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I'm also studing  the changing forms of historical novel in Italy,  thinking at the hybridisation with others literary genre (detective story, docu-drama, fact-fiction).<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="7925963" href="https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://unibo.academia.edu/GiulianaBenvenuti","location":"/GiulianaBenvenuti","scheme":"https","host":"unibo.academia.edu","port":null,"pathname":"/GiulianaBenvenuti","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div 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style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Giuliana Benvenuti</h3></div><div class="js-work-strip profile--work_container" data-work-id="112201066"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/112201066/TRASMEDIASTORYTELLING_ALLITALIANA"><img alt="Research paper thumbnail of TRASMEDIASTORYTELLING ALL'ITALIANA" class="work-thumbnail" src="https://attachments.academia-assets.com/109503978/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/112201066/TRASMEDIASTORYTELLING_ALLITALIANA">TRASMEDIASTORYTELLING ALL'ITALIANA</a></div><div class="wp-workCard_item"><span>Spazio mediale e morfologia della narrazione</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il giallo e il noir, nelle loro svariate declinazioni e intersezioni, stanno dando luogo anche in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il giallo e il noir, nelle loro svariate declinazioni e intersezioni, stanno dando luogo anche in Italia a produzioni transmediali, che possono essere considerate avamposti di modalità̀ narrative destinate a espandersi rapidamente in forme non facilmente prevedibili. Sono generi che si prestano, anche nella specifica declinazione del noir all’italiana, a diventare successi globali, come è accaduto Romanzo criminale, Gomorra, Suburra, casi di studio ai quali l’articolo è dedicato.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1efe6855495279435c22f4f4852ec42a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":109503978,"asset_id":112201066,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/109503978/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="112201066"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="112201066"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 112201066; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=112201066]").text(description); $(".js-view-count[data-work-id=112201066]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 112201066; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='112201066']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 112201066, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1efe6855495279435c22f4f4852ec42a" } } $('.js-work-strip[data-work-id=112201066]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":112201066,"title":"TRASMEDIASTORYTELLING ALL'ITALIANA","translated_title":"","metadata":{"abstract":"Il giallo e il noir, nelle loro svariate declinazioni e intersezioni, stanno dando luogo anche in Italia a produzioni transmediali, che possono essere considerate avamposti di modalità̀ narrative destinate a espandersi rapidamente in forme non facilmente prevedibili. Sono generi che si prestano, anche nella specifica declinazione del noir all’italiana, a diventare successi globali, come è accaduto Romanzo criminale, Gomorra, Suburra, casi di studio ai quali l’articolo è dedicato.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Spazio mediale e morfologia della narrazione"},"translated_abstract":"Il giallo e il noir, nelle loro svariate declinazioni e intersezioni, stanno dando luogo anche in Italia a produzioni transmediali, che possono essere considerate avamposti di modalità̀ narrative destinate a espandersi rapidamente in forme non facilmente prevedibili. 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We can also see how, in a common recognition of Manzoni's authority, Sciascia's writing meets micro-history in the sign of micrological attention to emblematic testimonies and the search for forms capable of narrating and representing the voices of what has been forgotten.","publication_date":{"day":8,"month":10,"year":2021,"errors":{}},"publication_name":"Finzioni","grobid_abstract_attachment_id":96681506},"translated_abstract":null,"internal_url":"https://www.academia.edu/94140713/Sciascia_Manzoni_e_la_narrazione_della_storia","translated_internal_url":"","created_at":"2023-01-02T00:59:34.219-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7925963,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":96681506,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/96681506/thumbnails/1.jpg","file_name":"13201.pdf","download_url":"https://www.academia.edu/attachments/96681506/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Sciascia_Manzoni_e_la_narrazione_della_s.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/96681506/13201-libre.pdf?1672660830=\u0026response-content-disposition=attachment%3B+filename%3DSciascia_Manzoni_e_la_narrazione_della_s.pdf\u0026Expires=1733053911\u0026Signature=TzbbRa3fKg05TyTwzqj5AG9P~rEGhKwrc-H9x4P9-~ARw43jz2nTewvWo3LlC7QTK~0gLx2pp56ByM0Fdq-wl0Pk0LPtzMHGnKKbpSJt3-1s-hA1xF2zTfd90sdZW9Z2pI4-8dq2b-cQeebD~2XwDqZEKpcsofVZghr0yG6b6pgDrnKnNXyzvVlzABXv-5luzHJnfYgT7K9pLkeTO8sXX6HpOWRu4hTwXX6PdIvCLKx0i8NlAJpY0GGDxoVnh1lR0l-mygG4CIulo25BP9vS0CCuw8ExejDKElyl8Oji1WjNeJKsJzRdZ3SZ1gI7O~qHVirrhBPww3uyyCbWhS5ksA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Sciascia_Manzoni_e_la_narrazione_della_storia","translated_slug":"","page_count":17,"language":"it","content_type":"Work","owner":{"id":7925963,"first_name":"Giuliana","middle_initials":null,"last_name":"Benvenuti","page_name":"GiulianaBenvenuti","domain_name":"unibo","created_at":"2013-12-31T21:27:53.948-08:00","display_name":"Giuliana Benvenuti","url":"https://unibo.academia.edu/GiulianaBenvenuti"},"attachments":[{"id":96681506,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/96681506/thumbnails/1.jpg","file_name":"13201.pdf","download_url":"https://www.academia.edu/attachments/96681506/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Sciascia_Manzoni_e_la_narrazione_della_s.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/96681506/13201-libre.pdf?1672660830=\u0026response-content-disposition=attachment%3B+filename%3DSciascia_Manzoni_e_la_narrazione_della_s.pdf\u0026Expires=1733053911\u0026Signature=TzbbRa3fKg05TyTwzqj5AG9P~rEGhKwrc-H9x4P9-~ARw43jz2nTewvWo3LlC7QTK~0gLx2pp56ByM0Fdq-wl0Pk0LPtzMHGnKKbpSJt3-1s-hA1xF2zTfd90sdZW9Z2pI4-8dq2b-cQeebD~2XwDqZEKpcsofVZghr0yG6b6pgDrnKnNXyzvVlzABXv-5luzHJnfYgT7K9pLkeTO8sXX6HpOWRu4hTwXX6PdIvCLKx0i8NlAJpY0GGDxoVnh1lR0l-mygG4CIulo25BP9vS0CCuw8ExejDKElyl8Oji1WjNeJKsJzRdZ3SZ1gI7O~qHVirrhBPww3uyyCbWhS5ksA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="80953055"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/80953055/Miti_di_Sicilia_Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_delluomo_mediterraneo"><img alt="Research paper thumbnail of Miti di Sicilia. Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo" class="work-thumbnail" src="https://attachments.academia-assets.com/87162907/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/80953055/Miti_di_Sicilia_Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_delluomo_mediterraneo">Miti di Sicilia. Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo</a></div><div class="wp-workCard_item"><span>CRISOL</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede stori...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.<br /> Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. In particolare, l’intervento si concentrerà per un verso sulla ripresa degli stereotipi legati alla sicilianità in Camilleri, considerandoli quale motivazione non ultima del successo della serie del commissario Montalbano (in Italia e all’estero), per altro verso sulle opere di Camilleri che mettono in scena episodi della storia siciliana e costituiscono un luogo, tra i possibili, per verificare la consistenza dell’affermazione di Leonardo Sciascia: “Ci troviamo in un circolo vizioso, in una specie di aporia; che è per noi la sostanza di quella nozione della Sicilia che è insieme luogo comune, ‘idea corrente’, e motivo di univoca e profonda ispirazione nella letteratura e nell’arte”.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="db7dc6106813b057bbc93701989468bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87162907,"asset_id":80953055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87162907/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="80953055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="80953055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 80953055; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=80953055]").text(description); $(".js-view-count[data-work-id=80953055]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 80953055; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='80953055']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 80953055, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "db7dc6106813b057bbc93701989468bc" } } $('.js-work-strip[data-work-id=80953055]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":80953055,"title":"Miti di Sicilia. Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo","translated_title":"","metadata":{"abstract":"Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.\n Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. In particolare, l’intervento si concentrerà per un verso sulla ripresa degli stereotipi legati alla sicilianità in Camilleri, considerandoli quale motivazione non ultima del successo della serie del commissario Montalbano (in Italia e all’estero), per altro verso sulle opere di Camilleri che mettono in scena episodi della storia siciliana e costituiscono un luogo, tra i possibili, per verificare la consistenza dell’affermazione di Leonardo Sciascia: “Ci troviamo in un circolo vizioso, in una specie di aporia; che è per noi la sostanza di quella nozione della Sicilia che è insieme luogo comune, ‘idea corrente’, e motivo di univoca e profonda ispirazione nella letteratura e nell’arte”.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"CRISOL"},"translated_abstract":"Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.\n Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. In particolare, l’intervento si concentrerà per un verso sulla ripresa degli stereotipi legati alla sicilianità in Camilleri, considerandoli quale motivazione non ultima del successo della serie del commissario Montalbano (in Italia e all’estero), per altro verso sulle opere di Camilleri che mettono in scena episodi della storia siciliana e costituiscono un luogo, tra i possibili, per verificare la consistenza dell’affermazione di Leonardo Sciascia: “Ci troviamo in un circolo vizioso, in una specie di aporia; che è per noi la sostanza di quella nozione della Sicilia che è insieme luogo comune, ‘idea corrente’, e motivo di univoca e profonda ispirazione nella letteratura e nell’arte”.","internal_url":"https://www.academia.edu/80953055/Miti_di_Sicilia_Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_delluomo_mediterraneo","translated_internal_url":"","created_at":"2022-06-07T13:53:40.311-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7925963,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":87162907,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/87162907/thumbnails/1.jpg","file_name":"Miti_di_Sicilia._Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_dell_uomo_mediterraneo.pdf","download_url":"https://www.academia.edu/attachments/87162907/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Miti_di_Sicilia_Il_commissario_Montalban.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/87162907/Miti_di_Sicilia._Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_dell_uomo_mediterraneo-libre.pdf?1654636541=\u0026response-content-disposition=attachment%3B+filename%3DMiti_di_Sicilia_Il_commissario_Montalban.pdf\u0026Expires=1733053911\u0026Signature=Sj1VBrklU~KOOYe1KOGc61FarlglrZ0Q2C3jLB5hIdB07xxeJLv1gxYP0UKR1vIfkXrz3LBHoYzFqyhF-BtT9nxOAS-nQJg10KpZwXX-z-jX0f34P27gY73cELL1fy8QwYrB-B9Vt0ZrC9z0EMLUhTE-LAlJypHOKP3FqL0zO7aB4w2OdSLBty1xVyXBEqs9cV5owYcG0171BdgwfNcDQxm0O59MmV~HOfdmexYSWx13JWvK845tUOyhZoeF3FifKZ~cmtBdALRden-MzjwXwaQc8rqnOVQSHkTAEGKXoXtxFU-fOvkUQMVQ6HLMD532CdYx15HCssbzw1NLKWJf1g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Miti_di_Sicilia_Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_delluomo_mediterraneo","translated_slug":"","page_count":24,"language":"it","content_type":"Work","owner":{"id":7925963,"first_name":"Giuliana","middle_initials":null,"last_name":"Benvenuti","page_name":"GiulianaBenvenuti","domain_name":"unibo","created_at":"2013-12-31T21:27:53.948-08:00","display_name":"Giuliana Benvenuti","url":"https://unibo.academia.edu/GiulianaBenvenuti"},"attachments":[{"id":87162907,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/87162907/thumbnails/1.jpg","file_name":"Miti_di_Sicilia._Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_dell_uomo_mediterraneo.pdf","download_url":"https://www.academia.edu/attachments/87162907/download_file?st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Miti_di_Sicilia_Il_commissario_Montalban.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/87162907/Miti_di_Sicilia._Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_dell_uomo_mediterraneo-libre.pdf?1654636541=\u0026response-content-disposition=attachment%3B+filename%3DMiti_di_Sicilia_Il_commissario_Montalban.pdf\u0026Expires=1733053911\u0026Signature=Sj1VBrklU~KOOYe1KOGc61FarlglrZ0Q2C3jLB5hIdB07xxeJLv1gxYP0UKR1vIfkXrz3LBHoYzFqyhF-BtT9nxOAS-nQJg10KpZwXX-z-jX0f34P27gY73cELL1fy8QwYrB-B9Vt0ZrC9z0EMLUhTE-LAlJypHOKP3FqL0zO7aB4w2OdSLBty1xVyXBEqs9cV5owYcG0171BdgwfNcDQxm0O59MmV~HOfdmexYSWx13JWvK845tUOyhZoeF3FifKZ~cmtBdALRden-MzjwXwaQc8rqnOVQSHkTAEGKXoXtxFU-fOvkUQMVQ6HLMD532CdYx15HCssbzw1NLKWJf1g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":6245,"name":"Stereotypes and Prejudice","url":"https://www.academia.edu/Documents/in/Stereotypes_and_Prejudice"},{"id":81797,"name":"Questione meridionale","url":"https://www.academia.edu/Documents/in/Questione_meridionale"},{"id":168190,"name":"Andrea Camilleri","url":"https://www.academia.edu/Documents/in/Andrea_Camilleri"},{"id":168195,"name":"Commissario Montalbano","url":"https://www.academia.edu/Documents/in/Commissario_Montalbano"}],"urls":[]}, dispatcherData: dispatcherData }); 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Veni-vano massificate nel proletario di fabbrica esperienze individuali perdute per l&#x27;as...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... 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Narrazioni transmediali che, come Romanzo criminale, Gomorra, Suburra, segnano il passaggio a una nuova stagione della serialità televisiva italiana e l’ingresso delle produzioni italiane nel mercato globale, possono essere interpretate come spie di un assoggettamento alle dinamiche dell’industria dell’intrattenimento, ma anche come laboratorio di sperimentazione di forme inedite di autorialità e di contaminazione tra linguaggi. Siamo di fronte a una costellazione di narrazioni dell’Italia criminale caratterizzata da forti interconnessioni sia al livello del marketing sia al livello delle strategie di racconto, ed è evidente che queste sinergie siano funzionali allo sfruttamento di concept di successo. Tuttavia, riconoscere e analizzare le dinamiche attraverso le quali...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="75077811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="75077811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75077811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=75077811]").text(description); $(".js-view-count[data-work-id=75077811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 75077811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='75077811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 75077811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=75077811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":75077811,"title":"Le forme transmediali del noir all'italiana tra impegno, denuncia e mercato","translated_title":"","metadata":{"abstract":"Tra le varie forme di contaminazione e relazione tra i media, anche in Italia si sta sperimentando sempre più frequentemente quella del transmedia storytelling, in particolare all’interno dell’ampia galassia del noir. 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Consenso, strategie, discorso" class="work-thumbnail" src="https://attachments.academia-assets.com/65562589/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45015545/Il_personaggio_Montalbano_Consenso_strategie_discorso">Il personaggio Montalbano. Consenso, strategie, discorso</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/GiulianaBenvenuti">Giuliana Benvenuti</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/RiccardoStracuzzi">Riccardo Stracuzzi</a></span></div><div class="wp-workCard_item"><span>mediAzioni </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">his essay analyses the character of Montalbano as a critical object that includes a narrative fig...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">his essay analyses the character of Montalbano as a critical object that includes a narrative figure constructed through a series of novels and a television series. It examines the strategies that the writer (of the novels) and the scriptwriters (of the TV series) employ in order to attract readers and spectators to Montalbano. These strategies employ stereotypes connected to the Mediterranean landscape, and this strategy emphasises the ethical characteristics of the protagonist while making the Mediterranean landscape an essential ‘character’ of the story. In this way the novelist Andrea Camilleri introduces an important variable in the traditional detective story: he does not modify its salient features, but he gives less importance to the typical logic of the plot, thus enabling the readers to enjoy and appreciate a narrative very different from the common codes of consumer narratives and serialities.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a04aa07d1fb8fb397e6fcd39104f2db3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65562589,"asset_id":45015545,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65562589/download_file?st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45015545"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45015545"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45015545; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45015545]").text(description); $(".js-view-count[data-work-id=45015545]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45015545; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45015545']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45015545, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a04aa07d1fb8fb397e6fcd39104f2db3" } } $('.js-work-strip[data-work-id=45015545]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45015545,"title":"Il personaggio Montalbano. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40429064"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40429064/Il_Graphic_Novel_una_quaestio_de_centauris"><img alt="Research paper thumbnail of Il Graphic Novel: una quaestio de centauris?" class="work-thumbnail" src="https://attachments.academia-assets.com/60686120/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40429064/Il_Graphic_Novel_una_quaestio_de_centauris">Il Graphic Novel: una quaestio de centauris?</a></div><div class="wp-workCard_item"><span>La modernità letteraria e le declinazioni del visivo Arti, cinema, fotografia e nuove tecnologie Atti del XIX Convegno Internazionale della MOD 22-24 giugno 2017</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? Di volta in ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? Di volta in volta considerato una mera etichetta commerciale, uno strumento di elevazione del fumetto da prodotto della cultura di massa a forma artistica, o, ancora, un modo per salvare la narrazione romanzesca nell’epoca del predominio della cultura visuale, il Graphic Novel – come i due elementi che lo compongono, fumetto e romanzo, e le rispettive grammatiche – non sembra facilmente definibile. Per tracciare i contorni del romanzo grafico, al di là delle aspre polemiche tra glossatori, conviene allora inserirlo nel contesto dei mutamenti dei rapporti tra i media caratteristici della stretta contemporaneità.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="74ebc8ad9f6c060c996c0f83afeabddc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60686120,"asset_id":40429064,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60686120/download_file?st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40429064"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40429064"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40429064; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40429064]").text(description); $(".js-view-count[data-work-id=40429064]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40429064; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40429064']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40429064, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "74ebc8ad9f6c060c996c0f83afeabddc" } } $('.js-work-strip[data-work-id=40429064]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40429064,"title":"Il Graphic Novel: una quaestio de centauris?","translated_title":"","metadata":{"abstract":"Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? Di volta in volta considerato una mera etichetta commerciale, uno strumento di elevazione del fumetto da prodotto della cultura di massa a forma artistica, o, ancora, un modo per salvare la narrazione romanzesca nell’epoca del predominio della cultura visuale, il Graphic Novel – come i due elementi che lo compongono, fumetto e romanzo, e le rispettive grammatiche – non sembra facilmente definibile. Per tracciare i contorni del romanzo grafico, al di là delle aspre polemiche tra glossatori, conviene allora inserirlo nel contesto dei mutamenti dei rapporti tra i media caratteristici della stretta contemporaneità.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"La modernità letteraria e le declinazioni del visivo Arti, cinema, fotografia e nuove tecnologie Atti del XIX Convegno Internazionale della MOD 22-24 giugno 2017"},"translated_abstract":"Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? 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La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della su...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della sua relazione con la storia personale e collettiva, è stata più volte rileva-ta e indagata dalla critica. Del resto, è Sciascia stesso a disseminare nei propri scritti riflessioni sui meccanismi regolativi del ricordo e dell'o-blio, in primo luogo quelli che attengono alla cancellazione della me-moria da parte del potere. La memoria, dunque, si configura in prima istanza quale luogo del recupero-e più ancora del riscatto-di ciò che dal passato chiede giustizia. Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. Un contrasto tanto polarizzato, tra il severo razionalismo religioso manzoniano e le ascendenze letterarie siciliane non può ovviamente met-tere in ombra le tante altre esperienze culturali-italiane, e soprattutto europee-che nutrono la pagina di Sciascia. E tuttavia esso sembra costi-tuire una sorta di traccia permanente, o di indirizzo generale, che organiz</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2c7e45389c775247ccdd29f1abab58e2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58852579,"asset_id":38763997,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58852579/download_file?st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38763997"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38763997"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38763997; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38763997]").text(description); $(".js-view-count[data-work-id=38763997]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38763997; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38763997']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38763997, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2c7e45389c775247ccdd29f1abab58e2" } } $('.js-work-strip[data-work-id=38763997]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38763997,"title":"Un solo nome» Manzoni in Sciascia","translated_title":"","metadata":{"abstract":"1. La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della sua relazione con la storia personale e collettiva, è stata più volte rileva-ta e indagata dalla critica. Del resto, è Sciascia stesso a disseminare nei propri scritti riflessioni sui meccanismi regolativi del ricordo e dell'o-blio, in primo luogo quelli che attengono alla cancellazione della me-moria da parte del potere. La memoria, dunque, si configura in prima istanza quale luogo del recupero-e più ancora del riscatto-di ciò che dal passato chiede giustizia. Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. Un contrasto tanto polarizzato, tra il severo razionalismo religioso manzoniano e le ascendenze letterarie siciliane non può ovviamente met-tere in ombra le tante altre esperienze culturali-italiane, e soprattutto europee-che nutrono la pagina di Sciascia. 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Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. Un contrasto tanto polarizzato, tra il severo razionalismo religioso manzoniano e le ascendenze letterarie siciliane non può ovviamente met-tere in ombra le tante altre esperienze culturali-italiane, e soprattutto europee-che nutrono la pagina di Sciascia. 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Com base nas mudanças que ocorreram já a partir dos anos 1980, a contribuição indaga em um dos percursos menos investigados: o que se origina da co-laboração entre romancistas e cartunistas e que, com frequência, se inscreve sob o signo do noir. As experiências do grupo Valvoline assim como a dos Cannibali parecem ser seminais de um emaranhado de linguagens destinado a continuar nas décadas seguintes, dentro de uma experimentação que, mesmo pouco estudada na crítica literária, segue até o presente global dos anos 2000. palavras-chave: Literatura italiana dos anos 2000; noir italiano; pulp italiano; Carlo Lucarelli; literatura e cultura visual. abstract: La letteratura italiana degli anni Zero appare caratterizzata dal contatto sempre più ravvicinato con gli altri media, all'interno di quella che viene definita la società postmediale. Prendendo le mosse dalle modificazioni intervenute già a partire dagli anni Ottanta, il contributo indaga in uno dei percorsi meno indagati: quello che si origina dalla collaborazione tra romanzieri e fumettisti e che spesso si inscrive sotto il segno del noir. L'esperienza del gruppo Valvoline, così come quella dei Cannibali, appaiono seminali di un intreccio di linguaggi destinato a proseguire, nei decenni suc-cessivi, entro una sperimentazione che, poco studiata in sede di critica letteraria, prose-gue sino al presente globale degli anni Zero. parole chiave: Letteratura italiana degli anni Zero; noir italiano; pulp italiano; Carlo Lucarelli; letteratura e cultura visuale. abstract: The Italian literature of the 2000s is characterized by an ever closer relation with other media. Starting from the changes occurred since the 1980s, the contribution explores one of the less investigated pathways: the one that originates from the collaboration between novelists and cartoonists. 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Conversazione con Remo Ceserani</a></div><div class="wp-workCard_item"><span>Studi culturali</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Remo Ceserani, che è attualmente docente di Letterature comparate all&#x27;Uni-versità di Bologna...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Remo Ceserani, che è attualmente docente di Letterature comparate all&#x27;Uni-versità di Bologna, ha rivestito nell&#x27;ambito della critica letteraria, della teoria della letteratura e della comparatistica italiane, un ruolo non solamente di pri-mo piano, ma per lungo tempo pionieristico, ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28721200"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28721200"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28721200; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28721200]").text(description); $(".js-view-count[data-work-id=28721200]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28721200; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28721200']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 28721200, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=28721200]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28721200,"title":"Studi culturali e\" Kulturgeschichte\". 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Sono generi che si prestano, anche nella specifica declinazione del noir all’italiana, a diventare successi globali, come è accaduto Romanzo criminale, Gomorra, Suburra, casi di studio ai quali l’articolo è dedicato.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1efe6855495279435c22f4f4852ec42a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":109503978,"asset_id":112201066,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/109503978/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="112201066"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="112201066"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 112201066; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=112201066]").text(description); $(".js-view-count[data-work-id=112201066]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 112201066; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='112201066']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 112201066, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1efe6855495279435c22f4f4852ec42a" } } $('.js-work-strip[data-work-id=112201066]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":112201066,"title":"TRASMEDIASTORYTELLING ALL'ITALIANA","translated_title":"","metadata":{"abstract":"Il giallo e il noir, nelle loro svariate declinazioni e intersezioni, stanno dando luogo anche in Italia a produzioni transmediali, che possono essere considerate avamposti di modalità̀ narrative destinate a espandersi rapidamente in forme non facilmente prevedibili. 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Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo" class="work-thumbnail" src="https://attachments.academia-assets.com/87162907/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/80953055/Miti_di_Sicilia_Il_commissario_Montalbano_di_Camilleri_e_lo_stereotipo_delluomo_mediterraneo">Miti di Sicilia. Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo</a></div><div class="wp-workCard_item"><span>CRISOL</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede stori...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.<br /> Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. In particolare, l’intervento si concentrerà per un verso sulla ripresa degli stereotipi legati alla sicilianità in Camilleri, considerandoli quale motivazione non ultima del successo della serie del commissario Montalbano (in Italia e all’estero), per altro verso sulle opere di Camilleri che mettono in scena episodi della storia siciliana e costituiscono un luogo, tra i possibili, per verificare la consistenza dell’affermazione di Leonardo Sciascia: “Ci troviamo in un circolo vizioso, in una specie di aporia; che è per noi la sostanza di quella nozione della Sicilia che è insieme luogo comune, ‘idea corrente’, e motivo di univoca e profonda ispirazione nella letteratura e nell’arte”.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="db7dc6106813b057bbc93701989468bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87162907,"asset_id":80953055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87162907/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="80953055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="80953055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 80953055; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=80953055]").text(description); $(".js-view-count[data-work-id=80953055]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 80953055; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='80953055']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 80953055, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "db7dc6106813b057bbc93701989468bc" } } $('.js-work-strip[data-work-id=80953055]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":80953055,"title":"Miti di Sicilia. Il commissario Montalbano di Camilleri e lo stereotipo dell'uomo mediterraneo","translated_title":"","metadata":{"abstract":"Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.\n Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. In particolare, l’intervento si concentrerà per un verso sulla ripresa degli stereotipi legati alla sicilianità in Camilleri, considerandoli quale motivazione non ultima del successo della serie del commissario Montalbano (in Italia e all’estero), per altro verso sulle opere di Camilleri che mettono in scena episodi della storia siciliana e costituiscono un luogo, tra i possibili, per verificare la consistenza dell’affermazione di Leonardo Sciascia: “Ci troviamo in un circolo vizioso, in una specie di aporia; che è per noi la sostanza di quella nozione della Sicilia che è insieme luogo comune, ‘idea corrente’, e motivo di univoca e profonda ispirazione nella letteratura e nell’arte”.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"CRISOL"},"translated_abstract":"Anche sulla scorta di una revisione dei processi di unificazione nazionale avvenuta in sede storiografica, si è fatto strada di recente il tentativo, in sede critica, di indagare la costruzione della “letteratura siciliana” o “letteratura di Sicilia” e il nesso forte che lega la sua presunta autonomia ai modelli discorsivi che sostanziano l’idea della nazione.\n Se è vero che pratiche discorsive assimilabili all’orientalismo hanno avuto una matrice anche letteraria, occorre ripensare le forme con le quali gli scrittori “siciliani” hanno posto una questione identitaria non mai risolta, ponendola in relazione con la storia e la cultura nazionale e sovranazionale. 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Veni-vano massificate nel proletario di fabbrica esperienze individuali perdute per l&#x27;as...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... 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Narrazioni transmediali che, come Romanzo criminale, Gomorra, Suburra, segnano il passaggio a una nuova stagione della serialità televisiva italiana e l’ingresso delle produzioni italiane nel mercato globale, possono essere interpretate come spie di un assoggettamento alle dinamiche dell’industria dell’intrattenimento, ma anche come laboratorio di sperimentazione di forme inedite di autorialità e di contaminazione tra linguaggi. Siamo di fronte a una costellazione di narrazioni dell’Italia criminale caratterizzata da forti interconnessioni sia al livello del marketing sia al livello delle strategie di racconto, ed è evidente che queste sinergie siano funzionali allo sfruttamento di concept di successo. Tuttavia, riconoscere e analizzare le dinamiche attraverso le quali...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="75077811"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="75077811"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75077811; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=75077811]").text(description); $(".js-view-count[data-work-id=75077811]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 75077811; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='75077811']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 75077811, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=75077811]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":75077811,"title":"Le forme transmediali del noir all'italiana tra impegno, denuncia e mercato","translated_title":"","metadata":{"abstract":"Tra le varie forme di contaminazione e relazione tra i media, anche in Italia si sta sperimentando sempre più frequentemente quella del transmedia storytelling, in particolare all’interno dell’ampia galassia del noir. 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Consenso, strategie, discorso" class="work-thumbnail" src="https://attachments.academia-assets.com/65562589/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45015545/Il_personaggio_Montalbano_Consenso_strategie_discorso">Il personaggio Montalbano. Consenso, strategie, discorso</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/GiulianaBenvenuti">Giuliana Benvenuti</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unibo.academia.edu/RiccardoStracuzzi">Riccardo Stracuzzi</a></span></div><div class="wp-workCard_item"><span>mediAzioni </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">his essay analyses the character of Montalbano as a critical object that includes a narrative fig...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">his essay analyses the character of Montalbano as a critical object that includes a narrative figure constructed through a series of novels and a television series. It examines the strategies that the writer (of the novels) and the scriptwriters (of the TV series) employ in order to attract readers and spectators to Montalbano. These strategies employ stereotypes connected to the Mediterranean landscape, and this strategy emphasises the ethical characteristics of the protagonist while making the Mediterranean landscape an essential ‘character’ of the story. In this way the novelist Andrea Camilleri introduces an important variable in the traditional detective story: he does not modify its salient features, but he gives less importance to the typical logic of the plot, thus enabling the readers to enjoy and appreciate a narrative very different from the common codes of consumer narratives and serialities.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a04aa07d1fb8fb397e6fcd39104f2db3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65562589,"asset_id":45015545,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65562589/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45015545"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45015545"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45015545; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45015545]").text(description); $(".js-view-count[data-work-id=45015545]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45015545; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45015545']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 45015545, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a04aa07d1fb8fb397e6fcd39104f2db3" } } $('.js-work-strip[data-work-id=45015545]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45015545,"title":"Il personaggio Montalbano. 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Di volta in ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? Di volta in volta considerato una mera etichetta commerciale, uno strumento di elevazione del fumetto da prodotto della cultura di massa a forma artistica, o, ancora, un modo per salvare la narrazione romanzesca nell’epoca del predominio della cultura visuale, il Graphic Novel – come i due elementi che lo compongono, fumetto e romanzo, e le rispettive grammatiche – non sembra facilmente definibile. Per tracciare i contorni del romanzo grafico, al di là delle aspre polemiche tra glossatori, conviene allora inserirlo nel contesto dei mutamenti dei rapporti tra i media caratteristici della stretta contemporaneità.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="74ebc8ad9f6c060c996c0f83afeabddc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60686120,"asset_id":40429064,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60686120/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40429064"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40429064"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40429064; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40429064]").text(description); $(".js-view-count[data-work-id=40429064]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40429064; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40429064']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40429064, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "74ebc8ad9f6c060c996c0f83afeabddc" } } $('.js-work-strip[data-work-id=40429064]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40429064,"title":"Il Graphic Novel: una quaestio de centauris?","translated_title":"","metadata":{"abstract":"Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? Di volta in volta considerato una mera etichetta commerciale, uno strumento di elevazione del fumetto da prodotto della cultura di massa a forma artistica, o, ancora, un modo per salvare la narrazione romanzesca nell’epoca del predominio della cultura visuale, il Graphic Novel – come i due elementi che lo compongono, fumetto e romanzo, e le rispettive grammatiche – non sembra facilmente definibile. Per tracciare i contorni del romanzo grafico, al di là delle aspre polemiche tra glossatori, conviene allora inserirlo nel contesto dei mutamenti dei rapporti tra i media caratteristici della stretta contemporaneità.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"La modernità letteraria e le declinazioni del visivo Arti, cinema, fotografia e nuove tecnologie Atti del XIX Convegno Internazionale della MOD 22-24 giugno 2017"},"translated_abstract":"Esiste realmente il Graphic Novel, sia pure nelle parvenze di un animale mitologico? 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Per tracciare i contorni del romanzo grafico, al di là delle aspre polemiche tra glossatori, conviene allora inserirlo nel contesto dei mutamenti dei rapporti tra i media caratteristici della stretta contemporaneità.","internal_url":"https://www.academia.edu/40429064/Il_Graphic_Novel_una_quaestio_de_centauris","translated_internal_url":"","created_at":"2019-09-24T01:00:36.632-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7925963,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":60686120,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/60686120/thumbnails/1.jpg","file_name":"Graphic_Novel20190924-101654-m9v1tq.pdf","download_url":"https://www.academia.edu/attachments/60686120/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Il_Graphic_Novel_una_quaestio_de_centaur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/60686120/Graphic_Novel20190924-101654-m9v1tq-libre.pdf?1569312568=\u0026response-content-disposition=attachment%3B+filename%3DIl_Graphic_Novel_una_quaestio_de_centaur.pdf\u0026Expires=1733053912\u0026Signature=aZrld6qRwdTZ-Cb3qZp6DJS5Z7ro~hdLhH9LNaF3tzuV4D1zY-n7ekgVwvHh9qCHZbSUzYcp4ZPjDSgT20~BfXv56UvdExu4LBsOYnahMzxf3CLlKWnD4plpYXsdF5xBukaxpd1TC5rXMxoosbj1xazZFiRy~j9~mKvuHI-MubkpXb~ocrpGAkOTQ-~a47mZcOkHmLoBuOWmavtSGuC8WAiG4T9inPgSbcHD5e2HiUrlz~BATObUQ348vKIeK7codm5FY5kNaSYrCkGSuxL3jw5lvG4oC09qZUEiuGyUToktaTXMYJJGbHbvAE0wc1JUkdKPndBD67r8EQS4V9fPVQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Il_Graphic_Novel_una_quaestio_de_centauris","translated_slug":"","page_count":48,"language":"it","content_type":"Work","owner":{"id":7925963,"first_name":"Giuliana","middle_initials":null,"last_name":"Benvenuti","page_name":"GiulianaBenvenuti","domain_name":"unibo","created_at":"2013-12-31T21:27:53.948-08:00","display_name":"Giuliana Benvenuti","url":"https://unibo.academia.edu/GiulianaBenvenuti"},"attachments":[{"id":60686120,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/60686120/thumbnails/1.jpg","file_name":"Graphic_Novel20190924-101654-m9v1tq.pdf","download_url":"https://www.academia.edu/attachments/60686120/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Il_Graphic_Novel_una_quaestio_de_centaur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/60686120/Graphic_Novel20190924-101654-m9v1tq-libre.pdf?1569312568=\u0026response-content-disposition=attachment%3B+filename%3DIl_Graphic_Novel_una_quaestio_de_centaur.pdf\u0026Expires=1733053912\u0026Signature=aZrld6qRwdTZ-Cb3qZp6DJS5Z7ro~hdLhH9LNaF3tzuV4D1zY-n7ekgVwvHh9qCHZbSUzYcp4ZPjDSgT20~BfXv56UvdExu4LBsOYnahMzxf3CLlKWnD4plpYXsdF5xBukaxpd1TC5rXMxoosbj1xazZFiRy~j9~mKvuHI-MubkpXb~ocrpGAkOTQ-~a47mZcOkHmLoBuOWmavtSGuC8WAiG4T9inPgSbcHD5e2HiUrlz~BATObUQ348vKIeK7codm5FY5kNaSYrCkGSuxL3jw5lvG4oC09qZUEiuGyUToktaTXMYJJGbHbvAE0wc1JUkdKPndBD67r8EQS4V9fPVQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":21863,"name":"Graphic Novels Study","url":"https://www.academia.edu/Documents/in/Graphic_Novels_Study"},{"id":29963,"name":"Comics and Graphic Novels","url":"https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38763997"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38763997/Un_solo_nome_Manzoni_in_Sciascia"><img alt="Research paper thumbnail of Un solo nome» Manzoni in Sciascia" class="work-thumbnail" src="https://attachments.academia-assets.com/58852579/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38763997/Un_solo_nome_Manzoni_in_Sciascia">Un solo nome» Manzoni in Sciascia</a></div><div class="wp-workCard_item"><span>Studium</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">1. La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della su...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della sua relazione con la storia personale e collettiva, è stata più volte rileva-ta e indagata dalla critica. Del resto, è Sciascia stesso a disseminare nei propri scritti riflessioni sui meccanismi regolativi del ricordo e dell'o-blio, in primo luogo quelli che attengono alla cancellazione della me-moria da parte del potere. La memoria, dunque, si configura in prima istanza quale luogo del recupero-e più ancora del riscatto-di ciò che dal passato chiede giustizia. Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. Un contrasto tanto polarizzato, tra il severo razionalismo religioso manzoniano e le ascendenze letterarie siciliane non può ovviamente met-tere in ombra le tante altre esperienze culturali-italiane, e soprattutto europee-che nutrono la pagina di Sciascia. E tuttavia esso sembra costi-tuire una sorta di traccia permanente, o di indirizzo generale, che organiz</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2c7e45389c775247ccdd29f1abab58e2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58852579,"asset_id":38763997,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58852579/download_file?st=MTczMzA1MDMxMyw4LjIyMi4yMDguMTQ2&st=MTczMzA1MDMxMiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38763997"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38763997"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38763997; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38763997]").text(description); $(".js-view-count[data-work-id=38763997]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38763997; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38763997']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38763997, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2c7e45389c775247ccdd29f1abab58e2" } } $('.js-work-strip[data-work-id=38763997]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38763997,"title":"Un solo nome» Manzoni in Sciascia","translated_title":"","metadata":{"abstract":"1. La memoria, il potere Nell'opera di Sciascia, l'importanza della memoria, e anzitutto della sua relazione con la storia personale e collettiva, è stata più volte rileva-ta e indagata dalla critica. Del resto, è Sciascia stesso a disseminare nei propri scritti riflessioni sui meccanismi regolativi del ricordo e dell'o-blio, in primo luogo quelli che attengono alla cancellazione della me-moria da parte del potere. La memoria, dunque, si configura in prima istanza quale luogo del recupero-e più ancora del riscatto-di ciò che dal passato chiede giustizia. Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. Un contrasto tanto polarizzato, tra il severo razionalismo religioso manzoniano e le ascendenze letterarie siciliane non può ovviamente met-tere in ombra le tante altre esperienze culturali-italiane, e soprattutto europee-che nutrono la pagina di Sciascia. 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Essa è pertanto inscindibile dall'inchiesta, dall'analisi e dall'interpretazione dei documenti e, di conseguenza, dal-la loro messa in scena attraverso l'atto della riscrittura, che si colloca così al crocevia tra narrazione e documentazione. Intrecciare l'indagine sul passato all'immaginazione letteraria, quasi sempre prendendo spunto da quelli che gli amati francesi di Sciascia chiamano faits divers, è operazione che segna l'inquieta sperimentazio-ne formale di Sciascia lungo l'intero arco della sua scrittura: nella quale il modello costituito da Manzoni (e principalmente quello dello storico della Colonna infame) serve per così dire da elemento di contrasto che ancora più fa risaltare la patente e rivendicata appartenenza in radice di questa stessa scrittura, quella di Sciascia, a una tradizione letteraria e romanzesca squisitamente siciliana. 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Com base nas mudanças que ocorreram já a partir dos anos 1980, a contribuição indaga em um dos percursos menos investigados: o que se origina da co-laboração entre romancistas e cartunistas e que, com frequência, se inscreve sob o signo do noir. As experiências do grupo Valvoline assim como a dos Cannibali parecem ser seminais de um emaranhado de linguagens destinado a continuar nas décadas seguintes, dentro de uma experimentação que, mesmo pouco estudada na crítica literária, segue até o presente global dos anos 2000. palavras-chave: Literatura italiana dos anos 2000; noir italiano; pulp italiano; Carlo Lucarelli; literatura e cultura visual. abstract: La letteratura italiana degli anni Zero appare caratterizzata dal contatto sempre più ravvicinato con gli altri media, all'interno di quella che viene definita la società postmediale. Prendendo le mosse dalle modificazioni intervenute già a partire dagli anni Ottanta, il contributo indaga in uno dei percorsi meno indagati: quello che si origina dalla collaborazione tra romanzieri e fumettisti e che spesso si inscrive sotto il segno del noir. L'esperienza del gruppo Valvoline, così come quella dei Cannibali, appaiono seminali di un intreccio di linguaggi destinato a proseguire, nei decenni suc-cessivi, entro una sperimentazione che, poco studiata in sede di critica letteraria, prose-gue sino al presente globale degli anni Zero. parole chiave: Letteratura italiana degli anni Zero; noir italiano; pulp italiano; Carlo Lucarelli; letteratura e cultura visuale. abstract: The Italian literature of the 2000s is characterized by an ever closer relation with other media. Starting from the changes occurred since the 1980s, the contribution explores one of the less investigated pathways: the one that originates from the collaboration between novelists and cartoonists. 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Conversazione con Remo Ceserani</a></div><div class="wp-workCard_item"><span>Studi culturali</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Remo Ceserani, che è attualmente docente di Letterature comparate all&#x27;Uni-versità di Bologna...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Remo Ceserani, che è attualmente docente di Letterature comparate all&#x27;Uni-versità di Bologna, ha rivestito nell&#x27;ambito della critica letteraria, della teoria della letteratura e della comparatistica italiane, un ruolo non solamente di pri-mo piano, ma per lungo tempo pionieristico, ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="28721200"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="28721200"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28721200; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28721200]").text(description); $(".js-view-count[data-work-id=28721200]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28721200; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='28721200']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 28721200, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=28721200]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":28721200,"title":"Studi culturali e\" Kulturgeschichte\". 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