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Performance in the Texts of Mallarmé offers a new theory of performance in the poetic and critical texts of Stephane Mallarmé, a theory challenging the prevailing interpretation of his work as epitomizing literary purism and art for art's sake. Following an analytical presentation of the concepts of ritual and performance generally applied, Mary Shaw shows that Mallarmé perceived music, dance, and theater as ideal languages of the body and therefore as ideal forms of ritual through which to supplement and celebrate poetic texts. She focuses on previously unexplored references to supplementary, extratextual performances in four of Mallarmé's major poetic texts—Herodiade, L'après-midi d'un faune, Igitur, and Un coup de des—revealing the consistent formal expression of his original conception of literature's relationship to the performing arts. Shaw then discusses Mallarmé's monumental project, Le Livre, a metaphysical book designed to be performed in a series of ritual celebrations. She analyzes and describes the intrinsic structure and contents of this unfinished work as the fullest realization of the text-performance relationship elaborated throughout Mallarmé's corpus. Shaw offers Le Livre as a prototype of avant-garde performance, drawing important parallels between Mallarmé's literary experimentation and crucial developments in twentieth-century arts.
"How can one make poetry in a disenchanted age? For Giacomo Leopardi (1798-1837) this was the modern subject's most insolvable deadlock, after the Enlightenment's pitiless unveiling of truth. Still, in the poems written in 1828-29 between Pisa and the Marches, Leopardi manages to turn disillusion into a powerful source of inspiration, through an unprecedented balance between poetic lightness and philosophical density. The addressees of these cantos are two prematurely dead maidens bearing names of nymphs, and thus obliquely metamorphosed into the charmingly disquieting deities that in Greek lore brought knowledge and poetic speech through possession. The nymph, Camilletti argues, can be seen as the inspirational power allowing the utterance of a new kind of poetry, bridging antiquity and modernity, illusion and disenchantment, life and death. By reading Leopardi's poems in the light of Freudian psychoanalysis and of Aby Warburg's and Walter Benjamin's thought, Camilletti gives a groundbreaking interpretation of the way Leopardi negotiates the original fracture between poetry and philosophy that characterises Western culture. Fabio Camilletti is Assistant Professor in Italian at the University of Warwick."
This volume brings together the papers published in Historiographia Linguistica 9:3 (1982), which was devoted to the history of linguistics in Italy, with Marazzini’s paper first published in Historiographia Linguistica 10:1/2 (1983), and an original article by Franco Lo Piparo expressly written for this volume. The present volume provides in addition an index of subjects, as well as an index of names, which supplies bio-bibliographical references to authors discussed.
In this first detailed and comprehensive account of Leopardi's theory of poetry, G. Singh assesses both the literary and critical attainments of a poet whose eminence ranks him with Dante and Petrarch. Singh's analysis, which employs extensive reference to Leopardi's work in order to illustrate the author's own comments, sets forth Leopardi's views on the larger questions of tradition, inspiration, and the imagination in poetry. Later chapters are concerned with the more specific matters of the poetic image, style, and language.