Pierino Venuto - Academia.edu (original) (raw)
Papers by Pierino Venuto
Универзитет »Гоце Делчев« - Штип, 2017
Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopard... more Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopardi's Canti This essay is inspired by Implicazioni leopardiane¸ written by Contini in 1947. This argumentation wants to prove the internalization of an hypothetical Tasso’s rule in Giacomo Leopardi’s poetry and to diachronically examine the workshop on his poeticallanguage; a standardisation that would require a particular use of the imperfect verbal tense suffix in poetry, with or without the disappearance of the labiodental (-ea, -eva), which would follow a stabilized procedure: «Aveva fra ‘l verso, non seguente vocale, non s’usa dal Petrarca o da’ petrarchisti» (Tasso, 1575). Through the examination of Leopardi’s poeticallexis – also on autographs’ reproductions – and an examination of the five exceptions included in his juvenile songs from 1816, L’Appressamento della morte, we want to prove that 1817 was the crucial year for this linguistic use – where Leopardi commits to a precise examination and study of all of Tasso’s pieces and those about him. The only exception has been found in the line 63 of Canti’s Frammento XXXIX, a partial rework on the Appressamento. Even if it is included in the 1835’s Starita, it has been proved wrong by the Neapolitan autograph that would entirely confirm this use; however it has to be considered in order to presume that Tasso’s hypothetical rule is at least a consolidated writing routine of the original Giacomo Leopardi, and Petrarchist sui generis. Through the accomplished linguistic analysis, we can confirm once more the thesis about Leopardi’s poetry being an unicum sprung from Recanati’s genius; that’s the XIXth century’s prolific germ able to absorb and reshape the lymph from the tradition’s tree; therefore this is an innovating poetical language that doesn’t provoke shocks, because it absorbs and restores Petrarch’s and Tasso’s standards.
<div> <p>This paper aims to plunge into the onomatological world of <i>Horcynus... more <div> <p>This paper aims to plunge into the onomatological world of <i>Horcynus Orca</i>, a novel published in 1975 by Mondadori, created by the epic and deforming genius of the Sicilian (Fortunato) Stefano D'Arrigo (1919-1992). The episode between the Venetian ensign Monanin and the Sicilian fishermen Crocitto and 'Ndria Cambria (who is the main character of the novel) elucidates the difference between name and thing, signifier and significance, imposed word and reality. Starting from the two common names of a unique and ambivalent marine animal – the Sicilian 'fera' and the Italian 'delfino' – the paper tries to penetrate the expressionistic poetic world of <i>Horcynus</i> and to analyse the powerful and layered language processing: here the names are consequences of the facts; they are emblems of the 'saw it with my own eyes' and not of the 'hearsay'. Therefore, it can hardly happen that 'fera' could be undermined by 'delfino' in the mind of a fisherman: «the name of an abstract thing, or rather, the abstract name of a real thing» (D'Arrigo 1975, p. 240 [transl. by the author]).</p> </div>
Besides being a narrator, Stefano D’Arrigo was, first and foremost, a poet. Compared to the immen... more Besides being a narrator, Stefano D’Arrigo was, first and foremost, a poet. Compared to the immense, lush, imaginative and deforming multitude of per sonal narnes that the narrator uses in Horcynus Orca, the narnes in Codice Siciliano comprise mythical and religious elements on the one hand, and intellectual and human biography on the other; the onomatology in Codice Siciliano therefore represents the existential journey of the poet and the topographical map of his being Sicilian, revealing a soul that looks toward transcendence, recovering the immanence of the child, while D’Arrigo from Messina «expatriated somewhere there, over the scilla» (transl. by the author).
Fortunato (Stefano) D’Arrigo (1919 -1992) from Messina, is a poet and writer who is recalcitrant ... more Fortunato (Stefano) D’Arrigo (1919 -1992) from Messina, is a poet and writer who is recalcitrant toward any kind of categorization and who was wrongly identified as a difficult and tedious writer; that’s not true: Horcynus Orca is a masterpiece. Names, surnames and nicknames in Horcynus Orca show not only the geographical area to which they belong, the conurbation of the Strait of Messina, but also those orange blossom flowers which find their nourishment from the many thousand-years old roots, from the literary and linguistic diachronic stratification of the Mediterranean civilization, even though it is always forced to cross that choke point between Sicily and Calabria, the Scylla and Charybdis.
Il Nome Nel Testo, 2013
Fortunato (Stefano) D'Arrigo (1919-1992) from Messina, is a poet and writer who is recalcitrant t... more Fortunato (Stefano) D'Arrigo (1919-1992) from Messina, is a poet and writer who is recalcitrant toward any kind of categorization and who was wrongly identified as a difficult and tedious writer; that's not true: Horcynus Orca is a masterpiece. Names, surnames and nicknames in Horcynus Orca show not only the geographical area to which they belong, the conurbation of the Strait of Messina, but also those orange blossom flowers which find their nourishment from the many thousand-years old roots, from the literary and linguistic diachronic stratification of the Mediterranean civilization, even though it is always forced to cross that choke point between Sicily and Calabria, the Scylla and Charybdis.
MALACODA Anno V n. 1/2019, 2019
La Biagi è studiosa solida e convincente, informatissima e acuta: ha profuso in questo prezioso e... more La Biagi è studiosa solida e convincente, informatissima e acuta: ha profuso in questo prezioso e denso volume il frutto di anni di ricerche dottorali con cui manifesta una conoscenza e una capacità indagatrice non comuni; le opere di D'Arrigo sono sottoposte - come equamente afferma Alvino - a una «minutissima e più che persuasiva analisi dalla studiosa, che sull'uomo e sullo scrittore vanta un'informazione totale».
Il recensore Alvino, sentendosi però chiamare direttamente in causa, pone - dopo aver argomentato al contrario - una precisa questione: «[d]avvero, dunque, come afferma Daria Biagi, "La lingua che si autogenera, che produce se stessa a partire dalla propria veste sonora, è una tecnica che per D'Arrigo [...] coincide con un automatismo estraneo alla sua poetica"?».
Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopard... more Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopardi's Canti
This essay is inspired by Implicazioni leopardiane¸ written by Contini in
1947. This argumentation wants to prove the internalization of an hypothetical Tasso’s rule in Giacomo Leopardi’s poetry and to diachronically examine the workshop on his poeticallanguage; a standardisation that would require a particular use of the imperfect verbal tense suffix in poetry, with or without the disappearance of the labiodental (-ea, -eva), which would follow a stabilized procedure: «Aveva fra ‘l verso, non seguente vocale, non s’usa dal
Petrarca o da’ petrarchisti» (Tasso, 1575). Through the examination of Leopardi’s poeticallexis – also on autographs’ reproductions – and an examination of the five exceptions included in his juvenile songs from 1816, L’Appressamento della morte, we want to prove that 1817 was the crucial year for this linguistic use – where Leopardi commits to a precise examination and study of all of Tasso’s pieces and those about him. The only exception has been found in the line 63 of Canti’s Frammento XXXIX, a partial rework on the Appressamento. Even if it is included in the 1835’s Starita, it has been proved wrong by the
Neapolitan autograph that would entirely confirm this use; however it has to be considered in order to presume that Tasso’s hypothetical rule is at least a consolidated writing routine of the original Giacomo Leopardi, and Petrarchist sui generis. Through the accomplished
linguistic analysis, we can confirm once more the thesis about Leopardi’s poetry being an unicum sprung from Recanati’s genius; that’s the XIXth century’s prolific germ able to absorb and reshape the lymph from the tradition’s tree; therefore this is an innovating poetical language that doesn’t provoke shocks, because it absorbs and restores Petrarch’s and Tasso’s standards.
This paper aims to plunge into the onomatological world of Horcynus Orca, a novel published in 19... more This paper aims to plunge into the onomatological world of Horcynus Orca, a novel published in 1975 by Mondadori, created by the epic and deforming genius of the Sicilian (Fortunato) Stefano D’Arrigo (1919-1992). The episode between the Venetian ensign Monanin and the Sicilian fishermen Crocitto and ’Ndria Cambria (who is the main character of the novel) elucidates the difference between name and thing, signifier and significance, imposed word and reality. Starting from the two common names of a unique and ambivalent marine animal – the Sicilian ‘fera’ and the Italian ‘delfino’ – the paper tries to penetrate the expressionistic poetic world of Horcynus and to analyse the powerful and layered language processing: here the names are consequences of the facts; they are emblems of the ‘saw it with my own eyes’ and not of the ‘hearsay’. Therefore, it can hardly happen that ‘fera’ could be undermined by ‘delfino’ in the mind of a fisherman: «the name of an abstract thing, or rather, the abstract name of a real thing»
Stefano D’Arrigo, Horcynus Orca, onomastics, anthroponymy
On 12 February2015, after forty years after first publication, it was released the first foreign ... more On 12 February2015, after forty years after first publication, it was released the first foreign version, in German, of the masterpiece darrighiano due to the decades-long work of the great translator Moshe Kahn (S. D'Arrigo, Horcynus Orca, S. Fischer). Anniversaries usually have nothing in common with what it is recalled; yet, in the words of Leopardi, they have a special charm and of Horcynus this anniversary is tinged with a particular aspect: the German-speaking readers can already enjoy the sumptuous epic of "Scill'e Cariddi: the Strait of Messina.
Linguistic analysis of lexical variants that from "I giorni della fera" (1960) lead to "Horcynus ... more Linguistic analysis of lexical variants that from "I giorni della fera" (1960) lead to "Horcynus Orca" (1975) by Stefano D'Arrigo: masterpiece of the italian literature of the twentieth century.
Conference Presentations by Pierino Venuto
Универзитет »Гоце Делчев« - Штип, 2017
Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopard... more Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopardi's Canti This essay is inspired by Implicazioni leopardiane¸ written by Contini in 1947. This argumentation wants to prove the internalization of an hypothetical Tasso’s rule in Giacomo Leopardi’s poetry and to diachronically examine the workshop on his poeticallanguage; a standardisation that would require a particular use of the imperfect verbal tense suffix in poetry, with or without the disappearance of the labiodental (-ea, -eva), which would follow a stabilized procedure: «Aveva fra ‘l verso, non seguente vocale, non s’usa dal Petrarca o da’ petrarchisti» (Tasso, 1575). Through the examination of Leopardi’s poeticallexis – also on autographs’ reproductions – and an examination of the five exceptions included in his juvenile songs from 1816, L’Appressamento della morte, we want to prove that 1817 was the crucial year for this linguistic use – where Leopardi commits to a precise examination and study of all of Tasso’s pieces and those about him. The only exception has been found in the line 63 of Canti’s Frammento XXXIX, a partial rework on the Appressamento. Even if it is included in the 1835’s Starita, it has been proved wrong by the Neapolitan autograph that would entirely confirm this use; however it has to be considered in order to presume that Tasso’s hypothetical rule is at least a consolidated writing routine of the original Giacomo Leopardi, and Petrarchist sui generis. Through the accomplished linguistic analysis, we can confirm once more the thesis about Leopardi’s poetry being an unicum sprung from Recanati’s genius; that’s the XIXth century’s prolific germ able to absorb and reshape the lymph from the tradition’s tree; therefore this is an innovating poetical language that doesn’t provoke shocks, because it absorbs and restores Petrarch’s and Tasso’s standards.
<div> <p>This paper aims to plunge into the onomatological world of <i>Horcynus... more <div> <p>This paper aims to plunge into the onomatological world of <i>Horcynus Orca</i>, a novel published in 1975 by Mondadori, created by the epic and deforming genius of the Sicilian (Fortunato) Stefano D'Arrigo (1919-1992). The episode between the Venetian ensign Monanin and the Sicilian fishermen Crocitto and 'Ndria Cambria (who is the main character of the novel) elucidates the difference between name and thing, signifier and significance, imposed word and reality. Starting from the two common names of a unique and ambivalent marine animal – the Sicilian 'fera' and the Italian 'delfino' – the paper tries to penetrate the expressionistic poetic world of <i>Horcynus</i> and to analyse the powerful and layered language processing: here the names are consequences of the facts; they are emblems of the 'saw it with my own eyes' and not of the 'hearsay'. Therefore, it can hardly happen that 'fera' could be undermined by 'delfino' in the mind of a fisherman: «the name of an abstract thing, or rather, the abstract name of a real thing» (D'Arrigo 1975, p. 240 [transl. by the author]).</p> </div>
Besides being a narrator, Stefano D’Arrigo was, first and foremost, a poet. Compared to the immen... more Besides being a narrator, Stefano D’Arrigo was, first and foremost, a poet. Compared to the immense, lush, imaginative and deforming multitude of per sonal narnes that the narrator uses in Horcynus Orca, the narnes in Codice Siciliano comprise mythical and religious elements on the one hand, and intellectual and human biography on the other; the onomatology in Codice Siciliano therefore represents the existential journey of the poet and the topographical map of his being Sicilian, revealing a soul that looks toward transcendence, recovering the immanence of the child, while D’Arrigo from Messina «expatriated somewhere there, over the scilla» (transl. by the author).
Fortunato (Stefano) D’Arrigo (1919 -1992) from Messina, is a poet and writer who is recalcitrant ... more Fortunato (Stefano) D’Arrigo (1919 -1992) from Messina, is a poet and writer who is recalcitrant toward any kind of categorization and who was wrongly identified as a difficult and tedious writer; that’s not true: Horcynus Orca is a masterpiece. Names, surnames and nicknames in Horcynus Orca show not only the geographical area to which they belong, the conurbation of the Strait of Messina, but also those orange blossom flowers which find their nourishment from the many thousand-years old roots, from the literary and linguistic diachronic stratification of the Mediterranean civilization, even though it is always forced to cross that choke point between Sicily and Calabria, the Scylla and Charybdis.
Il Nome Nel Testo, 2013
Fortunato (Stefano) D'Arrigo (1919-1992) from Messina, is a poet and writer who is recalcitrant t... more Fortunato (Stefano) D'Arrigo (1919-1992) from Messina, is a poet and writer who is recalcitrant toward any kind of categorization and who was wrongly identified as a difficult and tedious writer; that's not true: Horcynus Orca is a masterpiece. Names, surnames and nicknames in Horcynus Orca show not only the geographical area to which they belong, the conurbation of the Strait of Messina, but also those orange blossom flowers which find their nourishment from the many thousand-years old roots, from the literary and linguistic diachronic stratification of the Mediterranean civilization, even though it is always forced to cross that choke point between Sicily and Calabria, the Scylla and Charybdis.
MALACODA Anno V n. 1/2019, 2019
La Biagi è studiosa solida e convincente, informatissima e acuta: ha profuso in questo prezioso e... more La Biagi è studiosa solida e convincente, informatissima e acuta: ha profuso in questo prezioso e denso volume il frutto di anni di ricerche dottorali con cui manifesta una conoscenza e una capacità indagatrice non comuni; le opere di D'Arrigo sono sottoposte - come equamente afferma Alvino - a una «minutissima e più che persuasiva analisi dalla studiosa, che sull'uomo e sullo scrittore vanta un'informazione totale».
Il recensore Alvino, sentendosi però chiamare direttamente in causa, pone - dopo aver argomentato al contrario - una precisa questione: «[d]avvero, dunque, come afferma Daria Biagi, "La lingua che si autogenera, che produce se stessa a partire dalla propria veste sonora, è una tecnica che per D'Arrigo [...] coincide con un automatismo estraneo alla sua poetica"?».
Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopard... more Hypothesis: Tasso’s rule.The Imperfect Tense without Labiodental: -Ea -Eva in the Giacomo Leopardi's Canti
This essay is inspired by Implicazioni leopardiane¸ written by Contini in
1947. This argumentation wants to prove the internalization of an hypothetical Tasso’s rule in Giacomo Leopardi’s poetry and to diachronically examine the workshop on his poeticallanguage; a standardisation that would require a particular use of the imperfect verbal tense suffix in poetry, with or without the disappearance of the labiodental (-ea, -eva), which would follow a stabilized procedure: «Aveva fra ‘l verso, non seguente vocale, non s’usa dal
Petrarca o da’ petrarchisti» (Tasso, 1575). Through the examination of Leopardi’s poeticallexis – also on autographs’ reproductions – and an examination of the five exceptions included in his juvenile songs from 1816, L’Appressamento della morte, we want to prove that 1817 was the crucial year for this linguistic use – where Leopardi commits to a precise examination and study of all of Tasso’s pieces and those about him. The only exception has been found in the line 63 of Canti’s Frammento XXXIX, a partial rework on the Appressamento. Even if it is included in the 1835’s Starita, it has been proved wrong by the
Neapolitan autograph that would entirely confirm this use; however it has to be considered in order to presume that Tasso’s hypothetical rule is at least a consolidated writing routine of the original Giacomo Leopardi, and Petrarchist sui generis. Through the accomplished
linguistic analysis, we can confirm once more the thesis about Leopardi’s poetry being an unicum sprung from Recanati’s genius; that’s the XIXth century’s prolific germ able to absorb and reshape the lymph from the tradition’s tree; therefore this is an innovating poetical language that doesn’t provoke shocks, because it absorbs and restores Petrarch’s and Tasso’s standards.
This paper aims to plunge into the onomatological world of Horcynus Orca, a novel published in 19... more This paper aims to plunge into the onomatological world of Horcynus Orca, a novel published in 1975 by Mondadori, created by the epic and deforming genius of the Sicilian (Fortunato) Stefano D’Arrigo (1919-1992). The episode between the Venetian ensign Monanin and the Sicilian fishermen Crocitto and ’Ndria Cambria (who is the main character of the novel) elucidates the difference between name and thing, signifier and significance, imposed word and reality. Starting from the two common names of a unique and ambivalent marine animal – the Sicilian ‘fera’ and the Italian ‘delfino’ – the paper tries to penetrate the expressionistic poetic world of Horcynus and to analyse the powerful and layered language processing: here the names are consequences of the facts; they are emblems of the ‘saw it with my own eyes’ and not of the ‘hearsay’. Therefore, it can hardly happen that ‘fera’ could be undermined by ‘delfino’ in the mind of a fisherman: «the name of an abstract thing, or rather, the abstract name of a real thing»
Stefano D’Arrigo, Horcynus Orca, onomastics, anthroponymy
On 12 February2015, after forty years after first publication, it was released the first foreign ... more On 12 February2015, after forty years after first publication, it was released the first foreign version, in German, of the masterpiece darrighiano due to the decades-long work of the great translator Moshe Kahn (S. D'Arrigo, Horcynus Orca, S. Fischer). Anniversaries usually have nothing in common with what it is recalled; yet, in the words of Leopardi, they have a special charm and of Horcynus this anniversary is tinged with a particular aspect: the German-speaking readers can already enjoy the sumptuous epic of "Scill'e Cariddi: the Strait of Messina.
Linguistic analysis of lexical variants that from "I giorni della fera" (1960) lead to "Horcynus ... more Linguistic analysis of lexical variants that from "I giorni della fera" (1960) lead to "Horcynus Orca" (1975) by Stefano D'Arrigo: masterpiece of the italian literature of the twentieth century.