Papers by Carolina Rossi
con Claudia Carmina (indice). In Gadda, a cura di Paola Italia, Roma, Carocci, 2024
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2023, "Allegoria", 88
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2022, "Allegoria", 85
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2022, Carlo Emilio Gadda. Un seminario, a cura di Valentino Baldi e Cristina Savettieri, Mimesis ... more 2022, Carlo Emilio Gadda. Un seminario, a cura di Valentino Baldi e Cristina Savettieri, Mimesis Edizioni
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2022, Metodi, problemi e prospettive nello studio degli epistolari, a cura di S. Canzona, F. Foli... more 2022, Metodi, problemi e prospettive nello studio degli epistolari, a cura di S. Canzona, F. Foligno e V. Leone, Edizioni di Archilet
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2021, "Tradurre. Pratiche, teorie, strumenti", 21. https://rivistatradurre.it
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La versione definitiva di questo saggio è stata pubblicata sulla rivista "Italianistica", L, 3, ... more La versione definitiva di questo saggio è stata pubblicata sulla rivista "Italianistica", L, 3, 2021
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2021, Interruzioni e cesure: fenomeni e pratiche della discontinuità in linguistica, letteratura ... more 2021, Interruzioni e cesure: fenomeni e pratiche della discontinuità in linguistica, letteratura e arti performative, a cura di R. Donnarumma e F. Romoli, Pisa University Press [estratto]
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Conferences Organized by Carolina Rossi
Pisa, 20 giugno 2024
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Seminar series organized with Mara Travella (Universität Zürich) and with the support of the Cent... more Seminar series organized with Mara Travella (Universität Zürich) and with the support of the Centre for the Study of Contemporary Women's Writing (School of Advanced Study, University of London)
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Bologna, 13 ottobre - 15 dicembre 2023
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Pisa, 9-11 Dicembre 2020
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Bologna, 6 dicembre 2019
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Conference Presentations by Carolina Rossi
Convegno annuale MOD 2024 "Moderno e antimoderno. Le avventure di una contrapposizione" (Milano, ... more Convegno annuale MOD 2024 "Moderno e antimoderno. Le avventure di una contrapposizione" (Milano, 13-15 giugno)
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2022, University of Oxford, ESTS International Conference
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CONFERENCE CALL – In the context of a renewed editorial interest in Gadda in Italy, “Editions, Tr... more CONFERENCE CALL – In the context of a renewed editorial interest in Gadda in Italy, “Editions, Translations, Transmissions: ‘That Awful Mess’ of Carlo Emilio Gadda” aims to reopen a dialogue on one of the most powerful voices of twentieth-century Italian and European literature. [...] In a climate of vibrant editorial activity, the aim of the conference is to bring together the protagonists of the past and current editorial endeavours to encourage a much needed dialogue between philology, criticism, and translation. In an unbroken net of relations, critics need philologists to have reliable texts on which they can base their interpretations; newly-discovered texts need critics for them to be interpreted; and texts need translating to gain circulation in a foreign context.
The establishment of such a dialogue is all the more urgent especially when confronting an author whose oeuvre is characterised by a distinctive complexity on multiple levels and lies at the intersection of different disciplines. Gadda’s body of work represents indeed an uncommon interplay of interests, from literature, philosophy, translation, art, history, psychoanalysis, and anthropology, to natural sciences, mathematics, chemistry, applied mechanics, and physics, thus constituting a unique case study for interdisciplinary research. The identification of Gadda as solely the virtuoso “prose writer” or the “multilingual” and “expressionist” writer, which is partly to be related to the paradigmatic interpretative work of Gadda’s critic-friend Gianfranco Contini, has given way over the decades to the acknowledgment of Gadda’s characteristic style as at one with his epistemological quest.
Gadda has been defined as “glocal”, and at the same time “quintessentially Italian” and “universal” (Cristina Olivari and Federica G. Pedriali, in Federica G. Pedriali (ed.), “Gadda Goes to War”, EUP 2013). While combining all of Italian linguistic history and literary tradition, Gadda’s writing has indeed been put in relation to authors, genres, and literary threads that go far beyond the Italian panorama: Modernism (Joyce, Proust, Céline, Beckett), and the Postmodernism; the great masters of the nineteenth-century realistic canon (Balzac, Zola, Dickens, Dostoevsky), and the traditions of humour and satire (Rabelais, Cervantes, Swift, Sterne). Despite this, outside Italy, Gadda remains almost exclusively known for his major novels “Quer pasticciaccio brutto de via Merulana” (1957) and “La cognizione del dolore” (1963, 1970), as well as for his ‘pyrotechnic’ and omnivorous language, which undoubtedly poses many challenges in terms of translatability. “Pasticciaccio”, “Cognizione”, and some short stories have in fact been translated in English by Wiliam Weaver (1964, 1965, 1969), Andrew Brown (2007), Antony Melville (2008), and Richard Dixon (2017), but the vast majority of his works – specifically his philosophical, historical, political, and essayistic writings – still lack a translation. That is the case, just to name a few, of “Meditazione milanese” (1974), “Eros e Priapo” (1967), and “I viaggi la morte” (1958).
“Editions, Translations, Transmissions: ‘That Awful Mess’ of Carlo Emilio Gadda” is organised around three main thematic areas:
1 – From Philology to Criticism, from Criticism to Philology;
2 – An Uncommon Confluence of Threads: Interplays in Gadda’s Oeuvre;
3 – Expanding Horizons: Translatability, Reception, and the European Canon.
CONFERENCE ORGANISERS: Luca Mazzocchi (Exeter College) and Serena Vandi (St Hugh’s College)
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2021, University of Leeds, “Translation as Position-Taking in the Literary Field”
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2019, Università di Pisa, International Graduate Conference
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2019, "Testi letterari italiani in movimento", Seminario dottorale Centro Pio Rajna
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2019, XXIII Congresso ADI, Università di Pisa
Sessione: Testi scientifici nelle biblioteche d'au... more 2019, XXIII Congresso ADI, Università di Pisa
Sessione: Testi scientifici nelle biblioteche d'autore
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Papers by Carolina Rossi
Conferences Organized by Carolina Rossi
Conference Presentations by Carolina Rossi
The establishment of such a dialogue is all the more urgent especially when confronting an author whose oeuvre is characterised by a distinctive complexity on multiple levels and lies at the intersection of different disciplines. Gadda’s body of work represents indeed an uncommon interplay of interests, from literature, philosophy, translation, art, history, psychoanalysis, and anthropology, to natural sciences, mathematics, chemistry, applied mechanics, and physics, thus constituting a unique case study for interdisciplinary research. The identification of Gadda as solely the virtuoso “prose writer” or the “multilingual” and “expressionist” writer, which is partly to be related to the paradigmatic interpretative work of Gadda’s critic-friend Gianfranco Contini, has given way over the decades to the acknowledgment of Gadda’s characteristic style as at one with his epistemological quest.
Gadda has been defined as “glocal”, and at the same time “quintessentially Italian” and “universal” (Cristina Olivari and Federica G. Pedriali, in Federica G. Pedriali (ed.), “Gadda Goes to War”, EUP 2013). While combining all of Italian linguistic history and literary tradition, Gadda’s writing has indeed been put in relation to authors, genres, and literary threads that go far beyond the Italian panorama: Modernism (Joyce, Proust, Céline, Beckett), and the Postmodernism; the great masters of the nineteenth-century realistic canon (Balzac, Zola, Dickens, Dostoevsky), and the traditions of humour and satire (Rabelais, Cervantes, Swift, Sterne). Despite this, outside Italy, Gadda remains almost exclusively known for his major novels “Quer pasticciaccio brutto de via Merulana” (1957) and “La cognizione del dolore” (1963, 1970), as well as for his ‘pyrotechnic’ and omnivorous language, which undoubtedly poses many challenges in terms of translatability. “Pasticciaccio”, “Cognizione”, and some short stories have in fact been translated in English by Wiliam Weaver (1964, 1965, 1969), Andrew Brown (2007), Antony Melville (2008), and Richard Dixon (2017), but the vast majority of his works – specifically his philosophical, historical, political, and essayistic writings – still lack a translation. That is the case, just to name a few, of “Meditazione milanese” (1974), “Eros e Priapo” (1967), and “I viaggi la morte” (1958).
“Editions, Translations, Transmissions: ‘That Awful Mess’ of Carlo Emilio Gadda” is organised around three main thematic areas:
1 – From Philology to Criticism, from Criticism to Philology;
2 – An Uncommon Confluence of Threads: Interplays in Gadda’s Oeuvre;
3 – Expanding Horizons: Translatability, Reception, and the European Canon.
CONFERENCE ORGANISERS: Luca Mazzocchi (Exeter College) and Serena Vandi (St Hugh’s College)
Sessione: Testi scientifici nelle biblioteche d'autore
The establishment of such a dialogue is all the more urgent especially when confronting an author whose oeuvre is characterised by a distinctive complexity on multiple levels and lies at the intersection of different disciplines. Gadda’s body of work represents indeed an uncommon interplay of interests, from literature, philosophy, translation, art, history, psychoanalysis, and anthropology, to natural sciences, mathematics, chemistry, applied mechanics, and physics, thus constituting a unique case study for interdisciplinary research. The identification of Gadda as solely the virtuoso “prose writer” or the “multilingual” and “expressionist” writer, which is partly to be related to the paradigmatic interpretative work of Gadda’s critic-friend Gianfranco Contini, has given way over the decades to the acknowledgment of Gadda’s characteristic style as at one with his epistemological quest.
Gadda has been defined as “glocal”, and at the same time “quintessentially Italian” and “universal” (Cristina Olivari and Federica G. Pedriali, in Federica G. Pedriali (ed.), “Gadda Goes to War”, EUP 2013). While combining all of Italian linguistic history and literary tradition, Gadda’s writing has indeed been put in relation to authors, genres, and literary threads that go far beyond the Italian panorama: Modernism (Joyce, Proust, Céline, Beckett), and the Postmodernism; the great masters of the nineteenth-century realistic canon (Balzac, Zola, Dickens, Dostoevsky), and the traditions of humour and satire (Rabelais, Cervantes, Swift, Sterne). Despite this, outside Italy, Gadda remains almost exclusively known for his major novels “Quer pasticciaccio brutto de via Merulana” (1957) and “La cognizione del dolore” (1963, 1970), as well as for his ‘pyrotechnic’ and omnivorous language, which undoubtedly poses many challenges in terms of translatability. “Pasticciaccio”, “Cognizione”, and some short stories have in fact been translated in English by Wiliam Weaver (1964, 1965, 1969), Andrew Brown (2007), Antony Melville (2008), and Richard Dixon (2017), but the vast majority of his works – specifically his philosophical, historical, political, and essayistic writings – still lack a translation. That is the case, just to name a few, of “Meditazione milanese” (1974), “Eros e Priapo” (1967), and “I viaggi la morte” (1958).
“Editions, Translations, Transmissions: ‘That Awful Mess’ of Carlo Emilio Gadda” is organised around three main thematic areas:
1 – From Philology to Criticism, from Criticism to Philology;
2 – An Uncommon Confluence of Threads: Interplays in Gadda’s Oeuvre;
3 – Expanding Horizons: Translatability, Reception, and the European Canon.
CONFERENCE ORGANISERS: Luca Mazzocchi (Exeter College) and Serena Vandi (St Hugh’s College)
Sessione: Testi scientifici nelle biblioteche d'autore