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The Difference of Shakespeare  Alessandra Marzola
The Difference of Shakespeare 
ISBN: 978-88-95184-67-4
  • Libro: 14.00€
Shakespeare’s enduring vitality accounts for a multilayered popularity, a singularity that makes of the Bard an extraordinary literary case. Taken as a cultural phenomenon and as a matter of inquiry rather than as an awe-inspiring achievement, the difference of Shakespeare is here interrogated from multiple angles with a view to retrieving both Shakespeare’s historicity and Shakespeare’s uniqueness. The essays included in the volume, whether they provide insights into the linguistic fabric of Shakespeare’s corpus or delve into the rhetorical texture of individual plays (Hamlet, The Tempest, Henry V), set out to unravel the clues for Shakespeare’s outstanding future adaptability. Steeped in the discursive arena of Renaissance culture, Shakespeare’s plays are also seen as capable of testing, challenging, and problematizing at once received concepts of space and time, the philosophical tenets of personality theory, and the early modern foundations of the art of memory. Hence a mystifying gaze, the ground of a difference which calls for investigation while defying cultural reductionism. As they lay emphasis on the intricacies between cultural history and individual craftsmanship, and come to terms with the irreducible complexity of rhetorical strategies, these essays highlight the semiotic productiveness of Shakespeare’s plays, and call for a reappraisal of the Bard’s cultural potential well beyond the precincts of academia.

Virginia Woolf. In the nerves of writing<br>  Rossana Bonadei
Virginia Woolf. In the nerves of writing
ISBN: 978-88-6642-000-2
  • Libro: 16.00€

Beyond genre – or rather inside and against genre – Woolf’s essays, short-stories, novels, and diary-writing can be read as different nuances of the same challenge: a “try” where recurrent images and phrases travel across/seep through texts along different intimations or narrative circumstances, conjuring up effects of reality , overdrawing the boundaries of narrative conventions.

Rereading Virginia Woolf and embarking on a revised account of Woolf’s experience as a writer, means facing a bewildering amount of critical commentary that copes with key issues relating to “life” as a whole, and to the towering problem of “writing life”, plunging into the complex palimpsest of a cultural debate which is at once historically located and utterly “contemporary”. “The nerves of writing” mentioned in the title mainly refer to this matrix-subject and its narrative developments. “What is life”; what goes on in its name; which are its boundaries; how to cope with the “flickers” and signs we put into this ‘portmanteau’: these are facets of Woolf’s central obsession. And such obsession works as a major narrative magnet: it nourishes a palimpsest of fiction and meta-fiction where self-scrutiny (impregnated with autobiography) relates to the recognizance of the self (as an “I”, as a woman, as an Author), to the tunnelling within in search of one’s many selves. But it also relates to a psycho-collective history retrieved along pre-individual and trans-historical traces – as Deleuze’s concept of a “deterritorialised subject” has taught us to discern.