<b>Sardinia: the ‘Greatest Poem’ and its Maritime Face </b>// Sardinia: El 'mayor poema' y su rostro marítimo

  • Massimo Lollini University of Oregon
Keywords: Ecocriticism, landscape, more than human humanism, Grazia Deledda, Salvatore Satta, Alberto Capitta, Giulia Clarkson, Marcello Fois, Giambattista Vico, Gilles Deluze, Félix Guattari, Ecocrítica, paisaje, humanismo más que humano

Abstract

The Mediterranean Sea contributes to the vital rediscovery of meaning advocated by Giambattista Vico’s poetic geography and Sardinian writers search for roots by interjecting a sense of movement in the otherwise immobile Sardinian landscape. First, we see this feature at work in Grazia Deledda’s Cosima and Salvatore Satta’s Il giorno del giudizio. In their novels the movement of the landscape still concretizes in what Deleuze and Guattari call “faciality” (visageité). This characteristic tends to vanish in the writers of the younger generations. In Alberto Capitta’s Creaturine, Giulia Clarkson’s La città d’acqua and Marcello Fois’s Nel tempo di mezzo the “faciality” of the landscape tends to disappear, wrecked by violent history or submerged in a sort of Heraclitean flow of things. Finally, in Giulio Angioni’s Il mare intorno the sea recovers its double and contradictory nature of agent of both isolation and communication. 

 

Resumen

 

El mar Mediterráneo contribuye al vital redescubrimiento del significado que promueve la geografía poética de Giambattista Vico y escritores de Sardinia buscan las raíces de los incorporarando una sensación de movimiento en el paisaje de Sardinia, de otra manera, inmóvil. Primero, vemos este aspecto en funcionamiento en Cosima de Grazia Deledda y Il giorno del giudizio de Salvatore Satta. En sus novelas, el movimiento del paisaje todavía condensa lo que Deleuze y Guattari llaman “facialidad” (visageité). Esta característica tiende a desvanecerse en los escritores de generaciones más jóvenes. En Creaturine de Alberto Capitta, La città d’acqua de Giulia Clarkson y Nel tempo di mezzo de Marcello Fois, la “facialidad” del paisaje tiende a desaparecer, destrozado por una historia violenta o sumergida en una especia de flujo heraclitáneo de las cosas. Finalmente, en Il mare intorno de Guilo Angioni, el mar recobra su naturaleza contradictoria y doble de agente de aislamiento así como de comunicación.

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Author Biography

Massimo Lollini, University of Oregon

University of Oregon, United States

maxiloll@uoregon.edu

Massimo Lollini is Hatzantonis Distinguished Fellow in Italian and Professor of  Romance Languages at the University of Oregon. He has written widely on seventeenth- and eighteenth-century literature. In 1994 he published his first book on Giambattista Vico, Renaissance and Baroque poetics, Le muse, le maschere e il sublime. Giambattista Vico e la poesia nell’età della “ragione spiegata”. His second book, Il vuoto della forma. Scrittura, testimonianza e verità (2001) includes essays on Dante, Petrarch, Galileo Galilei, Renato Serra, Antonio Gramsci, Italo Calvino, Primo Levi and Paul Celan. In 2006 he co-edited two collections of essays, one with David Castillo, Reason and Its Others. Italy, Spain, and the New World (Nashville: Vanderbilt University Press, 2006; and the other with Norma Bouchard, Reading and Writing the Mediterranean: Essays by Vincenzo Consolo. Toronto UP, 2006).  In 2008 Prof. Lollini edited a volume on Humanisms, Posthumanisms and Neohumanisms, "Annali d'Italianistica" (2008).  His most recent publications include articles on Petrarch’s Rerum vulgarium fragmenta (“Petrarch and the Ethics of Writing and Reading.”

Published
2013-09-30
Section
Mediterranean Ecocriticism