Irony is the most evident stylistic trait in Meneghello’s writing and personality. Widely recognized by critics, and by the author himself, it appears first and foremost as a mechanism for controlling emotion and opposing rhetorical showing off. But it is also a powerful cognitive tool, an underlying tension in his style, that allows the most diverse levels of reality to be grasped in their interaction. Thus the reader becomes ensnared in a subtle game, where the ironic target slips away again and again in a dynamic and productive synergy of differing points of view. In the end, the outcome of derision, or, worse, sarcasm, is avoided, and a complicit and sympathetic smile is achieved, rooted in reflection and emotion. The variety of Meneghello’s writings opens up an extraordinary line of enquiry: in this paper are offered a few short surveys of his debut masterpiece, in particular of the dialectic between two points of view, one from below – that of the child – and the other from above – that of Meneghello as Professor.
University of Geneva, Switzerland - ORCID: 0009-0004-3337-6044
Titolo del capitolo
Forme e funzioni dell’ironia in Libera nos a malo
Autori
Luciano Zampese
Lingua
Italian
DOI
10.36253/979-12-215-0565-8.16
Opera sottoposta a peer review
Anno di pubblicazione
2024
Copyright
© 2024 Author(s)
Licenza d'uso
Licenza dei metadati
Titolo del libro
Meneghello 100
Curatori
Francesca Caputo, Ernestina Pellegrini, Diego Salvadori, Franca Sinopoli, Luciano Zampese
Opera sottoposta a peer review
Anno di pubblicazione
2024
Copyright
© 2024 Author(s)
Licenza d'uso
Licenza dei metadati
Editore
Firenze University Press
DOI
10.36253/979-12-215-0565-8
eISBN (pdf)
979-12-215-0565-8
eISBN (xml)
979-12-215-0566-5
Collana
Biblioteca di Studi di Filologia Moderna
e-ISSN della collana
2420-8361