In this book Saggi sulla teoria della letteratura ("Essays on the Theory of Literature") Enza Biagini puts in play her rich theoretical background and a vast knowledge of texts and authors to deal with some fundamental problems concerning literature, its status, its metamorphoses and its being necessary. Following modern paths, she leads the readers on the traces of different genres and situations difficult to define (the essay-writing, the unfinished...), of 'temporary' themes always on the point of becoming something else (...) (the nocturnal, the relationship between text and image...). The works revolve around the exergues and the definitions of the dictionaries: a whole world of suggestions and reasoning that the author finely brings not only to the field of theory, but also to the world of the Italian and French narrative. (shrink)

Un'indagine dello stato dei saperi artistici e scientifici nell'etŕ moderna deve necessariamente partire dall'epistemologia del primo romanticismo tedesco. Il sistema filosofico di Kant, infatti, analizza l'ambito di applicazione del pensiero umano, rilevando che l'arte, in quanto oggetto che sfugge all'indagine razionale della natura, non fornisce alcun tipo di conoscenza. Partendo da tale premessa, e dal ruolo che quindi Kant assegna preliminarmente all'arte, relegandola nell'ambito dell'estetica che č intesa come branca filosofica autonoma distinta dall'indagine razionale della scienza, Fichte, Schelling e i (...) primi romantici tedeschi propongono di riconsiderare l'arte come forma di conoscenza piů alta, in quanto non solo prodotto, ma produzione del sapere stesso per il tramite del medesimo processo conoscitivo su cui si fonda la scienza. Ciononostante, proprio a partire dal romanticismo letteratura, arte e scienza vengono definitivamente separate andando a costituire le basi del nostro attuale paradigma conoscitivo. (shrink)

Nel Medioevo tante volte presentato dalla letteratura come un grande romanzo di avventure, un posto decisamente particolare spetta alla vicenda di Tommaso Becket, prima cancelliere di re Enrico II e poi arcivescovo di Canterbury, assassinato nella sua cattedrale nel 1170. Si tratta di una vicenda che presenta i motivi fondamentali di ogni racconto epico e tragico. Ispirandosi a questa convinzione l’articolo ripercorre alcune delle maggiori opere letterarie che hanno raccontato da diversi punti di vista lo scontro tra Becket e (...) il suo re: alcune delle agiografie medievali, Alfred Tennyson, Conrad Ferdinand Meyer nel XIX secolo, e – nel XX – Thomas Stearns Eliot, Christopher Fry e Jean Anouilh. Del _vero_ Tommaso Becket è assai difficile riuscire a farsi un’idea precisa, mentre sembra realizzarsi la grande metafora, proposta da Giovanni di Salisbury, suo stretto collaboratore, della vita e della storia come rappresentazione teatrale in cui hanno importanza decisiva solo i ruoli che gli uomini sono chiamati a interpretare. _In the Middle Ages, so often depicted in literature as a great adventure novel, a very special place belongs to the story of Thomas Becket, firstly chancellor of King Henry II and later Bishop of Canterbury, murdered in his cathedral in 1170. _ _This episode presents the fundamental motifs of every epic and tragic tale. Inspired by this conviction, this article examines some of the most significant literary works that have described the conflict between Becket and his king from different points of view: some of the medieval hagiographies, Alfred Tennyson, Conrad Ferdinand Meyer in the 19th century, and – in the 20th – Thomas Stearns Eliot, Christopher Fry and Jean Anouilh._ _It is very difficult to get a precise idea of the _real_ Thomas Becket, while the great metaphor proposed by John of Salisbury, his close collaborator, of life and history as a theatrical representation in which only the roles that men are called to play are of decisive importance, seems to have been realized._. (shrink)

The present paper traces some of the main articulations of the book Marcel Proust and the signs (1964), in which the French philosopher Gilles Deleuze affirms the superiority of literature on classical rationalist philosophy in the search for truth. Proust’s work rivals the philosophy itself, since it brings into play the involuntary nature of memory and intelligence – a condition which lies at the beginning of every thought – which can grasp the truth only solicited and forced by chance encounters. (...) Classical rationalist philosophy as a methodical exercise, induced by the good will of the thinker, can instead reach only abstract and conventional truths. The paper underlines how, according to Deleuze, Proust’s work will represent the model of authentic philosophy, the one that comes to produce with violence new concepts forced by problems and urgencies that impose themselves from outside. In fact, in Difference and Repetition (1968), the characteristics ascribed to the Proustian Recherche are explicitly attributed to a philosophy of Difference, which is posited by the author as the real need of his own time. In 1991, Gilles Deleuze and Félix Guattari posed the question: What is philosophy? The attributes previously assigned to the literature, reappeared in the answer to such a question. A paradoxical necessity – reached through contingent encounters on one side, and the involuntary nature of thought on the other side – will appear at the center of the book that closes the theoretical trajectory of Deleuze: such a paradox shows itself as the only condition for the “invention of concepts”, which is at the same time the definition and ultimate task of philosophical practice. (shrink)