Beyond the Family Romance: The Legend of PascoliUniversity of Toronto Press, 2007年12月15日 - 212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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... take on the role of the analyst who interprets dreams . Curi quite explicitly adopts this role , for example , when he argues that the charac- ter of ' Rosa ' and the appearances of Homer's ' Nausicaa ' are ' really ' Pascoli's sister ...
... take life from their names ... and the more precise and local the names are, the more they become indeterminate, allusive to unex- pressed and hidden worlds].44 He goes on to point out the thematic relevance of this stylistic technique ...
... takes place amid the howling winds of a cemetery . When the speaker asks his beloved why she has chosen this place , she responds , ' I am dead , and you do not know it . ' She goes on to explain that she has been dead for many years ...
... takes place between a man and a beloved woman, underscoring death's simultaneous otherness and intimacy, unknowability and familiarity. Finally, we should note that Death has summoned the speaker to the cemetery; she has called him into ...
... takes on a dizzying and delirious double identity as both himself and the servant, 'Clara.' Finally, horrified by the spectacle of the raving baron-servant, Clara's frightened murderer reveals himself. The tale does not merely critique ...