Beyond the Family Romance: The Legend of Pascoli
University of Toronto Press, 2007 - 203页
Giovanni Pascoli (1855-1912) is one of Italy's most canonical and beloved poets. In Beyond the Family Romance, Maria Truglio offers fresh insight into the uncanny qualities of Pascoli's domestic verse. As suggested by the Freudian title, this study opens a dialogue between Pascoli's literature and Freud's theories, with a particular focus on each author's interrogation of origins. Through close readings and historical contextualization, themes of regression, memory, and other manifestations of 'origins' are analyzed, moving Pascoli's poetry beyond the biographical strictures that have hitherto confined it.
Truglio's post-structuralist readings question the dichotomy between 'safety within the home' and the 'threatening outside world,' revealing the ambivalences with which images of the home are fraught in Pascoli's poetry. In addition to the sustained comparison with Freud's writing, Beyond the Family Romance explores parallels between Pascoli's work and such writers as Tarchetti, Boito, Poe, and Invernizio. Rethinking the concept of the fanciullino ('little child'), Truglio shows that Pascoli's poetry enacts a symbiosis between the logic of the rational modern adult and the mythic vision of the child.
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Things are there , but they take life from their names . . . and the more precise and
local the names are , the more they ... The ' return of the repressed ' enacted
through the compromise formation comes to life in Pascoli ' s poetry precisely as
The listener knows that they mean something but does not know what they mean
. It is in this class of utterances that desire figures most prominently , because it is
here that we most want to know . Pascoli ' s poetry is suspended precisely here ...
in speaking to science anticipates precisely the imaginary question put to Freud
by his interlocutor : Oh ! tu sei fallita , o scienza : ed è bene : ma sii maledetta ,
che hai rischiato di far fallire anche l ' altra ! La felicità tu non l ' hai data , e non la