Il medium è la scrittura. Comunicazione, lingua, letteratura. Seminario di studio, Università degli Studi "G. d'Annunzio" di Chieti-Pescara, 5 dicembre 2016 (original) (raw)
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Scritture nascoste, scritture invisibili. Quando il medium non fa "passare" il messaggio, 2020
In all writing traditions, there are cases in which the written message cannot or must not intentionally be read, in the past and in the present. Artists’ signatures, texts written with invisible ink, encryptions, inscriptions for the gods, texts reserved to confidential readers, invented writings are all examples of an eccentric relation between the medium and its message. They do not match with the general theory of communication, which distinguishes source, message, medium and target among the essential constituent of a communication act. Moreover, in the constant dialectic between medium and message, code-switching and cultural interferences can be observed, both at a graphic and a linguistic level, which can totally or partially hide the code. The environment in which the message is conceived, made up of physical, cultural, religious, pragmatic aspects, defines and clarifies the use of this peculiar communication strategy, which finds an extreme case in the subliminal advertising. The international and interdisciplinary miscellanea includes contributions of scholars of different disciplines within the broadest chronological span: epigraphy, archaeology, linguistics, anthropology of writing, art history codicology, library sciences, palaeography, history, arts and literature.
La voce come metodo. Pratica dei media e scrittura orale in Debenedetti
Il saggio si propone di analizzare l’influenza che la pratica dei media audiovisivi ha avuto sulla trasformazione della scrittura di Debenedetti in direzione di quella fisionomia orale che molti interpreti hanno ravvisato nei quaderni delle lezioni universitarie. L’ipotesi è che la pratica cinematografica degli anni Trenta, intrecciata a una precoce riflessione critica e teorica sul nuovo linguaggio, e poi il confronto nel secondo dopoguerra con la scrittura per lo schermo nella redazione dei testi per il cinegiornale La Settimana Incom, abbiano contribuito all’elaborazione da parte di Debenedetti di una concezione relazionale, pubblica e interattiva della parola. La partecipazione alle vicende collettive imposta dal trauma storico legato alla dittatura e alla guerra si associa così a una riconfigurazione della funzione intellettuale accelerata dalle esigenze produttive, estetiche e comunicative del sistema dei media. In consonanza con le pratiche di ibridazione che il linguaggio dei media agisce nel corpo della letteratura europea tra le due guerre, Debenedetti sperimenta nella sua Radiorecita su Jean Santeuil (1952) una critica dialogica, sceneggiata, polifonica, in cui prendono forma gli elementi stilistici, i problemi teorici e le strategie argomentative che ritroviamo attivi nella sua saggistica matura. La tensione orale che percorre la scrittura di Debenedetti corrisponde a un metodo, a una precisa posizione conoscitiva, in cui l’andamento conversativo della critica, e la valorizzazione degli elementi sonori della scrittura, servono a rintracciare la sostanza vivente che pulsa dentro le rappresentazioni dell’immaginario, prendendola in carico attraverso la voce e consegnandola «in diretta» alle orecchie di chi legge. The present essay is aimed at analysing how the knowledge of audiovisual media affected the trasformation of Giacomo Debenedetti’s writing toward the “oral shape” frequently noticed by scholars, particularly in his notes for the university lectures. First the experience as a screenwriter during the Thirties, intertwined with an early critical and theoretical reflection on the language of cinema; and then, after World War II, the work as a copywriter for the newsreel La Settimana Incom, triggered in Debenedetti the elaboration of a relational, public, interactive idea of writing. Thus the participation in public events, imposed by the historical trauma due to war, dictatorship and persecution, is connected to the re-configuration of the intellectual role speeded up by the productive and aesthetic needs of the communication system. Mirroring the hybridization with media languages that affected European literature during the Twentieth century, Debenedetti tests in his Radiorecita su Jean Santeuil (1952) a dialogic, dramatised, polyphonic criticism, where he gives shape to the fundamental stylistic, theoretical and argumentative patterns of his ultimate production. The oral tension endowing Debenedetti’s writing is a method, a precise epistemological position. The conversational attitude of his criticism, the appreciation of the musical elements of writing, enable Debenedetti to track the living essence pulsating within fictional representations, in order to embody it in his own voice, and deliver it to the readers’ ears.
2020
Agostino Maria Molin’s marks in books: invented writings for personal use? The paper shows the first results of a research carried out on some peculiar notes found in Agostino Maria Molin’s books, Carmelite Sacred Scripture scholar, librarian, bibliographer, Professor of Biblical exegesis and Theology in Carmelite schools until 1810, then in the Patriarchal Seminary of Venice (1819-1821) and finally in the Episcopal Seminary of Osimo. The notes are written in two different cryptographic systems, probably invented by Molin, and they appear in a limited number of books, mostly manuscripts and autographs from his own library. At the moment, the research allows to identify the probable linguistic and graphic models used by Molin, like some oriental languages (e.g.: Hebrew, Syriac, Armenian) that the scholar studied during his education at the Seminary in Padua and, obviously, in the years he spent in the vibrant environment of Venice. The paper analyses the characteristics of the two graphic systems, searching for their possible models taken from Molin’s education and from the books of his rich library.
Writings exhibited in the public space of medieval Rome This contribution has the form of roving catalog inside and outside the city of Rome, listing some of the most important epigraphic testimonies in direct relation with the public spaces of transit and of stopping. Here it is interesting to understand what was the degree of visibility and legibility of the epigraphic memories on the monuments that lined the streets, and in what relation they found themselves with those who walked or stopped along the streets of the city. The streets, the squares, the public areas, the arcades of the churches, become the privileged places for communicating to many but not to all; there will always be those who cannot fully understand what is celebrated, remembered, announced on the walls of cities, on the facades of monuments, on public buildings, on the front of churches.
Reflections on 'restricted presence' of inscriptions in the Middle Ages Inscriptions are not only visible or hidden, but they also have a presence, though this may be limited in terms of space, time or person. In this paper, the concept of restricted presence (ʻrestringierte Präsenzʼ) will be explained in relation to different medieval objects bearing inscriptions: manuscripts, liturgical vessels, foundation stones and the outer and inner walls of churches. If the message is received by the intended viewers, there is no restricted presence for them. So is a seemingly restricted presence only an optimized strictly receiver-oriented form of communication? Are the messages only addressed to a certain group of viewers or can they also be perceived by others?