I want to talk a bit 'of good report given by Laura Peters the conference now to start speak slower, more calmly Meneghello and then connect to very important points, including that of "painting" that I mentioned in my opening remarks. This does not mean what I think of this report, which is also very important for me to links that present themselves.
It starts by saying that it Meneghello the Little Masters highlights an important issue. Relevant to his experience and how as a result - but I would say more so after the two remain connected to each other - Meneghello same address after all his work. This is the pain that creeps in to hear him for not having done something good during the period of the Resistance.
Laura Peters in this context refers to the double meaning of the chrysalis, which is used in different contexts but in the end in both cases in a way that can be put in a significant relationship, both by the great poet of the first half of the twentieth century Eugenio Montale, who by a great writer of the second Luigi half Meneghello Montale and here is a good reference point for the conclusions that follow.
An aside: I say here is a great writer of the second half, for it effectively compared to Montale. Then in general I agree with saying that this is one of the greatest of the twentieth century, but also want to clarify that this title is often used without understanding the difference between two great periods which can not be taken from account namely before the sixties and the next, which is already in my presentation and on which I will return again. I said
Meneghello and Montale, the definition of the chrysalis that is in their lyrics, in the small masters regard Meneghello and differences and similarities between the two. Montale chrysalis to mean the substantial inability to act, the fixed nature of time in spite of its possible transformations full of vitality, and its relentlessness. Meneghello instead focuses on the meaning of transformation of raw materials and experience of living through exercise but no less bitter memory.
And here comes the definition of narrative to the author. His path towards writing that takes place more or less we say on this, we said Meneghello is disappointed by the fact that it did not feel anything right combination during the Resistance, which he will then return to the Plateau to recover a sense of personal and collective history and to reflect on the war. You realize that even if not accomplished anything good for him, the remains can remember, and in particular the possibility to transform the memory still high in fact be preserved in collective memory, just through experience, something unique and that no one can take away or diminish in its particularity.
add here that this should be raised at the first universal human right, because it is an experience that makes us all unique, all special, worthy of all say what we think even if it's not, even though it has been said. Here it is that there is even more surprised to recognize the fact in all of secure credentials of artists, which rather surprised and we would run if you do not think that in relation to the experience but the fact that everything you write is intended to be published automatically , and then to knowledge as pointed out by another speaker of the conference talking about the material Renzo Cremante Meneghello in Pavia.
I would particularly be borne in mind across the intelligent observation of Marco Maiocco this time on contemporary and fellow countryman in Meneghello, Andrea Rossi Andrea (who is based in Thiene, as it was the same Meneghello) that are is interesting just to bring up the subject you are addressing how to work on the artistic process as a way to enter and also understand the issues relating to the contemporary, rather than to begin to make a comparison area only partly useful and hated Meneghello for being unnecessarily compared to other great writers of his region (Zanzotto, Rigoni Stern) only for reasons of pride or Italian literary-political region. Marco Maiocco has written so Andrea Rossi Andrea during her performance of a required part of the "Jazz off topic" in Tortona last summer:
"for Andrea Rossi, the concept of art in a world supposedly" right " might as well not exist: all artists would no longer even notice the difference between art and life. "
So far we have talked about how Meneghello came to writing. Meneghello said then as he writes? Com \u200b\u200b'is this your writing?
Laura Peters begins at this point to talk about intertextuality.
Meneghello It was said that the experience is about the memory. In doing so, uses an Italian who was described by Henry Head in his book The simple style "metadialettale. Head in his book addresses the question of how the Italian language invented by men of letters written to overcome local barriers in approximately two hundred, is increasingly taking on an average use and acts, he always says Serianni just said, "the point of arrival (or at least an important part) of the secular process of rapprochement between spoken and written."
But apart from that definition on Meneghello, more related to other texts than to the one in question, here are a case in small masters completely isolated, but of equal importance and mirror writing. Meneghello that should tell the facts, memories longer and it is natural that it clashes with the question of the novel form. In short, must use this time to say what the novel must say it is a natural connection because the facts to be presented are long to explain and has to deal with fewer words and put the emphasis on people.
And Laura Peters points out in what way Meneghello face at this point in reference texts while others wrote. What seems to emerge in every respect is the characteristic of the reader, rather than a writer. As we speak the text as a player like us. And 'demonstrated this deep knowledge of the texts and readings from many different Meneghello, not only because this is already evident in his notes to words, but as correctly noted by Peter De Marchi all left by a critical apparatus and practically still Meneghello little-known under the pseudonym of Hugh Varnai. The first
text mentioned by Laura Peters and whose law across extracted with Little Masters is no Men and Elio Vittorini. It is well known that the two passages are very similar. He then found a reference in metaliterary Meneghello, but the reference in question is as decorated and filled with irony than Vittorini. The conclusions later. Now it is useful to go to the second reference.
Pinocchio by Carlo Collodi. Here too, the cross-reading of passages from both texts in comparison, and Pinocchio Small teachers, show a remarkable similarity to the text layer. Here, however, a significant part of the text seems to refer Pinocchio and this moral element in this case is to be the element added to the simple indirect quotation just like we said before like the irony. Pinocchio is the prototype dell'antieroe and all the great ideals of small-small masters.
Coming in contact with the conference title we see that at this point, however, raises a question: we said that the experience we may speak again, although we can not say anything new at all or that we give glory. Already this is different from a lot of talk about the impossibility of saying that there are many supporters of the current positions in the artistic debates and taking a clear position on the side of labirinticità and complexity and a sense of purpose and experience of speaking and speech and the need to define our time as post-modern. This opens up a discourse on old age and sull'inesperienza lyricism than most topical issues in accordance with the postmodernists that will explain in more detail towards the end.
But then we said the question arises: intertextuality, that is to write or not referring explicitly to texts already written by others, falsify or less what say? We have seen that
Meneghello uses, but they are just a few examples among many other examples, more than anything else in relation to what you're saying, Vittorini and Collodi. Follows that in some cases or all tracks both mental and concrete, that is of text type, form, to give life to his narrative, but the example, the quote never end there. Or end up leaving to go elsewhere but the fact of the matter on the citation, as would appear from the latest trend of the evolution of current drawn by some theorists of postmodernism, the shift from modern to post-conceptual.
(for a discussion of literary theory in this field refer to my article published on the blog "Mozart's balls" on "the literary debate about Mozart balls" www.palledimozart.splinder.com).
The intertextuality, the relationship with other texts of other authors more or less implied that, especially here in The little masters, because it is shaped like the novel but then also in all others, to demystify the story ends (and no men) or to continue to give credit (Pinocchio), that is, in general, intensify rather than diminish the value, though apparently it would seem contradictory that a text quoted telling the truth, not just because of its author but of another.
Here I think the example of Pinocchio is very apt to understand this importance of the relationship between intertextuality and memory, that enables us to grasp the connection between the practical exercise refer to the texts (intertextuality) and the problem of how to feel great again real life experience (memory). This also allows us to reconnect with the end in Montale and in parallel to reveal the strong connection that links the problems of artistic creation and the current human and existential problems of each of us immersed in the contemporary world.
I found the report of Laura Peters very lyrical and very meaningful approach to a deepening of the matter meneghelliana. Concluding meaningful because we understand the aspects of the art, the way of understanding his work by an author and, unless it's the first of the intentions of this field now literary theory is likely to become sterile and full of discussions not related to bribes and even in small part to the authors.
So once explained that even the more technical discussions can charge interest and relevance and Meneghello offers a virtually endless range for these insights.
A further look at this in mind we have to mention the fact pointed out by Joseph Barbieri the need to go beyond the autoesegesi Meneghello found in his texts, although it seems more Barbieri throw the stone from a perspective that we at the same ricondurrebbe overcrowding of text and links out varied and diverse, even if some or perhaps very relevant, not being immersed in the specific field of literature, and since then, as he suggests, as a reader Meneghello, although very careful reader.
Conclusion in short: intertextuality, staying between the texts, appears to be the achievement of our - not only of the author - the maturity of individuals, beyond form, which can still be reached or not, because it can achieve still be there. Here's what you mean by empiricism Meneghello when he says "more and more mistakes you feel you're alive."
summarize: in an age like ours without grading scale, because more and more stripped of humanity and therefore always less than human targets to be achieved, there remains that the 'experience to maximize a sense of our lives. Meneghello is really talk about this with intertextuality. Then invent something new for the readers or not this is always less important than what you just said.
inolte Personally I think every artistic process, whether free or otherwise of his awareness (see the interesting written on this subject of textual criticism vs Montale. Ungaretti by Alberto Bertoni and Jonathan Sisco), or hit or less from the crisis of language in a way that was said in the introductory article about the psychological side of language and the difference between two generations and on which, however, will return, or to be deeply personal, is nevertheless equally valid, and that every attempt to respond broadly to describe a single, simple criterion, that of poetry or to not tell the truth and is ultimately always different for each person and always refers to a direct communication with its author. Here I have only tried to explain a good way forward in any substantial manner, with full and uniform, however, always adhering to the fact never to close the conversation or the route outlined, also knowing that this was not just Meneghello and that the speech made so far there I repeat lets clarify a very important aspect in contemporary literary or even institutionally absent for the most part but central and essential, but apart from that no stationary points of reference. Even in the case of intertextuality
reported by Laura Peters Pinocchio for the lyrics and Men and no need to remember that the analysis of the texts in question meets the poetic trend of the discussion, in the sense that it refers more to what is strictly necessary in theoretical terms or fields, but rather to help lead toward this vision power briefly summarized above, and directly related to speeches and questions the existence of which we are all called to respond with our lives and beyond Meneghello the author. What that allows us to say one more thing: the report of Peters seem to remember, as seems to scream the latest CD of that Andrea Rossi Andrea Baudrillard est mort that in a society like this we should be proud just to raise a hymn to the romance , in the simplest and most common meaning of the term.
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