Introduction au n. 4 de la revue InterArtes qui publie les Actes du Colloque qui a eu lieu à Mila... more Introduction au n. 4 de la revue InterArtes qui publie les Actes du Colloque qui a eu lieu à Milan le 26 et 27 octobre 2023
Literati, literature and comics
Since the Sixties, when studies in comics developed in the Wester... more Literati, literature and comics Since the Sixties, when studies in comics developed in the Western world in different disciplinary domains, there has been an exponential growth in scientific contributions on its language and authors. Historical reconstructions, sociological studies, cultural interpretation, semiotic and linguistic analyses and intermedial comparisons have provided, over these years, a historical, theoretical and methodological framework able to define the language, its shapes, its genres and evolutions, its dialogue with the arts, its aesthetic values, and its ideological and cultural core. However, we believe there is still a lot to explore and define, especially in the much-debated relationships between comics and literature in recent years. Whereas in its previous issues InterArtes delved into border permeability, the aesthetic of the hybrid, the relationship between artistic creation and automation, “Literati, Literature and comics” aims now at contributing to defining and outlining, in an empirical, analytical and historical way, the reception of comics among literati, and the possible general aesthetic consequences in the authors’ poetics and productions...
InterArtes n.1, "Confini", a cura di Laura Brignoli e Silvia Zangrandi, novembre 2021, pp.1-15, 2021
The article proposes a theoretical-conceptual reflection on the notion of rewriting. It intends t... more The article proposes a theoretical-conceptual reflection on the notion of rewriting. It intends to draw a boundary - as far as it is possible - between what is a true hypertextual or transfictional practice and intertextual fabric or generic resumption of some aspects of a previous work, i.e. between related practices often subject to indistinct treatment. Starting from the main theoretical reflections in the field, examples from the French and English-speaking areas are provided to corroborate the proposed reasoning, touching also on the issues of authorship, the frontiers of the text, and the border between literature and the world.
https://revues-msh.uca.fr/sociopoetiques/index.php?id=1225
This article will explore the questio... more https://revues-msh.uca.fr/sociopoetiques/index.php?id=1225 This article will explore the question of the authorship of L’Homme semence from a double perspective: on the one hand, the textual question, through a stylistic analysis, which will make it possible to exclude the attribution of the work to Maria Borrély; on the other hand, the analysis of the motivations behind the publication and the commercial strategy chosen by Éditions Parole to distribute the volume will make it possible to put forward a hypothesis of attribution.
This article aims to investigate the reasons that push an author to rewrite a great classic, if t... more This article aims to investigate the reasons that push an author to rewrite a great classic, if the motivation of marketing is not pertinent. In the rewriting practice there are works that arise from deeper expressive needs and it would be completely wrong to explain them through purely opportunistic reasons; in fact, it is possible that the author uses the mask of the well-known character to express, by rethinking it, some complex, unexpressed, uncomfortable or difficult aspects of himself or society. We will try to show the plausibility of this hypothesis through the analysis of one of the most successful rewritings of the Liaisons Dangereuses by Laclos, Le Mauvais gen-re by Laurent de Graeve, trying at the same time to highlight one of the implications related to the connection between fiction and truth.
Itinera. Rivista di filosofia e di teoria delle arti, n.17: Réécriture scénique et sources: du roman français à la scène théâtrale italienne, 2019
Sonia Bergamasco’s adaptation of L’Homme semence by Violette Ailhaud makes use of a single actor ... more Sonia Bergamasco’s adaptation of L’Homme semence by Violette Ailhaud makes use of a single actor reciting, even if, in a staging that emphasises plurimediality, it is not possible to define L'uomosemeas a real monologue. The analysis will take into account first the structure of the story, the strains that the plot imposes on the fabula and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.
In the light of the recent, lively critical debate on the " Romanesque " , I have considered the ... more In the light of the recent, lively critical debate on the " Romanesque " , I have considered the ideas Robbe-Grillet has expressed in his criticism and fiction in order to clarify the meaning it has for him and the role it plays in his Romanesques. I have examined Pour un nouveau roman, Le Voyageur, his latest collection, and the Correspondance, following the development of an idea which, subsequently, I compared to the Romanesques. I found out that for Robbe-Grillet the romanesque adds an essential ingredient to the strength of passion, in both life and fiction: simulation. Only a disproportionate representation, which is obviously false, can approach the intensity of the " fantasme " understood in the Freudian sense. Fictionalizing his autobiography allowed him, also, to represent himself in the act of writing, in his specific function of inventor of stories, thus abstracting his work from the problem of reality and fiction which autobiography inevitably implies.
POLI-FEMO, Immagini delle lingue e delle identità minoritarie , 2014
The aim of this essay is to analyze the artistic expression of "a minority of the minority",
as ... more The aim of this essay is to analyze the artistic expression of "a minority of the minority",
as it can be considered the literature of the Flemish Belgian of French expression. Starting from the issues of void and absence, constantly present in the works of these authors, we have found an original variation of these themes in one of the most successful novels by Marie Gevers, Madame Orpha, which has been examined through the notions of matter, content and expression, form and substance introduced by L. Hjelmslev.
Introduction au n. 4 de la revue InterArtes qui publie les Actes du Colloque qui a eu lieu à Mila... more Introduction au n. 4 de la revue InterArtes qui publie les Actes du Colloque qui a eu lieu à Milan le 26 et 27 octobre 2023
Literati, literature and comics
Since the Sixties, when studies in comics developed in the Wester... more Literati, literature and comics Since the Sixties, when studies in comics developed in the Western world in different disciplinary domains, there has been an exponential growth in scientific contributions on its language and authors. Historical reconstructions, sociological studies, cultural interpretation, semiotic and linguistic analyses and intermedial comparisons have provided, over these years, a historical, theoretical and methodological framework able to define the language, its shapes, its genres and evolutions, its dialogue with the arts, its aesthetic values, and its ideological and cultural core. However, we believe there is still a lot to explore and define, especially in the much-debated relationships between comics and literature in recent years. Whereas in its previous issues InterArtes delved into border permeability, the aesthetic of the hybrid, the relationship between artistic creation and automation, “Literati, Literature and comics” aims now at contributing to defining and outlining, in an empirical, analytical and historical way, the reception of comics among literati, and the possible general aesthetic consequences in the authors’ poetics and productions...
InterArtes n.1, "Confini", a cura di Laura Brignoli e Silvia Zangrandi, novembre 2021, pp.1-15, 2021
The article proposes a theoretical-conceptual reflection on the notion of rewriting. It intends t... more The article proposes a theoretical-conceptual reflection on the notion of rewriting. It intends to draw a boundary - as far as it is possible - between what is a true hypertextual or transfictional practice and intertextual fabric or generic resumption of some aspects of a previous work, i.e. between related practices often subject to indistinct treatment. Starting from the main theoretical reflections in the field, examples from the French and English-speaking areas are provided to corroborate the proposed reasoning, touching also on the issues of authorship, the frontiers of the text, and the border between literature and the world.
https://revues-msh.uca.fr/sociopoetiques/index.php?id=1225
This article will explore the questio... more https://revues-msh.uca.fr/sociopoetiques/index.php?id=1225 This article will explore the question of the authorship of L’Homme semence from a double perspective: on the one hand, the textual question, through a stylistic analysis, which will make it possible to exclude the attribution of the work to Maria Borrély; on the other hand, the analysis of the motivations behind the publication and the commercial strategy chosen by Éditions Parole to distribute the volume will make it possible to put forward a hypothesis of attribution.
This article aims to investigate the reasons that push an author to rewrite a great classic, if t... more This article aims to investigate the reasons that push an author to rewrite a great classic, if the motivation of marketing is not pertinent. In the rewriting practice there are works that arise from deeper expressive needs and it would be completely wrong to explain them through purely opportunistic reasons; in fact, it is possible that the author uses the mask of the well-known character to express, by rethinking it, some complex, unexpressed, uncomfortable or difficult aspects of himself or society. We will try to show the plausibility of this hypothesis through the analysis of one of the most successful rewritings of the Liaisons Dangereuses by Laclos, Le Mauvais gen-re by Laurent de Graeve, trying at the same time to highlight one of the implications related to the connection between fiction and truth.
Itinera. Rivista di filosofia e di teoria delle arti, n.17: Réécriture scénique et sources: du roman français à la scène théâtrale italienne, 2019
Sonia Bergamasco’s adaptation of L’Homme semence by Violette Ailhaud makes use of a single actor ... more Sonia Bergamasco’s adaptation of L’Homme semence by Violette Ailhaud makes use of a single actor reciting, even if, in a staging that emphasises plurimediality, it is not possible to define L'uomosemeas a real monologue. The analysis will take into account first the structure of the story, the strains that the plot imposes on the fabula and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.
In the light of the recent, lively critical debate on the " Romanesque " , I have considered the ... more In the light of the recent, lively critical debate on the " Romanesque " , I have considered the ideas Robbe-Grillet has expressed in his criticism and fiction in order to clarify the meaning it has for him and the role it plays in his Romanesques. I have examined Pour un nouveau roman, Le Voyageur, his latest collection, and the Correspondance, following the development of an idea which, subsequently, I compared to the Romanesques. I found out that for Robbe-Grillet the romanesque adds an essential ingredient to the strength of passion, in both life and fiction: simulation. Only a disproportionate representation, which is obviously false, can approach the intensity of the " fantasme " understood in the Freudian sense. Fictionalizing his autobiography allowed him, also, to represent himself in the act of writing, in his specific function of inventor of stories, thus abstracting his work from the problem of reality and fiction which autobiography inevitably implies.
POLI-FEMO, Immagini delle lingue e delle identità minoritarie , 2014
The aim of this essay is to analyze the artistic expression of "a minority of the minority",
as ... more The aim of this essay is to analyze the artistic expression of "a minority of the minority",
as it can be considered the literature of the Flemish Belgian of French expression. Starting from the issues of void and absence, constantly present in the works of these authors, we have found an original variation of these themes in one of the most successful novels by Marie Gevers, Madame Orpha, which has been examined through the notions of matter, content and expression, form and substance introduced by L. Hjelmslev.
Edizione riveduta e corretta degli atti del Convegno del 2008, "Il fenomeno della stregoneria e l... more Edizione riveduta e corretta degli atti del Convegno del 2008, "Il fenomeno della stregoneria e l'Inquisizione nel pavese" (Laura Brignoli, ed.)
Laura Brignoli(éd.) InterArtes. Diegesi migranti, 2019
Écrire, pour Pascal Quignard, n’est pas un acte qui s’exerce dans le vide, aboutissant à la créat... more Écrire, pour Pascal Quignard, n’est pas un acte qui s’exerce dans le vide, aboutissant à la création de quelque chose qui n’aurait jamais existé. L’originalité est un leurre, la mémoire joue toujours son rôle. En matière de narration, on n’invente rien que d’autres n’aient déjà dit: de là sa définition de l’écrivain comme un collectionneur, un prédateur, un rapace ou, pire, un charognard. L’article prend en considération l’attitude transfictionnelle de Qui¬gnard à travers l’analyse de La frontière, un récit où dominent la constance des sentiments et la vengeance implacable. D’Apulée au roman de Quignard, ce sont les azulejos du Palais Frontera – élément intermédiaire essentiel – qui, tout en assurant la transition d’un hypotexte ancien au récit actuel, permettent d’éclairer un aspect fondamental de l’écriture quignardienne.
L'écriture littéraire a toujours puisé dans l'architecture pour nourrir son imaginaire métaphoriq... more L'écriture littéraire a toujours puisé dans l'architecture pour nourrir son imaginaire métaphorique, renouveler ses dispositifs formels et narratifs, représenter des univers de référence et des nouvelles jonctions entre l'individu et le monde. Les études recueillies dans ce volume interrogent le dialogue interdisciplinaire des « mots » et des « pierres »: espace textuel et espace architectural s'y rencontrent par des systèmes d'apparentements hyper-complexes en partageant une étonnante multiplicité de « figures de la construction », d'« architectures imaginaires » qui questionnent la constitution spatiale de l'œuvre, ses lois formelles, son rapport au réel, à la fiction, aux possibles de l'autoréflexivité.
Marguerite Yourcenar et le monde des lettres, 2019
Marguerite Yourcenar et le monde des Lettres, Clermont-Ferrand, SIEY, 2019, ISBN : 978-2-9540515-... more Marguerite Yourcenar et le monde des Lettres, Clermont-Ferrand, SIEY, 2019, ISBN : 978-2-9540515-3-6 511 EN AMONT ET EN AVAL DE YOURCENAR : Saint Jean de la Croix et Valeria Parrella, ou de la différence entre sillage et pillage par Laura BRIGNOLI (Université IULM, Milan) Résumé : L'article se compose de deux volets qui rendent compte de l'attitude yourcenarienne face à l'érudition : dans le premier on montre ce qu'elle doit au mystique espagnol Saint Jean de la Croix, que pourtant elle ne cite jamais. Dans le deuxième on prend en considération la resémantisation du mythe de Clytemnestre et la manière dans laquelle Yourcenar repense radicalement le personnage dans le but de nous faire réfléchir sur le couple, la fidélité et surtout sur les valeurs qui fondent le droit. En aval, l'écrivaine italienne qui réécrit Clytemnestre ou le crime a transformé l'allusion de Yourcenar à une loi sociale qui n'ignore pas la passion en un simple retour à la primitive loi du sang. Abstract : The article investigates Yourcenar's attitude towards erudition. In the first part it is argued that she was indebted to the Spanish mystic John of the Cross, although she never mentioned him in her works. The second part focuses on her resemantization of Clytemnestra' myth and the way in which she radically rewrites the character with the intent to make the reader reflect upon man-woman relationship, conjugal fidelity and the values on which rights are founded. Hence, the Italian author of Clytemnestre ou le crime deeply transforms Yourcenar's hint at a social law that should never overlook the role played by passion in a mere reversion to the primitive law of blood.
Cal for papers InterArtes review n. 2, 2022
Hybrid conferences, hybrid museum spaces, hybrid us... more Cal for papers InterArtes review n. 2, 2022
Hybrid conferences, hybrid museum spaces, hybrid uses of materials... the notion of hybrid seems to be the driving force of contemporary life. If in the past hybrid carried with it negative connotations due to the presence of heterogeneous elements considered ill-matched and lacking in harmony, today hybrid has taken on a neutral value and indicates the existence of two or more models that intersect, contaminating and appropriating different discourses and levels of writing, reworking them. Each element, be it a complete text or a fragment of language, must be considered in its capacity to entertain relations with other elements: Bakhtin reminds us that literary language is a linguistic hybrid (cf. Aesthetics and the Novel, 1975). The question of heterogeneity is thus read in terms of a creation on multiple levels that requires a multidisciplinary vision, and that crosses genres that are different from each other: literature hybridises with cinema and vice versa, painting contaminates music... Hybridity removes the barriers between genres; time and space become porous elements that intersect, and this process of hybridisation gives rise to new products capable of incorporating different techniques, contents and styles-hybrids! In the television sector, these hybrids can be seen more strongly, such as docufiction, infotainment, but also narrative reportage, with its hybrids between literature and journalistic reporting (from Goethe to Truman Capote to Tiziano Terzani). There are also less apparent hybrids, such as the one proposed in the 1930s by Massimo Bontempelli, whose 522. Romanzo di una giornata (1932) is an example of hybridisation between literature and advertising. The technology push seems to have accelerated the possibilities of hybridisation, and the very concept of hybridisation is becoming a key to examining objects and practices and reflecting on the principles of categorisation (cf. Jean-Jacques Wünenberger, "Pratiques artistiques post-modernes et hybridité" in L. Gwiazdzinski, L'hybridation des mondes. Territoires et organisations à l'épreuve de l'hybridation, Seyssinet-Pariset, Elya Éditions, 2016).
Call for papers for InterArtes journal 1st issue: Rewriting and its borders
Call for paper per il... more Call for papers for InterArtes journal 1st issue: Rewriting and its borders Call for paper per il primo numero della rivista InterArtes: Confini della riscrittura Appel à contribution pour le premier numéro de la revue InterArtes: Frontières de la transfictionnalité
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Since the Sixties, when studies in comics developed in the Western world in different disciplinary domains, there has been an exponential growth in scientific contributions on its language and authors. Historical reconstructions, sociological studies, cultural interpretation, semiotic and linguistic analyses and intermedial comparisons have provided, over these years, a historical, theoretical and methodological framework able to define the language, its shapes, its genres and evolutions, its dialogue with the arts, its aesthetic values, and its ideological and cultural core. However, we believe there is still a lot to explore and define, especially in the much-debated relationships between comics and literature in recent years. Whereas in its previous issues InterArtes delved into border permeability, the aesthetic of the hybrid, the relationship between artistic creation and automation, “Literati, Literature and comics” aims now at contributing to defining and outlining, in an empirical, analytical and historical way, the reception of comics among literati, and the possible general aesthetic consequences in the authors’ poetics and productions...
This article will explore the question of the authorship of L’Homme semence from a double perspective: on the one hand, the textual question, through a stylistic analysis, which will make it possible to exclude the attribution of the work to Maria Borrély; on the other hand, the analysis of the motivations behind the publication and the commercial strategy chosen by Éditions Parole to distribute the volume will make it possible to put forward a hypothesis of attribution.
The analysis will take into account first the structure of the story, the strains that the plot imposes on the fabula and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.
as it can be considered the literature of the Flemish Belgian of French expression. Starting from the issues of void and absence, constantly present in the works of these authors, we have found an original variation of these themes in one of the most successful novels by Marie Gevers, Madame Orpha, which has been examined through the notions of matter, content and expression, form and substance introduced by L. Hjelmslev.
Since the Sixties, when studies in comics developed in the Western world in different disciplinary domains, there has been an exponential growth in scientific contributions on its language and authors. Historical reconstructions, sociological studies, cultural interpretation, semiotic and linguistic analyses and intermedial comparisons have provided, over these years, a historical, theoretical and methodological framework able to define the language, its shapes, its genres and evolutions, its dialogue with the arts, its aesthetic values, and its ideological and cultural core. However, we believe there is still a lot to explore and define, especially in the much-debated relationships between comics and literature in recent years. Whereas in its previous issues InterArtes delved into border permeability, the aesthetic of the hybrid, the relationship between artistic creation and automation, “Literati, Literature and comics” aims now at contributing to defining and outlining, in an empirical, analytical and historical way, the reception of comics among literati, and the possible general aesthetic consequences in the authors’ poetics and productions...
This article will explore the question of the authorship of L’Homme semence from a double perspective: on the one hand, the textual question, through a stylistic analysis, which will make it possible to exclude the attribution of the work to Maria Borrély; on the other hand, the analysis of the motivations behind the publication and the commercial strategy chosen by Éditions Parole to distribute the volume will make it possible to put forward a hypothesis of attribution.
The analysis will take into account first the structure of the story, the strains that the plot imposes on the fabula and the effects it has on its global meaning; the linguistic marks that oppose the choral speech to the individual discourse, and the mentions referring to a culture anchored in a territory in a precise moment of history, which are superimposed on a speech that touches on the universal.
as it can be considered the literature of the Flemish Belgian of French expression. Starting from the issues of void and absence, constantly present in the works of these authors, we have found an original variation of these themes in one of the most successful novels by Marie Gevers, Madame Orpha, which has been examined through the notions of matter, content and expression, form and substance introduced by L. Hjelmslev.
Hybrid conferences, hybrid museum spaces, hybrid uses of materials... the notion of hybrid seems to be the driving force of contemporary life. If in the past hybrid carried with it negative connotations due to the presence of heterogeneous elements considered ill-matched and lacking in harmony, today hybrid has taken on a neutral value and indicates the existence of two or more models that intersect, contaminating and appropriating different discourses and levels of writing, reworking them. Each element, be it a complete text or a fragment of language, must be considered in its capacity to entertain relations with other elements: Bakhtin reminds us that literary language is a linguistic hybrid (cf. Aesthetics and the Novel, 1975). The question of heterogeneity is thus read in terms of a creation on multiple levels that requires a multidisciplinary vision, and that crosses genres that are different from each other: literature hybridises with cinema and vice versa, painting contaminates music... Hybridity removes the barriers between genres; time and space become porous elements that intersect, and this process of hybridisation gives rise to new products capable of incorporating different techniques, contents and styles-hybrids! In the television sector, these hybrids can be seen more strongly, such as docufiction, infotainment, but also narrative reportage, with its hybrids between literature and journalistic reporting (from Goethe to Truman Capote to Tiziano Terzani). There are also less apparent hybrids, such as the one proposed in the 1930s by Massimo Bontempelli, whose 522. Romanzo di una giornata (1932) is an example of hybridisation between literature and advertising. The technology push seems to have accelerated the possibilities of hybridisation, and the very concept of hybridisation is becoming a key to examining objects and practices and reflecting on the principles of categorisation (cf. Jean-Jacques Wünenberger, "Pratiques artistiques post-modernes et hybridité" in L. Gwiazdzinski, L'hybridation des mondes. Territoires et organisations à l'épreuve de l'hybridation, Seyssinet-Pariset, Elya Éditions, 2016).
Call for paper per il primo numero della rivista InterArtes: Confini della riscrittura
Appel à contribution pour le premier numéro de la revue InterArtes: Frontières de la transfictionnalité