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dc.contributor.authorSalvadori, Diego
dc.date.accessioned2023-11-29T04:57:13Z
dc.date.available2023-11-29T04:57:13Z
dc.date.issued2023
dc.date.submitted2023-11-27T17:05:05Z
dc.identifierONIX_20231127_9791221501483_4
dc.identifier2420-8361
dc.identifierhttps://library.oapen.org/handle/20.500.12657/85575
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/128365
dc.description.abstractIn Luigi Meneghello’s work, literary representations of the mineral world play a deconstructive role, in that they authorize unprecedented and transversal readings aimed at unlocking the writer’s material and scientific imagery. Meneghello quite literally seems to have ‘stratified’ his creative work through using this imagery, from the lithogenesis of writing to the semantics of the crystal, petrifying reveries, and the effusive magma of language. The líthos is used as a ‘probe’, a hermeneutic sounding device through which to investigate cultural systems, the sedimentation of collective memory, and the role of writing itself, and it functions as a privileged access key to the author’s poetics.
dc.languageItalian
dc.relation.ispartofseriesBiblioteca di Studi di Filologia Moderna
dc.rightsopen access
dc.subject.classificationthema EDItEUR::D Biography, Literature and Literary studiesen_US
dc.subject.otherComparative Literature
dc.subject.otherEcocriticism
dc.subject.otherLapidaries
dc.subject.otherLuigi Meneghello
dc.subject.otherMaterial Imagination
dc.titleIl tempo del diaspro. La litosfera di Luigi Meneghello
dc.typebook
oapen.identifier.doi10.36253/979-12-215-0148-3
oapen.relation.isPublishedBy2ec4474d-93b1-4cfa-b313-9c6019b51b1a
oapen.relation.isbn9791221501483
oapen.relation.isbn9791221501490
oapen.pages134
oapen.place.publicationFlorence
dc.seriesnumber73
dc.abstractotherlanguageIn Luigi Meneghello’s work, literary representations of the mineral world play a deconstructive role, in that they authorize unprecedented and transversal readings aimed at unlocking the writer’s material and scientific imagery. Meneghello quite literally seems to have ‘stratified’ his creative work through using this imagery, from the lithogenesis of writing to the semantics of the crystal, petrifying reveries, and the effusive magma of language. The líthos is used as a ‘probe’, a hermeneutic sounding device through which to investigate cultural systems, the sedimentation of collective memory, and the role of writing itself, and it functions as a privileged access key to the author’s poetics.


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