Racconti di Fantascienza (Italian Edition)

Moreover, up to now, only scholars of American literature have manifested a deep interest in SF: On the whole, the gap between historians, biographers, and positivists usually working inside the field on the one hand, and theoreticians, sociologists, and "literary" critics usually academics on the other, has not yet been bridged.

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Some aspects of SF which are specifically Italian still await critical treatment. The sociology of SF in Italy has been completely neglected: Nor do we have a real history of SF in our country. We do have, though, a few competent people working in the field of cinema: The one important SF magazine currently published in Italy, Robot, devotes a certain number of pages to "criticism," but again, the term covers here many different meanings: Despite the dangerous tendency to an amateurish reductive criticism which tries to take in the whole career of a prolific author in four of five pages, Robot, may prove to have the same function Gamma had a decade before in helping the growth of a few promising critics.

One of the editors, Giuseppe Lippi, is worth mentioning even now, as he is responsible for some remarkable work on Lovecraft along with introductions to translations of novels by other writers.

Destinazione universo : racconti di fantascienza

Another positive development is taking place in the hardback editions, usually issued by "specialized" publishers, like Nord, Fanucci, or Armenia and by their predecessor in the sixties, the SF Book Club and containing critical prefaces or introductions stretching beyond the narrow bounds of the historical-cum-informative. Much more rewarding is the work of Inisero Cremaschi, who has become one of the more interesting Italian SF writers in his own right, but also the herald of a "national renaissance" in SF -- about which I daresay I am a bit skeptical.

While older writers such as Dick and Ballard, and newer ones like Delany, Disch, and Le Guin, are practically unknown beyond the specialized criticism, a possibly exaggerated accent has been recently laid on Asimov as the best representative of values and conventions in contemporary American SF. Here a sociocultural approach was in a sense unavoidable, and it can, in fact, be found both in the positive appreciation of Asimov by Ruggero Bianchi and in the more severe critiques by Alessandro Portelli.

Bianchi's perceptive analysis of The Caves of Steel, The Naked Sun, the Foundation trilogy, and the robot stories, pinpoints Asimov's awareness of the impact of technological progress on everyday life. According to Bianchi, the covenant between man and machine, in its various phases, is an allegory of the choice between anarchic individualism and the need for a programmed world order which modern society has to face. As a positivistic scientist, Asimov believes that a technocratic society will ultimately emerge; he does not trust the "irrational" masses; and he is interested in the psychology and behavior of the power-holders, who create and control machines, as well as in the ideological and psychoanalytical implications of the future world, with its gigantic over- or under-ground urban structures.

Some of the main themes examined by Alessandro Portelli are remarkably similar to those observed by Bianchi, though a few points about the use of linguistic devices and the SF "rhetoric" of Asimov are undoubtedly different. According to Portelli, in Asimov's fiction the present and the capitalistic order are dressed up as utopia, i. This brilliant conclusion leads Portelli to an over-simplified evaluation of SF as a totally reactionary genre, which skillfully inverts the ordinary processes of change: Social relationships tend to appear as natural facts; the stars and the air, by contrast, are subjected to infinite changes.

Some of us have been trying for years to start a magazine exclusively devoted to SF criticism, but, beyond financial and other practical difficulties, it will be a big problem indeed to keep it at the high standard required today to compete successfully with our Canadian, American, and British colleagues. And the use of Italian is a further liability, as our native language seems on the verge of extinction, from an international point of view. Only very recently has Italian criticism begun analyzing Poe's fiction in the light of SF.

Both critics look upon the effective link between Poe and 20th-century SF with a good deal of skepticism. Wells's "scientific romances" too have enjoyed only limited attention in Italy. Paradoxically, the most relevant contributions to understanding the relation between Wells and SF published in Italy have been translations of foreign criticism.

Wells, pioniere della fantascienza is largely indebted to Bergonzi's The Early H. Wells, and applies moralistic-cum-didactic criteria to the evaluation of Wells's contribution to SF -- which the author does not seem to have read extensively, anyway. Sergio Solmi, "Divagazioni sulla 'science fiction,' l'utopia e il tempo," Nuovi argomenti Nov. Laura Conti, "Alla ricerca delle radici storiche e psicologiche del racconto di fantascienza," Problemi del socialismo Feb.

In these years Elio Vittorini, interviewed by Inisero Cremaschi, showed a mixed attitude towards SF, complaining about its "gratuitousness" and quoting Gulliver's Travels as the great example to follow see Inisero Cremaschi, ed.

Umberto Eco, Apocalittici e integrati Milan, ; first ed. Gillo Dorfles, "La fantascienza e i suoi miti," in his Nuovi riti, nuovi miti Turin, , pp. Franco Ferrini note 9 , pp. See Carlo Pagetti, "SF: Franco Ferrini, introductory essay to "La Musa stupefatta" o della fantascienza Messina-Florence, , pp. Ruggero Bianchi, "L'assurdo logico," in his La dimensione narrativa: Giorgio Spina has published his lectures for a university course given in Genoa as Utopia e satira nella fantascienza inglese Genoa, Please re-enter recipient e-mail address es.

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