In this issue:
Nataliya Stoyanova | Miriam Ravetto | Ettore Marchetti | Afsaneh Pourmazaheri | Giulio Segato | Gloria Colombo | Renata Zanin | Claudio Macagno | Giuseppe Ghini | Мауриция Калузио | Галина Жиличева
Nataliya Stoyanoya | Struttura del discorso negli apprendenti italofoni di russo: analisi testuale comparata russo-italiano
This article presents the results of a discourse analysis of Russian-learning texts by italophones. The discourse structure was examined from the point of view of the preferences for discourse relations on various acquisitional stages and from the point of view of hierarchization. Furthermore the grade of repartition of situations and the grade of the discourse structures complexity were analysed, allowing us thus to characterize the textuality of the considered acquisitional varieties compared to the native Russian and Italian.
Keywords: discourse analysis, Russian language, compared textuality, acquisitional varieties, linguospecific patterns
Miriam Ravetto | «Come si dice?» / «Wie heisst das?» – Strategie di ricerca lessicale in visite guidate con italiano e tedesco L2
The paper investigates word search sequences in a corpus of guided tours, in which tourist guides speak Italian and German as foreign languages. Italian and German are, on the contrary, the native languages of the group of tourists. Using the approach of Conversation Analysis, the study describes and classifies the word search dynamics and strategies, through which tourist guides try to find the problematic word.
Keywords: word search, Conversation Analysis, touristic communication, interactional linguistics.
Ettore Marchetti | “Boia imperialisti, spie di regime e corrotti buffoni”. La lingua dei comunicati delle brigate rosse durante il Sequestro Moro
On March 16th 1978, Italy goes through one of the worst pages in its history, when the Brigate Rosse (Red Brigades), the armed party, kidnap the politician Aldo Moro and brutally kill five bodyguards; the BR thus begin their swan song. During the fifty-five days of imprisonment of the president of the DC (Christian Democratic Party), the terrorists elaborate and issue nine statements in which they illustrate the motivations and strategies of both the kidnapping and the armed struggle. It is definitely one of the events that has most impressed the public opinion since the second postwar, and that a large bibliography keeps examining. However, one aspect has always remained less explored than others: the linguistic one. Through a syntactic, morphological, and lexical analysis this article gives an account of the salient features of the statements, including the rhetorical devices and the communication strategies used by the authors. The linguistic observation highlights the complexity of the nine texts, and the opportunity to consider them as a coherent corpus of writings that share common traits which, although they do not constitute a technical language, still define a peculiar way to communicate of a specific terrorist group. The present work is inspired by a general enthusiasm of the recent Italian studies for the Seventies and for the so called ‘Years of Lead’, and is meant to suggest a particular attention to the role of language in the study of terrorism and of political violence of that period.
Keywords: Red Brigades, statements, semantic fields, expressivity, lexical and syntactic complexity
Ce travail de recherche s’interroge sur la représentation discursive des référents exotiques filtrée par un regard stéréotypé dans les récits de trois voyageurs français en Orient de la première moitié du XIXe siècle. Les énonciateurs-voyageurs, placés dans un contexte linguistique et culturel asymétrique, tentent de saisir et de transcrire leurs observations sur le terrain étranger en fonction de leur intellect, de leur cognition et de leur expérience. Une série d’éléments marqués par l’altérité viennent modifier la représentation que l’auteur-voyageur donne du référent et de l’univers référentiel auquel il est confronté. C’est à cette façon « réductrice » de voir les référents issus d’un univers différent et à l’intervention de la subjectivité de l’auteur que nous nous intéressons dans cette étude. Nous analysons les effets discursifs produits par l’usage des ressources linguistiques ainsi que par les positionnements énonciatifs des auteurs-voyageurs. Cette approche homogénéisante et généralisante de la perception de l’Autre se fait au travers des moules préconstruits et une démarche subjective dans la culture réceptrice que nous tenterons de voir à l’aide des outils d’analyse langagiers et discursifs dans les récits de voyage de Goupil Fesquet (1844), de Rémy Aucher-Eloy (1843) et de J.M. Tancoigne (1819) en Orient, notamment en Perse.
Keywords: stereotypy, alterity, travel literature, ethnotype, representation
With the exception of No Country for Old Men, the Vietnam War has never appeared openly in Cormac McCarthy’s novels, but it has nevertheless left a deep trace on his early work (Child of God, Suttree, and Blood Meridian). Blood Meridian in particular shows, despite his western setting, an imaginary influenced by the military-political experience of Vietnam. A few scenes in the book in fact read more like a war novel rather than a western, and the connection is even deeper than that. The Vietnam novels typically have some concerns – such as the chaotic descriptions of the battle, the explosion of meaningless violence often perpetrated by friendly fire, and the guerrilla warfare – which are to be found at their best in Blood Meridian. My essay discusses these issues through a comparison with a western movie often associated with the Vietnam War: Sam Peckinpah’s The Wild Bunch.
Keywords: Cormac McCarthy, Blood Meridian, Vietnam War, The Wild Bunch, Western, war novel
Gloria Colombo | Wie wenn sich eine einzige hohe aber starke stimme bilde: lingua e stile nel romanzo das scHLOSS di Franz Kafka
While writing Das Schloß (1922), Kafka not only tried to eliminate the most typical elements of Southern German, Viennese German, Czech and Yiddish in order to draw near to the elegance of Classicism, but also shaped the narrative style on the basis of Biblical Hebrew. The accent placed by the latter on parataxis and repetition led him to create a sort of acoustic hallucination, which – as well as the influence of Biblical Hebrew on the novel – has so far been ignored by Kafka scholars.
Keywords: Franz Kafka, The Castle, Prager Deutsch, Hebrew Bible, acoustic hallucination
Elfriede Gerstl can be truly considered a ‘minor’ Austrian poet who spent a lifelong search for her own literary voice at the margins of the turmoil of the literary avant-garde in postwar Vienna. Existential insecurity, irony and a superb command of the German language come together with a highly emotional way of speaking. Elfriede Gerstl’s poems and the recordings of her poems can be successfully used in teaching pronunciation and intonation to Italian learners of German.
Keywords: pattern and culture, prosody, idiomatic and prosodic coinage, poetry in language classes
In Darya Dontsova’s detective novels the categories of terrible and tragic do not play a significant role but, on the contrary, are deliberately attenuated through the deployment of a number of different strategies that make it impossible to read these novels “без улыбки на лице” [without a smile on one’s face].
Starting from the fundamental works of Bergson (Le rire), Freud (Der Humor) and Pirandello (L’umorismo) and from a series of theoretical concepts accounting for the workings of humour, this paper analyses the various devices employed by Dontsova, the undisputed “queen of the ironic detective story”, to create comic effects.
Keywords: Darya Dontsova, detective story, humour, irony, Humor Studies.
Giuseppe Ghini | “L’eterna influenza francese” Classici russi per il tramite del francese all’alba del Terzo millennio
he article deals with a bad practice introduced anew in Italian publishing: translations from Russian through intermediate French versions. Three Italian translations – The trial of Brodsky, a Chekhov’s and a Grossman’s short story – are shown to be dependent from French versions, then causes and consequences of their lexical and stylistic detachment from the original text are analyzed, a detachment inescapable in second-hand translations, on principle alien to a philological approach.
Keywords: Second hand translations, The trial of Joseph Brodsky, The story of an unknown man, In the main line of attack
Мауриция Калузио | Василий Гроссман. и первый опыт художественного исследования Гулага (О повести Все течет…)
It is difficult to determine which genre Vasily Grossman’s last work Everything flows (1955-1963) belongs to. In the last decades of the XX century, literary critics noticed how this work completely lacks a plot and a fabula. Some researchers have even refused to call this text a ‘literary work’. In this article, an attempt has been made to show how Grossman, when talking about themes that were still inaccessible for that time (the system of labour camps, Holodomor and so on), created a completely new and audacious way of narrating. Grossman’s apparent contemptuous approach to the rules of narration in Everything flows is actually generated by the need to tell without lies the indescribable and ineffable human journey in the camps. In this article, we analyze the motifs of travel and dream, as well as the figure of preterition, which Grossman uses to express his dissent from the falsity of socialist realism.
Keywords: Vasily Grossman, Everything flows, Gulag literature, Russian literature
Галина Жиличева | “Ясность” и “связность” как смысловые доминанты нарратива В. Гроссмана (“За правое дело”, “Жизнь и судьба”)
This paper deals with the dominant ideas of the narrative structure of Vasily Grossman’s novels. The semantic fields of the concepts of ‘clearness’ (‘yasnost’’) and ‘connectedness’ (‘svyaznost’’) are being analyzed. In Grossman’s dilogy, these concepts are being regarded as the signs of the plot situation of ‘revelation’.
This article suggests that the words “yasnyi” (clear, serene, obvious), “prozrachnyi” (transparent), “svet” (light), “svyaz’” (bond, link, connection), “nit’” (thread) and their cognates can be described as overdetermined signs due to their frequent usage in Grossman’s dilogy. Such signs are related to the basic metaphors of European literature (the correlation of world, text and fabric; metaphors of vision) and, therefore, they are the crucial parts of Grossman’s dialogue with previous literature tradition. The usage of the concepts of ‘clearness’ and ‘connectedness’ emphasizes the sophisticated interaction between the two parts of the communicative structure of the novels – between the discourse of ‘revelation’ and the discourse of ‘agitation’. Moreover, those concepts can also bear a metanarrative significance. Grossman’s narrative manifests the urge of the ultimate ‘connectedness’ and ‘clearness’ while showing the ‘invisible’ threads and ‘clear’ truth.
Keywords: Grossman, narrative, repetition, discourse strategy