symbolic) is blended with the historic-realistic mode (descriptive and causal). On the one hand, the witnesses recount past historical events; on the other, they re-functionalize archetypes, symbols, literary genres and mythologies for the benefit of present communities. Through witness-narratives we apprehend not only how and why we have become what we are, but also the deepest roots of our opinions and beliefs.

La memorialistica si è affermata nel corso dell’ultimo secolo come un fenomeno letterario, soprattutto in seguito alle guerre mondiali, che hanno coinvolto grandi masse di individui. Questo volume rappresenta un tentativo di collocare il modo memorialistico nell’orizzonte della narrativa contemporanea, attraverso una riflessione teorica che compara la teoria letteraria di Northrop Frye con la teoria storico-filosofica del mito, e attraverso lo studio di una specifica tradizione memorialistica: il racconto della campagna di Russia combattuta dall’esercito tedesco tra il 1941 e il 1945. Secondo la tesi di questo studio, nella memorialistica si combinano istanze storiche, antropologiche e ideologiche, dando vita a un modo letterario originale della contemporaneità, che rivela come il nostro rapporto con il modo mitico del raccontare sia rimasto vivo e continui a costituire il principale mezzo della nostra auto-comprensione.

Ocalić od zapomnienia: Teofila Bobko-Jankowska (1920–2009) Artykuł stanowi dokumentację twórczości miejscowej poetki Teofili Bobko-Jankowskiej (1920–2009) związanej z warmińską miejscowością Biskupiec. Zebrany materiał należy do kategorii badań nad regionalizmem i antropologią literatury polskiej, stanowiąc dokumentację wytworów kultury powstałych w małych strukturach społecznych oraz siły ich społecznego oddziaływania na procesy związane z ochroną kultury w regionie warmińskim po roku 1945. W tym kontekście literatura regionalna i lokalni twórcy kultury wywierają wpływ na możliwości wytwórcze miejscowej kultury, co przekłada się bezpośrednio na rozwój i konsolidację potencjału twórczego kultury miejscowej.

Résumé
Le théâtre d'Eugène Ionesco fait l'objet d'un paradoxe: son «avant-gardisme» spectaculaire se nourrit d'une vision essentiellement classique. Plus précisément, Ionesco envisage des «archétypes oubliés», et cherche à les «renouveler» sous l'aspect de l' expression dramatique, tel qu'il dit lui-même. Son «antithéâtre» pousse ainsi à l'extrême le ressort expressif du genre. Ionesco ne s'essaye plus à un théâtre d'événements, ni à l'intrigue bien faite à la manière d'Ibsen et du drame realiste du XIX-ième siècle; tout au contraire, il tente l'expérience d'un théâtre voulu «abstrait», «nonfiguratif», dépourvu du référent extra-théâtral circonscrit par l'imitation vraisemblable (mimesis) que recommande Aristote; quelquefois, un théâtre d'énergie pure, préconceptuelle − sonore ou kinésique −, comme dans ses «anti-pièces» (La Cantatrice chauve, La Leçon).
Les nouvelles dites «fantastiques» de Mircea Eliade avancent également, d'une manière plus ou moins implicite, une certaine poétique du théâtre. Celle-ci repose essentiellement sur l'aptitude sotériologique de l'art. La figure exemplaire en est le Poète orphique. Chez Mircea Eliade, la thèse bien connue du «sacré camouflé dans le profane», épouse le principe-clé d'un «nouveau» théâtre. À son avis, le vrai théâtre croise l'ancien rituel, et le drame revient ainsi au dromenon; c'est-à-dire, à l'ancienne (re)présentation rituelle, de la tradition des cultes de mystères, censés révéler les grands mythes fondateurs et ce qu'ils disent de la destinée humaine.
Notre travail porte donc sur la remise en question du mécanisme théâtral de souche aristotélicienne, que tente à la fois Mircea Eliade et Eugène Ionesco, chacun à sa façon. On envisage principalement les aspects suivants:
a) tout d'abord, la poétique théâtrale dont quelques nouvelles de Mircea Eliade sont à même de rendre compte: Nouăsprezece trandafiri [Dix-neuf roses], În curte la Dionis [Dans la cour de Dionis], Incognito la Buchenwald [Incognito à Buchenwald], Uniforme de general [Uniformes de général] ;
b) deuxièmement, l'imaginaire de Ionesco vu par Eliade; la dissolution du «théâtre de l'absurde» (tel que le désignait Martin Esslin) dans un théâtre plutôt mythique, voire mystique (selon Marguerite Jean-Blain), «théâtre des origines» à la manière d' Antonin Artaud et des «archétypes oubliés», comme disait Ionesco;
c) en troisième lieu, la dissolution chez Ionesco, d'une dichotomie essentielle de l'esthétique classique: tragique vs. comique; d'où la tragi-comédie sur laquelle repose symptomatiquement son antithéâtre;
d) enfin, l'(anti)théâtre d' Eugène Ionesco − ou tel qu'il dit, son «théâtre abstrait» − en tant que  mise à l'oeuvre et mise à l' épreuve d'une certaine poétique du «nonfiguratif», dont se réclame le dramaturge.

Mots-clés:  poétique, théâtre, absurde, abstrait, nonfiguratif, mimesis, rituel, archétype, Aristote, Artaud, Pirandello, Ionesco, Eliade.

Rodney Needham, Classificazionepolitetica: convergenzaeconseguenze.................................................................................
Massimo Bonafin, Alcuneimplicazionitassonomichedellostudio
diunmotivoetnoletterario......................................................
Francesco Remotti, TraLévi-StrausseWittgenstein. Ilcontributodellesomiglianzedifamiglia................................................
Marco Buzzoni, Leclassificazionistorico-letterarie comeproblemaepistemologicodellescienzeumane. ...................................
Marcello Meli, Tassonomieeparadossi: quelchenonsipuòesi
devedirenelleScienzeUmane.................................................
Mario Domenichelli, Memoryandoblivion.
L’imaginaire as archive,repertoryandinterconnectivefunction: thematicclusters,
thematicfamilies; engrams, figurae andmemory-traces...
Maurizio Bettini, Fra‘ etico’ed‘emico’. Leaphormái dell’antro-pologoclassico ........................................................................
Andrea Ghidoni, Ilmotivodeivantitraradicistoricheearchetipi: alcuneriflessionidimetodosulleclassificazionipolitetiche........
Giovanni Bottiroli, Dallesomiglianzealledifferenzedifamiglia

La collana intende pubblicare volumi di carattere multi-e interdisciplinare, in italiano e in altre lingue, capaci di misurarsi e dialogare con la critica internazionale, proponendo una innovativa esplorazione e trasgressione dei confini teorici, linguistici, ideologici, geografici e storici delle lingue e delle letterature moderne e contemporanee, al fine di dare un contributo originale al dibattito transnazionale sulla ridefinizione del ruolo delle discipline umanistiche nel XXI secolo.

Im Zeitalter der Globalisierung gewinnt die Weltgeschichtsschreibung in besonderem Maße an Bedeutung. Vor diesem Hintergrund untersucht André de Melo Araújo das bislang unerforschte Gesamtspektrum des spätaufklärerischen universalhistorischen Denkens an der Universität zu Göttingen. Dabei geht er den Debatten um die Weltgeschichtsschreibung nach, die hier auf die Spitze getrieben wurden, und eröffnet den Blick auf eine dynamische Vielfalt an konkurrierenden Wissensformen.

»Ohne Zweifel schließt die Arbeit eine deutliche Lücke in der Geschichte der Göttinger Universitätsgeschichte.«
Hermann Wellenreuther, Jahrbuch für Europäische Überseegeschichte, 14 (2014)

»Araújo wollte einen ›Beitrag zur Genealogie des universalhistorischen Denkens [...]‹ leisten. Dies ist ihm in vollem Maß gelungen.«
Martin Gierl, Göttingische Gelehrte Anzeigen, 266/3-4 (2014)

The article aims to outline aspects, features and functions of a cluster of characters in some chansons de geste, in particular Yon and Gaifier, both designated often as rulers of Aquitaine (or Gascony). Around these characters, we can individuate a pattern, in which the Aquitanian lord gives the hero his daughter’s hand, which means power and sovereignty; other features linked with Yon and Gaifier are wealth and treachery. Some features of the pattern can be rooted in the 8th-century struggle of Aquitanian dukes to remain independent from the Carolingian centralization of the power. In the second part, some hypotheses will be advanced about the relationship of the “Aquitanian pattern” with the plot of the Medieval Latin text Waltharius and of the Spanish romancero commonly entitled Gaiferos.

Despite its pervasive presence in our daily experience, narration has today lost much of its original cultural weight. The narrative act instead has played a fundamental role in those traditional communities which for centuries moulded and recreated their vision of the world and life by means of it, frequently in contrast to the hegemonic vision. The tale was a collective rite, in which each participant contributed to weaving the never definitive plot of cultural identity. The traditional Irish fairy tale is a privileged field in which to evaluate the dynamics of popular orality and (re)discover the resources intrinsic to the narrative appropriation of reality.

Although Wolfgang Iser is one of the most influential literary theorists of the twentieth century, there is no authoritative study about his oeuvre. The present work remedies that problem by analysing Iser’s German and English writings in detail. Apart from being the first comprehensive account of his work, this study also modifies the established view of Iser’s theory. In contrast to the idea that his only contribution to literary studies is the reception theory of the 1970s, this account demonstrates the importance of Iser’s work on history and anthropology from the 1950s and 1990s. Instead of exclusively focusing on familiar terms such as ‘indeterminacy’, this analysis also discusses Iser’s view of modernity, fiction and culture. As this discussion shows, his writings develop a consistent theory of the novel and the way in which it allows its readers to articulate new views of reality. To situate this theory, Iser’s institutional and intellectual background is described as well, paying special attention to the Poetik und Hermeneutik-circle and thinkers like Blumenberg and Kermode. The continued relevance of his theory is demonstrated via comparisons with recent research on the novel and memory as well as examples from contemporary novelists like Juli Zeh and Hilary Mantel.

Inspired by Polish literary scholar Anna Łebkowska's writing, this thesis is a work of anthropology that focuses on the specific population of writers from postcolonial nations who live in exile in the land of their former colonizers. I include an original literary translation of Cuentos Crudos, a collection of short stories by Juan Tomás Ávila Laurel, as part of a larger conversation about the important work translation has in bringing awareness to the unfortunate circumstances which brought these writers to “seek refuge in the metropolis.” By focusing on the destabilization of postcolonial nations following their independence, the problem of postcolonial national identity in language and literature, the “writer as anthropologist,” and how literature and translation can be used as a powerful medium of resistance and activism against oppressive regimes, I hope to encourage readers and academics to read the work of writers before “speaking for” their subjects. In short, this thesis serves as a space to reflect on the importance of academic and literary works to effectuate change and encourage us all to become more interdisciplinary in our studies and use our voices to highlight the work of marginalized and vulnerable people.

In this paper I deal with the concept of "literary anthropology", reconstructing its history from the "anthropological turn" in literature in the Eighties (Poyatos; Iser) both in the Anglo-American and in the German context. In the last section, I put forward a proposal to widen the anthropological approach to literature in an anthropopoietic sense.

У овом раду се служим идејама књижевне антропологије да књи-жевна дела представљају легитимно поље антрополошког рада. С тим у вези, анализирам роман "Снежни човек" (1996) Давида Албахарија из његове тзв. "канадске трилогије". Намера ми је да скренем пажњу на могућности и потен-цијале антрополошке анализе српске књижевности настале у Канади, имајући на уму да, колико је мени познато, не постоји слично истраживање. Да ли је предуслов успешне интеграције прве генерације имиграната добро познавање страног језика, престижан и добро плаћен посао и високо образовање? С тим у вези, да бих испитала ову хипотезу упоређујем роман с Албахаријевом збирком есеја "Дијаспора и друге ствари" и његовом радном биографијом; на примеру романа проверавам идеју Роберта Парка о мигранту као "маргиналном човеку" а у анализи користим метод "развојни модел интеркултуралне сензитивности" америчког социолога Милтона Бенета. Водим се резултатима неких досадашњих истраживања радних миграната која сугеришу да су непознавање језика земље пријема, низак и лоше плаћен посао и слабо образовање главни фактори који утичу на њихов низак ниво интеграције. С друге стране, показујем на примеру образованог јунака из романа да адаптација, интеграција и позитивне емоције као што су задовољство и срећа не морају да корелирају са нивоом образовања, језичком компетенцијом и престижним запослењем. Због тога предлажем да се у студијама миграција подједнако истражује не само шта мигранти раде и како се понашају већ и како се осећају у новој средини. У том случају као етнографска грађа могу да служе и књижевна дела, поготово она са примесама аутобиограф-ских елемената. Кључне речи: књижевна антропологија, миграције, "Снежни човек", Давид Албахари, развојни модел интеркултуралне сензитивности * Текст је настао као резултат рада на пројекту Министарства просвете, науке и технолошког развоја РС: Идентитетске политике Европске уније: Прилагођавање и примена у Републици Србији (177017).

Literary Images of Christ as Hero in the Early Poetry of Dorothy L. Sayers: The Influence of English and French Romanticism
Barbara L. Prescott

As a Christian apologist, Dorothy L. Sayers is rarely considered to be an author whose imagination of faith is expressed in the form of original poetry. Yet in her early years, Sayers considered herself first and foremost a poet, and a large portion of her poetry was an expression of Christian romanticism in myth and legend.
In her twenties, Sayers published a collection of poems in sonnet and ballad structure which reflect and interpret the heroic roles of Jesus the Christ. Within this small book, Catholic Tales and Christian Songs, produced in 1918 by Basil Blackwell, we are given a glimpse of those imaginative, unusual, and romantic images of Jesus Christ, some not often associated with His life manifested on earth. We are given the varied faces of Christ as a legendary folk and mythic Hero.
In this paper, I discuss the first poem of Catholic Tales, “Desdichado”, in light of Dorothy Sayers’ imaginative vision of the many faces of the Hero Christ and their significance to, and reemergence in, her later writings. I also consider briefly the literary sources applied by Sayers in the composition of this poem. Those sources, primarily from the 18th through 19th Century Romantic literary movement, include Sir Walter Scott (Ivanhoe), Victor Hugo (Les Misérables, Notre Dame de Paris), and the enigmatic French poet, Gèrard de Nerval (“El Desdichado”).  In support of my analysis, I refer to the published version of the text, earlier manuscript of the book, as well as Dorothy L. Sayers’ notes and unpublished letters from the archives of the Marion E. Wade Center in Wheaton, IL.

This article examines Berlin's ascendance to the status of a global city and in particular the tethering of this discourse to the city's attraction for institutions of world literature. Drawing on fieldwork between 2011 and 2017, it offers a new, critical vantage on the multiple trajectories that migrants follow into and through Berlin, as well as how these paths collide. Training ethnographic attention on one important site in which these crossings occur-a literary workshop in a gentrified borough of the former Eastreveals long-standing assumptions about the social lives of texts and urban relationships, in which ephemeral forms are understood to be degraded or weak. Mobilizing instead a poetic language of prosody allows us to see how different kinds of circulations are stitched together in the making of everyday life.

Page layout does not correspond to published text. Please quote from the original publication. P. 1 L'eredità di Nuto Revelli I. I diari di guerra, dalla campagna di Russia alla Resistenza. 1946 -1967 P. 18: L"esordio P. 47: La guerra dei poveri P. 72: Ancora Mai tardi II. La guerra dei soldati. 1966 -1971 P. 82: La strada del davai P. 109: L'ultimo fronte III. Memorie di un mondo che muore. 1977 -1985 P. 135: L"idea di "vinti" P. 141: La maturità metodologica e il principio del dialogo P. 161: Struttura e stile. L"introduzione come saggio poetico P. 172: Il molteplice e l"unità P. 185: Dall"oralità alla scrittura, dall"esperienza al senso IV. Il ritorno all'individuo. 1994 -1998 P. 194: Il disperso di Marburg P. 215: Il prete giusto V. La forma della storia. 1986 -2003 P. 241: Genesi e storia de Le due guerre P. 251: La storia "dal basso" e il montaggio delle fonti P. 266: La digressione autobiografica come allegoria P. 282: Dalle lezioni torinesi alla "Commissione Leopoli". La disillusione della "grande storia" P. 295: Bibliografia P. 309: Appendice bibliografica L"eredità di Nuto Revelli Nuto Revelli ha vissuto e raccontato attraverso i suoi libri il travaglio morale di una intera generazione cresciuta durante il ventennio fascista, schiacciata alle spalle dalla tradizione politica e culturale del liberalismo borghese, in cui resistono i miti del Risorgimento e di Giolitti, e nel presente dal clima tetro e stagnante dell"Italia fascista, in cui è proibito pensare e criticare e non resta che obbedire e rassegnarsi. I libri di Revelli non nascono infatti da un retroscena di studi umanistici, ma dalla costante rielaborazione in scrittura della sua esperienza di soldato e partigiano, e in ciò egli rappresenta un modello atipico di scrittore italiano, affiancato da pochi altri che non a caso iniziarono a scrivere come testimoni della Seconda Guerra Mondiale. Partito volontario come sottotenente degli alpini per la Russia nel luglio del 1942, Revelli assisté al crollo dell"ARMIR e partecipò alla disastrosa ritirata attraverso la steppa russa, maturando un odio profondo tanto verso il fascismo, di cui era stato appassionato sostenitore in gioventù, quanto verso i tedeschi. Tornato in Italia visse anche le catastrofiche esperienze del 25 luglio e dell"8 settembre 1943, in cui la confusione, il doppiogiochismo e lo spettacolo della viltà con cui il Regio Esercito abbandonò al loro destino centinaia di migliaia di soldati, convinsero il giovane reduce di Russia, malato di pleurite e afflitto nell"animo per aver perduto ogni appiglio e certezza, a salire in montagna e organizzare il primo nucleo di resistenza armata contro i fascisti e l"invasore tedesco. Durante i venti mesi della guerra partigiana Revelli comandò la IV Banda GL, poi ristrutturata nell"unità più grande di brigata "Carlo Rosselli", che fino all"agosto del 1944 combatté sui monti del Cuneese fin quando, in seguito a un potente attacco tedesco, sconfinò in Francia per evitare di essere annientata. Qui Revelli visse una seconda fase della sua esperienza partigiana, venendo in contatto con gli eserciti alleati e con i sottili equilibri politici in cui la brigata fu coinvolta. Nel settembre del 1944, però, un grave incidente motociclistico quasi lo uccise, sfigurandolo e costringendolo ad un lungo periodo di degenza a Parigi, dive subì otto interventi chirurgici. Alla fine della guerra Revelli poté raggiungere di nuovo la brigata e partecipare agli scontri dell"aprile 1945 per la liberazione di Cuneo.

Le propagginazioni del motivo dei vanti nell'area francese legata ai rifacimenti della storia narrata nel Voyage de Charlemagne non sono l'unico né il più notevole esempio che l'area romanza offra al nostro studio. Nell'antica letteratura italiana è possibile rintracciare non pochi vanti di cavalieri, che si rivelano a un più attento esame una prova non trascurabile della fenomenologia e delle trasformazioni del motivo.

Artful Immorality – Variants of Cynicism. Machiavelli, Gracián, Diderot, Nietzsche. WeltLiteraturen / World Literatures. 8. Eds. Irmela Hijiya-Kirschnereit, Stefan Keppler-Tasaki, and Joachim Küpper. Berlin: de Gruyter, 2015.

Available from the publisher:
https://doi.org/10.1515/9783110431599

This paper is an attempt to review the concept of auditivity, which has been introduced implicitly by Antonio Candido, elaborated by Luiz Costa Lima, developed by João Cezar de Castro Rocha and currently is being taken up by Marília Librandi-Rocha. My objective is to point out the relevance of the relationship of distance and proximity between subjects involved in a specific mode of communication, that is, literary communication. I also evoke a paper by Marisa Lajolo in order to introduce a distinction between the oral persuasion, which integrates and aims to create a sense of community between the narrator and the narratee, and the auditive persuasion, which disintegrates and reinforces the distance between the transmitter and the receiver.

O presente esboço consiste numa tentativa de revisão do conceito de auditividade, insinuado por Antonio Candido, elaborado por Luiz Costa Lima, desenvolvido por João Cezar de Castro Rocha e retomado atualmente por Marília Librandi-Rocha. O meu objetivo é apontar para a pertinência da relação de distância ou proximidade entre os sujeitos envolvidos numa modalidade específica de comunicação, isto é, a comunicação literária. No final do trabalho evoco um estudo de Marisa Lajolo para introduzir uma distinção entre a persuasão oral de caráter integrador, que visa a uma sensação de comunidade entre o narrador e o destinatário, e a persuasão auditiva de caráter desagregador, que reforça a distância entre o emissor e o receptor.