Chiara Tognarelli

Un’esperienza di studio: le <em>Nuove poesie</em> di Carducci

Introduction

Un’esperienza di studio: le <em>nuove poesie</em> di carducci. Esplora l'importanza delle Nuove poesie di Giosuè Carducci, un'opera a lungo trascurata ma fondamentale per comprendere la sua versatilità poetica e ideologica.

Abstract

L’autrice ripercorre le proprie ricerche dedicate alle Nuove poesie e ne stila un bilancio provvisorio. Le Nuove poesie hanno costituito a lungo un ‘oggetto perduto’ degli studi carducciani. Di ciò è stato corresponsabile il loro autore, che le ha smembrate nelle sillogi monumentali di Giambi ed epodi e Rime nuove. Eppure, le Nuove poesie costituiscono una tappa importante nell’itinerario poetico e ideologico di Carducci. La varietà di temi, forme e registri che le caratterizza restituisce, infatti, una preziosa istantanea della versatilità conseguita da Enotrio Romano nei primi anni Settanta.&nbsp;

Review

The article "Un’esperienza di studio: le *Nuove poesie* di Carducci" presents a compelling re-examination of a significant yet often-overlooked collection within Carducci's oeuvre. The author undertakes a retrospective analysis of her own research dedicated to *Nuove poesie*, offering a provisional assessment of its place in Carducci studies. A central premise of the work is the identification of *Nuove poesie* as a "lost object," a crucial phase in Carducci's poetic trajectory that has been historically marginalized by scholarship. The abstract effectively outlines the reasons for this marginalization, noting Carducci's own role in dismembering the collection into his later, more monumental works, *Giambi ed epodi* and *Rime nuove*. Despite this fragmentation, the article argues convincingly for the enduring importance of *Nuove poesie* as a vital stage in Carducci's poetic and ideological development. By exploring the variety of themes, forms, and registers present in the collection, the author aims to provide a valuable snapshot of Carducci’s artistic versatility—that of "Enotrio Romano"—during the early 1870s, a period often overshadowed by his later consolidated output. This reflective and reconstructive approach promises to make a significant contribution to Carducci scholarship. By rehabilitating *Nuove poesie* from its 'lost' status, the article offers scholars a fresh perspective on Carducci's formative period, potentially challenging established narratives and encouraging further inquiry into the genesis and evolution of his poetic voice. The work appears poised to enrich our understanding of Carducci's creative process and ideological shifts, underscoring the value of revisiting fragmented or overlooked texts to gain a more complete picture of an author's development.

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