Papers by Alberto Godioli
As best exemplified by the works of Pirandello, Svevo, Palazzeschi, and Gadda, Italian modernist ... more As best exemplified by the works of Pirandello, Svevo, Palazzeschi, and Gadda, Italian modernist fiction is particularly rich in bizarre and ludicrous characters, whose originality is often derided by a uniform society. On the other hand, laughter can also be used by the author (or by the misfits themselves) as a reaction to the levelling pressure of social life – Pirandello’s umorismo, Svevo’s irony, Palazzeschi’s controdolore, and Gadda’s satire are all good cases in point. Looked at from this perspective, early 20th-century Italian fiction can set the basis for an innovative reflection on broader comparative themes. What is the role of laughter and individual diversity in international Modernism? How is modernist eccentricity related to the representations of originality in the 18th and 19th centuries, from Sterne to Balzac and Dostoevsky? And what does it tell us about the fear of homogenisation as a crucial aspect of the modern social imaginary?
Journal of European Studies, 2019
This introduction addresses the increased levels of social, political and ideological polarizatio... more This introduction addresses the increased levels of social, political and ideological polarization and the socio-political conflicts in contemporary Europe that are often subsumed under notions of ‘crisis’. We argue that the humanities and social sciences must react to these scenarios in at least two ways: by critically reflecting on the European project, and by analysing key elements of current ‘crisis’ discourses, such as post-factual narratives of ‘decline’, ‘survival’ and ‘emergency’, and populist fictions of homogeneous, ‘tribal’ cultural domains.
Italianistica Rivista Di Letteratura Italiana, 2011
Nel primo capitolo cerco di illustrare la presenza della narrativa dell'Ottocento nell'... more Nel primo capitolo cerco di illustrare la presenza della narrativa dell'Ottocento nell'umorismo gaddiano, non solo sul piano strettamente intertestuale; l'obiettivo sarà da una parte ricostruire aspetti poco noti della cultura romanzesca di Gadda, dall'altra evidenziare le difficoltà e le ...
Take-down policy If you believe that this document breaches copyright please contact us providing... more Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
est la première véritable tentative romanesque de Gadda : malgré le fait que l'oeuvre soit restée... more est la première véritable tentative romanesque de Gadda : malgré le fait que l'oeuvre soit restée inachevée, la trame et la physionomie des personnages sont amplement définies 1. Le protagoniste, Grifonetto Lampugnani, est un jeune homme « brillant » et « hypervolontaire », dont l'énergie débordante est suffoquée par l'« insuffisance de l'environnement » 2 : sur le plan politique, sa rébellion fasciste (partagée, à cette époque, par l'auteur), renvoie à un désir frustré de renouveau, face à la vulgarité du « peuple » et à la mesquinerie des « borghesazzi » triomphants ; sur le plan sentimental, sa passion pour la noble Maria de la Garde-à laquelle le père de celle-ci fait obstacle-ne pourra que finir de façon tragique (selon les ébauches, Grifonetto tuera Maria, pour ensuite se suicider). Le roman établit ainsi une opposition manichéenne entre un individu isolé et les autres, suivant les formes typiques de ce que René Girard a défini-en référence aussi à certains stéréotypes fréquents dans la réception de Stendhalmensonge romantique : d'une part un « être de passion » exceptionnel et solitaire, de l'autre un monde dominé par la « vanité » 3. Il est utile de noter dès à présent que, bien que le
Senza regolare autorizzazione, è vietato riprodurre questo volume anche parzialmente e con qualsi... more Senza regolare autorizzazione, è vietato riprodurre questo volume anche parzialmente e con qualsiasi mezzo, compresa la fotocopia, anche per uso interno o didattico.
HUMOR
The United States and Europe are often contrasted with each other regarding their approach to fre... more The United States and Europe are often contrasted with each other regarding their approach to freedom of expression. Yet, despite the differences between their respective judicial systems, courts from both regions inevitably face similar interpretive challenges when dealing with humor. Our paper conducts a comparative discussion of humor-related jurisprudence from the US and Europe, mostly (but not exclusively) focusing on two landmark cases – namely Hustler v. Falwell (US Supreme Court, 1988) and Vereinigung Bildender Künstler v. Austria (European Court of Human Rights, 2007). In particular, our analysis foregrounds two aspects: 1) How courts deal with the complex relations between humor, exaggeration and factual reality; 2) The role of objective harm (as opposed to subjective offence) in distinguishing between lawful and unlawful expression, and how the subjectivity of humor interpretation can undermine this criterion. On both levels, we argue that insights from literary and lingu...
Take-down policy If you believe that this document breaches copyright please contact us providing... more Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
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Papers by Alberto Godioli
entities and technological artefacts, new identities are formed and a new epistemological and ethical approach to reality is needed. Through twelve thought-provoking, scholarly essays, this volume analyzes works by a range of modern and contemporary Italian authors, from Giacomo Leopardi to Elena Ferrante, who have captured the shift from anthropocentrism and postmodernism to posthumanism. Indeed, this is the first academic volume investigating narrative configurations of posthuman identity in Italian literature and film.