| 1. |
- Bennati, Rosella
(författare)
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Mitt lilla Italien
- 2011
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Bok (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Cariboni Killander, Carla, et al.
(författare)
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A New Look on Ekphrasis : an Eye-tracking Experiment on a Cinematic Example
- 2014
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Ingår i: Ekphrasis. Images, Cinema, Theatre. Media. - : Universitatea Babes-Bolyai. - 2067-631X. ; 12:2, s. 10-31
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Tidskriftsartikel (refereegranskat)abstract
- Taking the modern definition of ekphrasis as a verbal representation of a work of art as a starting point, we try to broaden it in this contribution. We agree with intermediality theorist Lars Elleström that ekphrasis falls into the category of “media representation”, defined as the representation of a source medium in a target medium. We argue that the target medium does not need to be a verbal one and what matters is the energeia, the vividness of the description, leading in turn to enargeia, a vivid image in the mind of the receiver. The energeia-enargeia relation is an aspect that is often neglected in modern theoretical debates about ekphrasis. We believe that there cannot be ekphrasis without a description making the receiver “see” the object with his/her inner eye. At the same time, following Seymour Chatman and Werner Wolf, we argue that description is not a prerogative of the verbal medium and that even the cinematic medium can describe, using different strategies. In the second part of this contribution, these hypotheses are tested empirically with the help of the eye-tracking technique. A short sequence of Christian Petzold’s film Barbara (2012), which constitutes an example of cinematic ekphrasis, is shown to thirty-three participants. The evidence gathered from the recording of their eye-movements confirms the relevance of the energeia-enargeia relation: the eye activity increases at some particular points of the sequence, points corresponding to the descriptive activity of the camera. Ekphrasis is thus a kind of embodied experience.
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| 3. |
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| 4. |
- Cariboni Killander, Carla
(författare)
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Avatars d'un narrateur à travers les médias: Tim Tooney, Max Tooney et Mickey Mouse.
- 2013
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Ingår i: Ekphrasis. Images, Cinema, Theatre. Media. - 2067-631X. ; 10:2, s. 77-95
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Tidskriftsartikel (refereegranskat)abstract
- Abstract in French Le monologue théâtral par l’auteur italien Alessandro Baricco, Novecento, publié en 1994 a fait l’objet de deux adaptations: en 1998 Giuseppe Tornatore a réalisé un film en langue originale anglaise, The Legend of the Pianist on the Ocean; en 2008, Baricco lui-même, en collaboration avec le dessinateur Giorgio Cavazzano et le scénariste Tito Faraci, signe l’adaptation en bandes dessinées La vera storia di Novecento, qui paraît dans l’album nr 2737 de Topolino, la majeure publication Disney italienne. En problématisant une approche qui accorderait le statut de norme au texte source (Hutcheon 2006, Albrecht-Crane C. & Cutchins D. 2010) et en prenant en considération divers parcours de lecture possibles (rien ne garantit au fond que le texte source soit lu en premier), notre article se propose de situer ces trois médias dans un contexte qui tienne compte de leurs relations latérales, plutôt que hiérarchiques. L’aspect qui sera investigué en particulier est celui de la situation énonciative et des modalités de la prise de parole du narrateur, qui sont différentes dans chaque média. Ces différences, qui sont fonction des conventions génériques, des horizons d’attente des publics visés et des spécificités de chaque média, conditionnent en retour la réception. Pour éclairer l’aspect sélectionné, nous réaliserons une lecture au ras de ces trois textes qui permettra de montrer le pouvoir heuristique d’une comparaison intermédiale. Nous montrerons notamment comment les adaptations n’essaient pas de reproduire le même, mais le déclinent chacune à sa manière.
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| 5. |
- Cariboni Killander, Carla, 1962-, et al.
(författare)
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Cinematic Ekphrasis and its Narrative Implications
- 2013
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Ingår i: <em>Emerging Vectors of Narratology: Toward Consolidation or Diversification?</em>,Paris, 29-30 mars 2013.
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Konferensbidrag (refereegranskat)abstract
- In recent years, the classical figure of ekphrasishas proved to be a very fruitful concept especially in the field of intermedialstudies. Theorists such as J. A. W. Heffernan, W. J. T. Mitchell, M. Kriegerand C. Clüver have contributed to the definition of ekphrasis, progressivelyenlarging its borders beyond the image-word relation. However, in Clüver’sdefinition of ekphrasis as the “verbalization of a real or fictitious textcomposed in a non-verbal sign system”, the focus remains on the verbal natureof the target medium. Following S. Bruhn, L. Sager Eidt and A. Pethö, we aim atquestioning this limitation by showing that the concept of ekphrasis iscritically viable even when the target is not verbal. Our examples will becases of cinematic ekphrasis, where energeiaand repurposing, two crucial aspectsof ekphrasis, both with narrative implications, are achieved by other meansthan only language. By doing this we join the post-classical narratologicaldiscourse and its increased interest in the question of narrative in non-verbalforms.
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| 6. |
- Cariboni Killander, Carla
(författare)
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Da un metagrido a un grido. Un esempio di riscrittura nell'opera di Erri De Luca
- 2012
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Ingår i: Revue Romane. - 0035-3906. ; 47:1, s. 131-143
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Tidskriftsartikel (refereegranskat)abstract
- The article focuses on a case of rewriting of a short episode in the narrative of Erri De Luca. It is all about a cry: in 1930, in the harbour of Naples, an anonymous woman who is watching the departure of a ship suddenly cries out the name of Salvatore, probably her son being on the ship to emigrate to America. This episode, narrated in the tale “Udito: un grido” first published 1993, returns with striking lexical similarities in the drama L’Ultimo viaggio di Sindbad, 2003. Despite the similarities, one can not consider the second occurrence as a mere copy of the first, because of subtle variations on many levels: change of genre, narrator and perspective give the second occurrence of the cry episode a wider significance, strongly emphazising orality and actualizing a mythical dimension.
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| 7. |
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| 8. |
- Cariboni Killander, Carla, et al.
(författare)
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I paratextens skugga
- 2011
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Ingår i: [Host publication title missing]. ; , s. 1-11
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Konferensbidrag (refereegranskat)
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| 9. |
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| 10. |
- Cariboni Killander, Carla
(författare)
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Poetry in foreign language teaching. Aspects of a major challenge
- 2011
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Ingår i: Proceedings of the International Conference of Education, Research and Innovation (ICERI), Madrid, 14-16 november 2011. - 9788461533244 ; , s. 18-26
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Konferensbidrag (refereegranskat)abstract
- Debating the role of literature, and poetry in particular, in foreign language teaching (FLT), many scholars underscore the enormous potential represented by literature when it comes to developing the students’ critical thinking, analytical skills, ability to understand other cultures and emphatic attitude. Nevertheless, poetry represents a challenge within foreign language teaching. Focusing on my personal experience of teaching Italian at Lund University, Sweden, where XXth century poetry is included in the literature course at the undergraduate level (7,5 ECTS credits), I will first discuss what difficulties students encounter when faced with the task of reading poetry. I’ll then provide an example of a lecture in early XXth century Italian poetry from D’Annunzio to Hermeticism to show some methods that can be used to facilitate the students’ comprehension and how their motivation can be increased.
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