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<!doctype html>
<html lang="en">
<head>
<title>CoSMO - The Domain</title>
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<meta charset="utf-8">
<meta name="author" content="Carlo Teo Pedretti, Francesca Mangialardo, Mattia Spadoni">
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CoSMO - The Ontology
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<h2 class="title">The Domain</h2>
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<h4 class="panel-title">
<a href="#panelBodyOne" class="accordion-toggle" data-toggle="collapse" data-parent="#accordion">Six Memos for the Next Millennium</a>
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<p><span class="markr">Italo Calvino</span> was an Italian journalist and writer of short stories and novels. He was highly appreciated in foreign countries, becoming the most-translated contemporary Italian writer at the time of his death. So it is not surprising that he was asked in 1985 to give a cycle of lectures at the Harvard University. Unfortunately, he died some months before, but he did complete 5 out of 6 of the lectures, that were later published in 1988 with the title <span class="markr"><cite>“Six Memos for the Next Millennium”</cite></span>:<blockquote>"We are in 1985, and barely fifteen years stand between us and a new millennium. For the time being I don't think the approach of this date arouses any special emotion. However, I'm not here to talk of futurology, but of literature. The millennium about to end has seen the birth and development of the modern languages of the West, and of the literatures that have explored the expressive, cognitive, and imaginative possibilities of these languages. It has also been the millennium of the book, in that it has seen the object we call a book take on the form now familiar to us. Perhaps it is a sign of our millennium's end that we frequently wonder what will happen to literature and books in the so-called postindustrial era of technology. I don't much feel like indulging in this sort of speculation. My confidence in the <span class="markr">future of literature</span> consists in the knowledge that there are things that only literature can give us, by means specific to it. I would therefore like to devote these lectures to certain values, qualities, or peculiarities of literature that are very close to my heart, trying to situate them within the perspective of the new millennium."</blockquote></p>
<p>The lectures provide insights about the future of literature in the “era of technology” and suggest some values to be followed: Lightness, Quickness, Exactitude, Visibility, Multiplicity. Overall, these virtues reflect and explain the leitmotifs of Calvino’s previous production: briefness or conciseness, speed of thought and language, exactitude in terminology, use of suggestive images inspired by popular literature and fairy tales, multiplicity of reading levels. His style gives way to a sharp ability to represent reality, with the purpose of unveiling the combinatorial mechanisms of narration to the readers.
To provide a precise and satisfying investigation of concepts, our project analysed the first chapter only, the one that expresses the values of <span class="markr">lightness</span>. In the end, it is defined in absentia by its negation “heaviness”, often identified as substance of the world. The act and the result of writing for Calvino emerges as a removal of weight from the structure of stories and from language. When literature strives for this value, it becomes a way to knowledge that is able to enliven and comprehend other disciplines (for example, it borrows from science precision and exactitude of language). Interestingly, lightness is never defined openly and clearly, but it is introduced to the reader as a puzzle made of textual references of western literature, from Medieval to contemporary works. The most powerful description of lightness might be the visual scene evoked by Boccaccio where the poet Cavalcanti jumps out of a cemetery, commented by Calvino as follows:</p> <blockquote>“Were I to choose an auspicious image for the new millennium, I would choose that one: the sudden agile leap of the poet-philosopher who raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness, and that what many consider to be the vitality of the times— noisy, aggressive, revving and roaring—belongs to the realm of death, like a cemetery for rusty old cars.”</blockquote>
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<h4 class="panel-title">
<a href="#panelBodyTwo" class="accordion-toggle collapsed" data-toggle="collapse" data-parent="#accordion">Dickinson</a>
</h4>
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<div id="panelBodyTwo" class="panel-collapse collapse">
<div class="panel-body">
<p>In her so-called Nature poems, Dickinson research her own relationship with earth and its elements. Dickinson’s feminine vision of Mother Nature also represents a radical form of spiritualism, nurtured from her keen observation of her surroundings – in strong opposition with the image of an austere Puritanical God. Her private garden becomes the space of a renewed sacredness that encompasses all its primitive inhabitants (Her Voice among the Aisles / Incite the timid prayer / Of the minutest Cricket – / The most unworthy Flower –). The impossible task of capturing the beauty of Nature is committed to the use of a vivid and aerial language. One of the typical rhetorical figures used by Dickinson is the personification: sun, stars, crickets, squirrels, flowers, bees – all the elements of Nature become evangelists that carry the tidings of the creation. If “God is here” – in a Spinozian sense –, if Nature possesses the arcane power to compel and awe, then “[Dickinson] devotion is not to God, her mission not to achieve heaven; instead her loyalties lies with this life and this earth” (<i>The Cambridge Introduction to Emily Dickinson</i>, 2007).</p>
<p>The whole Dickinson production about Nature (and the poem presented on this site isn’t an exception) is infused with a fleeting sense of lightness. As a matter of fact, her typical themes revolve around the cycle of life and death, the internal and endless movement of Nature.</p>
<p>The Wind is presented here as a personification, tapping her window. The first stanza is symmetrical to the last (tapped like a tired Man; like a timid Man […] / He tapped), expanding the poem with an inner sense of movement.</p>
<p>Wind is also identified through a series of features that don’t give hints about its body (Rapid; footless; No Bone had He; His Speech; His Countenance; His Fingers). Dickinson built a mesmerizing <i>in absentia</i> representation of her host.</p>
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<a href="#panelBodyThree" class="accordion-toggle collapsed" data-toggle="collapse" data-parent="#accordion">Pavese</a>
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<p>[...]</p>
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<a href="#panelBodyFour" class="accordion-toggle collapsed" data-toggle="collapse" data-parent="#accordion">D'Annunzio</a>
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<p>[...]</p>
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<p>[...]</p>
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