In this issue:
G. Gobber – A. Murphy – R. Rizzoli – A. Anselmo – R. Grandi – F. Lonati
Giovanni Gobber, A note on the propositional content of questions
In the paper it is assumed that the propositional content of a question and the range of the relevant answers to it are understood with the help of pragmatic factors. Following Kazimierz Ajdukiewicz and Roman Ingarden, two fundamental components of the question content are distinguished, i.e. the datum quaestionis and the obiectum quaestionis – the latter consisting in a variable ranging over a research domain. An analysis of concrete questions (both yes-no questions and wh-questions) from a corpus of written texts is made and a Gricean inference model is applied to show that the research domain is determined according to the context and the range of relevant answers is established at the token level.
Amanda Murphy, Oh! What a humanitarian war! A comparative corpus-assisted study of humanitarian/umanitario in English and Italian opinion article
e present article presents a contrastive case study of the adjective humanitarian in English and umanitario in Italian in the context of newspaper opinion articles. It explores dictionary definitions of these words, and investigates their collocates both in reference corpora for English and Italian and in specialized corpora of opinion articles from the press in English and Italian. While the adjective appears to be semantically neutral, it collocates with both positive and negative words. In the context of military conflict, corpus investigations reveal increasing scepticism on the part of opinionists in English and Italian newspapers as regards the good intent of ‘humanitarian’ interventions.
Renato Rizzoli, Sull’utilizzo dell’immaginario economico nella lirica profana di John Donne (con particolare riferimento all’elegia XI, The Bracelet)
Through the analisys of the attitude of the two lovers in elegy XI , The Bracelet, this essay aims at highlighting how their behaviour reproduces on the cultural level the negotiations typical of the rising market economy, so that they represent in Donne’s vision the modern allegory of love. This ‘quantitative’ mercantile pattern recurs also in the next love poems, constituting one of the crucial imageries by which Donne represents the proteian, precarious and imperfect nature of the love relation. Such mercantile imagery, alluding to the cultural influence of the market relations, redefines at the same time the autonomy of Donne’s love sphere, showing that it is not so exclusive
Nel settembre 1820 Keats lascia Londra a bordo della Maria Crowther. Le fasi del viaggio hanno valore simbolico: il mare é un non-luogo e la Maria Crowther un’eterotopia, “grandi separatori” fra Londra e Roma, passato e presente, vita e morte. Gli echi letterari nelle lettere di Keats e del suo compagno di viaggio, Severn, mostrano che l’esperienza in mare ha una struttura narrativa e può quindi essere paragonata al racconto del Vecchio Marinaio di Coleridge, alla traversata dell’Acheronte nella Divina Commedia, al naufragio nel Don Juan byroniano, e al tumultuoso viaggio per mare di Leigh Hunt (1821-1822).
Roberta Grandi, “What was done there is not to be told!” Plans for improvement and designs for ruin in Austen’s Sotherton Court
The article will consider Austen’s Mansfield Park focussing principally on the descriptions and events connected to Sotherton Court, Mr Rushworth’s house. The novel dedicates large attention to the plans for improving Sotherton’s park including interesting observations on the fashion for landscape gardening and the different attitudes of the characters involved. So, the article will open with a general introduction on the situation of landscape gardening at Austen’s time and will then perform a detailed analysis of the elements described in the novel. The second part of the article will move from the consideration of the park as locus amoenus, the place for pleasure, to analyse the visit to Sotherton Court as narrated in chapters 9 and 10 (volume I). The episode depicts the main characters as, during the visit to the park, indulge in improper behaviour protected by the privacy of the wilderness and the ha-ha. The analysis will show how this single episode metaphorically prefigures the development of the plot and provides, at the same time, a moral judgment on the characters’ behaviour.
The present study aims at analysing the pictorial quotations in Renato Castellani’s film adaptation of Romeo and Juliet (1954). After a brief account of the film’s genesis and the historical and cultural context in which it was produced, the paper goes on to examine some examples of the way the director chooses and uses his pictorial references from the Renaissance: the composition of the frames, the description of the main and minor characters’ physical aspect, and the style of the costumes. Another – and not less important – purpose of the paper is, to hopefully contribute to the rediscovery of an outstanding Shakespeare film which today is virtually forgotten.
Jacqueline Lillo ed., 1583-2000: Quattro secoli di lessicografia italo-francese. Repertorio analitico di dizionari bilingue
M. Bondi – M. Scott ed., Keyness in Texts
Mariolina Bertini, Incroci obbligati. Romanzo, ritratto, mélodrame
Rassegna di Linguistica Generale, a cura di Mario Baggio e Maria Cristina Gatti
Rassegna di Glottodidattica, a cura di Bona Cambiaghi
Rassegna di Linguistica Francese, a cura di Enrica Galazzi e Chiara Molinari
Rassegna di Linguistica Inglese, a cura di Margherita Ulrych e Maria Luisa Maggioni
Rassegna di Linguistica Russa, a cura di Anna Bonola.
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