Adele Bardazzi
Adele Bardazzi works on issues of form and interpretation, poetry and poetics, lyric theory, gender and women’s studies, verbal-visual glitches. She joined the University of Utrecht as Assistant Professor in September 2023 and is Honorary Research Fellow at the University of Oxford since 2021 and Visiting Research Fellow at Trinity College Dublin since 2023. Prior to this, she held an Irish Research Council Postdoctoral Research Fellowship at Trinity College Dublin (2021-2023), an Extraordinary Junior Research Fellowship (2020-2021) and a Laming Junior Research Fellowship (2018-2020) at The Queen’s College, Oxford, and a Lectureship at Christ Church (2019) and the Faculty of Medieval and Modern Languages, Oxford (2018). She completed her DPhil in Medieval and Modern Languages from Christ Church, Oxford, in 2018 and holds a BA in English and Italian from Royal Holloway, University of London. She has also been awarded various visiting fellowships, among which at Centre National de la Recherche Scientifique, University of Groningen, University of Southern California, New York University, University of Toronto, and Université Sorbonne Nouvelle Paris 3.
At present, she is working on “A Textile Poetics of Entanglements”, her third monograph expanding questions of poetic theory raised in her second monograph “Dopo Penelope: Poesia e Arte Tessile. Percorsi critici e quindici interviste inedite” and her first book, “Eugenio Montale: A Poetics of Mourning” (Peter Lang, 2022). Among her recent and forthcoming publications are: the edited volumes “The Contemporary Elegy in World Literature” (Brill, forthcoming 2025), “Non solo muse: panorama della poesia italiana contemporanea”, with Roberto Binetti (forthcoming 2025), “Conglomerates: Andrea Zanzotto’s Poetic Clusters” (Peter Lang, forthcoming 2025), “A Gaping Wound: Mourning in Italian Poetry”, with Francesco Giusti and Emanuela Tandello (Legenda, 2022), “Gender and Authority Across Disciplines, Space and Time”, with Alberica Bazzoni (Palgrave Macmillan, 2020); the special issues “Weaving Media in Italian Poetry” (Italica, 2023) and “Elegy Today: Rejections, Re-mappings, Rewritings”, with Jonathan Culler and Roberto Binetti (Journal of World Literature, 2023); and the co-authored monograph “Anne Carson. Letteratura liquida”, with Roberto Binetti (Mimesis, forthcoming 2025).
She is the co-founder of «Non solo muse» (www.nonsolomuse.com), “Weaving Media” (www.weaving-media.com), «Italian Poetry Today» (www.italianpoetrytoday.com), and the «Gender & Authority» Network (https://www.torch.ox.ac.uk/gender-and-authority).
At present, she is working on “A Textile Poetics of Entanglements”, her third monograph expanding questions of poetic theory raised in her second monograph “Dopo Penelope: Poesia e Arte Tessile. Percorsi critici e quindici interviste inedite” and her first book, “Eugenio Montale: A Poetics of Mourning” (Peter Lang, 2022). Among her recent and forthcoming publications are: the edited volumes “The Contemporary Elegy in World Literature” (Brill, forthcoming 2025), “Non solo muse: panorama della poesia italiana contemporanea”, with Roberto Binetti (forthcoming 2025), “Conglomerates: Andrea Zanzotto’s Poetic Clusters” (Peter Lang, forthcoming 2025), “A Gaping Wound: Mourning in Italian Poetry”, with Francesco Giusti and Emanuela Tandello (Legenda, 2022), “Gender and Authority Across Disciplines, Space and Time”, with Alberica Bazzoni (Palgrave Macmillan, 2020); the special issues “Weaving Media in Italian Poetry” (Italica, 2023) and “Elegy Today: Rejections, Re-mappings, Rewritings”, with Jonathan Culler and Roberto Binetti (Journal of World Literature, 2023); and the co-authored monograph “Anne Carson. Letteratura liquida”, with Roberto Binetti (Mimesis, forthcoming 2025).
She is the co-founder of «Non solo muse» (www.nonsolomuse.com), “Weaving Media” (www.weaving-media.com), «Italian Poetry Today» (www.italianpoetrytoday.com), and the «Gender & Authority» Network (https://www.torch.ox.ac.uk/gender-and-authority).
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Monographs, Edited Volumes, Special Issues by Adele Bardazzi
– Jonathan Culler, Cornell University
«In a series of carefully wrought readings of poems in which Montale writes of his lost loves, death, mourning, and his own quite particular vision of the afterlife, Adele Bardazzi both challenges traditional interpretations of Montalian poetic beloveds and offers her own convincing overview of the eschatological dimension of one of the twentieth century’s most essential bodies of verse. A surprisingly fresh take on a much-studied poet, this fine book gives new life to the realm of death in which Montale’s poetry of mourning is so tenaciously rooted.»
– Rebecca West, University of Chicago
«Adele Bardazzi’s book offers an original perspective on Montale’s work. The poetics of mourning allows on the one hand to read the text in the light of the theory of the lyric and, on the other hand, to highlight the importance of some figures in Montale’s poetry, through an evocative comparison with the myth of Orpheus and Eurydice and that of Persephone.»
– Niccolò Scaffai, University of Siena
This book is as much about the living as it is about the dead. It investigates how the dead dwell in the world of the living and how that continuing relationship has inspired particular forms of poetic writing. It analyses how poetry assumes the key responsibility of voicing grief and thus creates a unique space in which the dead’s presence is sustained, in a constant state of potential transformation and renewal.
This monograph explores this topic with reference to one of the most important poets of the twentieth century, Eugenio Montale (1896–1981), and his principal collections, from 'Ossi di seppia' [Cuttlefish Bones] (1925) to 'Quaderno di quattro anni' [Notebook of Four Years] (1977). These primary texts are enhanced by a critical framework that brings three different areas of enquiry into dialogue: scholarship on mourning, theories of the lyric, and feminist approaches. Questions explored include the following: How does mourning become a crucial creative and ethical force in literature? What kind of poetry draws on, and may even require, the presence of an absent female lyric addressee? How does this affect the nature of poetic discourses on mourning and lyric poetry more broadly? This book offers the first comprehensive study of Montale’s poetics of mourning accessible to both scholars in Italian Studies and scholars interested, more broadly, in modern poetry, discourses of mourning, and lyric theory.
https://www.peterlang.com/document/1220630
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
Who is recognized as a legitimate voice in debate and decision-making, and how is that legitimization produced? Through a variety of methodological approaches, the chapters address some of the most pressing and controversial themes under scrutiny in current feminist scholarship and activism, such as pornography, political representation, LGBTI struggles, female genital mutilation, the #MeToo movement, abortion, divorce and consent. Organized into three sections, “Politics,” “Law and Religion,” and “Imaginaries,” the contributors highlight formal and informal aspects of authority, its gendered and racialized configurations, and practices of solidarity, resistance and subversion by traditionally disempowered subjects. In dialogue with feminist scholarship on power and agency, the notion of authority as elaborated here offers a distinctive lens to critique political and epistemic foundations of inequality and oppression, and will be of use to scholars and students across gender studies, sociology, politics, linguistics, theology, history, law, film, and literature.
Nick Admussen
Adele Bardazzi
Roberto Binetti
Nikitta Dede Adjirakor
Emily Drumsta
Roberto Gaudioso
Francesco Giusti
Karen Leeder
Brandon Menke
Anna Moser
Jahan Ramazani
Rachel Robinson
Claudio Rossello
Ivanna Sang Een Yi
David Sherman
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Gian Maria Annovi
Adele Bardazzi
Roberto Binetti
Francesco Giusti
Matilde Manara
Eloisa Morra
Chiara Portesine
https://scholarlypublishingcollective.org/uip/ital/issue/99/4
https://www.press.uillinois.edu/journals/?id=ital
Peer-reviewed articles and book chapters by Adele Bardazzi
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Special Issue
Elegy Today: Resistance, Revision, Re-Mapping’
Ed. by Adele Bardazzi, Roberto Binetti, and Jonathan Culler
Journal of World Literature 8:1 (2023)
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
By considering the relationship between Montale’s poetry and mourning from the Derridean perspective of “demi-deuil” I contribute an original viewpoint to the study of Montale’s “care ombre” (“Proda di Versilia,” La bufera e altro, 1956), whereby subjects of mourning are no longer considered to be negatively dominated by the Other’s death, but rather devoted to preserving the affect relationship with the dead, as opposed to the Freudian notion of “moving on” after loss. From this standpoint, elegiac poetry, in Montale’s rendition of it, assumes the key responsibility of passing on traumatic knowledge and, in so doing, affirms its centrality in the creation of a space where death and the experience of mourning can be framed and processed.
– Jonathan Culler, Cornell University
«In a series of carefully wrought readings of poems in which Montale writes of his lost loves, death, mourning, and his own quite particular vision of the afterlife, Adele Bardazzi both challenges traditional interpretations of Montalian poetic beloveds and offers her own convincing overview of the eschatological dimension of one of the twentieth century’s most essential bodies of verse. A surprisingly fresh take on a much-studied poet, this fine book gives new life to the realm of death in which Montale’s poetry of mourning is so tenaciously rooted.»
– Rebecca West, University of Chicago
«Adele Bardazzi’s book offers an original perspective on Montale’s work. The poetics of mourning allows on the one hand to read the text in the light of the theory of the lyric and, on the other hand, to highlight the importance of some figures in Montale’s poetry, through an evocative comparison with the myth of Orpheus and Eurydice and that of Persephone.»
– Niccolò Scaffai, University of Siena
This book is as much about the living as it is about the dead. It investigates how the dead dwell in the world of the living and how that continuing relationship has inspired particular forms of poetic writing. It analyses how poetry assumes the key responsibility of voicing grief and thus creates a unique space in which the dead’s presence is sustained, in a constant state of potential transformation and renewal.
This monograph explores this topic with reference to one of the most important poets of the twentieth century, Eugenio Montale (1896–1981), and his principal collections, from 'Ossi di seppia' [Cuttlefish Bones] (1925) to 'Quaderno di quattro anni' [Notebook of Four Years] (1977). These primary texts are enhanced by a critical framework that brings three different areas of enquiry into dialogue: scholarship on mourning, theories of the lyric, and feminist approaches. Questions explored include the following: How does mourning become a crucial creative and ethical force in literature? What kind of poetry draws on, and may even require, the presence of an absent female lyric addressee? How does this affect the nature of poetic discourses on mourning and lyric poetry more broadly? This book offers the first comprehensive study of Montale’s poetics of mourning accessible to both scholars in Italian Studies and scholars interested, more broadly, in modern poetry, discourses of mourning, and lyric theory.
https://www.peterlang.com/document/1220630
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
Who is recognized as a legitimate voice in debate and decision-making, and how is that legitimization produced? Through a variety of methodological approaches, the chapters address some of the most pressing and controversial themes under scrutiny in current feminist scholarship and activism, such as pornography, political representation, LGBTI struggles, female genital mutilation, the #MeToo movement, abortion, divorce and consent. Organized into three sections, “Politics,” “Law and Religion,” and “Imaginaries,” the contributors highlight formal and informal aspects of authority, its gendered and racialized configurations, and practices of solidarity, resistance and subversion by traditionally disempowered subjects. In dialogue with feminist scholarship on power and agency, the notion of authority as elaborated here offers a distinctive lens to critique political and epistemic foundations of inequality and oppression, and will be of use to scholars and students across gender studies, sociology, politics, linguistics, theology, history, law, film, and literature.
Nick Admussen
Adele Bardazzi
Roberto Binetti
Nikitta Dede Adjirakor
Emily Drumsta
Roberto Gaudioso
Francesco Giusti
Karen Leeder
Brandon Menke
Anna Moser
Jahan Ramazani
Rachel Robinson
Claudio Rossello
Ivanna Sang Een Yi
David Sherman
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Gian Maria Annovi
Adele Bardazzi
Roberto Binetti
Francesco Giusti
Matilde Manara
Eloisa Morra
Chiara Portesine
https://scholarlypublishingcollective.org/uip/ital/issue/99/4
https://www.press.uillinois.edu/journals/?id=ital
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
CONTENTS:
Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO
1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO
2. Carlotta’s Ghost
FABIO CAMILLETTI
3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI
4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO
5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO
6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI
7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN
More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
Special Issue
Elegy Today: Resistance, Revision, Re-Mapping’
Ed. by Adele Bardazzi, Roberto Binetti, and Jonathan Culler
Journal of World Literature 8:1 (2023)
Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler
The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen
“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi
Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman
Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi
Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti
The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft
Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta
“A Global Web of Elegies”
Jahan Ramazani
By considering the relationship between Montale’s poetry and mourning from the Derridean perspective of “demi-deuil” I contribute an original viewpoint to the study of Montale’s “care ombre” (“Proda di Versilia,” La bufera e altro, 1956), whereby subjects of mourning are no longer considered to be negatively dominated by the Other’s death, but rather devoted to preserving the affect relationship with the dead, as opposed to the Freudian notion of “moving on” after loss. From this standpoint, elegiac poetry, in Montale’s rendition of it, assumes the key responsibility of passing on traumatic knowledge and, in so doing, affirms its centrality in the creation of a space where death and the experience of mourning can be framed and processed.
Grief and its continuous changing of shapes and faces pervades OBIT. This grief is engraved and melancholically framed in each of the obituaries that it contains. It moves like a verb, it blossoms, and breathes; it is recognized, smelled, and voiced. It stays. Deaths inhabit OBIT – doctors, clocks, music, appetite, language, voicemails, yesterdays, secrets, a blue dress, memory, hands and handwriting, oxygen, America, almost everything dies; we read about unwilling deaths, unknown deaths, and the living’s slow, painful death-in-life.
This paper will focus on how each of these deaths is carefully named and recorded in a specific time and space and how this relates to scholarship on the elegy. Language too, dies, as the father’s loss of speech when his ‘front lobe – died unpeacefully of a stroke on June 24, 2009 at Scripps Memorial Hospital in San Diego, California’. I will also address how the third person singular pronoun that the form of the obituary brings in OBIT adds something peculiar to our understanding of the I-you relation in elegies and lyric poetry more broadly.
Italian Studies in Interdisciplinary Spaces,
Transnational Times, and Digital Minds
15–16 September 2023
Senate House Library, London
Organised by
Adele Bardazzi (Trinity College Dublin)
&
Giuliana Pieri (Royal Holloway, University of London)
With the support of The Society for Italian Studies (SIS)
These Lovely Sheaves of Poetry
A Conference-Tribute to Patrizia Cavalli
London, 15th-16th December 2023
Organised by
Adele Bardazzi (University of Utrecht)
Roberto Binetti (University of Toronto)
With the support of
Trinity College Dublin
Royal Holloway University of London
University of Utrecht
University of Toronto
Interdisciplinary Italy Network
Italian Cultural Institute London
Society for Italian Studies
For the first conference of Non solo muse (www.nonsolomuse.com), a project dedicated to contemporary Italian women’s poetry will focus on the works of Patrizia Cavalli (Todi, 1947 – Rome, 2022), one of the most significant authors of contemporary Italy.
From Le mie poesie non cambieranno il mondo (Einaudi, 1974) up to Vita meravigliosa (Einaudi, 2020), Cavalli’s poetry is an infinite ode to the subjective – and thus polymorphic – experience of reality. In so doing, Cavalli employs humour and lightness as a powerful poetic source. Through humour, Cavalli turns the lightness of poetry into an actual gnoseological tool with which she is able to delve into the many layers of both our linguistic and factual perception of reality. This characteristic has originated an interesting paradox in Cavalli’s global reception: she has often been neglected by Italian scholarship as an example of the so-called ‘stili semplici’ (Scarpa, 2004) and often confined to the unjustifiable label of ‘spontaneismo’ (Afribo, 2017); nevertheless, Cavalli’s production has undergone a vivid success internationally, culminated in the collaborative translation of her collected poems edited by Gini Alhadeff and published by Penguin in 2018.
One year after her death, this conference will offer the first chance to investigate Patrizia Cavalli’s multifaceted and yet unchartered production. We welcome submissions that examine Cavalli’s oeuvre through a diverse range of critical approaches as well as those that take a comparative or interdisciplinary approach. We encourage submissions from scholars working across disciplinary boundaries, including translation studies, classical literatures, continental philosophy, musicology, stylistics and metrics, ecology and eco-criticism, history of art.
Please include a 250-word abstract with your submission together with a short bio-bibliographical note (max. 150 words). Papers can be delivered in both English and Italian. Proposals should be sent to bardazza@tcd.ieand roberto.binetti@utoronto.ca by 17 July 2023.
Updates about the conference will be shared at this link: www.nonsolomuse.com.
MLA Convention, Jan. 4-7, 2024, Philadelphia
Is Literature Bullshit? Is AI Bullshit Literature?
Andrea Capra (Princeton University)
#GrahPoem: Analytical-creative AI for Minority Languages & Community-involving Performance
Raluca Tanasescu (University of Galway)
Chris Tanasescu (Open University of Catalonia)
What does it matter who is speaking?: AI and the Poet’s Voice
Foteini Dimirouli (Keble College, University of Oxford)
AI Poetics Across Languages and Cultures
Timmy Straw (University of Pennsylvania)
Session Description:
The panel ‘AI Poetics’ aims to discuss contemporary literary works from a transnational viewpoint that engages with recent developments in the field of Artificial Intelligence. If AI has been a recurrent theme in science fiction, it is now directly implicated in the making of literary works – both fiction and poetry – across linguistic, cultural, and geographical borders. How is this trend developing within World Literature and/or individual literatures, and shaping new directions for literary studies? To what extent, if at all, can the literary and critical language employed so far still work to engage with works produced through AI? In what ways may AI models be leading literature models backwards, rather than bringing forward innovation, as they do in the sciences? How can AI shake up and diversify literary canons? Does the advent of AI render the use of computer programming and other similar technologies – widely used for the production of literary works so far – outdated (e.g. Python programming language)? What does the interaction with AI tell us about the nature of literature and poetry?
Capra's paper will open this panel by questioning the value of literature produced by AI models (or large language models?), by focusing on the quality of narratives it can produce. Literature seems to share ChatGPT bullshitting-status: literature too can do away with truthfulness while leveraging all of its persuasive power. Large Language Models thus call for a renewed engagement with poetics. According to Capra, even as literature is not bullshit, because it does not primarily dwell in the space of truth-production, literariness is deceptively yet frequently deployed beyond literature to bullshit an audience about AI and its potentialities.
Dimirouli's paper expands on what has been introduced by Capra by focusing on issues surrounding AI personhood and creativity. While the New Critics did not have machine learning in mind when debating the ‘death of the author’ and the ‘intentional fallacy’, questions about the extent to which text and author should be linked return with new force at the dawn of the AI era. As ChatGPT and GPT-4 produce verse indistinguishable from human writing in a matter of seconds, who exactly is speaking does seem to matter. Dimirouli focuses on authoriality and the reader-writer relationship to argue for the need to reframe well-established categories of the critical tradition in the context of AI developments.
The voice of the author is also at the very core of Straw's paper. Straw's paper will engage with the key question of the role of silence in poetry and poetics. In so doing, the comparative analysis of M. NourbeSe Philip and Paul Celan (perhaps first names here?) will allow Straw to discuss the limits of sayability in poetry, drawing on recent studies on AI poetics. For both Philip and Celan, there is a charged relationship between historical catastrophe, responsibility, and the limits of the sayable.
The panel is drawn to a close with the presentation of a case study: the project Graph Poem, placed in the framework of decade-long work at the intersection of NLP, network-analysis, and community-based performance. Previous accomplishments included developing NLP classifiers for poetry analysis (mainly in English) and releasing computationally assembled anthologies. More recently, the project has moved on to assembling multilingual (minority language) multiplex corpora while keeping on developing analytical-creative approaches to HCI poetry. Chris and Raluca Tanasescu will focus on data(-based) poetics, which range from text writing/assemblage/generation to algorithmic translation and automated corpus expansion. These are informed by multiplex assemblage and analysis, as well as concepts such as “computational prosody”, and an intermediality poetics.
The session will operate within the allotted time by featuring short presentations from each panelist, followed by a moderated discussion that will allow for at least 15 minutes of discussion. This format will allow for a lively and engaging conversation that will encourage interaction between panelists and audience members.
Friday 2 – Saturday 3 June 2023
With the support of
Trinity College Dublin
International Society for Intermedial Studies
Interdisciplinary Italy Network
Organised by
Adele Bardazzi
Keynote Lectures
by
Jessica Hemmings
Professor of Craft
HDK-Valand, University of Gothenburg
&
Anne Wilson
Professor Emeritus of Fiber and Material Studies
School of the Art Institute of Chicago
Scientific Committee
Irene Albino (Central Saint Martins, University of the Arts London)
Amaranth Borsuk (University of Washington, Bothell)
Roberto Binetti (St Anne’s College, University of Oxford)
Jessica Hemmings (University of Gothenburg)
Allison Parrish (New York University)
https://www.weaving-media.com/
https://zanzottoconglomerati.altervista.org/#videos
Respondent: Roberto Binetti (University of Oxford)
Society for Italian Studies Biennial Conference, University of Warwick
Recording available through these links:
https://www.youtube.com/watch?v=Ls6l7O2CS0A
www.nonsolomuse.com
Trinity College Dublin
Respondent: Dr Marzia D’Amico (Universidade de Lisboa)
Screening of Documentary Series 'Non solo muse'
This poetry reading results from a research project, Non solo muse: panorama della poesia italiana dal 1970 a oggi, co-ordinated by Dr Adele Bardazzi (Trinity College Dublin) and Roberto Binetti (University of Oxford) and funded by the John Fell Fund at the University of Oxford. The project aims to examine and problematise the notion of women’s writing within the Italian poetic context by interviewing more than fifteen poets, among whom are Elisa Biagini, Maria Grazia Calandrone, Giovanna Frene, Mariangela Gualtieri, Franca Mancinelli, Dacia Maraini, Gabriella Sica, and Sara Ventroni.
More information about the event can be found through these links:
https://iiclondra.esteri.it/iic_londra/en/gli_eventi/calendario/2022/04/non-solo-muse.html
www.nonsolomuse.com
Developed by Adele Bardazzi and Alexis Brown (TORCH Graduate Project Coordinators 2014-15), the programme fell under four main themes:
PE conceptualization: What skills and knowledge do the humanities have to offer the public? Who is the public in this context? What does public engagement look like in a humanities context, and how can we learn from the sciences? What benefits does it offer your research? How can your research be translated into a public engagement project?
Communication skills: How do you translate your research for a non-academic audience? How do you find the audience that your research might appeal to? How do you approach radio and television media outlets as a source of public access? How do you use each medium most effectively? What kinds of technical, interpersonal and presentational skills do you need to reach the public?
Funding: What resources are available to fund PE projects? How does one apply to them, and what do funding bodies look for in their applications? How can we encourage entrepreneurial and financial skills in participants?
Experiential learning: How can skills learned in the summer school be directly applied to participants’ own ideas for PE projects within the context of the Summer School?
https://graduateprojectsoxford.wordpress.com/public-engagement/2015-summer-school/
https://www.youtube.com/watch?v=hgYn9SJJGRI
https://www.torch.ox.ac.uk/ahrc-torch-public-engagement-summer-school-2015-0
Chair: Adele Bardazzi
On 20th October 2021, 5.30pm (London time) Italian Poetry Today will host its first event of the new academic year with poet Fabio Pusterla and translator Will Shutt.
Link Zoom:
https://us06web.zoom.us/j/88258882744...
Meeting ID: 882 5888 2744
Passcode: 255050
Fabio Pusterla was born in Mendrisio, Switzerland, in 1957. He is the award-winning author of eight collections of poetry, including Corpo Stellare (Stellar Body), Argéman, and most recently Cenere, o Terra (Ashes, or Earth), published by Marcos y Marcos in 2018. He has received the Premio Schiller (1986, 2000, 2011), the Premio Dessì (2009) and the Premio Napoli (2013), among many other awards. An active essayist and translator, he lives and works between Lombardy and Lugano, where he teaches Italian language and literature.
Will Schutt is the author of Westerly (Yale University Press, 2013) and translator, most recently, of My Life, I Lapped It Up: Selected Poems of Edoardo Sanguineti (Oberlin College Press, 2018) and Carlo and Renzo Piano’s Atlantis: A Journey in Search of Beauty (Europa Editions, 2020). For his translations of Fabio Pusterla’s poetry, he was awarded the 2019 Raiziss/de Palchi Award. A visiting professor at Goucher College, in the summer he co-curates Policromia, a poetry and translation festival in Siena, Italy.
Brief Homage to Pluto and Other Poems by Fabio Pusterla, translated by Will Schutt, is forthcoming from Princeton University Press.
www.italianpoetrytoday.com
https://www.facebook.com/events/1227444467731268
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'Uscirne vivi'
Le fuggitive è un libro di poesie che attraversa i temi della cura e della paura, della lotta e della fuga. Si apre nelle atmosfere rarefatte di un antico gioco greco, l’ephedrismos, inframmezzato da scene di inseguimenti e nascondimenti, sullo sfondo di tracce mnestiche di un’infanzia ancora da elaborare. Poi una voce poetica, femminile e plurale, si dispiega in un lungo poemetto, che dà il titolo al libro, in cui «chi parla usa i pronomi per nascondersi» ed elenca luoghi e scene per riappropriarsi della sua storia, come in un esercizio di compositio loci o in una sorta di acting out. Il punto di arrivo di questa corsa attraverso tempi, forme e spazi diversi è il passaggio dalla claustrofobia dei fantasmi interiori al mondo tragico-comico della vita reale, raccontato attraverso piccole storie e fait divers nell’ultima sezione. Qui si raccolgono le strategie, comuni o straordinarie, talvolta comiche o struggenti, che donne e uomini hanno inventato e continuano a inventare, di fronte a ciò che li minaccia, per uscirne vivi.
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Carmen Gallo (Naples, 1983) currently lives in Naples, where she works as a academic researcher of English literature.
She has been amongst the finalists of the Mazzacurati-Russo poetry prize (in 2009-2010 and in 2011-2012). She published texts in blogs (Poetarum Silva, Poesia by Luigia Sorrentino) and anthologies (Registro di Poesia #3, 2010 and Registro di Poesia #5, 2012, D’If Editions, Naples).
Together with Tommaso Di Dio, Alessandra Frison, and Domenico Ingenito, she organizes the reading group “Fuochi sull’acqua”, dedicated to young, emerging poets.
Her book 'Le fuggitive' (Aragno, 2020) is amongst the finalist of this year's Premio Napoli.
https://www.facebook.com/events/3010848859232811
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Alessandra Carnaroli (Piagge, 1979) has published collections of neo-experimental poetry prefaced, amongst others, by Aldo Nove, Tommaso Ottonieri, Andrea Cortellessa, and Helena Janaczek.
Her publications include: 'Femminimondo, sui femminicidi' (2011), 'Primine, sui traumi infantili' (2017), 'Sespersa, sull'esperienza della gravidanza' (2018), 'In caso di smarrimento / riportare a:, sull'Alzheimer' (2019). For Einaudi, she published '50 tentati suicidi più 50 oggetti contundenti' (2021).
Marzia D’Amico is a Junior Researcher (FCT) at the Centre for Comparative Studies (CEC) of the Universidade de Lisboa. Their research explores the interplay between tradition and experimentalism in its forms, expressions, languages, and codes, with a focus on the socio-political implication behind women’s production of verbivocovisual poetry. Their prose, poetry, translations, and cultural contributions featured on radio, on stage, on paper, and online. They collaboratively run a monthly newsletter on transnational feminisms (Ghinea, https://www.facebook.com/ghineanewsletter/).
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Zoom Link:
https://us06web.zoom.us/j/82998284203...
Meeting ID: 829 9828 4203
Passcode: 409929
www.italianpoetrytoday.com
https://www.facebook.com/events/371007908064535
The prize is in collaboration with The Queen’s College at the University of Oxford, the Italian Cultural Institute in London and Nuovi Argomenti.
The winners of this year prize are: 1st prize, Carlo Rettore; 2nd Prize, Francesco Brancati; 3rd Prize, Francesco Maria Terzago.
On 9th December 2021 at 5.30pm (London time), Italian Poetry Today will host a poetry reading by the first five finalists of its Poetry Prize: Carlo Rettore, Francesco Brancati, Francesco Maria Terzago, Bianca Battilocchi, and Damiano Sinfonico. Some members of the jury will also join the event and read a selection of their poetry.
Zoom Link:
https://us06web.zoom.us/j/89897502487...
Meeting ID: 898 9750 2487
Passcode: 952728
More information about IPT Poetry Prize can be found here: http://www.italianpoetrytoday.com/poetry-prize.html
Sempre e solo a partire dalla lettura di testi si toccheranno, quindi, temi di estetica e sociolinguistica, il cui incrocio dai risvolti politico-letterari (per molti aspetti affini a quelli affrontati dalla letteratura coloniale) va a definire la poetica personale.
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Vincitore dell'Italian Poetry Today Poetry Prize 2021 e del premio Gozzano 2020, Carlo Rettore (Conegliano, TV), si è laureato a Padova in Filologia
Moderna ed è dottorando in Studi Filologico-Letterari e Storico-Culturali presso l’Università di Cagliari. Vive a Parigi, continuando l’attività di ricerca presso l’École Pratique des Hautes Études.
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Join Zoom Meeting
https://us06web.zoom.us/j/89025052989...
https://www.facebook.com/events/1150293079043777/
L'intervento, dal titolo 'Scrivere nella lingua dei figli', ci viene presentato tramite la segente dichiarazione di Rueff:
'La lingua dei figli. So e non so come sia successo; non so e so come si sia imposta questa voce: credo di sapere che abbia spostato la convinzione che non ci sia poesia se non in lingua materna, che non ci sia poesia se non nel canto profondo della lingua non imparata. So che ho riletto Hanna Arendt. So che l’idea che nella propria lingua uno si possa permettere delle cose che non si può permettere altrove è diventato confusa poi incomprensibile. So che so ancora meno cosa sia una lingua. So che Guido ha capito tutto questo meglio di me. So che andrò avanti.'
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Martin Rueff insegna all’Università di Ginevra. Co-redattore della rivista Po&sie, è autore di saggi e volumi pubblicati in Francia (Icare crie dans un ciel de craie, 2008 e 2010; e La Jonction, Caen, Nous, 2019). La sua prima raccolta poetica in Italiano è Verticale ponte (I poeti sconfinati, 2021).
Guido Mazzoni è Professore Ordinario in Critica Letteraria e Letterature Comparate all'Università degli Studi di Siena e Insegna alla scuola di scrittura Molly Bloom di Roma e al Master di scrittura creativa dello IULM di Milano. Ha fatto parte del comitato direttivo della rivista «Allegoria» (2007-2015). È stato fra i fondatori del sito «Le parole e le cose», che ha diretto fra il 2011 e il 2018.
È autore di libri di critica e di poesia - tra i quali ricordiamo i saggi Sulla poesia moderna (Il Mulino, 2005), Teoria del romanzo (Il Mulino, 2011), I destini generali (Laterza, 2015) e i libri di versi I mondi (Donzelli, 2010) e La pura superficie (Donzelli, 2017).
https://www.facebook.com/events/1795333777322846/
'La dimensione sovraindividuale della sovrastruttura con cui l’uomo conosce le realtà è stata chiamata Storia. Eppure, paradossalmente, quello è anche il luogo dove si esprime la massima presenza del nulla che assedia l’uomo. Cos’è altro la Storia se non una costruzione, un immaginare uno scopo nella vita dell’intera umanità, anzi un credere che di questo scopo, o insieme di scopi, ci sia una tracciabilità precisa (fatti, personaggi, idee)? Certo, sembra che qualcosa sia accaduto, che le persone siano esistite, che alcune idee siano state scritte: ma è il credere che nella vita ci sia una qualche direzione, come dice Camus, che spinge alla fine l’uomo a costruire la Storia. Nessun fatto è mai esistito per come viene trasmesso, e ancor prima, nessun fatto, mi verrebbe da dire, è mai esistito.
L'idea di Storia pone poi immediatamente di fronte alla frammentarietà di ciò che definiamo “storia”. Questi “barlumi” sono insieme rappresentazione della sostanza di ciò che è accaduto, nel suo arrivare dal passato, ma sono anche definitori della natura della percezione dei fatti storici, o meglio, degli eventi. Qualcosa è davvero accaduto, ma nella zona opaca che l’uomo abita questo qualcosa è una luce incerta, in sé e per sé. Qualcosa è davvero accaduto; ma la cosa in sé, nel momento in cui è accaduta, si è anche dissolta. Rimangono i documenti, la memoria, e la sua riformulazione nella rappresentazione, ossia la scrittura della storia, che ne è imprescindibilmente interpretazione, lo studio e la lettura dei testi, l’immaginazione. Nulla di tutto questo tuttavia ridarà ciò che definiamo propriamente il fatto, l’evento, il veniente, che si è (quasi) completamente dissolto. Questa dissoluzione non la pone in atto la distanza storica, ma la distanza storica è posta in atto da questa dissoluzione. Le cose non esistono più, tuttavia sono accadute per sempre. È a questo punto che acquista spessore la dimensione allegorica: in questo margine di limitata eternità, dove è inevitabile l’incontro con la poesia.'
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Giovanna Frene (pseudonimo di Sandra Bortolazzo) è nata ad Asolo nel 1968 e vive a Crespano del Grappa, in provincia di Treviso.
Ha pubblicato: Immagine di voce (Facchin, 1999); Spostamento. Poemetto per la memoria (Lietocolle, 2000, Premio Montano 2002); Datità, (postfazione di A. Zanzotto, Manni, 2001); Stato apparente (Lietocolle, 2004); Sara Laughs (D’If, 2007, Premio Mazzacurati-Russo 2006); Il noto, il nuovo (prefazione di P. Zublena, con traduzione inglese, Transeuropa, 2011); Tecnica di sopravvivenza per l’Occidente che affonda (Arcipelago Itaca editore, 2015). Ha curato il prosimetron Orfeo è morto. Lettere intorno un’amica uguale (Lietocolle, 2002), di Federica Marte. Con Orlando Myxx cura il progetto poetico-fotografico “Maschilità XX”. Ha pubblicato poesie in riviste italiane e straniere. È inclusa in varie antologie tra cui: Nuovi Poeti italiani 6 (Einaudi, 2012); Poeti degli Anni Zero (Ponte Sisto, 2011); New Italian Writing (“Chicago Review”, 56/1, 2011); Parola Plurale. Sessantaquattro poeti italiani fra due secoli (Sossella Editore, 2005).
https://www.facebook.com/events/508160910637378
Franca Mancinelli, The Butterfly Cemetery. Selected Prose (2008-2021), The Bitter Oleander Press, Fayetteville (New York) 2022.
Questa sessione di IPT presenterà dialoghi e letture tra un’autrice e il suo traduttore, intorno a una raccolta di prose da poco pubblicata negli Stati Uniti, dove memorie dell’infanzia e scritti sul paesaggio si intrecciano a riflessioni sulla scrittura e la poesia.
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Franca Mancinelli è autrice di quattro libri di poesia: Mala kruna (Manni, 2007), Pasta madre (Nino Aragno, 2013), Libretto di transito (Amos edizioni, 2018), e Tutti gli occhi che ho aperto (Marcos y Marcos, 2020). Una silloge di suoi testi è compresa in Nuovi poeti italiani 6, a cura di Giovanna Rosadini (Einaudi, 2012) e con introduzione di Antonella Anedda, nel Tredicesimo quaderno italiano di poesia contemporanea, a cura di Franco Buffoni (Marcos y Marcos, 2017).
Traduzioni di suoi testi sono apparse su riviste e antologie straniere. Ha partecipato ad alcuni progetti internazionali, tra cui Chair Poet in Residence (Calcutta, 2019) e 'Refest – Images and Words on Refugee Routes' (2018) da cui è nato Taccuino croato, ora in Come tradurre la neve (AnimaMundi edizioni, 2019).
Con traduzione inglese di John Taylor sono usciti in Usa per The Bitter Oleander Press, The Little Book of Passage (2018) e At an Hour’s Sleep from Here: Poems (2007-2019), una raccolta dei suoi primi due libri con alcuni inediti. Il suo ultimo libro di prose è The Butterfly Cemetery. Selected Prose (2008-2021), The Bitter Oleander Press, Fayetteville (New York) 2022.
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John Taylor è scrittore e traduttore. Nato nel 1952 a Des Moines (Stati Uniti), vive in Francia dal 1977. È autore di racconti, prose brevi e di poesie. Tra i suoi libri più recenti: The Dark Brightness (2017), Grassy Stairways (2017) e Remembrance of Water & Twenty-FiveTrees (2018). In italiano sono usciti, nella traduzione di Marco Morello: Gli Arazzi dell’Apocalisse (Hebenon, 2007), Se cade la notte (Joker, 2014) e L’oscuro splendore (Mimesis-Hebenon, 2018). Portholes (Oblò) è in uscita nell’autunno 2019 per Pietre vive edizioni. Ha tradotto dal francese diversi poeti tra cui Philippe Jaccottet, Pierre-Albert Jourdan, Pierre Chappuis, Pierre Voélin e José-Flore Tappy. Nel 2013 ha vinto il premio dell’Academy of American Poets per un progetto di traduzione delle poesie di Lorenzo Calogero: An Orchid Shining in the Hand: Selected Poems 1932-1960 (Chelsea Editions, 2015). Recentemente, ha tradotto 'Libretto di transito' e 'Il cimitero di farfalle' di Franca Mancinelli The Little Book of Passage (Bitter Oleander Press, 2018 e 2022).
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Join Zoom Meeting
https://us06web.zoom.us/j/86785077985...
https://www.facebook.com/events/858996285057374/
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Guido Mazzoni è Professore Ordinario in Critica Letteraria e Letterature Comparate all'Università degli Studi di Siena e Insegna alla scuola di scrittura Molly Bloom di Roma e al Master di scrittura creativa dello IULM di Milano. Ha fatto parte del comitato direttivo della rivista «Allegoria» (2007-2015). È stato fra i fondatori del sito «Le parole e le cose», che ha diretto fra il 2011 e il 2018.
È autore di libri di critica e di poesia - tra i quali ricordiamo i saggi Sulla poesia moderna (Il Mulino, 2005), Teoria del romanzo (Il Mulino, 2011), I destini generali (Laterza, 2015) e i libri di versi I mondi (Donzelli, 2010) e La pura superficie (Donzelli, 2017).
https://www.facebook.com/events/1828830477324592
Read Franca Mancinelli’s poems in John Taylor’s translation from the same issue:
https://www.asymptotejournal.com/poetry/seven-poems-franca-mancinelli/
Franca Mancinelli is a poet who masterfully navigates the boundaries between the concrete and the abstract, crafting works that are both evocative and intellectually challenging. Her poems are marked by a sense of linguistic precision and control, as well as a deep sensitivity to the textures and rhythms of language itself.
At the heart of Mancinelli’s work is an exploration of the complexities of human experience, as well as a profound engagement with the natural world. Her poems are suffused with a sense of wonder and reverence for the beauty and mystery of the world around us, while also delving into the more troubling aspects of existence, such as loss, grief, and the transience of life. Through her finely wrought lines and carefully chosen words, Mancinelli invites readers to contemplate the profound questions that lie at the heart of our existence, while also reveling in the sheer beauty of the language she employs. Her poetry is a testament to the power of language to move, inspire, and illuminate, and stands as a testament to the enduring vitality and relevance of the poetic form.
Her poems are marked by a profound lyricism and an ability to create vivid, evocative images that linger long in the mind. Whether exploring the natural world, the mysteries of the human psyche, or the shifting currents of the heart, Mancinelli’s poems are suffused with a sense of wonder and reverence for the world around us, as well as a deep engagement with the fundamental questions of existence. Through her masterful control of language and her unflinching gaze at the world, she offers readers a glimpse into the transcendent beauty and complexity of life, reminding us of the power of poetry to move us, challenge us, and help us make sense of the world we inhabit.
A recent conversation we had with Mancinelli for the project Non solo muse that we curated offers valuable insights into the creative processes and thematic concerns that inform her poetry. In this interview, Mancinelli reflects on the ways in which language can be used to create meaning and capture the essence of human experience, as well as on her own personal journey as a writer. Understanding the context in which her poetry is created and the themes that drive her work can provide readers with a deeper appreciation of her poetic vision and the rich complexity of her language.
Moreover, Mancinelli’s interview can also shed light on the translation of her work into English by John Taylor. As a poet who is deeply invested in the nuances and subtleties of language, Mancinelli’s poetry presents a particular challenge for translators. Reading her reflections on the creative process and the ways in which language shapes our understanding of the world can help readers to appreciate the skill and sensitivity required to translate her work effectively. Ultimately, exploring Mancinelli’s poetry in both the original Italian and in English translation, with the added context provided by her recent interview, is a valuable and rewarding experience that offers insights into the power of language and the complexities of the human experience.
—Adele Bardazzi and Roberto Binetti