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Eloisa Morra
Eloisa Morra is Associate professor of Italian at the University of Toronto. She earned a BA and MA from the Scuola Normale Superiore and a Ph.D. in Romance Languages and Literatures from Harvard University. Since 2020 she coordinates the “Sciascia Archive Project”, devoted to the digitalization of Leonardo Sciascia’s personal archive: https://www.italianstudies.utoronto.ca/research/sciascia-archive-project
She is the author of Un allegro fischiettare nelle tenebre. Ritratto di Toti Scialoja (Macerata, Quodlibet: 2014), among the winners of the Edinburgh Gadda Prize 2015, and the editor of Building the Canon through the Classics (Leiden/Boston, Brill: 2019), Paesaggi di parole. Toti Scialoja e i linguaggi dell’arte (Rome, Carocci: 2019) Figure dell’artista (Elephant&Castle, Bergamo: 2021, with G. Raccis), Tre per un topo (Quodlibet 2014), and “Retoriche dell’ecfrasi nella letteratura italiana del Novecento” (Letteratura&Arte). Among her research interests are the relationship between literature and the visual arts, women’s writings, authorial philology and authors’ archives. Her essays and criticism have appeared on LA Review of Books, Flash Art, Nuovi Argomenti, Il Tascabile, L’Indice. Her work has been supported by the Civitella Ranieri Foundation, Centre for Italian Modern Art, Gladys G. Krieble Delmas Foundation.
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Supervisors: Carlo Ginzburg
She is the author of Un allegro fischiettare nelle tenebre. Ritratto di Toti Scialoja (Macerata, Quodlibet: 2014), among the winners of the Edinburgh Gadda Prize 2015, and the editor of Building the Canon through the Classics (Leiden/Boston, Brill: 2019), Paesaggi di parole. Toti Scialoja e i linguaggi dell’arte (Rome, Carocci: 2019) Figure dell’artista (Elephant&Castle, Bergamo: 2021, with G. Raccis), Tre per un topo (Quodlibet 2014), and “Retoriche dell’ecfrasi nella letteratura italiana del Novecento” (Letteratura&Arte). Among her research interests are the relationship between literature and the visual arts, women’s writings, authorial philology and authors’ archives. Her essays and criticism have appeared on LA Review of Books, Flash Art, Nuovi Argomenti, Il Tascabile, L’Indice. Her work has been supported by the Civitella Ranieri Foundation, Centre for Italian Modern Art, Gladys G. Krieble Delmas Foundation.
Back on Academia.edu! :)
Supervisors: Carlo Ginzburg
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Sezioni:
1) Memorie d"Infanzia
2) La collaborazione con Lele Luzzati
3) il mondo dei tarocchi
4) Teatri della memoria
5) Fantastiche visioni
6) Genius loci
Copyright Year: 2019
Sezioni:
1) Memorie d"Infanzia
2) La collaborazione con Lele Luzzati
3) il mondo dei tarocchi
4) Teatri della memoria
5) Fantastiche visioni
6) Genius loci
Copyright Year: 2019
The establishment of such a dialogue is all the more urgent especially when confronting an author whose oeuvre is characterised by a distinctive complexity on multiple levels and lies at the intersection of different disciplines. Gadda’s body of work represents indeed an uncommon interplay of interests, from literature, philosophy, translation, art, history, psychoanalysis, and anthropology, to natural sciences, mathematics, chemistry, applied mechanics, and physics, thus constituting a unique case study for interdisciplinary research. The identification of Gadda as solely the virtuoso “prose writer” or the “multilingual” and “expressionist” writer, which is partly to be related to the paradigmatic interpretative work of Gadda’s critic-friend Gianfranco Contini, has given way over the decades to the acknowledgment of Gadda’s characteristic style as at one with his epistemological quest.
Gadda has been defined as “glocal”, and at the same time “quintessentially Italian” and “universal” (Cristina Olivari and Federica G. Pedriali, in Federica G. Pedriali (ed.), “Gadda Goes to War”, EUP 2013). While combining all of Italian linguistic history and literary tradition, Gadda’s writing has indeed been put in relation to authors, genres, and literary threads that go far beyond the Italian panorama: Modernism (Joyce, Proust, Céline, Beckett), and the Postmodernism; the great masters of the nineteenth-century realistic canon (Balzac, Zola, Dickens, Dostoevsky), and the traditions of humour and satire (Rabelais, Cervantes, Swift, Sterne). Despite this, outside Italy, Gadda remains almost exclusively known for his major novels “Quer pasticciaccio brutto de via Merulana” (1957) and “La cognizione del dolore” (1963, 1970), as well as for his ‘pyrotechnic’ and omnivorous language, which undoubtedly poses many challenges in terms of translatability. “Pasticciaccio”, “Cognizione”, and some short stories have in fact been translated in English by Wiliam Weaver (1964, 1965, 1969), Andrew Brown (2007), Antony Melville (2008), and Richard Dixon (2017), but the vast majority of his works – specifically his philosophical, historical, political, and essayistic writings – still lack a translation. That is the case, just to name a few, of “Meditazione milanese” (1974), “Eros e Priapo” (1967), and “I viaggi la morte” (1958).
“Editions, Translations, Transmissions: ‘That Awful Mess’ of Carlo Emilio Gadda” is organised around three main thematic areas:
1 – From Philology to Criticism, from Criticism to Philology;
2 – An Uncommon Confluence of Threads: Interplays in Gadda’s Oeuvre;
3 – Expanding Horizons: Translatability, Reception, and the European Canon.
CONFERENCE ORGANISERS: Luca Mazzocchi (Exeter College) and Serena Vandi (St Hugh’s College)
Please send an abstract (max 250 words, in Italian or in English) and a short biography (max 100 words) to Eloisa Morra (eloisa.morra@utoronto.ca) and Marco Ceravolo (119226158@umail.ucc.ie) by 20 January 2022.
Notification of acceptance of abstracts will be sent out to authors by 31 January 2022.