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Journal articles on the topic 'Neapolitan dialect'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Ledgeway, Adam. "Asyndetic complementation in Neapolitan dialect." Italianist 17, no. 1 (1997): 231–73. http://dx.doi.org/10.1179/ita.1997.17.1.231.

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2

WERR, SEBASTIAN. "Neapolitan elements and comedy in nineteenth-century opera buffe." Cambridge Opera Journal 14, no. 3 (2002): 297–311. http://dx.doi.org/10.1017/s0954586702000186.

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This essay examines the attributes of some typical opere buffe by Vincenzo Fioravanti, Nicola De Giosa, and Errico Petrella that may count as particularly Neapolitan. Contextualizing these ‘Neapolitan’ elements – especially the ‘Neapolitan characters’ like Pulcinella, and the use of local dialect and spoken dialogue – demonstrates their function in the comedy of these works, which rests on the multifarious, complex and yet direct connections between theatrical events and the real world surrounding them.

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3

Kerla, Nerma. "O NASTANKU ITALIJANSKOG JEZIKA I SPECIFIČNOSTIMA ODNOSA STANDARDNI JEZIK - DIJALEKTI / ON THE ORIGIN OF THE ITALIAN LANGUAGE AND SPECIFICITIES OF THE RELATION BETWEEN THE STANDARD LANGUAGE AND DIALECTS." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 264–87. http://dx.doi.org/10.46352/23036990.2020.267.

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The subject of this paper is the relation of the standard Italian language to the dialects present on the territory of Italy. In the first part of the paper, we will focus on the basic concepts such as the difference between the standard language and dialects, on the prestige it has in comparison to dialects, as well as on linguistic varieties. Since the issue of language is often related to socio-historical aspects, in the second part of the paper we will look at the development of the Italian language and its role in raising awareness of national identity. We will then explain the concept of

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4

Rimanelli, Giose, Achille Serrao, Luigi Bonaffini, et al. "Cantalèsia: Poems in the Neapolitan Dialect (1990-1997)." World Literature Today 74, no. 3 (2000): 662. http://dx.doi.org/10.2307/40156011.

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5

Ubaldi, Patrizia. "De Filippo translates Shakespeare’s The Tempest into Neapolitan of the 17th century. Analytical approach in morphological, lexicological and semantic perspective." Translationes 16, no. 1 (2024): 139–53. https://doi.org/10.2478/tran-2024-0010.

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Abstract This article aims to highlight the potential of the Neapolitan language in literature and, in particular, in theatre, to focus our attention on its expressive power, its communicative capability, especially in the transmission of feelings and emotions, and to underline the similarities or differences in the translation from the English text. I have tried to examine how the transition from Shakespearian English to the Neapolitan language used by Eduardo (Neapolitan of the 17th century) took place through the analysis of a few details of certain elements, essaying the transformation tha

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van Gastel, Joris. "Campania Felix?" Nuncius 32, no. 3 (2017): 615–39. http://dx.doi.org/10.1163/18253911-03203005.

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Neapolitan still life painting, even though Italy’s most prolific “school” of the genre, has attracted little theoretical analysis. Where scholars have considered the genre almost exclusively in terms of stylistic developments and questions of attribution, this paper, alternatively, draws inspiration from insights formulated largely outside the field of art history: Umberto Eco’s characterization of still life paintings as “visual lists” and Michele Rak’s characterization of seventeenth-century literature in the Neapolitan dialect as “literary still lifes.” Building on these insights, this pap

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Cruz García, Laura, and Matias Vedaschi. "Traducció dels sobrenoms de la màfia napolitana a l'anglès i al castellà de la sèrie de televisió 'Gomorra'." Language Value 16, no. 2 (2023): 100–123. http://dx.doi.org/10.6035/languagev.7369.

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This study deals with the translation for subtitling and dubbing of a type of Italian expression called contronomi traditionally used by members of the Neapolitan mafia. We have focused on this special kind of nickname used in the Italian series Gomorra to identify and describe the techniques employed in the translation of these meaningful linguistic cultural elements found in the series into English and Spanish. A contrastive analysis of the source text in the Neapolitan dialect and the subtitled version in English and the dubbed version in Spanish of the first season has been carried out. Th

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8

Vincenzo, De Rosa. "Dialetto barocco, dialetto materico. Il codice dialettale nei romanzi di due autrici napoletane contemporanee." Aura 4, no. 2 (2023): 52–67. https://doi.org/10.5281/zenodo.8042122.

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The essay presents an analysis of the uses of dialect in <em>Lisario o il piacere infinito delle donne </em>(2014) by Antonella Cilento and <em>La compagnia delle anime finte</em> (2017) by Wanda Marasco, paying specific attention to the lexical and phraseological component, especially in relation to the heterocosms respectively staged by the authors, therefore to the spatio-temporal setting that characterizes the two novels (on the one hand the Baroque Naples of the seventeenth century, on the other the popular Naples of the Second post-war). The analysis of linguistic uses and lexical choice

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9

Cardamone, Donna G. "Erotic Jest and Gesture in Roman Anthologies of Neapolitan Dialect Songs." Music and Letters 86, no. 3 (2005): 357–79. http://dx.doi.org/10.1093/ml/gci066.

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10

Liberti, Giuseppe Andrea. "Oltre Marechiare." Polisemie 3 (April 13, 2022): 1–22. http://dx.doi.org/10.31273/polisemie.v3.914.

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This paper describes some of the routes taken by Neapolitan poetry during the 21st century, paying particular attention to the most recognizable literary experiences and to authors whose works have been relevant for the evolution of the local poetic language. The paper traces a linguistic and formal path of the main tendencies of Neapolitan poetry: starting from the persistence of dialect, it continues by addressing experimentalism in Italian poetry written in Naples. Then, it focuses on the junction of performance and spoken strategies with long poems and narrative compositions, which I compa

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11

Cordisco, Mikaela, and Mariagrazia De Meo. "Subtitling Neapolitan Dialect in “My Brilliant Friend”: Linguistic Choices and Sociocultural Implications in the Screen Adaptation of Elena Ferrante’s Best-selling Novel." Respectus Philologicus 42, no. 47 (2022): 125–40. http://dx.doi.org/10.15388/respectus.2022.42.47.113.

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In the screen adaptation of Elena Ferrante’s best-selling novel “My Brilliant Friend”, the first foreign language co-production of the American pay-cable network HBO with the Italian public broadcaster RAI, as a specific requirement of the American producers, the Italian of the main characters has been transformed into Neapolitan, a thick regional dialect mostly appropriate to tell the story of a life-long friendship on the backdrop of the 1950s poor outskirts of Naples, the main city of southern Italy. Starting from some background theories of cultural aspects of translation together with aud

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12

Fotini Maniou, Roιdo Mitoula, Maria Manola, Anna-Irini Tsatalmpasoglou, and Astara Olga-Eleni. "Naples as a literary place: Tourism and cultural entrepreneurship." International Journal of Science and Research Archive 15, no. 2 (2025): 187–93. https://doi.org/10.30574/ijsra.2025.15.2.1258.

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This study examines how the city of Naples has been both a literary site and a cultural symbol through different narratives from the Middle Ages to the 21st century. It focuses on the cultural representation of the city through literature, detective narrative, theatre and film. Particular emphasis is placed on the use of the Neapolitan dialect as a vector of collective memory, but also on the polysemousness of the image of the city as the 'unconventional capital' of Italian cultural identity. Through the study of works by writers such as Giovanni Boccaccio, Anna Maria Ortese, Eduardo De Filipp

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13

HAMID, Chaouki. "L’intreccio delle lingue : Una Napoli polifonica durante lo sbarco degli alleati. In Napoli milionaria! 1945, di Eduardo De Filippo." Langues & Cultures 5, no. 01 (2024): 436–45. http://dx.doi.org/10.62339/jlc.v5i01.257.

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Questa presente ricerca mira ad analizzare, a livello linguistico, una delle più famose commedie del drammaturgo napoletano Eduardo De Filippo, vale a dire; Napoli milionaria! 1945, mostrando come il dialetto napoletano, con cui viene scritta la pièce teatrale, si incontrava con una lingua straniera (inglese) in una delle scene del secondo atto, ambientata durante lo sbarco degli alleati 1943. Difatti, l’autore attraverso tali scene cattura la ricchezza linguistica della Napoli del periodo, evidenziando come le diverse lingue e voci si intreccino, riflettendo la vita quotidiana in una città mu

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14

MARIĆ, Antonela, Marko DRAGIĆ, and Ana PLAVŠA. "FOLK AND ETHNOLOGICAL ELEMENTS IN THE COLLECTION TALE OF TALES OR ENTERTAINMENT FOR LITTLE ONES BY GIAMBATTISTA BASILE." Lingua Montenegrina 28, no. 2 (2021): 217–37. https://doi.org/10.46584/lm.v28i2.878.

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This paper aims at researching folk and ethnological elements that were identified within the short story collection, dated in the 17th century and entitled „Tale of Tales or Entertainment for Little Ones“, written by a Neapolitan Baroque writer Giambattista Basile. Folklore and ethnological elements represent the voice of the nation that passed from one generation to another traditional habits and wisdom, thus preserving the traditional culture. Besides this, the paper questions the role of the humoristic elements identified within the analysed short stories, as well as fantasy and didactic e

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15

Lamberti, Marika, and Marta Maffia. "“E IL NAPOLETANO, DOVE LO METTI?” LO SPAZIO DEL DIALETTO NEI REPERTORI PLURILINGUI DI IMMIGRATI ADULTI A NAPOLI." Italiano LinguaDue 17, no. 1 (2025): 161–86. https://doi.org/10.54103/2037-3597/29075.

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Inserendosi tra gli studi che esplorano il binomio dialetto-immigrazione nel contesto italiano, questo contributo fornisce uno sguardo su Napoli, città caratterizzata da una consistente presenza straniera e dalla forte dialettofonia. L’obiettivo è osservare lo spazio occupato dal dialetto napoletano nei repertori linguistici di un campione di 257 cittadini stranieri adulti residenti a Napoli, provenienti da 45 diversi paesi e con caratteristiche biografiche e sociolinguistiche molto varie. I dati, raccolti attraverso l’uso combinato della tecnica del ritratto linguistico e di un task di produz

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16

Guerini, Andréia, and Rozalir Burigo Coan. "Prefácios e posfácios na primeira tradução e última retradução para o italiano de Lo cunto de li cunti de Giambattista Basile." Caligrama: Revista de Estudos Românicos 20, no. 1 (2015): 5. http://dx.doi.org/10.17851/2238-3824.20.1.5-16.

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<p>Se as traduções mantêm vivos os “originais”, as retraduções os colocam em contínuo movimento literário, abrindo espaço para algumas reflexões, com destaque para a posição do tradutor em relação à obra que irá traduzir. Neste artigo buscamos analisar alguns paratextos, mais especificamente os prefácios e posfácios, que orientaram a primeira tradução para o italiano do dialeto napolitano de Lo cunto de li cunti, de Giambattista Basile, realizada por Benedetto Croce, em 1925, e a sua última retradução, de Carolina Stromboli, em 2013, a fim de verificar o que norteou os dois projetos trad

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17

Guerini, Andréia, and Rozalir Burigo Coan. "Prefácios e posfácios na primeira tradução e última retradução para o italiano de Lo cunto de li cunti de Giambattista Basile." Caligrama: Revista de Estudos Românicos 20, no. 1 (2015): 5. http://dx.doi.org/10.17851/2238-3824.20.1.5-17.

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<p>Se as traduções mantêm vivos os “originais”, as retraduções os colocam em contínuo movimento literário, abrindo espaço para algumas reflexões, com destaque para a posição do tradutor em relação à obra que irá traduzir. Neste artigo buscamos analisar alguns paratextos, mais especificamente os prefácios e posfácios, que orientaram a primeira tradução para o italiano do dialeto napolitano de Lo cunto de li cunti, de Giambattista Basile, realizada por Benedetto Croce, em 1925, e a sua última retradução, de Carolina Stromboli, em 2013, a fim de verificar o que norteou os dois projetos trad

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18

Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.

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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Nea

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19

Muller, Fernanda Suely, and Antonia Dayane Figueiredo Rodrigues. "A personificação do dialeto como violência em Um amor incômodo, de Elena Ferrante." Revista Italiano UERJ 13, no. 1 (2022): 12. http://dx.doi.org/10.12957/italianouerj.2022.70729.

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RESUMO: Elena Ferrante é o pseudônimo de uma escritora italiana cuja identidade é um mistério. Em sua trama de exórdio L'amore molesto (1992), Ferrante nos apresenta a história intrigante de Delia, personagem que procura desvendar a morte estranha de sua mãe e, ao mesmo tempo, precisa enfrentar o desconforto que lhe causa o retorno à sua cidade natal. Na tessitura do enredo, é interessante observar como a escritora utiliza a linguagem (mais especificamente o dialeto napolitano) como elemento reiterante da aflição emocional que a viagem a Nápoles desperta na protagonista. Sendo assim, sobretudo

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20

Ferrari, Jacopo. "PAROLE MIGRANTI. I MIGRATISMI DI IGIABA SCEGO." Italiano LinguaDue 14, no. 1 (2022): 879–928. http://dx.doi.org/10.54103/2037-3597/18332.

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I sei romanzi della scrittrice di origine somala Igiaba Scego qui presi in considerazione sono contraddistinti, specialmente i primi, da un accentuato plurilinguismo, data la presenza di parole somale, arabe, spagnole, francesi e inglesi, mescolate a voci dialettali romane e napoletane. Utilizzando queste opere come corpus si propone un glossario dei 153 migratismi che si sono rintracciati. Per ognuno di essi si segnalano le eventuali varianti grafiche e si riportano le informazioni grammaticali, la lingua di provenienza e il campo semantico. I significati, quando possibile, sono ricavati da f

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21

Groothuis, Kim, and Mirella De Sisto. "Microvariation in the second form the infinitive in Campania." Isogloss. Open Journal of Romance Linguistics 10, no. 3 (2024): 1–22. http://dx.doi.org/10.5565/rev/isogloss.340.

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Campanian dialects such as Neapolitan feature a so-called ‘second form of the infinitive’ (SFI), a form consisting of the bare verbal stem, which can be used after functional verbs. This paper addresses the microvariation concerning the construction by analysing novel data from the Valle Caudina, located to the northeast of Naples. The SFI is frequently found specifically with the imperative va ‘go!’. In Neapolitan, the form has been reanalysed as an imperatival form in this context, yielding an asyndetic imperative. At a first glance, the use of the SFI in Valle Caudina looks very similar to

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22

Segnini, Elisa. "Global Masterpieces and Italian Dialects." Journal of World Literature 2, no. 2 (2017): 236–54. http://dx.doi.org/10.1163/24056480-00202007.

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This essay suggests that the ultraminor can function as a paradigm to examine literature that emphasizes the minority status of the language in which it is composed. Engaging with Deleuze and Guattari’s definition of minor literature and with Pascale Casanova and Lawrence Venuti’s reflections on the role of translation in the shaping of world literature, it develops a comparison between two rewritings of Shakespeare into Italian dialects: Eduardo De Filippo’s translation of The Tempest into Neapolitan and Luigi Meneghello’s translation of Hamlet into vicentino. The essay underlines how these e

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23

Coluzzi, Paolo. "Language planning for Italian regional languages (“dialects”)." Language Problems and Language Planning 32, no. 3 (2008): 215–36. http://dx.doi.org/10.1075/lplp.32.3.02col.

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In addition to twelve recognized minority languages (Law no. 482/1999), Italy features a number of non-recognized so-called “dialects” that is difficult to state, but which renowned linguists like Tullio De Mauro and Giulio Lepschy calculate as ranging between 12 and 15. These languages are still spoken (and sometimes written) by slightly less than half of the Italian population and are the first languages of a significant part of it. Some of them even have a history of (semi)official usage and feature large and interesting literary traditions. An introduction on the linguistic situation in It

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24

Ledgeway, Adam. "Residues and Extensions of Perfective Auxiliary be: Modal Conditioning." Languages 7, no. 3 (2022): 160. http://dx.doi.org/10.3390/languages7030160.

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This article provides both a diachronic and synchronic account of the generalization of perfective auxiliary be in specific irrealis modal contexts across numerous Romance varieties spoken in Italy and more widely within the Romània, which has essentially gone unnoticed in the descriptive and theoretical literature. In some cases (southern Calabrian, Latin American Spanish, Portuguese), the distribution of be is to be interpreted as a residue of an original unaccusative syntax which was exceptionally preserved under higher V-movement in irrealis contexts, whereas in others (person-driven diale

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25

Noyer, Justine. "Le scelte linguistiche nel rap italiano di oggi: il caso di Ghali." Italogramma, no. 20 (May 25, 2022): 1–16. http://dx.doi.org/10.58849/italog.2022.noy.

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Ghali’s trap music presents a hybridized experience where languages and cultures are combined to form unique compositions. Born in Milan from Tunisian parents, Ghali’s work merges official languages (Italian, French, English and Spanish) but also regional dialects(Milanese, Neapolitan and Tunisian) as well as contemporary vocabulary connected with digital popular culture (video games, music industry, social media). This article studies to what extent these various languages intermingle in the artist’s music and the reasoning behind the switches from one to another. The findings confirm that th

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26

Pineda, Anna. "From dative to accusative. An ongoing syntactic change in Romance." Probus 32, no. 1 (2020): 129–73. http://dx.doi.org/10.1515/probus-2019-0001.

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AbstractIn several Romance languages, including Catalan, Spanish, Asturian and Neapolitan, several verbs (‘phone’, ‘answer’, ‘shoot’, ‘rob’, among others) can take a dative- or accusative-marked complement. I argue that this alternation is indeed a transition from dative to accusative; that is, it is a process of syntactic change, with different stages of evolution depending on the dialectal or even idiolectal variety. The relevant verbs, being a priori dative-taking intransitive verbs, are analyzed as unergatives, made up of a light verb and a nominal, ‘phone= do+phone call’. When the complem

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27

Buccheri, Lucia, and Francesco Montuori. "Una piattaforma lessicografica per il Dizionario Etimologico e Storico del Napoletano." Quaderni Veneti, no. 1 (December 18, 2024). https://doi.org/10.30687/qv/1724-188x/2024/01/009.

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The paper provides an update about the activities conducted by the editorial group of the Etymological and historical dictionary of Neapolitan (DESN) and reflects on the prospects offered by the new digital lexicographic platform for the creation of vocabulary entries. The platform, which is currently in the testing phase, was developed within the PRIN 2020 QM – The Future of Old Italian. Towards a New Digital Lexicography with the Southern Texts Corpus. This tool will transform the DESN in a web-based dictionary, simplifying the compilation process and facilitating the implementation of the v

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28

Cardullo, Sara N., and Kim A. Groothuis. "Revisiting Syntactic Microvariation and Diachrony in the Dual Complementizer Systems of Upper Southern Italy¹." Transactions of the Philological Society, April 17, 2024. http://dx.doi.org/10.1111/1467-968x.12292.

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AbstractThe primary aim of this work is to propose a diachrony of complementizer systems in the upper southern Italian dialects (USIDs). While previous diachronic studies have focused mainly on the transition from Latin to Romance, we aim to address several unanswered questions about the transition from medieval southern Italo‐Romance—in particular the system documented by Ledgeway (2005)—to the attested modern USID ones that are claimed to derive from it. Using the cartographic framework, and in particular the split‐CP (Rizzi 1997), our revisitation of the literature leads us to identify at l

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29

D'Alessandro, Libera, and Annachiara Autiero. "Retail Changes and Consumption Practices in the Neighbourhood of Vomero, Naples." Bollettino della Società Geografica Italiana, June 21, 2021, 25–35. http://dx.doi.org/10.36253/bsgi-1008.

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The article focuses on the Neapolitan neighbourhood of Vomero, whose most recent transformations can be effectively read through the lenses of retail and consumption geography. In greater detail, the evolution of the neighbourhood will be briefly outlined through a long-lasting look on its retail change, from its urbanization to the current configuration of a fabric modified by new consumption practices, in turn generated by the different demands of (old and new) inhabitants and users. The fieldwork research, which took place on a selected core-area and was articulated into various moments – s

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