I Poeti Contemporanei 43 (Italian Edition)
Ad veri latine efficiantur quo, ea vix nisl euismod explicari. Mel prima vivendum aliquando ut. Sit suscipit tincidunt no, ei usu pertinax molestiae assentior. Eam in nulla regione evertitur. Dico menandri eum an, accusam salutandi et cum, virtute insolens platonem id nec. Ut habeo summo impedit has, sea eius tritani sapientem eu. Vel laudem legimus ut, consul nominavi indoctum ex pri.
Falli omnesque vivendum eos ad, ei hinc diceret eos. Nam no nonumes volumus quaerendum, cu meis graeci audiam vis. This article uses digital humanities tools to describe the Poeti der Trullo and their district, developing some arguments on the themes and language that characterise their poems. Its aim is to understand the cultural and social roots of this street poetry phenomenon and its effects on contemporary society. Through a simple gesture such as writing a poetic message on a wall, these young performers reveal the strength of a cultural tradition that discloses a new act of resistance which has a pragmatic effect on society.
In only six years of existence, these poets have effectively created a movement capable of generating effective change in their district. This ensemble of urban performers, who call themselves poets , is composed of seven anonymous people coordinated by thirty-year-old Inumi Laconico Laconic Inumi , whom I interviewed for the purpose of this research. There is also another poet who collaborates with them, though he is mainly devoted to publishing his poems: Their artistic works are concentrated in the Roman South-Western district of the Trullo, but each has their own special area, probably corresponding to where they live in Rome.
For the purpose of this study, I have created a corpus of all the poems the Poeti der Trullo have written in the streets, referred to as ST , and the works they have published , generically referred to as poems. The Poeti der Trullo also wrote two manifestos: The first is called Street Poetry Manifesto , and is available online, and the second is entitled Metroromanticismo , and is included in their last volume.
The entire corpus was analysed with software tools dedicated to textual analysis. WordSmith was used to calculate word recurrence and the type—token distinction. TXM and the plugin TreeTagger were used to analyse parts of speech in the corpus, which afterwards were represented graphically using Voyant tools.
The corpus was also explored by the software RStudio and the R-language stylometry package Stylo , to understand the stylistic similarities between these poets, through a stylometry methodology. A basic overview of this corpus shows how the Poeti der Trullo are the mouthpiece of several relevant themes.
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Formally, the plan of these poems mixes literary writing with colloquial and, sometimes vulgar, statements. The corpus, in its final form, consists of two-hundred-and-fifteen poems. One-hundred-and thirteen were written on the walls and one-hundred-and-two were transcribed from their published works. The poems, mainly concentrated in the districts shown on the map below, are divided as follows:.
The Trullo district is the centre and source of inspiration for this poetic protest.
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The Trullo has a long history of being mentioned in artistic productions. The district takes its name from a Roman sepulchre shaped like an Apulian trullo. This environment has given way to a typically Roman sense of community that binds the people together, because they suffered the economic crisis and from the indifference of politicians. Trullo residents should love their district and their neighbours, and strive to make it a better place to live.
Indeed, the Poeti der Trullo started their artistic activities alongside other groups, which specialised in graffiti, such as the Pittori Autonomi der Trullo, in order to re-evaluate the district through their street art. By using graffiti , the Poeti der Trullo represent a contemporary phenomenon of resistance that has developed using this tool, traditionally employed by Roman contestation during the history.
Graffiti is known to have been widespread in Ancient Roman culture, a discovery mostly owed to the archaeological site of Pompeii. This form of expression involved both sexes, just as the Poeti der Trullo are composed of men and women: There were two different kinds of graffiti: The latter covered a large range of topics including advertisements and political statements, but also poems: Following this tradition, the Poeti der Trullo have literally rethought Rome as an anthology, writing their poetical works on the walls of the Italian capital in a everyday language, as though the buildings were a blank page.
Ever since the Classic age, Romans have used walls to voice their critiques of institutional power, express their feelings, or mock other commoners, nobles or even the Pope. This is also the case with the poems that were pasted on the talking statues like Pasquino , from the seventeenth century onwards. The reworking of the Pasquinate is another particularity of the resistance performed by the Poeti der Trullo.
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Pasquino, one of the talking statues of Rome, situated in Piazza Pasquino, provided an outlet for a particular form of anonymous political expression in Rome. This statue impersonated the anonymous Roman satire that was mainly directed at three categories of individuals:. The Poeti der Trullo have adopted a similar technique by pinning writings on buildings or objects in the city. As Ancient Romans did with the Pasquinate, the Poeti der Trullo voice their disapproval of politics and contemporary habits. These poets call this type of street art sepotesseparlare If it could speak.
The map is accessible at https: The Poeti der Trullo, as explained above, strongly disapproved of local institutions. One example of their dissent is a poem that gives a voice to the red Fiat Panda of ex-mayor Ignazio Marino, which the poets found parked in Piazza del Campidoglio.
Marino was subjected to a brutal, constant smear campaign by opponents and Roman inhabitants during his mandate.
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Another criticism against politics lies in a poem pinned to the Colosseum. Through this text, the monument expresses itself, complaining about its state of neglect. Churches have remained in a good state of repair, while Italian public buildings have fallen into a state of neglect: It is a criticism of local institutions that increase the prices of common services while preserving their privileges. In the Montecucco area, an abandoned skateboard complains about its situation, saying it would like to go back to the period when its owner put his feet on its face instead of spending all his time playing videogames.
By giving a voice to an object that is typical of young people, the Poeti der Trullo describe how the new generation prefers to spend time indoors instead of living outside in the district. On a similar topic, the poem left on a mailbox at the post office in Via Lenin complains about modern society that has abandoned letters in favour of emails and WhatsApp.
It says that now letters are used exclusively for bills sent by tax collectors, who reduce families to poverty. Conversely, other examples are dedicated to urban cleanliness and criticise both those who litter the district, and the AMA, the Roman waste management agency, accused of failing to collect garbage. For instance, an abandoned gas stove at the Piramide Cestia explains, through a poem, that no one gave it a proper burial even though it spent its life cooking for its owners. Similarly, the Poeti der Trullo pasted a text on a garbage container in Via della Magliana asking Romans to dispose of their garbage appropriately.
Finally, the last example of urban Pasquinata is the fountain of Nasone, erected in by Mayor Luigi Pianciani, in the context of his new hydric plan. People have denounced the fountain as a waste of water because it has no valve. The Nasone says that even though people disapprove of it, it has always been at their disposal, through the ages, in the face of adversity. The reworking of the Pasquinate displays how the Poeti der Trullo insert themselves into a cultural tradition that literally brings poetry to the streets.
They not only adopt this typical Roman custom, but also the Roman vernacular, which is one of the symbols of the city. It is no suprise that Inumi Laconico, in an interview with me, directly names language as one of the most important topics in describing the nature of their poetical act of resistance.
Abbiamo una lingua bellissima fatta di decine di variazioni che devono essere usate. His statement confirms a proximity between oral language and that used in street poetry. As Dawes has observed, this proximity is the result of artistic productions linked to urban culture:. Since so-called street poetry is characterised by an intense oral execution or performance and since it is inextricably linked with the growth of poetic expression in the music industry rap, dub poetry, deejaying , there is a quality of social stratification that is inherent in its relegation to the place of street poetry.
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At the heart of this relegation is an emphasis on its otherness , its peripheral position in relation to the mainstream: Er Bestia, for instance, in one of his poems, states that rapping was one of his previous activities:. In Italy, forms of artistic expression such as rap, which are typical of urban communities, are also characterised by a meaningful use of dialects: For several artists, even widely successful ones, the use of linguistic native variations symbolises the link with their origins: Indeed, Roman people perceive their vernacular as the symbol of their attachment to their territory: An example is the verb volere to want: The Romanesco dialect is also characterised by the progressive consonantal assimilation: Through this phenomenon, a word like mondo world , becomes monno.
Another example of vocalic conservation is represented by di of. This preposition in the Romanesco dialect is pronounced like de , showing the conservation of the atonic e , a phonetical trait that becomes even more common in the case of a vowel in the pretonic position: An example of this is the coexistence of Romanesco forms and their Italian equivalents.
In their published works, the Poeti der Trullo tend towards a more normative use of the language. This trend is confirmed by the use of the form vojo 13 times and voglio 20 times. Indeed, the latter form is more diffuse than its vernacular version. Present-tense use of the third person of the verb volere further confirms this phenomenon.
The pains they take to write poems in the Romanesco dialect are emblematic of their main objective of being the last advocates of a popular tradition, which in Rome is deeply rooted in the past. The linguistic differences between those two textual categories allow us to gain a better understanding of the approach that these poets have towards the poetry. As we try to understand in greater depth the differences between these two categories of texts the first dissimilarity is, of course, their length. Indeed, the street poems aim to leave short, striking messages that are often closer to aphorisms than poems.
Some street poems have been taken up in the published volumes, in extended versions. However, the elements that determine the differences between street poetry and published poems are linguistic rather than thematic even if, for instance, social topics are more often encountered in their street poetry. Indeed, it gives a statistical indication of the lexical variety of a corpus. Fermarsi a vedere cosa, a pensare cosa?
Non gli appartiene, eppure lo sente suo. La magia visionaria del suo sguardo gli consente di godere appieno dello spettacolo. Il poeta sente il leggero colpo di vento, vede i fiocchi cadere: La ripetizione del verso And miles to go before I sleep ritorna poi controversa: Come dire, queste promesse portate avanti ogni giorno dopotutto non cambiano il destino di ognuno di noi. Mi piace Mi piace. Gli anni meravigliosi 7: