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Paolo Bugliani
Tenure Track Lecturer in English Literature @ University of Pisa
Tenure-Track Lecturer in English @ University of Rome "Tor Vergata"
PostDoc Research Fellow @ University of Pisa
Visiting Scholar @ OCLW Wolfson College
Adjunct Professor @ University of Padua & @University of Pisa
BA + MA + PhD University of Pisa
My main research area is the study of the representation of the self in literary nonfiction, both from a theoretical and historical point of view. I have devoted my first two monographs and many essays to authors from the Early Modern, Romantic and Modernist periods, among which Sir Thomas Browne, Charles Lamb, and Virginia Woolf.
During my post-doctoral years at the University of Pisa I've been active in the study of Anglo-Italian and Anglo-French literary relations during the late 18th and early 19th centuries, with special attention to the circulation of Dante and Montaigne in the English speaking world. Another research domain that has been particularly dear to me is the investigation of the role and function of literary animals.
While at Oxford I have embarked on a project about the legacy of Romanticism on Modernist writers, on which I am preparing a monograph.
Address: Palazzo Scala, Via Santa Maria 67, Pisa (PI)
Tenure-Track Lecturer in English @ University of Rome "Tor Vergata"
PostDoc Research Fellow @ University of Pisa
Visiting Scholar @ OCLW Wolfson College
Adjunct Professor @ University of Padua & @University of Pisa
BA + MA + PhD University of Pisa
My main research area is the study of the representation of the self in literary nonfiction, both from a theoretical and historical point of view. I have devoted my first two monographs and many essays to authors from the Early Modern, Romantic and Modernist periods, among which Sir Thomas Browne, Charles Lamb, and Virginia Woolf.
During my post-doctoral years at the University of Pisa I've been active in the study of Anglo-Italian and Anglo-French literary relations during the late 18th and early 19th centuries, with special attention to the circulation of Dante and Montaigne in the English speaking world. Another research domain that has been particularly dear to me is the investigation of the role and function of literary animals.
While at Oxford I have embarked on a project about the legacy of Romanticism on Modernist writers, on which I am preparing a monograph.
Address: Palazzo Scala, Via Santa Maria 67, Pisa (PI)
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Following T. W. Adorno’s 1958 definition of the essay as a “heretical genre”, we might indeed be tempted to postulate that the essayist’s voice is bestowed on his/her readers at full strength when it engages in a process of systemic critique and current demystifying of dogmas pertaining either to a specific intellectual paradigm or to a historical period at large. Embodied from time to time by medieval Scholasticism, or 18th-century Enlightenment , Victorian
moralism, up to 20th-century Totalitarian ideologies, these dogmas sanctioned, by means of their inflexibility, the victory of single memorable essays that have remained, despite their original context of production, aesthetical testimonies capable of resisting the decay of the material situation they originally commented upon (Ozick 1997).
A fierce, free, heretical voice is what allows the essayist to embark on a diffused, polemical questioning of the received doxa, of the conventional idée reçue, of ideological conformity, and it also allows a retrospective recognition of the essay as the prime literary form suitable for criticism, intended as a campaign against banality deriving its strength from an epideictic liveliness embodied by the logic of the vox clamantis in deserto.
Il volume rilegge l’opera saggistica di Lamb evidenziandone, da un lato, il legame con la tradizione inglese e sottolineando, dall’altro, il delicato processo di trasfigurazione della voce d’autore che Lamb, attraverso la creazione di un eteronimo di nome Elia, mise in atto a partire dal 1820 sulle colonne del “London Magazine”, ottenendo un enorme successo di pubblico.
Dopo una contestualizzazione di tipo storico, volta a isolare i molti volti assunti dalla forma saggio in Inghilterra dalle origini al Romanticismo, l’analisi si concentra sul caso specifico di Lamb, studiando il modo in cui il suo esperimento letterario riesce perfettamente a integrare la duplicazione della voce d’autore – che è anche mitosi identitaria proiettata verso un paradigma estetico moderno – con la forma saggistica.
nature, expanding on its ties with Walter Pater’s Imaginary Portraits and experiments in fictional biography. On the other, Wilde’s text will be scrutinised from a non-fictional perspective that aims to throw light on its possible links with eighteenth- and, even more interestingly, seventeenthcentury forms of human-life ‘dissection’ that had Samuel Johnson and Robert Burton among their forerunners.
Following T. W. Adorno’s 1958 definition of the essay as a “heretical genre”, we might indeed be tempted to postulate that the essayist’s voice is bestowed on his/her readers at full strength when it engages in a process of systemic critique and current demystifying of dogmas pertaining either to a specific intellectual paradigm or to a historical period at large. Embodied from time to time by medieval Scholasticism, or 18th-century Enlightenment , Victorian
moralism, up to 20th-century Totalitarian ideologies, these dogmas sanctioned, by means of their inflexibility, the victory of single memorable essays that have remained, despite their original context of production, aesthetical testimonies capable of resisting the decay of the material situation they originally commented upon (Ozick 1997).
A fierce, free, heretical voice is what allows the essayist to embark on a diffused, polemical questioning of the received doxa, of the conventional idée reçue, of ideological conformity, and it also allows a retrospective recognition of the essay as the prime literary form suitable for criticism, intended as a campaign against banality deriving its strength from an epideictic liveliness embodied by the logic of the vox clamantis in deserto.
Il volume rilegge l’opera saggistica di Lamb evidenziandone, da un lato, il legame con la tradizione inglese e sottolineando, dall’altro, il delicato processo di trasfigurazione della voce d’autore che Lamb, attraverso la creazione di un eteronimo di nome Elia, mise in atto a partire dal 1820 sulle colonne del “London Magazine”, ottenendo un enorme successo di pubblico.
Dopo una contestualizzazione di tipo storico, volta a isolare i molti volti assunti dalla forma saggio in Inghilterra dalle origini al Romanticismo, l’analisi si concentra sul caso specifico di Lamb, studiando il modo in cui il suo esperimento letterario riesce perfettamente a integrare la duplicazione della voce d’autore – che è anche mitosi identitaria proiettata verso un paradigma estetico moderno – con la forma saggistica.
nature, expanding on its ties with Walter Pater’s Imaginary Portraits and experiments in fictional biography. On the other, Wilde’s text will be scrutinised from a non-fictional perspective that aims to throw light on its possible links with eighteenth- and, even more interestingly, seventeenthcentury forms of human-life ‘dissection’ that had Samuel Johnson and Robert Burton among their forerunners.
sketches in Walden, especially in the following chapters: “Higher Laws”, “Brute Neighbors” and “Winter Animals”. In them, in fact, the ‘I’ describes and recollects the voices of the various animals at Walden Pond. In order to make sense of this variegated and multifarious soundscape, Thoreau resorts to many possible exegetic tools, among which there is literature.
The aim of the conference is to craft a map of the poet’s seminal influence on single authors as well as on literary movements.
Starting from Mary Shelley’s immediate editorial and critical efforts, and passing through both late 19th-century Victorian celebrations and Modernist (apparent) rejection, the history of Shelley’s fortunes is one of the most interesting in modern and contemporary literature, and helps us to reflect on the true essence of his poetic legacy. Robert Browning, Walter Pater, the War Poets, Wallace Stevens, and many other poets were indeed among the most overt estimators of P.B. Shelley’s works. Furthermore, his poetical and philosophical lesson has reverberated through the production of authors from around the globe, not just those in the anglophone world.
Given the Shelleys’ fruitful collaboration, especially in their “Italian” years, Mary Shelley’s transnational legacy will also be the object of investigation.
Scholars from various parts of the world and fields of study (literature, sociology, anthropology, pedagogy, to name a few) are invited to discuss the wealth of Shelley’s aesthetic and ideological legacy, thus creating a forum which will provide a fertile addition to the various events that constellate the Shelleyan bicentenary celebrations.
Suggested topics include, but are not limited to:
The Shelleys’ reception in the Americas;
The Shelleys’ reception in Asia;
The Shelleys’ reception in Africa;
The Shelleys’ reception in Oceania;
The Role of the Shelleys’ oeuvre in the context of other European Romantic movements;
(New) Translations of Shelley’s poems;
Adaptations and remediations of Shelleyan characters in popular culture;
P.B. Shelley as a Romantic icon;
Mary Shelley’s role in the canonization of Shelley’s figure.
contributi sulla sua opera rappresentano un vero e proprio mare magnum in cui spesso difficile orientarsi.
Scopo del seminario non quello di elencare tutte le possibili letture che la critica ha dato dell’opera di
Woolf, ma soffermarsi su due di esse. La prima proposta di lettura prender spunto dal contributo dei
gender studies, cercando di comprendere come Woolf sia da sempre, assieme a Austen e le sorelle Bront ,
emblema ed exemplum della scrittrice che cerca di trovare spazio in un mondo dominato dal maschile.
Parzialmente collegato sar anche un breve excursus sull’apporto della teoria del romanzo, di cui Woolf fu
una delle voci pi autorevoli nel suo tempo, e oltre. Questa duplice prospettiva terr necessariamente
conto del fatto che Woolf, prima ancora che una romanziera, fu una critica letteraria di professione, e che
quindi la lettura della sua opera in un certo senso dipendente dallo sguardo attento dell’esegeta.
The workshop will be held on Friday 5th December 2014 in the Aula Magna of Palazzo Boilleau (Via Santa Maria 85, Pisa) from 9:30 am to 5:00 pm, with the following contributions:
- Dan McIntyre (University of Huddersfield, UK): Exploring Idiosyncracies in Dramatic Dialogue: A Stylistic Approach
- Debora Ciampi (University of Pisa): Speech Styles in Original and Dubbed Language: the Jargon of Queen Bees
- Martina Sias (University of Pisa): Fighting Oblivion through Poetry: Ofelia Zepeda’s Bilingual Compromise
- Enrico Terrinoni (University for Foreigners, Perugia): Awakening Finnegan. Multilingualism as ‘Plurivocality’ in the Translation of Joyce’s Book of the Dark
- Paolo Bugliani (University of Pisa): Some Perfect Sympathies: Charles Lamb’s Anachronistic Ventriloquism
- Angelo Monaco (University of Pisa): Conveying Exilic Melancholia Through Natural Imagery in Jhumpa Lahiri’s Narrative
Nate come ausilio sintetico per orientarsi in un mondo fitto di dati, date e personaggi talvolta poco noti, le schede mettono in luce i rapporti che singoli autori ebbero con la Commedia, e in senso lato con la tradizione letteraria italiana.