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Exactitude is the third of the Six Memos for the Next Millennium by Italo Calvino (Cambridge MA, 1988). According to Calvino ‘exactitude’ is a «well-defined and well-calculated plan for the work in question; an evocation of clear, incisive, memorable images [...]; a language as precise as possible both in the choice of words and in the expression of the subtleties of thought and imagination». The aim of Prolepsis’ 4th International Conference is to reflect on Calvino’s definition applying it to the Classical, Late-Antique and Medieval Worlds.
Bruno, N., Dovico, G., Montepaone, O. and Pelucchi, M. 2022. The Limits of Exactitude in Greek, Roman and Byzantine Literature and Textual Transmission. Berlin, Boston: De Gruyter., 2022
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The text discusses in detail the emperor’s constitution concerning the abuses of tax collectors in Africa (CTh, X, 17, 3 = CJ, IV, 44, 16 – a. 391/392), arguing against associating it with the idea of laesio enormis developed in the Middle Ages.
The Limits of Exactitude in Greek, Roman, and Byzantine Literature and Textual Transmission, Trends in Classics Supplementary Volume 137, edited by Nicoletta Bruno, Giulia Dovico, Olivia Montepaone and Marco Pelucchi, Berlin-Boston, pp. 83-105, 2022
This paper shows how Lucian's Toxaris, a dialogue about friendship in which the characters tell stories about exemplary friends, integrates the concept of exactitude in the characters' strategies of persuasion. The function of this rhetorical demonstration of exactitude, which builds upon methodological considerations in historiography, is to testify to the validity of the characters' stories. The aim of this paper is to demonstrate that this discourse about exactitude is limited in two ways. From an extra-dialogical perspective, the rhetorical display of exactitude signals, through the characters' repeated expressions of disbelief, the opposite of factuality. From an intra-dialogical perspective, the importance of exactitude is limited by the way that the dialogue performs friendship, which builds upon belief and trust, notwithstanding the characters' expressions of doubts about the truthfulness of the stories told. Exactitude and its connotations of factuality thus reveals itself to be an ineffective instrument for the assessment of moral examples.
Jan 2012: Comparative Literature 64(1): 94-109 A recurring problem in much critical writing about the Oulipo is a tendency to homogenize the output of the group’s writers in order to present a universal poetics of constrained writing. Oulipians rightly bristle at these attempts to oversimplify the group’s history. Nevertheless one useful distinction has been made by Jacques Roubaud who notes the widening of the group’s membership which began with himself in 1966, and postulates that a second era—the “Perecquian era”—of the Oulipo began in 1969, when Georges Perec published his infamous novel without the letter e, La Disparition. This paper will look closely at the theoretical writing of Italo Calvino over the six year period from 1967 to 1973—the years between his translation of Raymond Queneau’s novel Les Fleurs bleues and his full election to the Oulipo—arguing that, during this time, Calvino’s own poetics underwent a significant change with regard to the perceived relationship between creativity and constraint. The paper will make its case by analogy with two authors often cited by the Oulipo—the medieval theologian Ramón Llull and the Atomist philosopher Lucretius—between whom Calvino draws a parallel in one of his final works, the undelivered lectures, Six Memos for the Next Millennium. Instead of a parallel, however, this paper will argue that Llull and Lucretius represent two opposing models of the combinatorics, and that the former encapsulates Calvino’s views at the start of the period in question, while the latter neatly exemplifies his later position. It will suggest too that the trend in Calvino’s thought is germane to the distinction which Roubaud makes—that Calvino’s earlier position is characteristic of the “pre-Perecquian Oulipo,” while his later views are closer to those expressed by some of his peers among the group’s second wave.
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