The Island, the Nation, the World. Sergio Atzeni and the post-modern definition of Sardinian ethnic identity

请求提供人权委员会研究金是为了资助编写关于意大利作家塞尔吉奥·阿茨尼（1952-1995）的专著的最后阶段。埃内斯托·费列罗（Ernesto Ferrero）将阿策尼定义为“民族作家”，他的故事取材于他的家乡撒丁岛的现在和神话般的过去。除了写小说、短篇小说、戏剧作品和诗歌外，他还做过记者，并将法语翻译成意大利语。在担任后一个角色时，他翻译了克劳德·莱姆斯-施特劳斯和格姆拉德·热内特的散文，以及帕特里克·查莫索的一部小说。他的母语是一种优雅的意大利文学，对方言和外国影响开放，具有高度实验性但又平易近人，个性而又健谈。虽然在国内和国际层面上，阿兹尼对保护文化传统和反对当代同一性过程的地方身份非常感兴趣，但他也是他那个时代的知识分子。他在政治上参与了1968年的运动，对流行音乐、摇滚和爵士乐充满热情，是一个贪婪而无所不包的读者，他的不同和对比的影响在他自己的作品中清晰地表现出来。其结果是一种后现代主义风格，传统与现代共存，在内容、结构、语言和风格等层面上发生冲突。阿策尼英年早逝后，他作为一名作家的重要性得到了广泛而深刻的认可。他的大部分小说都被翻译成法语，《我的figlio di Bakunìn》也被翻译成西班牙语和英语。他的短篇小说Bellas mariposas被收录在著名的Racconti italiani合集中，由Enzo Siciliano编辑为“I Meridiani”系列（米兰：Mondadori出版社，1997年）。关于阿兹尼的条目被添加到特雷卡尼百科全书（2001年）的意大利通用手册中。2005年，他逝世十周年纪念进一步增加了人们对他作品的兴趣，在都灵和卡利亚里举行了大型会议，出版了他的作品的新版本，还有改编的戏剧和电影。然而，迄今为止，对阿兹尼的批判关注仅限于几篇学术文章，朱塞佩·马尔西（Giuseppe Marci）的论文集（1997）以及马尔西和我编辑的一次会议记录（2001）。另一本会议论文集（Cagliari, 2005）将于2011年出版。我的专著是第一次尝试对阿策尼的作品进行连贯的风格、结构和主题分析。我在意大利现代小说多语化的总体框架下研究阿策尼的作品；我的研究方法整合了叙事学、文体学/语言学、文本文献学和多元文化研究的当前趋势。我对阿策尼作品的阅读挑战了这样一种观点，即一个假定的中心仍然保持着对边缘地区的政治、文化和语言霸权，并且——继卡洛·迪奥尼索蒂和詹弗兰科·孔蒂的有影响力的思想之后——它重申了意大利文化中多中心主义和多语言的历史活力。我的研究还将阿策尼的诗学与国际模式联系起来，特别是与马提尼克岛的法语作家帕特里克·查莫伊苏（Patrick Chamoiseu），他的作品被阿策尼翻译成意大利语，还有Éduard Glissant。因此，它提出了将阿策尼的写作定义为新意大利“内部后殖民主义”的一部分。在这方面，我的研究旨在扩展二十世纪后期的意大利文学经典，同时也符合利兹殖民和后殖民研究所（我是该研究所的成员）开展的“后殖民欧洲”项目，该项目“将殖民目光回归到当代欧洲大都市社会和文化中”。该项目衡量了一个快速转型但仍有等级结构的政体的参数，在这个政体中，新的跨国形式的社区、公民身份和治理与对身份、恐怖和种族的返祖态度相互竞争”（见：http://www.leeds.ac.uk/english/shared/lpsc/projects.htm）。

The AHRC Fellowship is requested in order to finance the final phases of the preparation of a monograph on the Italian writer Sergio Atzeni (1952-1995).Atzeni has been defined by Ernesto Ferrero as an 'ethnic writer', whose stories draw on both the present and the mythical past of his native island, Sardinia. As well as being the author of novels, short stories, theatrical works and poetry, he worked as a journalist and as a translator from French into Italian. In the latter role, he translated essays by Claude Lévy-Strauss and Gérard Genette, as well as a novel by Patrick Chamoiseau. His idiolect - a refined literary Italian, open to dialects and foreign influences - is highly experimental yet accessible, personal yet communicative.While strongly interested in preserving cultural traditions and local identities against contemporary homologation processes, operating at both national and international level, Atzeni is also an intellectual of his time. Politically involved in the 1968 movements, passionate about pop, rock, and jazz, a voracious and omnivorous reader, his different and contrasting influences emerge clearly in his own writing. The result is a post-modern mélange, where traditions and modernity coexist and clash on the levels of content, structure, language and style.Since his premature death, Atzeni's importance as a writer has gained a wide and profound recognition. Most of his novels have been translated into French, and Il figlio di Bakunìn has also appeared in Spanish and English. His short story Bellas mariposas was included in the prestigious collection Racconti italiani, edited by Enzo Siciliano for the series 'I Meridiani' (Milan: Mondadori, 1997). An entry on Atzeni was added to the Lessico Universale Italiano of the Treccani encyclopedia (2001). In 2005, the tenth anniversary of his death further increased interest in his work, with major conferences in Turin and Cagliari, new editions of his works, and also theatre and cinema adaptations. Nevertheless, critical attention to Atzeni has hitherto been limited to a few scholarly articles, a collection of essays by Giuseppe Marci (1997) and the proceedings of a conference edited by Marci and myself (2001). Another collection of conference proceedings (Cagliari, 2005) is scheduled in 2011. My monograph constitutes the first attempt at a coherent stylistic, structural and thematic analysis of Atzeni's oeuvre.I study Atzeni's oeuvre within the general framework of multilingualism in modern Italian novels; my approach integrates narratology, stylistics/linguistics, textual philology, and current trends in multicultural studies. My reading of Atzeni's work challenges the idea that a supposed centre still maintains its political, cultural, and linguistic supremacy over the peripheries, and - following from the influential ideas of Carlo Dionisotti and Gianfranco Contini - it reaffirms the historical vitality of polycentrism and multilingualism in Italian culture.My study also links Atzeni's poetics to international models, especially to francophone writers from Martinique such as Patrick Chamoiseu, whose work was translated by Atzeni into Italian, and also Éduard Glissant. Thus, it proposes a definition of Atzeni's writing as part of a new Italian 'internal post-colonialism'. In this respect, my research, while aiming at extending the Italian literary canon of the late twentieth century, also fits into the 'Post-colonial Europe' project run by the Institute for Colonial and Post-colonial Studies in Leeds (of which I am a member) which 'enacts the return of the colonial gaze on contemporary metropolitan European societies and cultures. The project gauges the parameters of a rapidly transforming but still hierarchically structured polity in which new transnational forms of community, citizenship and governance jostle with atavistic attitudes to identity, terror and race' (see:http://www.leeds.ac.uk/english/shared/lpsc/projects.htm).