Aldo Nemesio
Università di Torino, Studi Umanistici, Faculty Member
- Languages and Linguistics, Cognitive Science, Italian Literature, Literary Theory, Semiotics, Comparative Literature, and 13 morePsychology of Reading, Text Linguistics, Scientific Communication, Cultural Studies, Film Studies, Characters, Narrative Beginning, Empirical Research on Literature, Anthropology, Psychology, Communication, Literature, and Gender Studiesedit
- Aldo Nemesio graduated in Italy (Dottore in Lettere, Univ. of Torino) and in the United States (MA in English, Univ. ... moreAldo Nemesio graduated in Italy (Dottore in Lettere, Univ. of Torino) and in the United States (MA in English, Univ. of Virginia). He taught in universities in the United States (Bryn Mawr, Pennsylvania and Sarah Lawrence, New York), Great Britain (Kent), Belgium (Liège) and Italy (Torino). He published essays on Italian studies, theory of literature and textual semiotics. In 2014 he organized the international conference of IGEL (https://drive.google.com/file/d/1azkvIoUVhs0x8UMnPNZlcVV5Ny5wEbtg/view), of which he was vice-president. He contributed to: Annali d’Italianistica, CLCWeb, COSMO, Empirical Studies of the Arts, Esperienze Letterarie, Età evolutiva, Fictions, L'immagine riflessa, Lettere Italiane, L'osservatore politico letterario, Paragone, Prometeo, Pszichológia, SPIEL, Strumenti Critici, Studi italiani di linguistica teorica e applicata, Studi Piemontesi, Il Verri and Versus. He published the books: Le prime parole. L'uso dell'incipit nella narrativa dell'Italia unita (on narrative beginning); I linguaggi della conoscenza. Studi letterari e comunicazione scientifica (on scientific communication); L'esperienza del testo (a selection of articles on empirical research in textual studies); La costruzione del testo. Ricerche empiriche su testi italiani dell'Otto-Novecento and Il lettore vagante. La percezione dei testi: letteratura, cinema e web (on empirical research on texts).edit
In order to understand literature, rather than looking only at the surface of the texts, it is more useful to look at ourselves as readers. Empirical research on texts studies human behavior in producing, distributing and using texts.... more
In order to understand literature, rather than looking only at the surface of the texts, it is more useful to look at ourselves as readers. Empirical research on texts studies human behavior in producing, distributing and using texts. Traditionally, literary studies proposed rules of interpretation, rather than trying to understand empirically observable events, while empirical observation shows that the same texts can generate different effects in different times and with different readers. Even the permanence in time depends on a sufficient amount of polyvalence, that makes it possible for a text to be read differently in different historical periods. In times of great contacts between different cultures, it is very easy to see that the same texts can be read differently. Meanings are not entities residing in texts, but they are the result of socioculturally oriented cognitive operations taking place in contexts.
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Although validation criteria are not the same in different areas, in order to be taken seriously in a scientific community, professional observation of literature is expected to meet the same standards as all other scientific procedures.... more
Although validation criteria are not the same in different areas, in order to be taken seriously in a scientific community, professional observation of literature is expected to meet the same standards as all other scientific procedures. Projects that do not make their working procedures explicit are likely to be judged as being less credible: ways and tools of problem solving must be open to intersubjective inspection (Schmidt 1999, 2000). Empirical research allows us to try to understand changes taking place in different areas of communication. Book reading has shifted from a form of socialization, when books were commonly read aloud, a practice that was widespread in the whole of antiquity, to forms of solitary reading. This change is related to the spread of literacy and the availability of books at low cost. It is possible that at the beginning of the third millennium we are now witnessing a similar evolution in the use of films, due to the availability of technologies that make personalized film watching of films easy and inexpensive. Data were collected in order to study changes in film watching related to new viewing technologies.
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The encounter between semiotics and empirical research promises to be very fruitful. It also seem clear that today research on texts is a very complex interdisciplinary project, requiring the cooperation of several disciplines.
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«Risposte cognitive ed emotive durante la lettura di racconti di tipo diverso: un esperimento testuale», in D. Borgogni, G. P. Caprettini e C. Vaglio Marengo, a cura di, Forma breve, Torino, Accademia University Press, 2016, pp. 95-108... more
«Risposte cognitive ed emotive durante la lettura di racconti di tipo diverso: un esperimento testuale», in D. Borgogni, G. P. Caprettini e C. Vaglio Marengo, a cura di, Forma breve, Torino, Accademia University Press, 2016, pp. 95-108 (con M. C. Levorato e L. Ronconi).
In questo articolo vengono studiate le risposte cognitive ed emotive prodotte durante la lettura di testi narrativi di tipo diverso. La traduzione italiana del racconto di Borges La muerte y la brújula (La morte e la bussola) è stata presentata a gruppi di lettori nella versione originale e in una versione manipolata, che ometteva il paragrafo iniziale, in cui venivano introdotti i due personaggi principali. Ai lettori è stato chiesto di valutare come avevano sperimentato le seguenti risposte di lettura: percezione della coerenza del testo, curiosità, emozione, empatia, percezione della facilità del testo, evocazione di immagini, impatto, interesse, coinvolgimento, piacere, piacere per il finale, comprensibilità finale, sorpresa, sorpresa per il finale e suspense. Un’analisi fattoriale ha evidenziato gli stessi tre fattori già trovati in esperimenti precedenti, riguardanti racconti di Poe e di Tarchetti: 1. partecipazione emotiva dei lettori; 2. violazione delle aspettative dei lettori; 3. valutazione cognitiva delle caratteristiche testuali che rendono il racconto comprensibile (si veda LEVORATO e NEMESIO 2005). Sono state trovate delle differenze in relazione al genere dei lettori e alla tipologia testuale: a) i lettori di genere maschile hanno mostrato una maggior partecipazione emotiva verso il racconto poliziesco di Borges; b) la differenza delle versioni del racconto di Borges hanno influenzato in modo significativo le risposte di lettura che riguardano l’empatia per i due personaggi principali.
In questo articolo vengono studiate le risposte cognitive ed emotive prodotte durante la lettura di testi narrativi di tipo diverso. La traduzione italiana del racconto di Borges La muerte y la brújula (La morte e la bussola) è stata presentata a gruppi di lettori nella versione originale e in una versione manipolata, che ometteva il paragrafo iniziale, in cui venivano introdotti i due personaggi principali. Ai lettori è stato chiesto di valutare come avevano sperimentato le seguenti risposte di lettura: percezione della coerenza del testo, curiosità, emozione, empatia, percezione della facilità del testo, evocazione di immagini, impatto, interesse, coinvolgimento, piacere, piacere per il finale, comprensibilità finale, sorpresa, sorpresa per il finale e suspense. Un’analisi fattoriale ha evidenziato gli stessi tre fattori già trovati in esperimenti precedenti, riguardanti racconti di Poe e di Tarchetti: 1. partecipazione emotiva dei lettori; 2. violazione delle aspettative dei lettori; 3. valutazione cognitiva delle caratteristiche testuali che rendono il racconto comprensibile (si veda LEVORATO e NEMESIO 2005). Sono state trovate delle differenze in relazione al genere dei lettori e alla tipologia testuale: a) i lettori di genere maschile hanno mostrato una maggior partecipazione emotiva verso il racconto poliziesco di Borges; b) la differenza delle versioni del racconto di Borges hanno influenzato in modo significativo le risposte di lettura che riguardano l’empatia per i due personaggi principali.
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Two experiments were carried out to study the responses elicited by the reading of short stories, one by E.A. Poe’ s (Experiment 1) and one by I. Tarchetti (Experiment 2). The following responses to the story were collected at the end of... more
Two experiments were carried out to study the responses elicited by the reading of short stories, one by E.A. Poe’ s (Experiment 1) and one by I. Tarchetti (Experiment 2). The following responses to the story were collected at the end of the reading: Curiosity, Excitement, Imagery, Impact, Interest, Pleasure, Pleasure at the Ending, Surprise, Surprise at the Ending, Suspense; moreover, readers were asked to judge some of the characteristics of the text, i.e. Coherence, Facility and Postdictability. Results of both experiments show that three dimensions underlie the fruition of a narrative text: Involvement during the reading, Evaluation of the outcome and Cognitive evaluation.
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Un projet d'anthropologie littéraire nous conduit à plusieurs changements dans les priorités de recherche et dans les instruments de travail des études littéraires. Par exemple, le concept de canon littéraire change d'une façon radicale:... more
Un projet d'anthropologie littéraire nous conduit à plusieurs changements dans les priorités de recherche et dans les instruments de travail des études littéraires. Par exemple, le concept de canon littéraire change d'une façon radicale: un projet de recherche en anthropologie littéraire, devant des modèles culturels différents, décrit la coexistence, souvent conflictuelle, de canons littéraires différents, en essayant d'expliquer pour qui, quand, où et pourquoi un certain canon est (ou a été) considéré comme valide. L'étendue du domaine de nos études s’élargit donc de manière surprenante: du travail auquel nous sommes plus habitués, concentré principalement sur la littérature écrite dans un nombre restreint de langues et dans une partie limitée du monde, potentiellement à toutes les littératures du monde. Il est possible que les objets de recherche ne soient plus des textes ou des auteurs individuels, mais des types de textes, c'est à dire des généralisations basées sur l'examen d'un nombre élevé de textes, susceptibles de constituer un échantillonnage représentatif de l'objet de notre étude. Dans un projet de ce type on ne cherche pas à proposer des modèles de lecture, mais on étudie empiriquement - donc avec des vérifications sur le champ, comme l'anthropologie sait le faire - les différents actes de lecture que des lecteurs dont la provenance culturelle est différente peuvent produire. Un projet de ce type amène inévitablement à la chute des frontières rigides entre des disciplines différentes, parce qu'il demande des compétences provenantes d'aires traditionnellement séparées comme la linguistique, la psychologie, la sociologie, l'histoire littéraire, la statistique, la philosophie.
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Literary anthropology brings about a remarkable change of paradigm in literary studies. Human literary behavior is the main object of study, in an investigation that tries to understand human activities related to writing, distributing,... more
Literary anthropology brings about a remarkable change of paradigm in literary studies. Human literary behavior is the main object of study, in an investigation that tries to understand human activities related to writing, distributing, and reading objects which - in ways that differ in different cultures - are called literature. Well-organized teamwork is necessary, because we have to deal with large numbers of texts in a project that requires skilled competence in different languages and cultures. Since the dimensions of the field grow enormously - from a limited number of canonical texts written in the same language to all the literatures in the world - it is possible that our research objects will not be individual texts, but textual types, that is generalizations based on the examination of a high number of texts, a representative sampling of the object of our study.
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This paper examines cognitive and emotional responses produced while reading different types of narrative texts. The Italian translation of Borges's short story «La muerte y la brújula» («Death and the Compass») was presented either in... more
This paper examines cognitive and emotional responses produced while reading different types of narrative texts. The Italian translation of Borges's short story «La muerte y la brújula» («Death and the Compass») was presented either in the original or in a modified version, which omitted the initial paragraph introducing the two main characters. Readers were asked to evaluate the degree with which they experienced the following responses: coherence, curiosity, emotionality, empathy, facility, imagery, impact, interest, involvement, pleasure, pleasure at the outcome, postdictability, surprise, surprise at the outcome and suspense. A factorial analysis on the scores showed the same three factors found in previous experiments using Poe’s and Tarchetti's short stories: 1. readers' emotional participation in the story; 2. violation of readers' expectations; 3. cognitive evaluation of the textual features that make the story comprehensible (Levorato & Nemesio, 2005). Differences were found in relation to gender and textual type.
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Nel capitolo XIV della sua Biographia Literaria, il poeta inglese Coleridge presenta il concetto di “volontaria e momentanea sospensione dell'incredulità” verso il testo. È sulla base di questa sospensione dell'incredulità che il lettore... more
Nel capitolo XIV della sua Biographia Literaria, il poeta inglese Coleridge presenta il concetto di “volontaria e momentanea sospensione dell'incredulità” verso il testo. È sulla base di questa sospensione dell'incredulità che il lettore crede temporaneamente agli eventi narrati in modo tanto forte da provare emozioni intense. Senza questa risposta della mente umana, gran parte dei nostri rapporti con la letteratura sarebbero impossibili e il ruolo dell'arte stessa diventerebbe marginale e forse irrilevante nell'esperienza umana. In questo articolo esploro il rapporto tra esperienze estetiche ed esperienze religiose.
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When we read the description of a character, we receive explicit information and construct a semantic representation of his/her aspect and personality. This constructive process also involves inferential processes based on the elaboration... more
When we read the description of a character, we receive explicit information and construct a semantic representation of his/her aspect and personality. This constructive process also involves inferential processes based on the elaboration of explicit information. In this paper we examined the first introduction of four female characters in Italian novels. When readers reported information that was not given in the texts, we had evidence of their constructive processes based on their inferences and world knowledge. In our study readers tended to concretize traits that were not explicitly stated in the text, with high values of the Gini index, showing different concretizations in different readers. This tendency was quite pervasive among readers, regardless of gender, academic education and interest in the text read; such constructive process seems to be intrinsic to the act of reading itself.
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In this paper we explore the perception of Borges’ The Garden of the Forking Paths by American, Hungarian and Italian university students, with the aim of seeing: affective reaction, appreciation of text properties, meaning assignment,... more
In this paper we explore the perception of Borges’ The Garden of the Forking Paths by American, Hungarian and Italian university students, with the aim of seeing: affective reaction, appreciation of text properties, meaning assignment, perception of the protagonist and the author and attitudes toward those from other cultures. Borges’ text was appropriate to disclose common ways of understanding practiced by these so-called ‘naïve’ (not expert) readers. The story is a brand of modern fiction which eschews traditional psychological elements, a de-personalized kind of narration. All the same, these readers tended to personalize the characters and action in the story. Our findings indicate that, regardless of their culture, readers try to shape their reading experience toward producing a simultaneous understanding of their inner and external worlds while interpolating a realistic frame into a (post)modern narrative.
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L'articolo intende introdurre il lettore alla ricerca empirica negli studi letterari. L’esito della lettura di un testo consiste nella costruzione di un insieme di informazioni organizzate in modo coerente, grazie all’intervento di... more
L'articolo intende introdurre il lettore alla ricerca empirica negli studi letterari. L’esito della lettura di un testo consiste nella costruzione di un insieme di informazioni organizzate in modo coerente, grazie all’intervento di competenze di tipo linguistico e di tipo enciclopedico. Il lettore costruisce una rappresentazione mentale complessa, nella quale inserisce anche informazioni che non sono presenti nella superficie del testo, ma che la sua esperienza ritiene necessarie. In questo modo vengono concretizzate le parti indeterminate del testo letto. Un testo funziona sulla base di una fortissima cooperazione del soggetto che legge. In particolare la funzione estetico-emotiva richiede l’attivazione di ricordi personali coinvolgenti nella memoria del lettore. Queste considerazioni portano a un mutamento dell’oggetto e degli strumenti della ricerca (non più la lettura diretta del testo analizzato, ma l’osservazione di come il testo funziona con lettori diversi) e anche la necessità di una cooperazione interdisciplinare, in grado di coinvolgere gli studiosi di letteratura, gli psicologi e gli esperti di statistica. Gli studi letterari ci offrono secoli di esperienza nell’analisi di testi, la psicologia ci offre conoscenze e metodi per studiare i processi mentali dei lettori e la statistica ci permette di trarre conclusioni dall’osservazione di un numero elevato di comportamenti di lettura.
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Mentre si fanno sempre più pressanti il confronto e anche forme di competizione con altre aree di conoscenza, alcuni settori degli studi letterari sembrano molto lenti nel prendere atto della necessità di dare un fondamento esplicito al... more
Mentre si fanno sempre più pressanti il confronto e anche forme di competizione con altre aree di conoscenza, alcuni settori degli studi letterari sembrano molto lenti nel prendere atto della necessità di dare un fondamento esplicito al proprio lavoro di ricerca. Ovviamente i criteri di validazione dei risultati della ricerca non possono essere uguali in aree diverse, ma le aree che non esplicitano le proprie procedure di lavoro rischiano di porsi in una situazione di minore credibilità. Lo studio delle letterature ha la fortuna di avere un passato più lungo di molte scienze contemporanee, ma questo è anche il suo limite: c’è il rischio di essere prigionieri del proprio illustre passato.
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Esistono forme di allontanamento dalla realtà che sono fondamentali nello sviluppo della vita umana. Ne esiste traccia in tutta la storia dell'uomo. La letteratura (insieme all'arte in generale) ha una funzione importante nell'evoluzione... more
Esistono forme di allontanamento dalla realtà che sono fondamentali nello sviluppo della vita umana. Ne esiste traccia in tutta la storia dell'uomo. La letteratura (insieme all'arte in generale) ha una funzione importante nell'evoluzione dell'uomo perché, coinvolgendo fortemente l’uomo in mondi possibili che sono lontani dalle sue abitudini e dalle sue certezze, lo rende più preparato ad affrontare i mutamenti del suo ambiente.
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Aldo Nemesio argues in his article "The Comparative Method and the Study of Literature" for the comparative method as follows. Contemporary literary research is based on parameters and methods which do not appear to have evolved similar... more
Aldo Nemesio argues in his article "The Comparative Method and the Study of Literature" for the comparative method as follows. Contemporary literary research is based on parameters and methods which do not appear to have evolved similar to other fields of inquiry. If the study of literature is concerned with literary behavior, for instance, the object of study cannot limit itself to a single author or to a limited number of authors and what surrounds them closely. Also, national boundaries are too narrow: what happens within the boundaries of a culture can be understood only if we relate it to what happens elsewhere. A comparative investigation tries to understand the working of those human activities that are related to writing, distributing, and reading objects which -- in ways that differ in different cultures -- are called literature. Literary studies have a longer history than most contemporary sciences: for this reason, literary studies are probably hampered by old habits and constrictions. A long-standing tradition and an established prestige is a hindrance to advantageous change. The most important task of contemporary literary scholars consists in overcoming the awe of their own traditions.
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When a character is introduced in a narrative text, his/her aspect and personality are constructed by the reader on the basis both of information found in the text and of inferences actively produced by the readers. The first perception... more
When a character is introduced in a narrative text, his/her aspect and personality are constructed by the reader on the basis both of information found in the text and of inferences actively produced by the readers. The first perception of a character is likely to change in the course of reading, as the reader encounters new information and activates relevant inferences: this changes in the state of the mind are components of reading pleasure.
The type of the information given by the narrator depends on his/her priorities. Therefore, the reader receives information on the character and, at the same time, on the narrator's priorities. In the course of his/her act of reading, the reader activates, in his memory, material to be used in his concretization. In this way, s/he introduces new information; what is not explicitly described may be concretized differently by different readers. At the same time, the act of reading is very selective, removing information that is considered irrelevant. If the reader is then asked about information which has not been maintained in memory, s/he may be unable to recover it in full and may be forced to draw inferences that lead to results that are different from the text's surface.
In this paper we examine the way in which six characters are introduced in Italian novels by Gadda, Manzoni, Moravia, Svevo, Tarchetti and Vassalli. Participants were asked to read passages from the texts where the characters were presented for the first time and then summarize the passages and answer some questions. In our examination of the answers, every time we find information that was not given in the texts, we have evidence of material coming from the readers' inferences and world knowledge. This study shows how characters can be concretized differently by different readers, particularly in relation to gender and education.
The type of the information given by the narrator depends on his/her priorities. Therefore, the reader receives information on the character and, at the same time, on the narrator's priorities. In the course of his/her act of reading, the reader activates, in his memory, material to be used in his concretization. In this way, s/he introduces new information; what is not explicitly described may be concretized differently by different readers. At the same time, the act of reading is very selective, removing information that is considered irrelevant. If the reader is then asked about information which has not been maintained in memory, s/he may be unable to recover it in full and may be forced to draw inferences that lead to results that are different from the text's surface.
In this paper we examine the way in which six characters are introduced in Italian novels by Gadda, Manzoni, Moravia, Svevo, Tarchetti and Vassalli. Participants were asked to read passages from the texts where the characters were presented for the first time and then summarize the passages and answer some questions. In our examination of the answers, every time we find information that was not given in the texts, we have evidence of material coming from the readers' inferences and world knowledge. This study shows how characters can be concretized differently by different readers, particularly in relation to gender and education.
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This paper examines cognitive and emotional responses produced while reading a short story by Igino Ugo Tarchetti ("Uno spirito in un lampone"). The text was presented in the original and in two modified versions, which differed in the... more
This paper examines cognitive and emotional responses produced while reading a short story by Igino Ugo Tarchetti ("Uno spirito in un lampone"). The text was presented in the original and in two modified versions, which differed in the presence or absence of anticipations. Subjects answered questionnaires after reading the short story using a seven-point Likert-type scale. Readers' responses considered were: coherence, curiosity, emotionality, empathy, facility, imagery, impact, interest, involvement, pleasure, pleasure at the outcome, postdictability, surprise, surprise at the outcome and suspense. Effects of text version, gender, high school and academic studies were examined. A factorial analysis was carried out, exploring the underlying dimensions of the fifteen responses. A first factor includes curiosity, emotionality, empathy, imagery, impact, interest, involvement, pleasure and suspense: this factor concerns the reader's participation in the story ("involvement during reading"). A second factor, including pleasure at the outcome, surprise, surprise at the outcome and suspense (the latter response is also included in the first factor), concerns responses to the outcome of the story ("evaluation of the outcome"). A third factor, including coherence, facility, pleasure at the outcome (also included in the second factor) and postdictability regards a cognitive evaluation of the structural and linguistic features that make the story comprehensible ("cognitive evaluation"). The same three factors were found in a previous experiment using Poe's short story "The Oblong Box” (Levorato, 2003). Women scored significantly higher on curiosity, emotionality, imagery, impact, interest, involvement, pleasure and suspense, all belonging to the first factor. Individual differences in relation to high school and academic studies were not significant. The presence or absence of anticipations significantly influenced surprise and surprise at the outcome.
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This paper examines cognitive and emotional responses produced while reading a short story. The text was presented in the original and in two modified versions, which differed in the presence or absence of anticipations. Readers were... more
This paper examines cognitive and emotional responses produced while reading a short story. The text was presented in the original and in two modified versions, which differed in the presence or absence of anticipations. Readers were presented with a questionnaire concerning their responses. Effects of text version, gender, and type of academic studies were examined. A factorial analysis explored the underlying dimensions of the fifteen variables. Three factors emerged, concerning readers' participation in the story, responses to the violation of their expectations and cognitive evaluation of the textual features that make the story comprehensible. Women scored significantly higher on the first factor and the presence or absence of anticipations significantly influenced the second factor.
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https://www.trauben.it/shop/saggistica-letteraria-e-linguistica/il-lettore-nel-testo/ Questo libro presenta un progetto che si propone di studiare la presenza della figura del lettore nei testi letterari e nei media. Si tratta di... more
https://www.trauben.it/shop/saggistica-letteraria-e-linguistica/il-lettore-nel-testo/
Questo libro presenta un progetto che si propone di studiare la presenza della figura del lettore nei testi letterari e nei media. Si tratta di un’esplorazione di situazioni in cui si parla di lettore e di lettura (per esempio perché l'autore si rivolge ai lettori, perché il lettore compare come personaggio, perché si parla di lettura, ecc.), con l'obiettivo di raccogliere testimonianze che riguardano culture e forme di comunicazione diverse e anche diversi momenti nella storia. Sono stati raccolti dodici contributi, che ci permettono di esplorare il campo attraverso gli occhi e la competenza di studiosi dotati di competenze diverse, stili e interessi diversi, in modo da costruire una prima campionatura dell'oggetto dello studio. Si parla del lettore collaborativo di Dante Alighieri, di lettori e pubblico nella novellistica italiana del XV° secolo, di lettura e (ri)scrittura dell’antico negli antiquari rinascimentali, di lettura nelle scrittrici siciliane dell'Otto-Novecento, del lettore nella forma breve del narrare nel primo Novecento in Italia, di immagini di lettori nella critica letteraria italiana di inizio Novecento, di lettura e lettore nelle narrazioni post-apocalittiche, della figura del lettore nella prosa emiliana contemporanea, del lettore nel Bildungsroman contemporaneo, di lettori nel cinema e dell’atto di lettura dei testi digitali.
Questo libro presenta un progetto che si propone di studiare la presenza della figura del lettore nei testi letterari e nei media. Si tratta di un’esplorazione di situazioni in cui si parla di lettore e di lettura (per esempio perché l'autore si rivolge ai lettori, perché il lettore compare come personaggio, perché si parla di lettura, ecc.), con l'obiettivo di raccogliere testimonianze che riguardano culture e forme di comunicazione diverse e anche diversi momenti nella storia. Sono stati raccolti dodici contributi, che ci permettono di esplorare il campo attraverso gli occhi e la competenza di studiosi dotati di competenze diverse, stili e interessi diversi, in modo da costruire una prima campionatura dell'oggetto dello studio. Si parla del lettore collaborativo di Dante Alighieri, di lettori e pubblico nella novellistica italiana del XV° secolo, di lettura e (ri)scrittura dell’antico negli antiquari rinascimentali, di lettura nelle scrittrici siciliane dell'Otto-Novecento, del lettore nella forma breve del narrare nel primo Novecento in Italia, di immagini di lettori nella critica letteraria italiana di inizio Novecento, di lettura e lettore nelle narrazioni post-apocalittiche, della figura del lettore nella prosa emiliana contemporanea, del lettore nel Bildungsroman contemporaneo, di lettori nel cinema e dell’atto di lettura dei testi digitali.
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Che posizione occupano gli studi letterari all’interno della ricerca contemporanea? Qual è il rapporto tra testi che si occupano di letteratura e testi che si occupano di altre aree dell’esperienza umana? Il libro di Nemesio pone alcuni... more
Che posizione occupano gli studi letterari all’interno della ricerca contemporanea? Qual è il rapporto tra testi che si occupano di letteratura e testi che si occupano di altre aree dell’esperienza umana? Il libro di Nemesio pone alcuni studi letterari – in particolare saggi che riguardano la poesia di Gozzano – in relazione ad articoli scientifici contemporanei, con lo scopo di capire il tipo di domande che si pongono studiosi di settori diversi, il tipo di strumenti di conoscenza utilizzati e le strutture del linguaggio impiegato per comunicare con i membri della propria comunità culturale.
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contemporary Italian literature
empirical research on texts
act of reading
theory of literature
empirical research on texts
act of reading
theory of literature
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Research Interests:
Many times after reading an academic publication, I am left with the impression that the author - under quantitative pressure - has taken some of my time, and often also some public money, with the main purpose of increasing his/her... more
Many times after reading an academic publication, I am left with the impression that the author - under quantitative pressure - has taken some of my time, and often also some public money, with the main purpose of increasing his/her personal academic productivity score. In order to survive in highly competitive evaluation systems, many academics have ceased to do complex research and are limiting themselves to easy exercises that lead to fast products. Doing this for a long time may cause the loss of competence to do research.