Oltre Freud? On dream aesthetics in Italian literary modernity: Italo Svevo, Federigo Tozzi, Carlo Emilio Gadda

正在进行中的意大利文学现代性梦美学专著追求的是一种契约主义的视角。它提供了19世纪和20世纪初梦境研究发展的视角--到目前为止，很少有人研究--以及意大利现代性的谱系和审美过程的潜力。这项工作的核心是伊塔洛·斯维沃、费德里戈·托齐和卡洛·埃米利奥·加达的散文文本，以及关于睡眠和做梦的精神病学、哲学、心理学和生理学文本。由于弗洛伊德在意大利心理学和精神病学中迟迟没有被接受，科学的梦研究和表面上看是弗洛伊德式的梦的文学接触之间存在着一种特定的、紧张的关系。处理当时关于梦的心理生理方面的已知情况，可以让我们确定上述作者历史上对梦的概念，并为分析他们的梦美学奠定基础。在Svevo、Tozzi、Luigi Pirandello和Alberto Savinio等作家的作品中，利用梦作为主题、主题和叙事模式的核心作用-换句话说，那些在诗意反思中与模仿-参照文学概念保持距离的作家，以及致力于发展一种“现代艺术”的作家--该项目调查了记录梦想的过程如何成为意大利文学现代的反模仿写作模式的问题。在这种更新应用的背景下，分析将通过包括卡洛·埃米利奥·加达的短篇小说和长篇小说来扩展。它与项目结构的相关性在过去几年所做的研究中得到了证明。托齐从来没有读过弗洛伊德对梦的解释，斯维沃在他写作的第一阶段不知道弗洛伊德的作品，在第二阶段以一种既肯定又讽刺的方式参与其中，加达从他的作品一开始就站在与精神分析创始人的批判性对话中。他在他的理论著作中反映了弗洛伊德的梦境概念，然后在他的文学文本中系统地绕过了这些概念。通过关注梦的不同符号结构和语言的矛盾作用，正如雅克·拉康后来将强调的那样，语言缺乏基本反映代表了弗洛伊德精神分析的盲点，伽达开辟了一个新的诗学维度，其意义值得研究。根据我的假设，在加达的短篇小说和长篇小说中，现代性梦想美学的可能性和局限性可以被范例地展示出来。

The monograph in progress on the dream aesthetics of literary modernity in Italy pursues a chiastic perspective. It provides a view of the development of dream studies in the 19th and early 20th centuries "beyond Freud" - to this point little researched - as well as a look at the genealogy and the potential of the aesthetic processes of Italian modernity. Central to this endeavor are the prose texts of Italo Svevo, Federigo Tozzi and, in the context of this renewal request, Carlo Emilio Gadda as well as psychiatric, philosophical, psychological and physiological texts about sleeping and dreaming. Because of the long-delayed reception of Freud in Italian psychology and psychiatry, there is a specific, tense relationship between scientific dream research on the one hand and the ostensibly "Freudian" literary engagement with dreaming on the other.Processing what was known at the time about the psycho-physiological aspects of dreaming allows us to determine the concepts of dreams held by the aforementioned authors historically "beyond Freud" and creates the basis for an analysis of their dream aesthetic. In using the central role that dreaming plays as a theme, topos and narrative model in works by authors such as Svevo, Tozzi, Luigi Pirandello and Alberto Savinio - in other words, by authors who distance themselves from a mimetic-referential concept of literature in their poetic reflection and who work on the development of a 'scrittura moderna' - the project investigates the question of how processes of recording dreams become a model of anti-mimetic writing in Italy's literary modernity.In the context of this renewal application, the analysis will be expanded by including the short stories and novels of Carlo Emilio Gadda, whose relevance for the structure of the project has proven itself in the research done in the last few years. After Tozzi, who never read Freud's Interpretation of Dreams, and Svevo, who did not know Freud's works during the first phase of his writing, and who in a second phase engaged with it in a way that was simultaneously affirming and ironic, Gadda stands, from the beginning of his oeuvre on, in a critical dialogue with the founder of psychoanalysis. He reflects Freud's conception of dreaming in his theoretical writings before he systematically circumvents them in his literary texts. By focusing on the differential sign structure of dreams and the ambivalent role of language, whose lacking basic reflection, as Jacques Lacan will later emphasize, represents a blind spot of Freudian psychoanalysis, Gadda opens a new poetological dimension, whose significance should be researched. According to my hypothesis, in Gadda's short stories and novels the possibilities and limitations of modernity's dream aesthetic can be paradigmatically demonstrated.