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Essays

  • Antonella Sbrilli
    Tristram Shandy Web: Laurence Sterne's masterpiece as generator of a net of knowledge

    Hypertextual, interactive and multimedial qualities ante litteram in the novel The Life and Opinions of Tristram Shandy, Gentleman, published between 1759 and 1767, place Sterne's work "among those printed texts that somehow announce the forthcoming of hypertext".
    This definition by Patrizia Nerozzi Bellman introduces an undertaking started in 2000: the creation of Tristram Shandy Web, an effective exemplum of web edition of a literary work. The presence in the novel of continuous interaction between writing and drawing, enriched with hints to music and sound, and calls to imagination (and action) of the reader, makes Tristram Shandy a test bed for new formats of edition and communication. In Tristram Shandy Web the text stands out in the center of the webpage, framed on the right with the novel index, and on the left with nine sections (Arts, Fashion, History, HyperTS, Irishness, Language and Rhetoric, Music, Novel, Poetry), that can be opened in pop-up windows. Each section, in its turn, is divided into three areas: Critical Studies, Bibliography & Net Resources, E-Texts. Tristram Shandy Web can be considered as a net of shared and enlargeable knowledges: a virtual meeting place where one can exchange studies and inquiries both on the subject matter (Sterne's novel) and on subjects related to it from various points of view: historical, linguistic, artistic, philosophical, political and psychological.

    Patrizia Nerozzi Bellmann is Professor of English Literature at IULM University in Milan. She directs "Humanities Lab", a cultural centre that studies the connections between humanities and IT. In May 2006 "Humanities Lab", in collaboration with Stanford University, presents games@iulm, a meeting on esthetical and cultural value of videogames.

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Warburg

  • Tiziana Villani
    Media and mediators of the diffusion of Warburg's research in Italy. An exemplary case: Giorgio Pasquali

    A long and careful sorting through periodical publications in Italy between the end of C19th and the first half of C20th reveals the presence of numerous reviews and notes dedicated to Aby Warburg's published works, years before the translation of Warburg's papers into Italian, in 1966.
    The reason that leads to these precocious reviews seems to be the necessity sensed by Italian scholars to renew Italian culture on the German model: Warburg's paper on Botticelli is the first work to drawn Italian reviewers attention, followed by the essay on the Sassetti Chapel and the one on Buontalenti's theatrical Intermezzi.
    Then, since 1914, Aby Warburg 'disappears' from Italian journals, only to reappear fifteen years later, the year of his death. This gap is partly filled, tough, by the notes dedicated to his Library, and by the reviews of the works published by the Warburg Institute, that now fully concealed the life and work of its promoter.
    In the memorial note the classical philologist Giorgio Pasquali devoted to Warburg in 1930, Warburg's private and scholarly life are masterly reconstructed. Three years later the note was republished, and Pasquali added a paragraph in which he explained the reason why he choose to deal with a scholar that studied Florentine Renaissance: they both shared the same interest on works of art considered more as an expression of culture than for their esthetical value.

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P&M

  • Advertising and the classical tradition: quotations, deductions, engrams, remakes à la
    An index by cathegories of materials published in engramma 1-48
    (engramma editorial staff)
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