Giovanni Sinicropi - Academia.edu (original) (raw)
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Papers by Giovanni Sinicropi
The Modern Language Journal, 1966
Italica, 1965
... turn summarium eorum quae in hac tertia parte conti-nentur." 1 I1 codice, adorno di bell... more ... turn summarium eorum quae in hac tertia parte conti-nentur." 1 I1 codice, adorno di bellissime miniature che si man-tengono, come ... Il codice manca oggi anche del titolo come appare nel catalogo del Ban-dini (e dal quale lo avra' senza dubbio tratto il Minutoli, che lo cita). ...
Italica, 1961
... Per Pirandello il problema consiste nella possibilith o im-possibilith di annullare la barrie... more ... Per Pirandello il problema consiste nella possibilith o im-possibilith di annullare la barriera esistente fra creazione e rappres'ntazione ... Diana e la Tuda giunge alla scena nel 1926, riproponendo all'autore il problema del rap-porto fra arte e vita, e la ricerca della loro coincidenza ...
Modern Drama, 1977
IN 1955 LUCIEN GOLDMANN devoted a vast work to the analysis of the tragic "vision du monde&q... more IN 1955 LUCIEN GOLDMANN devoted a vast work to the analysis of the tragic "vision du monde" (a notion which he distinguishes from that of "Weltanschauung" of the lansenist movement in seventeenth century France. After exploring the religious, institutional and cultural situation of the period from approximately 1636 to 1677, the author dwelt on the crucial importance of the presence of the Deus absconditus in the semantic universes of Pascal's Pensees and Racine's tragedies, two personalities deeply involved, as we know, with the "solitaires" of PortRoyal. Conceiving that presence as the basic structure of the Pensees, Goldmann's interpretation of Pascal's universe becomes fascinating and often enlightening. In the works of Racine, and particularly in Phedre viewed (few would argue) as the culminating point of his art-he conceived the presence of the Deus absconditus as the foundation of their tragic essence: the tragic conflict of Phedr...
The Modern Language Journal, 1966
Studi sul Boccaccio, 1975
Strumeti Critici, 1981; Saggi Critici Vol. I, 2022
Scritti Critici Vol. I, 2022
Scritti Critici Vol. III, 2022
Justice is finally done. Italian honor has been vindicated and the prestige of the community is s... more Justice is finally done. Italian honor has been vindicated and the prestige of the community is soaring to new heights. All documents and files have been assembled, prizes and rewards have been awarded and duly accepted, the panegyric testimonies of the accomplices have been delivered on the organs of intellectual respectability. The last ritual-the consecration of the Saga by the omnipotent and omnipresent domestic videohas already been announced, and anxiously expected. After which, the whole material can be handed down to the eternal archives of history. What could not be accomplished by one hundred years of sweat and tears, of ditch digging under the sun or hard labor on the assembly line, in the shade of the new temples of our Moloch, by the dignified misery and alienation of men who, no matter what, could never shake loose the humiliating leash of suspicion and scorn, was achieved in six or seven years, and single-handedly, by Messrs Mario Puzo and Francis Ford Coppola (pronounced, as a very well-informed interviewer assures us in Playboy, Cope-uh-lah). In the country of Elvis Presley, Evil Knevil, and Billy Graham the names of Guglielmo Marconi or Enrico Fermi have always lived a clandestine existence, hardly recorded in specialized manuals; bringing up their names is regarded as patent proof of the old pompous rhetoric that has afflicted their compatriots for centuries. Now, however, there is hope. If it is true that crime does not pay, it is always equally true that an acceptable recounting of it does indeed. Not only for the author, but for the collectivity in general, as the "Saga of the Corleones" stands to prove. It must be admitted that the apologetic lines flashed on the video when Godfather I made its triumphant debut into the living rooms of America were somewhat redundant. But this slight touch of hypocrisy did not disturb the event, for the screen has the strangely sublime power of unifying all diverse elements into the superior level of organized fiction. Things change, they say. There was a time in this country when you would tacitly be expected to demonstrate that, although bearing an Italian name, you were of the "other kind," and that neither you personally, nor your ancestors and kin had anything to do with the "honored family." And even then, the understated truth was that even if the FBI could not waste a drop of ink on your personal record-at least so far-well, Italian you were, and certain things run in the blood. It would take generations before your genes could adjust to the situation and you would be worthy of being safely admitted to the "sancta sanctorum" of respectability of middle-class America. During the Fifties, one had the distinct impression that the country was being ruled by Mr. Clean in person, who was interested, in those years, not so much in shiny floors as in bright souls and minds. To some people this seemed a bit unexpected from a nation which, a few years before, had been scandalized at the amount of castor oil being poured in cities like Moscow, Berlin, or Rome. This time, of course, the process of semantic degeneration characteristic of the senility of Western civilization was able to forge an ironclad alibi: the purge was being administered, not in the name of the People or Race or Nation, but in the very sacred name of Freedom. Mr. Clean could in full conscience and tranquility acknowledge Monsignor Torquemada among his _____________________________________________________________ *Questo articolo fu pubblicato in Italian-Americana (2:79-90, 1975) con il titolo «The saga of the Corleones: Puzo, Coppola and The Godfather: An Interpretive Essay», ma aveva inserito delle modifiche, a cominciare del titolo, non autorizzate. L'articolo pubblicato qui si basa invece sul manoscritto originale.
Scritti Critici Vol. I, 2022
Pur tenendo presente l'ed. originale per il testo, rinvio all'ed. italiana, segnando le pagine in... more Pur tenendo presente l'ed. originale per il testo, rinvio all'ed. italiana, segnando le pagine in parentesi.
The Modern Language Journal, 1966
Italica, 1965
... turn summarium eorum quae in hac tertia parte conti-nentur." 1 I1 codice, adorno di bell... more ... turn summarium eorum quae in hac tertia parte conti-nentur." 1 I1 codice, adorno di bellissime miniature che si man-tengono, come ... Il codice manca oggi anche del titolo come appare nel catalogo del Ban-dini (e dal quale lo avra' senza dubbio tratto il Minutoli, che lo cita). ...
Italica, 1961
... Per Pirandello il problema consiste nella possibilith o im-possibilith di annullare la barrie... more ... Per Pirandello il problema consiste nella possibilith o im-possibilith di annullare la barriera esistente fra creazione e rappres'ntazione ... Diana e la Tuda giunge alla scena nel 1926, riproponendo all'autore il problema del rap-porto fra arte e vita, e la ricerca della loro coincidenza ...
Modern Drama, 1977
IN 1955 LUCIEN GOLDMANN devoted a vast work to the analysis of the tragic "vision du monde&q... more IN 1955 LUCIEN GOLDMANN devoted a vast work to the analysis of the tragic "vision du monde" (a notion which he distinguishes from that of "Weltanschauung" of the lansenist movement in seventeenth century France. After exploring the religious, institutional and cultural situation of the period from approximately 1636 to 1677, the author dwelt on the crucial importance of the presence of the Deus absconditus in the semantic universes of Pascal's Pensees and Racine's tragedies, two personalities deeply involved, as we know, with the "solitaires" of PortRoyal. Conceiving that presence as the basic structure of the Pensees, Goldmann's interpretation of Pascal's universe becomes fascinating and often enlightening. In the works of Racine, and particularly in Phedre viewed (few would argue) as the culminating point of his art-he conceived the presence of the Deus absconditus as the foundation of their tragic essence: the tragic conflict of Phedr...
The Modern Language Journal, 1966
Studi sul Boccaccio, 1975
Strumeti Critici, 1981; Saggi Critici Vol. I, 2022
Scritti Critici Vol. I, 2022
Scritti Critici Vol. III, 2022
Justice is finally done. Italian honor has been vindicated and the prestige of the community is s... more Justice is finally done. Italian honor has been vindicated and the prestige of the community is soaring to new heights. All documents and files have been assembled, prizes and rewards have been awarded and duly accepted, the panegyric testimonies of the accomplices have been delivered on the organs of intellectual respectability. The last ritual-the consecration of the Saga by the omnipotent and omnipresent domestic videohas already been announced, and anxiously expected. After which, the whole material can be handed down to the eternal archives of history. What could not be accomplished by one hundred years of sweat and tears, of ditch digging under the sun or hard labor on the assembly line, in the shade of the new temples of our Moloch, by the dignified misery and alienation of men who, no matter what, could never shake loose the humiliating leash of suspicion and scorn, was achieved in six or seven years, and single-handedly, by Messrs Mario Puzo and Francis Ford Coppola (pronounced, as a very well-informed interviewer assures us in Playboy, Cope-uh-lah). In the country of Elvis Presley, Evil Knevil, and Billy Graham the names of Guglielmo Marconi or Enrico Fermi have always lived a clandestine existence, hardly recorded in specialized manuals; bringing up their names is regarded as patent proof of the old pompous rhetoric that has afflicted their compatriots for centuries. Now, however, there is hope. If it is true that crime does not pay, it is always equally true that an acceptable recounting of it does indeed. Not only for the author, but for the collectivity in general, as the "Saga of the Corleones" stands to prove. It must be admitted that the apologetic lines flashed on the video when Godfather I made its triumphant debut into the living rooms of America were somewhat redundant. But this slight touch of hypocrisy did not disturb the event, for the screen has the strangely sublime power of unifying all diverse elements into the superior level of organized fiction. Things change, they say. There was a time in this country when you would tacitly be expected to demonstrate that, although bearing an Italian name, you were of the "other kind," and that neither you personally, nor your ancestors and kin had anything to do with the "honored family." And even then, the understated truth was that even if the FBI could not waste a drop of ink on your personal record-at least so far-well, Italian you were, and certain things run in the blood. It would take generations before your genes could adjust to the situation and you would be worthy of being safely admitted to the "sancta sanctorum" of respectability of middle-class America. During the Fifties, one had the distinct impression that the country was being ruled by Mr. Clean in person, who was interested, in those years, not so much in shiny floors as in bright souls and minds. To some people this seemed a bit unexpected from a nation which, a few years before, had been scandalized at the amount of castor oil being poured in cities like Moscow, Berlin, or Rome. This time, of course, the process of semantic degeneration characteristic of the senility of Western civilization was able to forge an ironclad alibi: the purge was being administered, not in the name of the People or Race or Nation, but in the very sacred name of Freedom. Mr. Clean could in full conscience and tranquility acknowledge Monsignor Torquemada among his _____________________________________________________________ *Questo articolo fu pubblicato in Italian-Americana (2:79-90, 1975) con il titolo «The saga of the Corleones: Puzo, Coppola and The Godfather: An Interpretive Essay», ma aveva inserito delle modifiche, a cominciare del titolo, non autorizzate. L'articolo pubblicato qui si basa invece sul manoscritto originale.
Scritti Critici Vol. I, 2022
Pur tenendo presente l'ed. originale per il testo, rinvio all'ed. italiana, segnando le pagine in... more Pur tenendo presente l'ed. originale per il testo, rinvio all'ed. italiana, segnando le pagine in parentesi.