RiCOGNIZIONI. Rivista di Lingue e Letterature straniere e Culture moderne 2021-06-30T11:33:32+02:00 La Redazione Open Journal Systems <p><em>RiCognizioni</em>&nbsp;is an open access, peer review journal hosting research on modern languages, literature and culture from both a disciplinary and interdisciplinary perspective. Its aim is to stimulate a dialogue between related scientific fields and encourage contact between different approaches.</p> <p>The journal welcomes contributions from scholars and young researchers on:</p> <ol> <li>writers, movements, world cultures</li> </ol> <ol start="2"> <li>new and still unexplored areas of language, literature and culture</li> </ol> <p>CrOCEVIA features papers dealing with different linguistic and cultural domains, converging around a common thematic core</p> <p>InCONTRI hosts debates on current issues related to the social and cultural scene in the form of a round table forum</p> <p>ItINERARI is a miscellaneous section with contribution from different areas of language, literature and culture</p> <p>PaSSAGGI features unpublished translations and provides a critical forum on the role of translators</p> <p>SeGNALI offers readers conference reports, book reviews and information about ongoing research projects&nbsp;</p> <p>&nbsp;</p> <p>ISSN 2384-8987</p> <p>* * *</p> <p>&nbsp;</p> <div>&nbsp;</div> “Só amo aquilo que de mim foge” 2021-06-30T11:33:02+02:00 Matteo Rei Bruno Anselmi Matangrano <p>Introduction to CrOCEVIA • <em>INTERLÚNIO: EUGÉNIO DE CASTRO&nbsp;E A LITERATURA PORTUGUESA DO FIM-DE-SÉCULO</em>, edited by Matteo REI and Bruno ANSELMI MATANGRANO</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## Eugénio de Castro between Literature and Science 2021-06-30T11:33:30+02:00 Marta Pacheco Pinto <p>“Eugénio de Castro between Literature and Science: Orientalism as Collaboration” offers a case study of the fin-de-siècle works of Portuguese poet Eugénio de Castro (1869-1944) as illustrative of the aestheticization of scholarly/scientific knowledge about the East. This study is thus based on two premises: literary orientalism as a western discourse that feeds on a shared imaginary about the East, and scholarly/scientific orientalism as a specialized field of production, circulation and reception of knowledge (i.e. oriental studies). Based on Castro’s case study, I put forward the hypothesis of an interaction between the fields of literary production and scholarly/scientific orientalism under the framing concept of <em>arrière-texte</em> (Gladieu, Pottier and Trouvé 2013). In order to explore how Castro’s oeuvre may have been informed and shaped particularly by the work of Portuguese orientalists, without however disregarding his privileged connections to French orientalism, I propose a formal approach through the analysis of networks of collaboration. After briefly discussing the presence of the East in Castro’s fin-de-siècle work, I highlight the role played by the Curso Superior de Letras, a Lisbon-based school for higher education, in the poet’s orientalist training (1885-1889). This institutional setting enabled him to establish interpersonal networks, namely with Guilherme de Vasconcelos Abreu and Consiglieri Pedroso. These networks will be complemented with the analysis of plausible and (in)formal relationships, in particular with Francisco Maria Esteves Pereira, specialist in Ethiopian studies, as well as with the intellectuals Teófilo Braga and Joaquim Mendes dos Remédios. The purpose is to unveil the agencies, either manifest or latent, contributing to the poet’s creative process and who are part of his orientalist <em>arrière-texte</em>. Ultimately, this case study will show that orientalism is a collaborative system of knowledge production, circulation and reception between scientific institutions and the literary sphere.</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## The Bicycle of Jaime de Magalhães Lima 2021-06-30T11:33:27+02:00 Giorgio de Marchis <p>Jaime de Magalhães Lima is the first divulger of Tolstoyism in Portugal and, in the works published in the last decade of the 19th century, he develops a relentless diagnosis of the finissecular decadence, identifying the capital errors of the Century in the materialism prevailing in society and in the divorce between nature and man. In the context of a rigorous and uncompromising neo-franciscanism, the author of <em>The Vegetarianism and Morality of the Races</em> (Oporto, 1912) comes to consider the sport exemplary of the crisis of values of a society that "languishes and dies because it lacks the belief in a higher destiny".</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## Eugénio de Castro between Symbolism and Modernism. 2021-06-30T11:33:25+02:00 Maria João Reynaud <p>In the symbolist constellation,&nbsp;Eugénio de Castro (1869-12019) is not only one of his greatest figures, but also an author whose work&nbsp;remains today misunderstood and insufficiently studied, despite his repercussion abroad, where he&nbsp;was – and is – the object of a very just appreciation. The celebration of the 150th anniversary of his&nbsp;birth opens the possibility of re-appreciating his poetry in the context of the aesthetic movements that&nbsp;mark the end of the European century, taking into account, namely, the impact of these on the genesis&nbsp;of Modernism in Portugal and in its full affirmation.</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## The Lyre, the Emerald and the Fire 2021-06-30T11:33:20+02:00 Matteo Rei <p>Several Portuguese literary texts that appeared in the second&nbsp;half of the 19th century have as their subject the Roman emperor Nero. In these texts there are some&nbsp;recurring elements that are associated with the representation of the emperor, such as the scene in&nbsp;which Nero sings with his lyre while observing the burning of Rome. In addiction to this famous&nbsp;episode, there are other lesser known items, such as the Christians transformed into human torches or&nbsp;the emerald used to observe the gladiator fights. In this context, the paper examines the characteristics&nbsp;and symbolism of various literary depictions of Nero, analyzing texts by authors such as, among&nbsp;others, Teófilo Braga, Gomes Leal, Eugénio de Castro and the Mesquita brothers.</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## The Femininity of the Serpent 2021-06-30T11:33:13+02:00 Bruno Anselmi Matangrano <p class="abstract"><span lang="EN-GB">The serpent has been arguably one of the animals whose symbolic meanings varied little during the history of Western imaginary. Known as serpent, snake, viper, or asp, this reptile has marked its territory, perhaps owing to its capacity for rousing fear. Usually regarded as suspicious since the biblical Eden, it has become the sign of evil throughout different cultures and ages. At the end of the 19th century, nevertheless, the serpent imagery acquired a subtly different connotation: whenever its negative aspects were employed, they were subverted so as to become a positive quality, following the thought pattern in the contemporary literature, in which, for instance, death could be seen as desirable. The serpent, then, was thus associated with the female and, more specifically, with femininity, which turned the symbol into a sign of mystery, danger, and sensuality. It was no coincidence that the serpent was one of the animal figures most employed by Charles Baudelaire, whose work features the representation of unusual, transgressive female figures. Therefore, the serpent became an important image to Symbolist and Decadent poets, who sought in the Baudelairian "flowers" figures from which to draw inspiration. Among Portuguese-speaking writers were Camilo Pessanha, Eugénio de Castro, and Cruz e Sousa, whose works abound in sinuous snake figures. Having this context as a starting point, this paper aims to map the presence of serpents in the late 19th-century francophone and lusophone poetry, as well as discuss whether their representation was renovated or drawn from the earlier tradition.</span></p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## A Maneira Trágica de Eugénio de Castro 2021-06-30T11:33:10+02:00 Maria de Jesus Cabral <p>Eugénio de Castro's nineteenth-century work is ambiguously related to the dramatic genre, in interesting affinity and in tune with the interior dimension’s tragic, theorized and practiced by the best authors of the French-speaking symbolist <em>mêlée</em>. Privileging the work with the verbal material, crossing boundaries between literary and expression modes, with a unique refusal of extra-artistic dictates, Castro's tragic way launches stimulating challenges and promises to the symbolist theater that emerges and unfolds in the Portuguese literary field throughout the 20th century. I am interested in this article to delve into this <em>sui speciei </em>tragic configuration, both in the <em>Belkiss’s </em>dramatic poem by and in the lyric fiction of&nbsp;<em>Oaristos</em>, whose heroines reflect the fundamental aesthetic and ethical non-conformity of the Poet. Because neither artistic individualism nor eclecticism are enough to overcome the deepest enigma of existence.</p> <p>&nbsp;</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## Sentimento dum Ocidental 2021-06-30T11:33:23+02:00 Piero Ceccucci <p>The purpose of this study is to place the poetic work of Cesário Verde (Lisboa 1855 - 1886) in the context of the modernity of the end of the nineteenth century which, following the example of what was being created on the other side of the Pyrenees with Baudelaire, Rimbaud, Verlaine and Mallarmé, found the most genuine solicitations to abandon the old poetic style. This style, to which the poet had dedicated himself, at the beginning, with a strong ironic spirit, through a series of lyrics of burlesque romantic intonation. The transition to a new style was not easy, given the strong criticism from which the young poet was invested by the official critics, who did not welcome his poetry, which seemed to move away from the Lusitanian traditions, to start on highly innovative paths, and set as an example of the new advancing from foreign lands. Only Fernando Pessoa, in the early twentieth century, was able to grasp the spirit of renewal of Portuguese letters, operated by the young lisbonese, seen as a master of modernity. So much so that one could say that Cesário continued to live in Pessoa's verses and in those of the heteronyms. And Pessoa also claimed that Cesário had set himself up as a model for the new stylistic features of Portuguese fin-de siécle poetry.</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## A little Africa in my Words 2021-06-30T11:33:06+02:00 Marcely Belisse Gil Rodriguez <p>Africanisms are an important part of Brazilian culture without them the Portuguese linguistic system would not be complete. When we talk about Africanisms we discover all the terms that originate from across the ocean. The terms of African origin are manifold and to trace this cultural heritage it is necessary to trace literary works, corpora and dictionaries. &nbsp;<br> The purpose of this article is to raise awareness of native speakers and Portuguese scholars so that they can enhance the African identity present in Brazil. This goal will be possible thanks to the cultural and literary world, especially through the vision of Cascudo. Furthermore, it is possible to note that African influence not only identifies the history of the Portuguese language in Brazil but also in its dialects and through a small list of terms we try to show that there are several semantic fields to which the terms belong. Moreover, it is possible to know a historical part of these words.</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## Languages without Bilabial Consonants 2021-06-30T11:33:32+02:00 Marco Carchia <p class="western" style="text-indent: 0.85cm; margin-bottom: 0cm;" align="justify"><span style="font-family: Liberation Serif, serif;"><span style="font-size: small;">The existence of consonants at the velar, alveolar and bilabial places of articulation seems to represent the basis of the structure of a consonant system, described by many authors according to various approaches. Nevertheless a few scattered references to languages without any bilabial sound can be found in literature, especially by authors dealing with American native languages. For this reason, the presence of bilabial consonants cannot be considered as a universal of language but rather a linguistic tendency, admitting, as such, some exceptions. The above mentioned references describe the phenomenon by a merely synchronic perspective, leaving thereby aside, not only extinct languages, but also those showing at a distant time in the past the lack of these sounds, which were later introduced in their consonant inventory. </span></span></p> <p lang="en-GB" style="margin: 0.85cm 0.07cm 0.85cm 0.85cm;" align="justify"><span style="font-family: Liberation Serif, serif;"><span style="font-size: small;">This article provides first of all a mapping of all languages and linguistic families involved, regardless whether they are living, extinct or characterized by this phenomenon at a distant time in the past. Further, it yields a description of how the phenomenon occurs, based on the analysis of the different languages and linguistic families involved, along with a research on the explication of the possible reasons underlying it.</span></span></p> 2021-06-28T00:00:00+02:00 ##submission.copyrightStatement## In memoriam Mario Seita (1954-2021) 2021-06-30T11:33:04+02:00 Luca Badini Confalonieri <p><em>In memoriam&nbsp;</em>Mario Seita (1954-2021)</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## Alain Rey (1928-2020): A Memory, A Commitment 2021-06-30T11:33:16+02:00 Giovanni Dotoli <p><em>In memoriam</em> Alain Rey (1928-2020)</p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement## [rev. of] Ingeborg BACHMANN, "Das dreißigste Jahr. Erzählungen", Frankfurt am Main, Piper-Suhrkamp, 2020 2021-06-30T11:32:58+02:00 Silvia Ulrich <p>[rev. of]&nbsp;Ingeborg BACHMANN,&nbsp;<em>Das dreißigste Jahr. Erzählungen</em>,&nbsp;herausgegeben von Rita SVANDRLIK, unter Mitarbeit von Silvia BENGESSER und Hans HÖLLER,&nbsp;Frankfurt am Main, Piper-Suhrkamp, 2020.</p> <p>&nbsp;</p> <p><br><br></p> 2021-06-30T00:00:00+02:00 ##submission.copyrightStatement##