Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”

Through the textual analysis of eight poems from Variazioni belliche, the article intends to demonstrate how Amelia Rosselli’s appropriation of Inferno vmainly presents a metapoetic connotation. Dantean echoes in Poesie (1959), the collection's first section, embody a kind of poetry in which th...

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Main Author: Clara Santarelli
Format: Article
Language:English
Published: University of Bologna 2022-10-01
Series:Finzioni
Subjects:
Online Access:https://finzioni.unibo.it/article/view/15622
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author Clara Santarelli
author_facet Clara Santarelli
author_sort Clara Santarelli
collection DOAJ
description Through the textual analysis of eight poems from Variazioni belliche, the article intends to demonstrate how Amelia Rosselli’s appropriation of Inferno vmainly presents a metapoetic connotation. Dantean echoes in Poesie (1959), the collection's first section, embody a kind of poetry in which the lyrical I has a distinctive role – hence, the use of the free verse, even if already projected towards the spazio metrico, the fixed form which has the task to distinguish Rosselli’s poetry from the previous lyrical tradition. On the contrary, in Variazioni (1960-1961), the second section of the volume, the strong lyrical subject conveyed by Paolo and Francesca’s canto collides with the «pretesa di universalità» of Rosselli’s new poetic form. This conflict results in a deep fracture within the lyrical voice.
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spelling doaj.art-5ef61ec2e346484286c0b55e6ff373882022-12-22T04:31:49ZengUniversity of BolognaFinzioni2785-22882022-10-012310713610.6092/issn.2785-2288/1562213964Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”Clara Santarelli0Università di BolognaThrough the textual analysis of eight poems from Variazioni belliche, the article intends to demonstrate how Amelia Rosselli’s appropriation of Inferno vmainly presents a metapoetic connotation. Dantean echoes in Poesie (1959), the collection's first section, embody a kind of poetry in which the lyrical I has a distinctive role – hence, the use of the free verse, even if already projected towards the spazio metrico, the fixed form which has the task to distinguish Rosselli’s poetry from the previous lyrical tradition. On the contrary, in Variazioni (1960-1961), the second section of the volume, the strong lyrical subject conveyed by Paolo and Francesca’s canto collides with the «pretesa di universalità» of Rosselli’s new poetic form. This conflict results in a deep fracture within the lyrical voice.https://finzioni.unibo.it/article/view/15622amelia rossellidanteinferno vintertextualitymetric space
spellingShingle Clara Santarelli
Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
Finzioni
amelia rosselli
dante
inferno v
intertextuality
metric space
title Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
title_full Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
title_fullStr Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
title_full_unstemmed Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
title_short Amelia Rosselli reads Dante. The fifth canto of the “Inferno” in “War Variations”
title_sort amelia rosselli reads dante the fifth canto of the inferno in war variations
topic amelia rosselli
dante
inferno v
intertextuality
metric space
url https://finzioni.unibo.it/article/view/15622
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