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Dalle prime attestazioni al persistere di alcuni (pre)giudizi su una lingua e una modernità incomprese

100%
Lavinio C.
Italica Wratislaviensia
|
2024
|
issue 15.1
45-63
IT
La lettura di alcune delle prime recensioni e scritti critici sulle opere di Grazia Deledda (ad esempio quelli di Dino Mantovani) permette di capire quanto vengano da lontano vari pregiudizi circolati a lungo su di lei e sulla sua scrittura. In particolare quelli sul suo “cattivo” italiano (una lingua “spampanata”, diceva Emilio Cecchi) hanno generato il luogo comune che vedeva un notevole miglioramento nelle sue opere quando tradotte in altre lingue. Ciò è forse alla base della maggiore fortuna (in particolare di critica) di cui Deledda sembra aver goduto a lungo più all’estero che in Italia. Solo di recente alcuni giovani studiosi italiani (e non sardi) si sono avvicinati agli studi deleddiani, mentre in Sardegna (in un’isola nel passato non esente da uno sguardo molto critico verso G. Deledda) ormai da anni si è cominciato a lavorare seriamente sulla scrittrice, scoprendone tutta la precoce modernità. Una modernità a suo tempo mal compresa e soprattutto considerata inopportuna da un mondo letterario pettegolo e invidioso, oltre che misogino, come quello rappresentato dalla stessa Deledda in alcuni dei suoi romanzi e novelle. E chi si limita a citare il romanzo pirandelliano Suo marito come possibile responsabile del dilagare di giudizi negativi sulla scrittrice, se non ha letto Nostalgie di G. Deledda non si rende conto di quanto proprio Nostalgie (pubblicato nel 1905) possa avere in qualche modo suggerito o rafforzato in Pirandello l’idea di rappresentare ironicamente e negativamente quello stesso mondo letterario mediocre e limitato nel proprio romanzo. Più in generale, occorrerebbe leggere tutte le opere di questa scrittrice (e non solo quelle ambientate in Sardegna) per poterla apprezzare e comprendere meglio.
EN
Some of the first reviews of and critical writings on Grazia Deledda’s works can help us realise how long prejudices about Deledda and her writing have persisted. The prejudiced dismissal of her ‘bad’ Italian generated the cliché notion that her works notably improved in translation. This was perhaps one reason why Deledda seems to have longer enjoyed greater critical acclaim and more popularity with readers abroad than in Italy. Only recently have some young Italian (and non-Sardinian) scholars begun to study Deledda, while in Sardinia there has been new, robust research on her, illuminating all her precocious modernity. This modern approach was little understood in the 20th century and above all was denounced by the gossipy, envious, and misogynistic literary world, which Deledda herself depicted in some of her novels and short stories. While Pirandello’s novel Suo marito tends to be cited as possibly responsible for spreading negative judgments about Deledda, those who have not read her Nostalgie (1905) will not grasp how much this book may have suggested or reinforced Pirandello’s own ironic and negative representation of that same mediocre and limited literary world in his novel. More generally, to appreciate Deledda, one must read all her works, rather than only those set in Sardinia.
2
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Małe tęsknoty w "małej" prozie Roberta Walsera

88%
Pliszka M.
Transfer. Reception studies
|
2022
|
vol. 7
189-200
EN
Subject of this article is the theme of longing, its varieties and functions, in the small prose works of Robert Walser, published in Polish in the volumes Mały krajobraz ze śniegiem  and Niedzielny spacer. In the light of Svetlana Boym's views, nostalgia takes two forms: restorative (longing for a lost past) and reflexive (prospective, focusing on longing as such). Robert Walser’s work is dominated by the second type of nostalgia; this theme, which is closely linked to desire, allows nostalgia to be situated in the symbolic order of space and movement; it is represented by metaphors associated with wandering, walking, stroll. Ultimately, reflexive longing rises in Walser's prose to the status of a basic existential situation and becomes one of the most essential determinants of human nature.
DE
Der Artikel befasst sich mit dem Motiv der Sehnsucht, ihren Variationen und Funk-tionen in kleinen Prosa-Werken von Robert Walser, die auf Polnisch in den Bänden Mały krajobraz ze śniegiem [Die kleine Schneelandschaft] und Niedzielny spacer [Der Sonntagsspa-ziergang] veröffentlicht wurden. Im Lichte der Ansichten von Svetlana Boym hat die Nostalgie zwei Formen: eine »restorative« (Sehnsucht nach der verlorenen Vergangenheit) und eine »reflexive« (prospektive, die sich auf die Sehnsucht als solche konzentriert). Im Werk von Robert Walser dominiert der zweite Typus der Nostalgie; dieses Motiv, das eng mit dem Wunsch verbunden ist, ermöglicht es, die Nostalgie in der symbolischen Ordnung von Raum und Bewegung zu verorten; sie wird durch Metaphorisierungen im Zusammenhang mit dem Wandern, dem Umherschweifen, dem Gehen dargestellt. Letztlich wächst die reflexive Sehn-sucht in Walsers Prosa zur existentiellen Grundsituation und wird zu einem der wesentlichs-ten Determinanten der menschlichen Natur.
PL
Artykuł dotyczy motywu tęsknoty, jej odmian i funkcji w małych prozach Roberta Walsera opublikowanych w języku polskim w tomach Mały krajobraz ze śniegiem i Niedzielny spacer. W świetle poglądów Svetlany Boym nostalgia przyjmuje dwie formy: restoratywną (tęsknota za utraconą przeszłością) i refleksyjną (prospektywną, skoncentrowaną na tęskno-cie jako takiej). W twórczości Roberta Walsera dominuje drugi rodzaj nostalgii; motyw ten, ściśle związany z pragnieniem, pozwala usytuować tęsknotę w porządku symbolicznym prze-strzeni i ruchu; reprezentują ją metaforyzacje związane z wędrówką, włóczęgą, spacerem. Ostatecznie refleksyjna tęsknota urasta w prozie Walsera do rangi podstawowej sytuacji eg-zystencjalnej i staje się jedną z najistotniejszych determinant ludzkiej natury.
3
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Central European Literary Reconceptualization of Historical Memory: The Case of Ingeborg Bachmann’s Novels

88%
Nikiforova B.
Kultura i Wartości
|
2022
|
issue 34
163-182
DE
Der Fall der mitteleuropäischen Toleranz ist der Schlüssel zum Verständnis des geistigen und künstlerischen Lebens im zwanzigsten Jahrhundert. Die Besonderheiten des mitteleuropäischen spirituellen Lebens und Erzählens sind Gefühle der Nostalgie, zahlreiche Rückblenden in die Vergangenheit, Kosmopolitismus und zugleich eine starke regionale Identität. Mitteleuropa ist ein Gebiet einer anderen und besonderen Toleranz. Der Beitrag analysiert Ingeborg Bachmanns literarische Interpretationen von Wittgensteins Sprachphilosophie und Antworten auf diese philosophische und geopolitische Herausforderung. Die Grenzen des Habsburgerreiches sind ein Symbol für grenzüberschreitende Identitäten und grenzüberschreitende Kultur. Die Autorin schlägt vor, die mitteleuropäische literarische Nostalgie als eine Möglichkeit der geographischen und territorialen Verortung der mitteleuropäischen Kultur und Spiritualität zu betrachten. Ingeborg Bachmann schuf ihre eigenen Grenzen: die Grenze der Sprache, die Grenze von Geschlecht, Zeit, Territorium und philosophischem Denken. 
PL
Przypadek środkowoeuropejskiej tolerancji to klucz do zrozumienia życia duchowego i artystycznego w XX wieku. Szczególnymi cechami środkowoeuropejskiego życia duchowego i narracji są uczucia nostalgii, rozliczne retrospekcje w czasie, kosmopolityzm i jednocześnie silna tożsamość regionalna. Europa Środkowa jest przestrzenią odmiennego i szczególnego rodzaju tolerancji. Artykuł analizuje konstruowane przez Ingeborg Bachmann literackie interpretacje filozofii języka Wittgensteina oraz odpowiedzi na to filozoficzne i geopolityczne wyzwanie. Granice Cesarstwa Habsburgów to symbol transgranicznych tożsamości i transgranicznej kultury. Autorka proponuje, by na środkowoeuropejską literacką nostalgię spojrzeć jak na możliwość geograficznego i terytorialnego usytuowania środkowoeuropejskiej kultury i duchowości. Ingeborg Bachmann wykreowała własne granice: granicę językową, granicę płci, czasu, terytorium i myślenia filozoficznego.
EN
The case of Central European memory and nostalgia is a key to the understanding of spiritual and artistic life in the 20th century. Special features of Central European spiritual life and narration are the feelings of nostalgia, innumerable flashbacks in time, cosmopolitism, and strong regional identity at the same time. Central Europe is the space of distinctive and specific tolerance. The figure of Ingeborg Bachmann is symbolic since it embodies the connection between the two fundamental cultural processes of the twentieth century: philosophy and literature. The article examines Ingeborg Bachmann’s literary interpretations of Wittgenstein’s philosophy of language and responses to this philosophical and geopolitical challenge. Borders of Habsburg Empire are symbols of cross-border identities and culture. The author offers to look at the Central European literary nostalgia as a possibility to situate Central European culture and spirituality geographically and territorially. Ingeborg Bachmann created her own borders: the linguistic border, border of gender, time, territory, and philosophical thinking.
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