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ITALIAN-STUDIES  July 2016

ITALIAN-STUDIES July 2016

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Subject:

'The woman reader in Italian literature and visual arts in the fin de siècle period' - 1 September 2016: new deadline for submission of abstracts

From:

"O. Santovetti" <[log in to unmask]>

Reply-To:

Scholarly discussions in any field of Italian studies <[log in to unmask]>

Date:

Sat, 23 Jul 2016 12:28:51 +0100

Content-Type:

text/plain

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Parts/Attachments

text/plain (203 lines)

italian-studies: Scholarly discussions in any field of Italian studies

Dear colleagues,

Please note that 1 September 2016 is a new deadline for the submission
of abstracts for the following call for papers:

[Italian text follows]

'The woman reader in Italian literature and visual arts in the fin de
siècle period' 

Workshop 1 'Capturing reading: the character of the woman reader in
novels and paintings in nineteenth-century Italy', School of Languages,
Cultures and Societies, University of Leeds (UK):
4 November 2016

Workshop 2: 'The reader in the novel, the viewer in the painting:
self-reflexive representations from the fin-de-siècle to Modernism',
Dipartimento di Studi Umanistici, Università della Calabria (Italy): 
1 June 2017

Through the ages artists and writers have been fascinated by the
challenge of capturing reading and, particularly, the subject of the
woman who reads. However, it was in the nineteenth century (due to the
beginning of a mass market, the emergence of a modern public, and,
particularly, the emergence of women as a powerful constituency of
readers) that the 'woman who reads' imposed itself as a popular topos in
European literature and iconography. Flaubert's Madame Bovary (1857)
immortalised this figure into a cliché in which the act of reading
novels came to characterise Romantic dreamers par excellence, women who
turned to fiction to escape the inadequacies of their lives. 
	In Italy this phenomenon is remarkable: almost twenty novels reworked
the theme of the woman reader and the trope of the novel as a route to
corruption: from Tarchetti's Fosca (1869) to Svevo's Senilità (1898) and
including books by novelists of the calibre of Fogazzaro, De Roberto,
Verga, and D'Annunzio. With different nuances, but often with the same
unconventionality expressed by the bovarystic reader (and embodied by
Faruffini's La lettrice), the 'woman reader' also became a favourite
subject in visual arts, in particular the canvases of the Macchiaioli
and of innovative painters like Hayez, Toma, Zandomeneghi, Lega and
Corcos.
	The proposed workshops, funded by the BA/Leverhulme Research Grants,
seek to explore this popular nineteenth-century theme from an
interdisciplinary perspective. The premise is that the 'woman who reads'
is a complex and multi-layered subject which can be interpreted from a
variety of different perspectives: as the reflection of an historical
and cultural phenomenon (the emancipation of women), as a motif of genre
painting, as a Romantic cliché, as the catalyst of the anxieties of the
fin de siècle writers who, through this character, explored within the
literary texts the debate about the function and nature of the novel. 

Workshop 1 (keynote speaker: Professor Ann Hallamore Caesar, University
of Warwick) will map the appearance of the 'woman reader' and analyse
its construction in the literature and iconography of nineteenth century
Italy including other artistic media, like opera and photography.
Possible topics for papers include, but are not limited to:
- Woman readers: empirical, fictional, empathic, romantic, bovarystic,
hysterical 
- The link between hysteria and reading
- The trope of the novel as a route to corruption and the phenonemon of
literary identification
- Nineteenth-century female readership

Workshop 2 is to explore the self-reflexive dimension highlighted by the
character of the woman reader. The premise is that the same act of
self-reflection is to be found in a popular iconography of nineteenth
century painting: the viewer and public of art exhibitions. By
addressing the receivers of their message – be those readers or viewers
– these works involve them in the debate on the status and function of
art which was under attack in the positivist society of the period. This
introduced an investigation in the fin-de-siècle art which can be seen
anticipating the metareflection of Modernism. Possible topics for papers
include, but are not limited to:
- The reader in the novel, the viewer in the painting: self-reflexive
representations
- Self-reflection in other artistic media (theatre, early cinema)
- The fin-de-siècle debate on the status and function of art 
- Art as mimesis of reality vs art as creation of an independent reality
(l'art pour l'art)
- The return of the character of the woman reader in Italian cinema of
1920s-1930s: Giallo (1934) and Stasera alle undici (1937)

Submissions containing 250-300 word abstracts, with a brief author bio
of 150 words, are invited for 20 minute papers (in English or Italian).
Please send an email with the title 'The woman reader' to Olivia
Santovetti ([log in to unmask]) and Giovanna Capitelli
([log in to unmask]) by 1 September 2016.


[Italian text]

'Il tema della lettrice nella letteratura e pittura italiana di fine
secolo'

Seminario 1 'Rappresentare la lettura: il personaggio della lettrice nei
romanzi e nei quadri dell'Ottocento', School of Languages, Cultures and
Societies, University of Leeds (UK):
4 November 2016

Seminario 2: 'Lettori dentro i romanzi, spettatori dentro i quadri –
l'arte allo specchio: dall'Ottocento al modernismo', Dipartimento di
Studi Umanistici, Università della Calabria (Italy):
1 June 2017

L'atto della lettura e, in particolare, l'immagine della lettrice ha
affascinato da sempre artisti e scrittori. Tuttavia, è con l'imporsi di
un mercato di massa, con l'emergere di un pubblico moderno e in
particolare con il consolidarsi di quel pubblico di lettrici che tanto
ha contribuito al successo del  romanzo, che la lettrice s'impone come
un vero e proprio topos nella letteratura e nell'iconografia dell'Europa
ottocentesca. Madame Bovary (1857) di Flaubert consacra questa figura e
la trasforma in un cliché in cui l'atto di leggere romanzi finisce per
caratterizzare le lettrici sognanti, romantiche, donne che ricorrono
alla finzione per compensare le insoddisfazioni della loro esistenza. In
Italia il fenomeno è considerevole: quasi venti romanzi ruotano attorno
al personaggio della lettrice e al tema del romanzo corruttore: da Fosca
(1869) di Tarchetti a Senilità (1898) di Svevo, e comprendono opere di
scrittori del calibro di Fogazzaro, De Roberto, Verga, e D'Annunzio. Con
sfumature diverse ma spesso con la stessa trasgressività espressa dalla
lettrice bovaristica (e magnificamente rappresentato da La lettrice
(1864-65) di Faruffini), la lettrice invade la pittura divientando uno
dei soggetti favoriti dei Macchiaioli e di pittori innovativi come
Hayez, Toma, Zandomeneghi, Lega e Corcos.
	Le due giornate di studio, finanziate da BA/Leverhulme Research Grants,
esplorano questo popolare tema ottocentesco secondo una prospettiva
interdisciplinare. Il punto di partenza è che la lettrice costituisca un
tema complesso che richiede di essere studiato attraverso chiavi
interpretative diverse: è il riflesso di un fenomeno culturale e
storico, come l'emancipazione femminile, è un motivo di pittura di
genere, un cliché del repertorio romantico, ma anche una figura
catalizzatrice delle ansie metanarrative degli scrittori di fine
ottocento, i quali attraverso questo personaggio trasferiscono dentro
l'opera letteraria il dibattito sul romanzo e sulla funzione della
letteratura.

Workshop 1 (primo relatore: Professor Ann Hallamore-Caesar) ricostruisce
la presenza della lettrice nell'Italia dell'Ottocento nella prospettiva
incrociata di letteratura e pittura, sviluppando nel contempo possibili
connessioni con altri campi artistici, tra cui l'opera, il teatro e la
fotografia. Linee di ricerca suggerite: 
- Lettrici reali, di finzione. empatiche, romantiche, bovaristiche,
isteriche 
- Il legame tra lettura e isteria
- Il pregiudizio del romanzo corruttore e l'identificazione letteraria
- Il pubblico delle lettrici nell'Ottocento

Workshop 2 sviluppa la dimensione metariflessiva latente nella figura
della lettrice. La premessa è che l'autoriflessione messa in atto nei
romanzi dal personaggio della lettrice  corrisponda ad un'altro motivo
iconografico della pittura di fine ottocento: ossia, al motivo dello
spettatore e del pubblico delle mostre d'arte. Chiamando in causa i
destinatari del loro messaggio – che siano lettori o spettatori – queste
opere li coinvolgono nel dibattito sullo stato e sulla funzione
dell'arte, marginalizzati e messi in discussione nella società
positivista di fine ottocento. Questi motivi introducono nell'arte di
fine secolo una riflessione che anticipa la metariflessione del
modernismo e delle avanguardie. Linee di ricerca suggerite: 
- Lettori e lettrici nel romanzo, spettatori e pubblico nel quadro:
l'arte allo specchio 
- Autoriflessione in altri campi artistici tra fine secolo e inizi del
Novecento (teatro, cinema) 
- Il dibattito di fine secolo sullo stato e la funzione dell'arte 
Arte come mimesi della realtà o arte come creazione di una sfera
autonoma (l'art pour l'art)?
- Il ritorno del personaggio della lettrice nel cinema dei 'Telefoni
bianchi': Giallo (1934) e Stasera alle undici (1937)

Si accettano proposte di contributi in italiano e inglese per interventi
di 20 minuti. Chi fosse interessato a partecipare è pregato di inviare
un abstract di 250-300 parole circa e una nota biografica di 150 parole
a Olivia Santovetti ([log in to unmask]) e Giovanna Capitelli
([log in to unmask]) entro il 1 settembre 2016 (soggetto
dell'email: 'The woman reader').


Olivia Santovetti
Lecturer in Italian
School of Languages, Cultures and Societies,
University of Leeds
Leeds, LS2 9JT 
UK

Giovanna Capitelli
Professore Associato di Storia dell'arte moderna
Dipertimento di Studi Umanistici
Università della Calabria
Via P.Bucci, cubo 21b
Arcavacata di Rende (CS)
Cosenza

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