Resum en catalán
Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio S... more Resum en catalán Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio Scerbanenco a la novel·la Ils nous trahiront tous La novel·la negra és una gran consumidora d'espai urbà. La ciutat, amb les seves perifèries constitueix el seu territori favorit. La seva imatge, majorment decadent i corruptora genera l'acció centrada en la trobada dels universos policíac i criminal. D'aquesta imatge emana una atmosfera particular: lúgubre, nocturna, tensa i violenta. Giorgio Scerbanenco planteja totes aquestes qüestions a la seva novel·la Ils nous trahiront tous. Ils nous trahiront tous és la segona part, després de Vénus privée de les aventures de Duca Lamberti, considerat com un dels personatges més atípics de la literatura policíaca. El autor italià esbossa aquí el retrat de Milà, ciutat del miracle econòmic italià durant els anys 60; però també capital del crim i de la corrupció. Paraules Clau Novel·la negra, espai urbà, Milà, Giorgio Scerbanenco, crim, corrupció.
Résumé en français Milan : lieu d'une écriture, radiographie d'un pays. L'univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous Le roman noir est un grand consommateur d'espace urbain. La ville, avec ses périphéries, constitue son territoire privilégié. Son image, souvent décadente, est générée par une action centrée sur la rencontre des univers policier et criminel.
Citation recommandée : Di Pasquale, Fabrizio. « Espace et société. Indices et parcours géo-centré... more Citation recommandée : Di Pasquale, Fabrizio. « Espace et société. Indices et parcours géo-centrés dans El alquimista impaciente de Lorenzo Silva ». Les Ateliers du SAL 11 (2017) : 52-62.
Nell’ultimo ventennio, un numero importante di lavori sono stati consacrati allo studio della
rap... more Nell’ultimo ventennio, un numero importante di lavori sono stati consacrati allo studio della rappresentazione dello spazio nei testi letterari. Tale interesse sembra inscriversi sia nell’evoluzione dei generi, caratterizzati da una spazializzazione crescente delle forme narrative, sia nello sviluppo di pratiche artistiche legate alla creazione di carte letterarie. In seguito all’affermarsi dello spatial turn negli studi letterari e culturali, parte della critica ha focalizzato la sua attenzione sulla relazione che intercorre tra spazio immaginario, spazio referenziale e pratica cartografica. Quest’ultimo aspetto costituisce uno dei temi più interessanti della metodologia geocritica. Il presente articolo mira a studiare tale “convergenza” tra la letteratura e la cartografia, con l’intento di esaminare la testualità delle carte letterarie e, in particolare, la loro dimensione retorica. Le carte letterarie sono in grado di rappresentare i luoghi in cui si svolge l’azione di un romanzo, o di più romanzi, permettendo allo scrittore di costruire un mondo immaginario che i lettori esplorano assieme ai personaggi.
Italian crime fiction found its ground at the beginning of the 1990s and, in the following twenty... more Italian crime fiction found its ground at the beginning of the 1990s and, in the following twenty years, acquired widespread popularity in both bookshops and media. Throughout the years, several authors took their distances from the American hard-boiled model, by focusing more on the representation of the criminal world and the Italian political and social issues. Their works reflect the need for a better adherence to reality, as other literary genres also felt this. In the current phase in which the narrative dignity and literarity of the genre is no longer under discussion, crime fiction becomes the preferred means through which it is possible to tell and interpret the “dark side” of the contemporary society. A symbol of this is the writer Massimo Carlotto. Victim of one of the most controversial cases of the Italian political history, Massimo Carlotto uses the novel as a substitute of the judiciary research, based on the trial files of previous cases. In his novels, it is possible to find not only a mixture of politics and society, but also a representation of a heavily dystopic society, with corrupted lawyers, judges, police officers, entrepreneurs, and member of the public administration. This article presents an analysis of the novel Arriverderci amore, ciao, published in 2001. The main character of the novel is Giorgio Pellegrini, who is a fugitive, a criminal, and the narrator. He is the perfect example of a socially integrated criminal on the rise. Once again, the Paduan author chooses the wealthy North-East of Italy as the settings, with the aim to denounce the collusion between the political and judiciary institutions and the biggest local investors.
Véritable laboratoire créatif, la littérature populaire offre une profusion de regards et de lect... more Véritable laboratoire créatif, la littérature populaire offre une profusion de regards et de lectures possibles dont l’impact dépasse le cadre de la seule littérature générale. C’est au moment où la fiction hésite entre différentes formes d’expression que s’effectue un retour aux sources populaires. Cet ensemble vaste et hétérogène de textes privilégie l’imagination, le style direct contre le langage obscur, le respect des valeurs établies face à la remise en question de la société. Tous ces aspects permettent de définir un genre à partir de nombreux critères, plus ou moins pertinents, comme dans le cas du polar noir contemporain.
A large number of works have been devoted to studying the inclusion of literature in space and ... more A large number of works have been devoted to studying the inclusion of literature in space and the representation of places in literary texts. This interest in space issues seems to fit in both the evolution of literary genres and the development of artistic practices related to the creation of literary maps. This last aspect is one of the most interesting themes in the field of Geocriticism, transdisciplinary and applicable in both the human and physical sciences, in this specific case to the American crime fiction. Contemporary readers are more than ever sensitive to the “effects of reality and fiction” produced by the new American crime fiction, and this effect is palpable in Galveston, Nic Pizzolatto’s debut novel. In this paper, I propose to analyze the symbolic and aesthetic functions of places in the novel and to trace on a map the locations and the routes of the characters, but also the socio-cultural and political topics that characterize part of the American territory today. The map can be considered a pattern of representation of reality, able “to stage” or to provide imaginary solutions. The map shows cognitive operations, a system of deployable networks in space and it is deeply linked to the territory, becoming strictly geo-graphical .
Resum en catalán
Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio S... more Resum en catalán Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio Scerbanenco a la novel·la Ils nous trahiront tous La novel·la negra és una gran consumidora d'espai urbà. La ciutat, amb les seves perifèries constitueix el seu territori favorit. La seva imatge, majorment decadent i corruptora genera l'acció centrada en la trobada dels universos policíac i criminal. D'aquesta imatge emana una atmosfera particular: lúgubre, nocturna, tensa i violenta. Giorgio Scerbanenco planteja totes aquestes qüestions a la seva novel·la Ils nous trahiront tous. Ils nous trahiront tous és la segona part, després de Vénus privée de les aventures de Duca Lamberti, considerat com un dels personatges més atípics de la literatura policíaca. El autor italià esbossa aquí el retrat de Milà, ciutat del miracle econòmic italià durant els anys 60; però també capital del crim i de la corrupció. Paraules Clau Novel·la negra, espai urbà, Milà, Giorgio Scerbanenco, crim, corrupció.
Résumé en français Milan : lieu d'une écriture, radiographie d'un pays. L'univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous Le roman noir est un grand consommateur d'espace urbain. La ville, avec ses périphéries, constitue son territoire privilégié. Son image, souvent décadente, est générée par une action centrée sur la rencontre des univers policier et criminel.
Citation recommandée : Di Pasquale, Fabrizio. « Espace et société. Indices et parcours géo-centré... more Citation recommandée : Di Pasquale, Fabrizio. « Espace et société. Indices et parcours géo-centrés dans El alquimista impaciente de Lorenzo Silva ». Les Ateliers du SAL 11 (2017) : 52-62.
Nell’ultimo ventennio, un numero importante di lavori sono stati consacrati allo studio della
rap... more Nell’ultimo ventennio, un numero importante di lavori sono stati consacrati allo studio della rappresentazione dello spazio nei testi letterari. Tale interesse sembra inscriversi sia nell’evoluzione dei generi, caratterizzati da una spazializzazione crescente delle forme narrative, sia nello sviluppo di pratiche artistiche legate alla creazione di carte letterarie. In seguito all’affermarsi dello spatial turn negli studi letterari e culturali, parte della critica ha focalizzato la sua attenzione sulla relazione che intercorre tra spazio immaginario, spazio referenziale e pratica cartografica. Quest’ultimo aspetto costituisce uno dei temi più interessanti della metodologia geocritica. Il presente articolo mira a studiare tale “convergenza” tra la letteratura e la cartografia, con l’intento di esaminare la testualità delle carte letterarie e, in particolare, la loro dimensione retorica. Le carte letterarie sono in grado di rappresentare i luoghi in cui si svolge l’azione di un romanzo, o di più romanzi, permettendo allo scrittore di costruire un mondo immaginario che i lettori esplorano assieme ai personaggi.
Italian crime fiction found its ground at the beginning of the 1990s and, in the following twenty... more Italian crime fiction found its ground at the beginning of the 1990s and, in the following twenty years, acquired widespread popularity in both bookshops and media. Throughout the years, several authors took their distances from the American hard-boiled model, by focusing more on the representation of the criminal world and the Italian political and social issues. Their works reflect the need for a better adherence to reality, as other literary genres also felt this. In the current phase in which the narrative dignity and literarity of the genre is no longer under discussion, crime fiction becomes the preferred means through which it is possible to tell and interpret the “dark side” of the contemporary society. A symbol of this is the writer Massimo Carlotto. Victim of one of the most controversial cases of the Italian political history, Massimo Carlotto uses the novel as a substitute of the judiciary research, based on the trial files of previous cases. In his novels, it is possible to find not only a mixture of politics and society, but also a representation of a heavily dystopic society, with corrupted lawyers, judges, police officers, entrepreneurs, and member of the public administration. This article presents an analysis of the novel Arriverderci amore, ciao, published in 2001. The main character of the novel is Giorgio Pellegrini, who is a fugitive, a criminal, and the narrator. He is the perfect example of a socially integrated criminal on the rise. Once again, the Paduan author chooses the wealthy North-East of Italy as the settings, with the aim to denounce the collusion between the political and judiciary institutions and the biggest local investors.
Véritable laboratoire créatif, la littérature populaire offre une profusion de regards et de lect... more Véritable laboratoire créatif, la littérature populaire offre une profusion de regards et de lectures possibles dont l’impact dépasse le cadre de la seule littérature générale. C’est au moment où la fiction hésite entre différentes formes d’expression que s’effectue un retour aux sources populaires. Cet ensemble vaste et hétérogène de textes privilégie l’imagination, le style direct contre le langage obscur, le respect des valeurs établies face à la remise en question de la société. Tous ces aspects permettent de définir un genre à partir de nombreux critères, plus ou moins pertinents, comme dans le cas du polar noir contemporain.
A large number of works have been devoted to studying the inclusion of literature in space and ... more A large number of works have been devoted to studying the inclusion of literature in space and the representation of places in literary texts. This interest in space issues seems to fit in both the evolution of literary genres and the development of artistic practices related to the creation of literary maps. This last aspect is one of the most interesting themes in the field of Geocriticism, transdisciplinary and applicable in both the human and physical sciences, in this specific case to the American crime fiction. Contemporary readers are more than ever sensitive to the “effects of reality and fiction” produced by the new American crime fiction, and this effect is palpable in Galveston, Nic Pizzolatto’s debut novel. In this paper, I propose to analyze the symbolic and aesthetic functions of places in the novel and to trace on a map the locations and the routes of the characters, but also the socio-cultural and political topics that characterize part of the American territory today. The map can be considered a pattern of representation of reality, able “to stage” or to provide imaginary solutions. The map shows cognitive operations, a system of deployable networks in space and it is deeply linked to the territory, becoming strictly geo-graphical .
Uploads
Papers by Fabrizio Di Pasquale
Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio Scerbanenco a la novel·la Ils nous trahiront tous La novel·la negra és una gran consumidora d'espai urbà. La ciutat, amb les seves perifèries constitueix el seu territori favorit. La seva imatge, majorment decadent i corruptora genera l'acció centrada en la trobada dels universos policíac i criminal. D'aquesta imatge emana una atmosfera particular: lúgubre, nocturna, tensa i violenta. Giorgio Scerbanenco planteja totes aquestes qüestions a la seva novel·la Ils nous trahiront tous. Ils nous trahiront tous és la segona part, després de Vénus privée de les aventures de Duca Lamberti, considerat com un dels personatges més atípics de la literatura policíaca. El autor italià esbossa aquí el retrat de Milà, ciutat del miracle econòmic italià durant els anys 60; però també capital del crim i de la corrupció. Paraules Clau Novel·la negra, espai urbà, Milà, Giorgio Scerbanenco, crim, corrupció.
Résumé en français
Milan : lieu d'une écriture, radiographie d'un pays. L'univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous Le roman noir est un grand consommateur d'espace urbain. La ville, avec ses périphéries, constitue son territoire privilégié. Son image, souvent décadente, est générée par une action centrée sur la rencontre des univers policier et criminel.
rappresentazione dello spazio nei testi letterari. Tale interesse sembra inscriversi sia nell’evoluzione dei
generi, caratterizzati da una spazializzazione crescente delle forme narrative, sia nello sviluppo di
pratiche artistiche legate alla creazione di carte letterarie. In seguito all’affermarsi dello spatial turn
negli studi letterari e culturali, parte della critica ha focalizzato la sua attenzione sulla relazione che
intercorre tra spazio immaginario, spazio referenziale e pratica cartografica. Quest’ultimo aspetto
costituisce uno dei temi più interessanti della metodologia geocritica.
Il presente articolo mira a studiare tale “convergenza” tra la letteratura e la cartografia, con
l’intento di esaminare la testualità delle carte letterarie e, in particolare, la loro dimensione retorica. Le
carte letterarie sono in grado di rappresentare i luoghi in cui si svolge l’azione di un romanzo, o di più
romanzi, permettendo allo scrittore di costruire un mondo immaginario che i lettori esplorano assieme ai
personaggi.
In the current phase in which the narrative dignity and literarity of the genre is no longer under discussion, crime fiction becomes the preferred means through which it is possible to tell and interpret the “dark side” of the contemporary society. A symbol of this is the writer Massimo Carlotto. Victim of one of the most controversial cases of the Italian political history, Massimo Carlotto uses the novel as a substitute of the judiciary research, based on the trial files of previous cases. In his novels, it is possible to find not only a mixture of politics and society, but also a representation of a heavily dystopic society, with corrupted lawyers, judges, police officers, entrepreneurs, and member of the public administration.
This article presents an analysis of the novel Arriverderci amore, ciao, published in 2001. The main character of the novel is Giorgio Pellegrini, who is a fugitive, a criminal, and the narrator. He is the perfect example of a socially integrated criminal on the rise. Once again, the Paduan author chooses the wealthy North-East of Italy as the settings, with the aim to denounce the collusion between the political and judiciary institutions and the biggest local investors.
C’est au moment où la fiction hésite entre différentes formes d’expression que s’effectue un retour aux sources populaires. Cet ensemble vaste et hétérogène de textes privilégie l’imagination, le style direct contre le langage obscur, le respect des valeurs établies face à la remise en question de la société. Tous ces aspects permettent de définir un genre à partir de nombreux critères, plus ou moins pertinents, comme dans le cas du polar noir contemporain.
This last aspect is one of the most interesting themes in the field of Geocriticism, transdisciplinary and applicable in both the human and physical sciences, in this specific case to the American crime fiction. Contemporary readers are more than ever sensitive to the “effects of reality and fiction” produced by the new American crime fiction, and this effect is palpable in Galveston, Nic Pizzolatto’s debut novel.
In this paper, I propose to analyze the symbolic and aesthetic functions of places in the novel and to trace on a map the locations and the routes of the characters, but also the socio-cultural and political topics that characterize part of the American territory today. The map can be considered a pattern of representation of reality, able “to stage” or to provide imaginary solutions. The map shows cognitive operations, a system of deployable networks in space and it is deeply linked to the territory, becoming strictly geo-graphical .
Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio Scerbanenco a la novel·la Ils nous trahiront tous La novel·la negra és una gran consumidora d'espai urbà. La ciutat, amb les seves perifèries constitueix el seu territori favorit. La seva imatge, majorment decadent i corruptora genera l'acció centrada en la trobada dels universos policíac i criminal. D'aquesta imatge emana una atmosfera particular: lúgubre, nocturna, tensa i violenta. Giorgio Scerbanenco planteja totes aquestes qüestions a la seva novel·la Ils nous trahiront tous. Ils nous trahiront tous és la segona part, després de Vénus privée de les aventures de Duca Lamberti, considerat com un dels personatges més atípics de la literatura policíaca. El autor italià esbossa aquí el retrat de Milà, ciutat del miracle econòmic italià durant els anys 60; però també capital del crim i de la corrupció. Paraules Clau Novel·la negra, espai urbà, Milà, Giorgio Scerbanenco, crim, corrupció.
Résumé en français
Milan : lieu d'une écriture, radiographie d'un pays. L'univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous Le roman noir est un grand consommateur d'espace urbain. La ville, avec ses périphéries, constitue son territoire privilégié. Son image, souvent décadente, est générée par une action centrée sur la rencontre des univers policier et criminel.
rappresentazione dello spazio nei testi letterari. Tale interesse sembra inscriversi sia nell’evoluzione dei
generi, caratterizzati da una spazializzazione crescente delle forme narrative, sia nello sviluppo di
pratiche artistiche legate alla creazione di carte letterarie. In seguito all’affermarsi dello spatial turn
negli studi letterari e culturali, parte della critica ha focalizzato la sua attenzione sulla relazione che
intercorre tra spazio immaginario, spazio referenziale e pratica cartografica. Quest’ultimo aspetto
costituisce uno dei temi più interessanti della metodologia geocritica.
Il presente articolo mira a studiare tale “convergenza” tra la letteratura e la cartografia, con
l’intento di esaminare la testualità delle carte letterarie e, in particolare, la loro dimensione retorica. Le
carte letterarie sono in grado di rappresentare i luoghi in cui si svolge l’azione di un romanzo, o di più
romanzi, permettendo allo scrittore di costruire un mondo immaginario che i lettori esplorano assieme ai
personaggi.
In the current phase in which the narrative dignity and literarity of the genre is no longer under discussion, crime fiction becomes the preferred means through which it is possible to tell and interpret the “dark side” of the contemporary society. A symbol of this is the writer Massimo Carlotto. Victim of one of the most controversial cases of the Italian political history, Massimo Carlotto uses the novel as a substitute of the judiciary research, based on the trial files of previous cases. In his novels, it is possible to find not only a mixture of politics and society, but also a representation of a heavily dystopic society, with corrupted lawyers, judges, police officers, entrepreneurs, and member of the public administration.
This article presents an analysis of the novel Arriverderci amore, ciao, published in 2001. The main character of the novel is Giorgio Pellegrini, who is a fugitive, a criminal, and the narrator. He is the perfect example of a socially integrated criminal on the rise. Once again, the Paduan author chooses the wealthy North-East of Italy as the settings, with the aim to denounce the collusion between the political and judiciary institutions and the biggest local investors.
C’est au moment où la fiction hésite entre différentes formes d’expression que s’effectue un retour aux sources populaires. Cet ensemble vaste et hétérogène de textes privilégie l’imagination, le style direct contre le langage obscur, le respect des valeurs établies face à la remise en question de la société. Tous ces aspects permettent de définir un genre à partir de nombreux critères, plus ou moins pertinents, comme dans le cas du polar noir contemporain.
This last aspect is one of the most interesting themes in the field of Geocriticism, transdisciplinary and applicable in both the human and physical sciences, in this specific case to the American crime fiction. Contemporary readers are more than ever sensitive to the “effects of reality and fiction” produced by the new American crime fiction, and this effect is palpable in Galveston, Nic Pizzolatto’s debut novel.
In this paper, I propose to analyze the symbolic and aesthetic functions of places in the novel and to trace on a map the locations and the routes of the characters, but also the socio-cultural and political topics that characterize part of the American territory today. The map can be considered a pattern of representation of reality, able “to stage” or to provide imaginary solutions. The map shows cognitive operations, a system of deployable networks in space and it is deeply linked to the territory, becoming strictly geo-graphical .