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„Chociaż to wariacja, nie jest jednakże bez metody”.
Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a
i Henryku IV Luigiego Pirandella

„Chociaż to wariacja, nie jest jednakże bez metody”. Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a i Henryku IV Luigiego Pirandella

Author(s): Aleksandra Koman / Language(s): Polish Issue: 35/2020

Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed to them, they choose their roles, and – most importantly – they are aware that they are playing.

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BOŽANSTVENA KOMEDIJA I ISLAM

BOŽANSTVENA KOMEDIJA I ISLAM

Author(s): Fatima Kadić-Žutić / Language(s): Bosnian Issue: 15/2011

The paper deals with the influence of Islamic sources on the idea and structure of Dante's Divine Comedy, the greatest literary work of the Christian Middle Ages. This paper presents the scientific discoveries of a Spanish orientalist Miguel Asin Palacios who in 1919 presented thesis which, and in a very detailed and on facts based method, proved similarities not only in general draft, but also in numerous details between Divine Comedy and several versions of the narrations about the Prophet's Mi'raj and Mi'rajes of Sufis, especially Ibn 'Arabi.

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Profesor Camilleri i pan Caravaggio. Multimodalne studium twórczości i psychozy

Profesor Camilleri i pan Caravaggio. Multimodalne studium twórczości i psychozy

Author(s): Ksenia Olkusz / Language(s): Polish Issue: 34/2018

Multimodal techniques (meaning the use of narrative modes signalised by various typographies etc.) enable a fuller presentation of Caravaggio’s mental dysfunction (in the novel the focalizing role is performed by, among others, the notes of the painter who is falling into obsession and madness – it is these that form his internal storyworld). Confrontation with the journalistic account, provided by the alter ego of the very author of the novel (so called sylleptic narrator) – that is the second level of narration – constitutes the modal frame for the presentation of the artist’s fate and contributes to showing the mental state of Caravaggio who is obsessed with “black sun” (this obsession might be the source of the chiaroscuro technique), and who sees in hallucinations his own severed head. This way, Camilleri creatively exploits the motif of decapitation, found in Caravaggio’s paintings, following many research studies showing that the heads found in the paintings could have been the painter’s self-portraits and expressions of his expiation. This context is supplemented by reproductions of Caravaggio’s paintings, which are embedded in the narration and “commented upon” in his fictional journal, thus constituting yet another layer registering (and illustrating) what takes place in the artist’s mind.

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L’Italia di Paweł Hertz

L’Italia di Paweł Hertz

Author(s): Olga Płaszczewska / Language(s): Italian Issue: 39/2020

The article is an attempt at reconstructing the remarks by Paweł Hertz (essayist, poet, translator, writer and publisher) on Italy and its artistic legacy. A short presentation of the writer is followed by a discussion of his actual journeys in Italy based on the available autobiographical material. Next, there are reflections on Hertz’s interest in Italian literature and European texts about Italy (based on essays and editorial work). Treated as a separate issue is the view of Italian art through the prism of Polish artistic work (the spheres of associations, interference and references) in Hertz’s journalism. Other issues discussed in the article cover poems about Italy, their place among the writer’s works and the main threads and motifs. The article’s final notes focus on the observations on the value of Polish reception of Italian cultural legacy and its basic aspects that Hertz regularly emphasised at various stages of his creative life.

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ДАНТЕ КАО КОНСТИТУТИВНИ ЕЛЕМЕНТ ДЕСНИЧИНОГ ПРОМИШЉАЊА О СУДБИНИ ЧОВЈЕКА

ДАНТЕ КАО КОНСТИТУТИВНИ ЕЛЕМЕНТ ДЕСНИЧИНОГ ПРОМИШЉАЊА О СУДБИНИ ЧОВЈЕКА

Author(s): Marija Stijepić Pejić / Language(s): Serbian Issue: 72/2020

Il paper analizza la complessa relazione di Vladan Desnica con Dante, lo scrittore più rappresentativo del patrimonio culturale romanico. Lavorando sulla base del metodo comparativo-analitico seguiremo la costruzione del personaggio principale della novella Dalla mattina fino al buio Ivo Čavra chi nel Dante trova la sua stessa natura ambivalente discussa in detaglio nel saggio Dante oggi. Lo scopo del paper è di indicare una serie di elementi presenti nel personaggio e nell’opera di Dante che hanno vissuto fortemente nella coscienza creativa di Desnica: lo spirito italiano così vicino a Desnica, la “dualità” del poeta fiorentino, drammaticità della sua vita. In questo scritto cercheremo i punti dell’identificazione dei due scrittori e troveremo: attento uso del linguaggio, forte riflessività, una filosofia personale di solitudine e di sofferenza, taglienti osservazioni nella sfera morale..

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The Role of Domenico De Vivo in Developing Russian and Italian Language Studies in the Second Half of 19th Century

The Role of Domenico De Vivo in Developing Russian and Italian Language Studies in the Second Half of 19th Century

Author(s): Alessandro Cifariello / Language(s): English Issue: 7/2021

Very little is known about Domenico De Vivo (1839-1897). He was a disciple of the Italian linguist Giacomo Lignana and worked as a professor of Russian and English language at the Asiatic College in Naples from 1868 to 1870, and then as an Italian language lecturer at the universities of Dorpat and Odessa in the Russian Empire from 1879 until his death in 1897. De Vivo championed his ideas on language teaching and learning in his books Grammatica della lingua russa [Russian Grammar for Italians] (Dorpat, 1882) and Prakticheskoe rukovodstvo dlya izucheniya ital’yanskogo yazyka [A Practical Guide to Learning Italian] (Odessa, 1886; Odessa, 1890), and in his Dizionario Italiano-Russo. Slovar’ ital’yansko-russkiy [Italian-Russian Dictionary] (Odessa 1894). The purpose of this article is to examine De Vivo’s life and works, which represent the first recorded attempt – in De Vivo’s own words – “to promote Russian language learning in Italy and Italian language learning in Russia.”

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Przekład eklogi pierwszej, O szlachetnej miłości i szczęśliwym jej zakończeniu (De honesto amore et felici eius exitu), ze zbioru Adolescentia Baptysty Mantuana

Przekład eklogi pierwszej, O szlachetnej miłości i szczęśliwym jej zakończeniu (De honesto amore et felici eius exitu), ze zbioru Adolescentia Baptysty Mantuana

Author(s): Elżbieta Górka / Language(s): Polish Issue: 1 (58)/2021

The article presents a translation of the first eclogue from the 15th-century collection of bucolics Adolescentia by Battista the Mantuan (1447–1516). The eclogue, entitled De honesto amore et felici eius exitu, is supplemented by an introduction and commentary. To this day, two critical editions of the work have been published: by Wilfred Mustard (1911) in English, and by Andrea Severi (2010) in Italian. The introduction presents the author’s biography and gives a brief description of the whole collection, in particular the eclogue under discussion. The Italian poet Battista the Mantuan was a Carmelite and became Blessed of the Catholic Church. A prolific writer, he is best known for his Adolescentia, a collection of bucolics created at a young age, edited and expanded later. Published originally in 1498, Adolescentia quickly gained popularity among readers and were established as school reading. Other issues discussed in the introduction include the sources of Mantuan’s inspiration, the role of the collection in education and in the Reformation, as well as the reception of Adolescentia. It is also pointed out that the first eclogue should be seen in a wider context of Renaissance eclogues exploring the theme of marriage. The interpretation of the eclogue offered in the article draws on its biblical and ancient sources, i.e. the Book of Ruth and Virgil’s eclogues, respectively, as well as the conventions of the genre, especially of elegy, that affected its form.

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Kobiece reguły gry. Spór o kobiety w dialogu Il merito delle donne Moderaty Fonte

Kobiece reguły gry. Spór o kobiety w dialogu Il merito delle donne Moderaty Fonte

Author(s): Maja Skowron / Language(s): Polish Issue: 3 (56)/2020

This paper concerns Moderata Fonte (Modesta dal Pozzo), a female Venetian writer who lived in the 16th century, and a dialogue she wrote, Il merito delle donne (On the Value of Women), in which seven women gathered in a garden have a lively discussion about men and their flaws. The author of the study presents the book and Fonte’s biography in the context of the early-modern dispute over women (querelle des femmes). She then analyses Il merito delle donne in terms of the functionality of both the genre in which it was written and the convention of play (game) that is relevant to the work, in order to answer the question of the importance of these devices for the topic Fonte raises. Skowron writes about what makes Il merito delle donne different from other dialogues published at the time by women, as well as from Balthazar Castiglione’s famous Book of the Courtier (Il libro del Cortegiano), and in discussing the motif of the play she uses the definition of the ludic element of Johan Huizinga of Homo ludens. She points to the presence of particular determinants of play in Il merito delle donne, wondering how the voluntary basis of the game, limited time and space, imposed rules or a situation different from ordinary life affect the female characters’ freedom to express their opinions in discussion, as well as the reception of the work itself. Il merito delle donne owes its unique character to its form because it allows not only different views in a dispute over women to be presented, but above all it involves the reader in a discussion which does not end with the last page of the dialogue.

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O estetyce Jacopa Mazzoniego. Jacopo Mazzoni, Della difesa della Comedia di Dante

O estetyce Jacopa Mazzoniego. Jacopo Mazzoni, Della difesa della Comedia di Dante

Author(s): Barbara Niebelska-Rajca / Language(s): Polish Issue: 4 (49)/2018

Jacopo Mazzoni, Della difesa della Comedia di Dante, a cura di Claudio Moreschini e Luigia Businarolo, Società di Studi Romagnoli, Cesena 2017, 641 pp. The study examines Jacopo Mazzoni’s aesthetic thought expressed in his monumental, erudite work Della difesa della Comedia di Dante (1587). The first critical edition of the opening book of the treatise was published in 2017, with a preface, commentaries and notes by Claudio Moreschini and Luigia Businarolo. The edition includes also Introduttione e sommario—an extensive introduction to Della difesa that summarizes Mazzoni’s main aesthetic arguments, more broadly discussed in the subsequent seven books of his treatise. The paper briefly describes the genesis of Della difesa, stemming from the late 16th-century debate on Dante’s Comedy as well as Mazzoni’s main sources, and the interrelation between his aesthetic thought and philosophical ambition to create a synthesis and reconciliation of Platonic and Aristotelian traditions. Mazzoni’s poetics is based on a reinterpretation of Plato’s doctrine mixed with Aristotle’s conception of mimesis. Outlining main directions of the past and recent research on Della difesa, the paper emphasizes the most original and vanguard of Mazzoni’s positions on the nature of poetry. Firstly, the defi nition of mimetic arts in terms of creation of eidola (idoli) derived from poet’s intellect and imagination. Secondly, the ‘rehabilitation’ of sophistic art and the identifi cation of poetry with antique sophistry (in this context, Mazzoni’s reading of Plato’s Sophist is particularly important). These arguments involve a fairly novel claim that poesy derives from fantasy, which leads to the appreciation of ‘fantastic imitation’, and a re-evaluation of the Aristotelian theory of poetic probability interpreted as credibile maraviglioso, i.e. plausible and credible wonder including fantastic, imaginary elements, and even falsehood, provided that it seems probable and serves to evoke astonishment and aesthetic pleasure. Mazzoni’s insights on the imaginative nature of poetic creation—though criticised by his contemporaries (Torquato Tasso and Francesco Patrizi were the most acute adversaries of Mazzoni)—precede not only Francis Bacon’s statement about imaginative origins of poetry, but also 17th-century poetics of conceit with its liberal attitude towards poetic truth and falsehood, and furthermore, as emphasised in recent scholarship, S.T. Coleridge’s and T.S. Eliot’s views on poetry.

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Tumačenje postojanja kod Rainera Marije Rilkea. O knjizi Romana Guardinija (1955.)

Tumačenje postojanja kod Rainera Marije Rilkea. O knjizi Romana Guardinija (1955.)

Author(s): Hans-Georg Gadamer / Language(s): Croatian Issue: 01+06/2021

Nije potrebno posebno obrazlagati da Rilkeovo pjesništvo nije samo predmet znanosti o književnosti, nego onima koji žive danas predstavlja istinsko filozofski predmet, to jest povod za razmišljanje o sebi i sučeljavanje s pjesnikovim tumačenjem svijeta. Dovoljan dokaz za to bit će pogled na nepreglednu literaturu o Rilkeu. Jer, ono što govori iz tih bezbrojnih knjiga nije više puki estetsko– literarni interes. Tu izuzetak nije ni knjiga Romana Guardinija. Utoliko je njezin zahtjev da Rilkea prvi put uzima ozbiljno korak u prazno. Ona, međutim, po smislu za pjesništvo i umjetnosti izlaganja nadmašuje većinu drugih knjiga. Ali nije to razlog da zavređuje posebno filozofsko razmatranje. Ona poseban rang zauzima po tome što njezino uzimanje Rilkea ozbiljno ne pretpostavlja prešutnu identifikaciju interpretatorova mišljenja s onim pjesnikovim, već, naprotiv, svjestan kritički odmak.

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Historija, imaginarno, književnost: terorizam u italijanskoj narativnoj prozi (1969–2010)

Historija, imaginarno, književnost: terorizam u italijanskoj narativnoj prozi (1969–2010)

Author(s): Raffaele Donnarumma / Language(s): Bosnian Issue: 5-8/2020

Utisak da su godine između 1968. i 1978, da kao nejasne krajnje granice izaberemo datume koji su simboli protesta i ubistva Alda Mora, bile posljednje herojsko doba Republike – odnosno posljednje doba u kojem su se lične sudbine mogle identifikovati s onim kolektivnim, u kojem su se dešavali veliki sukobi, i u kojem je svako mogao legitimno pretendovati na stvaranje historije – sa sobom nosi određenu notu retorike i nostalgije, ali daleko od toga da nije utemeljen. U ta dva datuma je sažeta ambivalentnost faze koja se otvara mitom revolucionarne obnove i zatvara traumom ubistva kojem su dodijeljene karakteristike ubistva oca, žrtvovanja žrtvenog jarca, tragičnog rituala. Masakr na stanici u Bolonji 1980. godine, mračni nastavak onoga na trgu Fontana 1969. godine, i onaj u San Benedetto Val di Sambro 1984. godine, kao i posljednja ubistva Crvenih brigada tokom osamdesetih godina, već su njihov epilog: marš četrdeset hiljada ljudi 14. oktobra 1980. godine označava promjenu klime koja će razaranju izmaći tlo pod nogama.

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Cechy duchowości św. Jana Bosko w formularzach mszalnych

Cechy duchowości św. Jana Bosko w formularzach mszalnych

Author(s): Radosław Błaszczyk / Language(s): Polish Issue: 57/2021

The author analyzed all euchological texts of the liturgical memorial of St. John Bosco, both from the Roman Missal for Polish Dioceses and the Messale Proprio della Famiglia Salesiana. This analysis turned out to be a valuable procedure aimed at showing the essential elements of the spirituality of St. John Bosco, founder of the Society of St. Francis de Sales. In addition, the article presents a wealth of mass texts that fulfill many functions, primarily formative and didactic ones, which, when used well, can enlarge the bunch of people elevated to the group of blessed and canonized people in the Catholic Church.

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Immagini linguistiche dantesche: metafore meteorologiche

Author(s): Maria Lucia Aliffi / Language(s): Italian Issue: 2/2017

The author analyses the corpus of meteorological expressions in the Divine Comedy of Dante Alighieri. The nouns and verbs examined are hail, snow, fog, lightning and flash, thunder and thunder, and rain. Being essentially referred to events of the earthly world, meteorological expressions are found above all in the description of the punishments, in the similes and in the narrations of facts of life on Earth. There are numerous attestations with metaphorical value, particularly interesting for the distribution within the songs, for the light they throw on the building of the allegory. There will also be an important consideration on the development of the metaphorical process. There will also be special attention to the meteorological verbs, transitive and intransitive ones.

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Attenuazione e ripetizione in All alone di Giorgio Caproni

Author(s): Aurora Firța-Marin / Language(s): Italian Issue: 2/2024

The present analysis focuses on the poem All Alone written by Giorgio Caproni in the 1950s and published in volume Il Passaggio d’Enea. It proceeds on the basis of two stylistic coordinates that we consider relevant to the text in discussion: the attenuation techniques and the figures of repetition. They are akin to Caproni's poetics of reticence, which, although fully manifested in the volumes written by the poet after the 1970s, dates back not only in Il Passaggio d’Enea, but much earlier, beginning with Come un’allegoria. In the central part of the poem All alone, entitled Versi the lives and the movements of the “uomini miti”, who conduct themselves like automatons in an obscure universe of attuned sounds and hallucinating electric light, unfolds through mitigating epithets that expand the sensation of seamless everyday banality. The manners of attenuation are increased by various forms of repetition (rhyme, assonances) which trace the atmosphere of an endless trap; an existential labyrinth that reaches extreme forms in volume Il Conte di Kevenhüller published in 1986. The frame enclosing the Verses, formed by Didascalia and Epilogo enables the poet to detach from the anodyne repetitiveness of this world and allows a glimpse of life in the steep streets of a festive Genoa.

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L’eccesso nella poesia italiana barocca e alcune tecniche traduttive

Author(s): Oana Sălișteanu / Language(s): Italian Issue: 2/2024

For the first time in Romania, Humanitas Publishing House is preparing an anthology of Italian poetry of the Seventeenth century, which I am determined to translate by observing the meter and the system of rhymes of the original texts. The present paper aims to analyze the way in which a translator could deal with the main stylistic element of the Baroque taste: the excess. The examples chosen are from the epic and lyric poems of Giambattista Marino and from the sonnets written by his followers, namely by Giuseppe Artale, Anton Maria Narducci, Federico Della Valle, Scipione Errico. One could speak of excess when judging the dimensions of their works (think about the huge flows of octaves that make up L’Adone), but also considering the overabundance of extravagant concettos, the extreme and even sublimated metaphors, the use of puns, but above all the stylistic exaggerations (enumerations, adjectival redundancies, pleonastic structures, the elaborated symmetries and syntactic puzzles to be solved by the reader). The presentation will illustrate copious examples, placing side by side the Italian text and the Romanian variant suggested.

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Monica Fekete, Riscritture cavalleresche nel romanzo italiano contemporaneo, Cluj-Napoca, Presa Universitară Clujeană, 2023, 219 p.

Monica Fekete, Riscritture cavalleresche nel romanzo italiano contemporaneo, Cluj-Napoca, Presa Universitară Clujeană, 2023, 219 p.

Author(s): Elena Pîrvu / Language(s): Italian Issue: 1/2024

Monica Fekete’s volume Riscritture cavalleresche nel romanzo italiano contemporaneo (Chivalric rewritings in the contemporary Italian novel) highlights the actuality of chivalric rewriting in the contemporary novel of the last seventy years or so. Novels by Ermanno Cavazzoni, Italo Calvino, Giuseppe Pederiali, Gesualdo Bufalino, Fabio Stassi and Andrea Camilleri are analysed.

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The Abyss of Desire

The Abyss of Desire

Author(s): Pietro Stiz / Language(s): English Issue: 32/2024

This article explores the latest love poetry compilations by Cesare Pavese: La terra e la morte and Verrà la morte e avrà i tuoi occhi. These poems are born from the sublimation into art of the visceral desire of Pavese to be truly loved by the beloved woman. They are personal poems rich in pathos torn by the contrast between hope and anguish and between light and deep dark void. The femmes fatales are depicted with verses that transcend time and are full of the pain that will lead to suicide Pavese. The cathartic function that these poems generate in readers is the legacy that Pavese leaves us.

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Simbol și mister în nuvelele lui Arrigo Boito

Simbol și mister în nuvelele lui Arrigo Boito

Author(s): Alexandru Suciu / Language(s): Romanian Issue: 1/2024

Arrigo Boito, a pivotal figure in the transition from Italian Romanticism to Modernism, intricately weaves symbolism and mystery in his published collection of short stories, Idées Fixes. While primarily recognized as a composer and librettist, Boito's literary works reveal a profound engagement with contemporary philosophical debates and artistic movements, including, among others, Romanticism, Realism and Naturalism. His narratives often blur the lines between reality and the fantastic, exploring existential themes and dualities, as exemplified in stories like Lezione di anatomia and L’alfier nero. Boito's fascination with the "fixed idea" highlights his exploration of obsession and identity, reflecting a complex interplay between the conscious and the subconscious. His work critiques bourgeois aesthetic norms while embracing cosmopolitanism and experimentation, influenced by writers such as E.T.A. Hoffmann and Edgar Allan Poe. In Iberia, he employs allegory to delve into themes of love and destiny amid historical upheaval. Ultimately, Boito's stories serve as a commentary on the complexities of modern existence, inviting readers to navigate the intricate interplay of light and darkness within the human experience.

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Постмодерни књижевни поступци у романима Зенонов пут Корнелија Кваса и Невидљиви градови и Ако једне зимске ноћи неки путник Итала Калвина

Постмодерни књижевни поступци у романима Зенонов пут Корнелија Кваса и Невидљиви градови и Ако једне зимске ноћи неки путник Итала Калвина

Author(s): Aleksandra Lazić-Gavrilović / Language(s): Serbian Issue: 3/2024

Der Beitrag analysiert die Verwendung postmoderner literarischer Verfahren in den Romanen Zenonov put von Kornelije Kvas und Le Città invisibili und Se una notte d`inverno un viaggatore von Italo Calvino. Indem wir auf die Grundprinzipien der literarischen Postmoderne zurückgreifen, analysieren wir auf welche Weise und in welchem Maße sich die genannten Romane formal und inhaltlich durch eine postmoderne Poetik auszeichnen. Der Schwerpunkt liegt auf konkreten Verfahren wie Metaerzählung, Intertextualität, Referentialität, Ironie und Fragmentierung. Besondere Aufmerksamkeit wenden wir der Frage der Wahrheit in der Kunst zu, welche durch das instabile Verhältnis von Realität und Fiktion im Text problematisiert wird, sowie den ausführlichen Gesprächen und Diskussionen über Literatur, Schreiben und Lesen, welche ebenfalls gemeinsame Merkmale dieser Romane sind. Das Ziel dieser Arbeit besteht darin, auf Parallelen zwischen diesen Werken hinzuweisen und zu zeigen, warum alle drei Werke als herausragende Beispiele postmoderner Literatur betrachtet werden können.

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COLLOCAZIONI ITALIANE VERBO + SOSTANTIVO: TIPI E CORRISPONDENZE CON IL SERBO

COLLOCAZIONI ITALIANE VERBO + SOSTANTIVO: TIPI E CORRISPONDENZE CON IL SERBO

Author(s): Mila Samardžić / Language(s): Italian Issue: 50/2025

Collocations are a particular type of restricted combination of words that are used regularly and which, as such, are more or less predictable. There are various definitions of collocations ranging from broad ones, according to which collocations are frequent co-occurrences of two words in a language (based on frequency criteria, Benson, Benson and Ilson 1986, Sinclair 170), to those more precise (lexical co-occurrences subject to a restriction rule, see Mel'cuk and Wanner 325) and technical that imply combinations of words subject to a lexical restriction (whereby the choice of a specific word – the collocate – to express a specific meaning is conditioned by a second word – the base – to which this meaning is referred; Ježek 178). Considering the different angles and perspectives of approach, it can be deduced that collocations are a lexical phenomenon that is placed between polyrematics, higher lexical units and idiomatic expressions, of which they usually do not share the syntagmatic rigidity, and free lexical combinations, comparing to which have more restrictions. However, regardless of the various definitions, these are combinations of words that exceed the limits of a lexical unit. Collocations are a phenomenon inherent to all languages which however show divergences in the choice of collocates. The interlinguistic perspective leads us to the identification of combinations that vary from one language to another to express the same concepts. For example, the Italian fare una foto is in English to take a picture, while in Serbian napraviti sliku; in Italian fare un caffè is napraviti kafu in Serbian, but also skuvati kafu (literally to cook a coffee); the Italian caffè corretto has no equivalent in English or Serbian. The Italian cambiare canzone has the Serbian equivalent promeniti pesmu, but andare in cantina does not (Serb. spustiti glas): these differences are not unexpected, particularly in the cases of collocations with figurative uses, based on metaphors that can rely on different types of similarities. Benson, Benson and Ilson 1986 distinguish seven different main types of collocations: verb of creation or activation + noun, verb of cancellation + noun, noun + adjective, noun + verb that expresses an action characteristic of the noun, unit of quantification + noun to which the unit refers, adverb + adjective, verb + adverb (Ježek 180). This taxonomy can be perfectly applied to many languages, including Italian and Serbian. Italian collocations containing a verb The most frequent typology distinguishes the following combinations: verb + article + noun (object); verb + noun (partially lexicalized collocations); verb + preposition + noun; (article) + noun + verb. It is the taxonomy also taken up in the compilation of the bilingual Italian-Serbian dictionary of collocations from which were taken the examples analyzed in this work. In the combination of the verb and the noun (object) the verb can be combined with collocates belonging to the same semantic field: accusare il malore, accusare la fatica, accusare il dolore, accusare malessere, accusare nausea; fondare un’associazione, fondare una società, fondare un’impresa, fondare una ditta, fondare un ente, fondare un’azienda, fonare una compagnia, fondare un’organizzazione ecc.; redigere un verbale, redigere un contratto, redigere un documento, redigere uno statuto, redigere il testamento, redigere il bilancio, redigere un’istanza; trasgredire un ordine, trasgredire una norma, trasgredire un regolamento, trasgredire una legge, trasgredire una regola, trasgredire un ordine. On the other hand, some verbal bases have a limited collocational potential and appear in a few combinations: stipulare il contratto, monottongare un dittongo, stazzare una nave, zavorrare un bastimento. The number of this type of collocations is limited due to the narrow semantic availability of verbs which have a sphere of use limited to their primary meaning without further polysemous development. They are mostly used in languages for specific purposes. The middle ground is represented by the combination of the so-called support verbs (which have a generic meaning acting as "support" for the noun, see Cicalese 1999, Ježek 181-183, Salvi 79-82) and the noun: causare un danno, fare un danno, provocare un danno, recare un danno, subire un danno. Support verbs are divided into basic verbs or neutral verbs, such as dare, fare, avere, essere, prendere, and extended verbs, which are semantically more precise and specify the content of the collocation. The use of extended verbs distinguishes formal registers: prendere un farmaco vs. assumere un farmaco; sentire dolori vs. lamentare dolori. Support verb collocations (with neutral verbs) present a lexical restriction activated by the noun: prendere una decisione (vs. *fare una decisione) or fare una scelta (vs. *prendere una scelta). The semantic value of the verb is generic and the meaning of the collocation is expressed by the noun. Therefore the base (the noun) determines the meaning of the collocate (the verb): in the example fare un’obiezione the verb fare takes on the value of avanzare, esprimere, porre, presentare, rivolgere: avanzare un’obiezione, esprimere un’obiezione, porre un’obiezione, presentare un’obiezione, rivolgere un’obiezione; in dare un’occhiata, the verb dare is equivalent to extended verbs gettare, indirizzare, rivolgere, lanciare: gettare un’occhiata, indirizzare un’occhiata, rivolgere un’occhiata, lanciare un’occhiata. In avere la nausea, avere corresponds semantically to verbs sentire e provare: sentire nausea, provare la nausea. Support verb collocations can often be replaced by synonyms with minimal differences in meaning: Sofia aveva timore di uscire = Sofia temeva di uscire; Il presidente ha dato l’annuncio delle proprie dimissioni = Il presidente ha annunciato le proprie dimissioni. It is important to note that, while the support verb can change its meaning depending on the combinations in which it appears, the base (the noun) maintains the meaning it has also in other combinations: in the collocation fare un’obiezione the semantic value of the base is identical to that present in the cases of accettare un’obiezione, formulare un’obiezione, prevenire un’obiezione, respingere un’obiezione, sollevare un’obiezione. Collocations with the verb in most cases do not present syntactic restrictions: stipulare un contratto, stipulare il contratto, stipulare i contratti, stipulare molti contratti, stipulare una serie di contratti, il contratto che abbiamo stipulato, il contratto andrebbe stipulato. However, in rarer cases, syntactic autonomy is reduced and occurs in combinations without an article: fare scalo, prendere forma, avere fame, dare vita, prestare fede, chiedere scusa. The loss of the article is the signal that the verb + noun sequence is in the process of lexicalization (Ježek 187). The absence of the article is in harmony with the loss of the referentiality of the noun (which in this sequence acts as the object of the verb) and its quality of identifying what it refers to: chiedere scusa does not mean asking for a particular apology but rather apologizing in general (scusarsi). However, in the mentioned cases of sequences without articles we cannot yet speak of total lexicalization and even less of the transition from a literal to a metaphorical meaning with the result of the formation of an idiomatic expression. It is true that there is an ongoing loss of referentiality of the noun and the creation of a closer link with the verb with the consequent decrease in syntactic autonomy between the verb and the noun (La scusa che ha chiesto Stefano is not a modification of Stefano ha chiesto scusa because scusa, without an article, is not referential as in trovare una scusa). However, in these sequences we do not yet arrive at meanings that are difficult or not attributable to the value of the base: we always remain in the same semantic field of which the noun belongs.

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