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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="utf-8" />
<meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no" />
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<title>Changing Lenses</title>
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<a class="navbar-brand" href="index.html#page-top">Changing <span style="color: #D4AF37">Lenses</span></a>
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<li class="nav-item"><a class="nav-link" href="index.html#about">The Project</a></li>
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Methodologies
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<h2 class="text-white mb-4">Documentation of the project</h2>
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<!-- Introduction to the methodologies -->
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<div class="featured-text text-lg-left">
<h3>Table of content</h3>
<p class="text-black-50 mb-0">
<ol id="docuidx">
<a href="#parIntro">
<li>Introduction</li>
</a>
<a href="#parMet">
<li>Methodologies</li>
</a>
<ol>
<a href="#parSDE">
<li style="font-weight: 100;">Semantic Digital Edition</li>
</a>
<a href="#parGeo">
<li style="font-weight: 100;">Spatial Analysis</li>
</a>
<a href="#parNet">
<li style="font-weight: 100;">Network Analysis</li>
</a>
</ol>
<a href="#parResult">
<li>Results and final remarks</li>
</a>
<a href="#biblio">
<li>Bibliography</li>
</a>
</ol>
</p>
</div>
</div>
</div>
<div class="paridx" id="parIntro">
<h3>1. Introduction</h3>
<p>
<i>Gli occhiali d'oro</i> by Giorgio Bassani plays a crucial role within the Italian narrative
tradition of the aftermath of the Second World War. The book was published in 1958 and constitutes
the second section of the series <i>Il romanzo di Ferrara</i>. As it has been often pointed out
(among the others, <a href="#Ferroni13">Ferroni 2013: 77</a>), the author stresses the theme of
historical memory and contextualises it within the geographical scenario of the city of Ferrara. The
chronotope of the plot is indeed the Emilian city during the late Thirties and, similarly to the
masterpiece <i>Il giardino dei Finzi-Contini</i>, describes the difficult situation experienced by
Jewish communities in Italy during Fascism. Albeit the novel seems to deepen a crucial theme for the
poetics of the author, it also deals with an unprecedented topic: the homophobic discrimination.
</p>
<p>
The protagonist of <i>Gli occhiali d'oro</i> is indeed Athos Fadigati, a well-known otolaryngologist
working in Ferrara. The first chapters of the book are aimed at describing the bourgeois milieu of
the small city and to provide the reader a portrait of the doctor. This harmonious balance is
however fragile: already at the end of the second chapter a plot twist takes place:
<blockquote>
«Non lo sai? Mi risulta che il dottor Fadigati è...» «Sta' a sentire la novità. Conosci mica
quel dottor Fadigati, che abita in Gorgadello, quasi all'angolo con Bersaglieri del Po? Ebbene,
ho sentito dire che è...»
</blockquote>
From this moment the reader witnesses an harsher and harsher discrimination towards Fadigati. Indeed,
his "inversione sessuale" is radically incompatible with the righteous principle of the Fascist
bourgeoisie. This discrimination will progressively exclude and marginalise the protagonist, whose
story cannot turn but into a tragedy. In fact, this unbearable burden will force Fadigati to drown
himself in the suburbs of Ferrara, at Pontelagoscuro.
</p>
<p>
The entire story is described from an internal observer, who works as emotive filter on the entire
plot. The narrator is indeed a Jewish middle-class young adult (maybe Bassani himself?): this
character, however, cannot be identified by a name, as it is referenced quite exclusively by
personal pronouns throughout the book. Acerbi and Faré <a href="#CassoBassa">(1966: 185)</a>
proposed a valid description of the narratological strategy implemented by Bassani in the book.
<blockquote>
A partire da <i>Gli occhiali d'oro</i> si apre la strada del puro intimismo, ponendosi come
unico interesse l'analisi delle reazioni psicologiche individuali. La piu significativa
innovazione e l'introduzione di un io narrante che, da elemento del coro intorno al dott.
Fadigati, si fa personalità di rilievo sempre maggiore in rapporto con il protagonista, e con
l'ambiente sociale, e in cui la personalità dell'autore si fonde e si immedesima con quella
della sua creatura fantastica. Ne consegue la riduzione dei personaggi a quanto il giovane, che
fa da narratore, coglie nel rapporto individuale, senza che questi vengano costruiti per
convergenza di più punti di vista [...]. Ma poi il giovane protagonista si fa, da semplice
osservatore e testimonio, partecipe del dramma del dottore [...]: è un incontro di perseguitati,
per una analogia di condizioni tra il dottore e il giovane ebreo, che si accorge, attraverso i
trasalimenti della sua vivissima sensibilita, di essere egli pure condannato ed esiliato dalla
vita per la sola colpa di essere d'un'altra stirpe
</blockquote>
</p>
<p>
The entire novel is therefore centered on the theme of the marginalisation and the segregation
caused by the Fascist regime. Albeit the plot unfolds in several settings, the tragedy of Fadigati
(and of the narrator as well) is mainly framed by the city of Ferrara. This place is treated as a
living scenario, continuously shaped by the interaction among the main characters and secondary
background. The description of the city in Bassani has a crucial role: already at the first page,
each event and character is centered in well defined geographical dimension. This choice allows to
track movements and change of habits of different characters along the plot as any micro-story is
effectively part of the "romanzo di Ferrara".
</p>
</div>
<div class="paridx" id="parMet">
<h3>2. Methodologies</h3>
<p>
As highlighted above, <i>Gli occhiali d'oro</i> deals as primary theme the discrimination and the
exclusion of the individual from and by its own social class. Indeed, in the novel multiple elements
collaborate in depicting the marginalisation of protagonist and of the narrator: the sense of
emergination and claustrophobia described at the end of the book is self-evident and can be
percieved alredy at a first, naïve reading. The goal of the project is indeed to study how this
marginalisation process unfolds during the plot and which axes can be considered as effective
paramenter to measure it. The following research question can be formalized:
</p>
<div class="featured-text text-lg-left">
<h5 style="font-style: italic;" class="text-center">How can marginalisation be visualized and
studied in Bassani's <i>Gli occhiali d'oro</i>?</h5>
<p><b>I.</b> How are the characters connected to each other?</p>
<p><b>II.</b> How does Fadigati's network change after his outing?</p>
<p><b>III.</b> How does Fadigati's relationship with the urban space change after his outing?
</p>
</div>
<p>
We do think that studying the marginalization strategies described in the novel can be a useful
purpose to better understand the art of Bassani and his cultural milieu as well. The marginalisation
of the narrator, "in cui la personalità dell'autore si fonde e si immedesima con quella della sua
creatura fantastica", and the insistence of the theme of discrimination within the <i>opera
omnia</i> by Bassani (e.g. <i>Giardino dei Finzi-Contini</i>) highlight its crucial role within
the poetics of the author. The possibility that this interest could be based on an autobiographical
motif encourages this direction of research. Indeed, it has been said that "understanding
marginality as position and place of resistance is crucial for oppressed [...] people: [...] these
margins have been both sites of repression and sites of resistance" <a href="#bellhooks">(bell hooks
2015: 232)</a>. The research questions want hence to scrutinize how the theme of the margin is
dealt by Bassani and which are the strategies implemented to describing the claustrophobic
discrimination witnessed by the protagonist and the narrator.
</p>
<p>
The addressing of these specific goals shaped the purpose of the entire project. <i>Changing Lenses</i>,
indeed, can be read as a project of editorialization, defined as the process referring "how tools,
emerging practices, and the structures determined by the tools engender a different relationship to
the content itself". It also "shapes and structures content in a way that is not limited to a
closed, well-defined context (such as a journal) or a group of predetermined individuals (editors
and publishers). It involves an opening up of space (several platforms) and time (several different
editors unbound by deadlines)" <a href="#Editor">(Vitali-Rosati 2018: 64)</a>. The processual nature
of the project is witnessed by the collaboration among the team members and by the fact that its
final structure was never taken for granted. On the contrary, it was continuously re-negotiated to
indentify and change the methodologies according to the obtained initial results.
</p>
<p>
This magmatic and changing phisionomy of the project was deemed essential to shape the content of
<i>Changing Lenses</i>, i.e. its relationship and practices. Among several other authors, Cristina Campo
<a href="#campo">(2014: 90)</a> stresses the metaphor of the text as a carpet (the Latin
<i>textus</i> derives indeed from <i>texere</i>, to sew). "Si dilata sotto i nostri occhi
l'immemoriale geografia del tappeto", observes the writer. It can be argued that <i>Changing Lenses</i>
wants at first to provide a general overview of this literary "carpet", highlighting relevant motifs
and elements. Secondly, it follows two relevant wefts, which were considered as valid starting point
to perform our analysis: the interaction between the characters and the urban space and the
relationship within all the characters of the book. In this perspective, <i>Changing Lenses</i> does not
aim at a mere translation into a digital environment of the reference text, rather it proposes to
the reader an "architecture of object" <a href="#MancPier">(Mancinelli and Pierazzo 2020: 45)</a>
that allows to explore the margin depicted in the novel from different points of view, or better
changing the lenses through which text is read.
</p>
<div class="paridx" id="parSDE">
<h4>2.1. Semantic Digital Edition</h4>
<p>
One of the core functionalities of <i>Changing Lenses</i> is the presence of a Semantic Digital
Edition of the novel by Bassani. The methodological approach is directly drawn from Sahle <a
href="#Sahle16">(2016: 28)</a>, who stresses how "scholarly digital edition" (SDE) are
"guided by a digital paradigm in their theory, method and practice". The scholarly nature of the
publication is granted by the reference edition, cited in the disclaimer below. Moreover, the
edition is thought as a product per se born and structured within a digital ecosystem.
</p>
<p>
In particular, this digital nature is strictly bound with the guidelines of the <a
href="http://www.tei-c.org/P5/">Text Encoding Initiative</a>. The entire book was
transcribed through a supervised OCR and imported into a XML document, which was structured
according to this model. Among the suggested elements, two main sections were implemented:
<ul>
<li><particDesc> and <settingDesc> in the header, combined with the use of
<persName> and <placeName> in the body, referenced with @ref</li>
<li><xenoData> which allows to enhance a scholarly digital edition with linked open
data. Indeed, this section of the TEI P5 guidelines allows to declare for instance
authority files. The description of the entity relied on four main authorities
<ul>
<li><b><a href="http://viaf.org/">VIAF</a></b>: for historical figures and relevant
monuments (e.g. Ferrara Cathedral)</li>
<li><b><a href="http://www.geonames.org/">Geonames</a></b>: gazeteer used to
describe the majority of the mentioned places</li>
<li><b><a href="https://www.wikidata.org/wiki/Wikidata:Main_Page">Wikidata</a></b>:
to cover all those people and places which were mentioned neither by VIAF nor by
Geonames </li>
</ul>
Places and peoples were also catalogued in the proper classes according to the ontology
<b><a href="https://xmlns.com/foaf/spec/">FOAF</a></b> (foaf:Person) and <b><a
href="https://www.dbpedia.org/resources/ontology/">DBPedia</a></b> (dbo:Place).
All the namespace of the used ontologies, authorities and gazeteers are declared in the
<TEI> tag.
</li>
</ul>
</p>
<p>
The implementation of LOD, which can be defined as "the technical method of linking structure
data [providing] an invaluable tool for bolting together structure information" <a
href="#Oldman">(Oldman et al. 267)</a>, changes the epistemological approach of the digital
edition. In describing the edition of <a
href="https://projects.dharc.unibo.it/bufalini-notebook/"></a><i>Il quaderno di Paolo
Bufalini</i></a>, Daquino, Giovannetti and Tomasi <a href="#bufalini">(2019: 51)</a>
stresses how:
<blockquote>Il processo di transizione dell'edizione digitale da XML/TEI (modello ad albero) a
LOD (modello a grafo) impone un'attenta analisi del testo e dell'informazione in esso
contenuta iniziando dal modello di markup XML/TEI messo a punto dall'editore. Si tratta di
un'operazione concettuale ancor prima che tecnica, che implica una visione del testo
'dall'alto', non come sequenza di dati ma come rete di relazioni.</blockquote>
The implementation of this technology, indeed, allows to stress relevant entities, playing hence
a crucial role in answering specific research questions (see later, e.g. §2.2). Moreover,
referencing every place and historical figure (when possible) enhance the reading experience: in
particular for what concerns <persName>s, this semantic SDE allows to grasp also the
cultural and political milieu both of the plot and of Bassani himself. To make an example, the
prevalence of Wagner among other mentioned composers could provide fruitful food for thought for
instance to scrutinize the relationship between Bassani and the music.
</p>
<p>
Lastly, we hope that <i>Changing Lenses</i> could be considered as a valid contribution in
understanding a masterpiece of Italian contemporary novelist canon, such as Bassani, from
unprecedented perspectives. However, this endavour cannot be considered as <i>per se</i>
sufficient, but it both relies on precedent (also analogical) studies on the novel and on the
methodologies, and hopes to contribute in deepening the knowledge of this field of textual
scholarship. With this hope, the issue of data reusability was crucial for us as it could lay
the basis for further researches. Consequently, as this documentation also aims at showing, this
SDE follows the <a href="https://www.go-fair.org/fair-principles/">FAIR principles</a>, i. e.
Findability, Accessibility, Interoperability, and Reuse of digital assests <a
href="#fair">(Wilkinson et al. 2016)</a>. The development of a semantic edition and the
description of the used source file, scripts, as well as its publication on an online medium,
should be hence read also in this perspective.
<hr class="my-2 mx-4">
</p>
<p>
<a href="sdeLOD/bassaniTei.xml" download><svg xmlns="http://www.w3.org/2000/svg" width="20"
height="20" fill="currentColor" class="bi bi-filetype-xml" viewBox="0 0 16 16">
<path fill-rule="evenodd"
d="M14 4.5V14a2 2 0 0 1-2 2v-1a1 1 0 0 0 1-1V4.5h-2A1.5 1.5 0 0 1 9.5 3V1H4a1 1 0 0 0-1 1v9H2V2a2 2 0 0 1 2-2h5.5L14 4.5ZM3.527 11.85h-.893l-.823 1.439h-.036L.943 11.85H.012l1.227 1.983L0 15.85h.861l.853-1.415h.035l.85 1.415h.908l-1.254-1.992 1.274-2.007Zm.954 3.999v-2.66h.038l.952 2.159h.516l.946-2.16h.038v2.661h.715V11.85h-.8l-1.14 2.596h-.025L4.58 11.85h-.806v3.999h.706Zm4.71-.674h1.696v.674H8.4V11.85h.791v3.325Z" />
</svg></a> The orginal XML marked up document available at the following here.
</p>
<p>To perform these procedures, different snippets of code were developed:
<ul style="list-style-type:none; list-style: none; padding-left: 0;">
<li class="sdeloddownload"><a href="sdeLOD/bassaniXSLT.xsl" download><i
class="bi bi-code"></i></a> XSLT Transformation to convert the marked up novel
into
a complete HTML.</li>
<li class="sdeloddownload"><a href="sdeLOD/lodXSLT/lodXSLT.xsl" download><i
class="bi bi-code"></i></a> XSLT Transformation to list all the mentioned
settings
and participants declared in the header of the source XML file.</li>
<li class="sdeloddownload"><a href="sdeLOD/lodXSLT/replace.js" download><i
class="bi bi-code"></i></a> Javascript function to replace the prefix of the
autoriy
files so as to add a functioning hyperlink in <i>@href</i>.</li>
<li class="sdeloddownload"><a href="sdeLOD/bassaniXQuery.xquery" download><i
class="bi bi-code"></i></a> XQuery to calculate the frequency of tag
<i>placeName</i> and <i>persName</i> throughout the chapters of the book (see §2.2).
</li>
</ul>
</p>
<h5><b>Disclaimer</b></h5>
<p>The purpose of this website is to perform a multilevel digital analysis of Bassani's novel, as an
end-of-course project for the "Digital Text in the Humanities: Theories, Methodologies and
Applications" course of the Master Degree in Digital Humanities and Digital Knowledge of the
University of Bologna, under prof. Tiziana Mancinelli. The displayed publication of the
aforementioned book is not intended to be an alternative or replace its original location, i.e.
the edition by Mondadori published in 1980 and later republished by Feltrinelli. All copyrights
and related rights on the content remain with their original owners. All copyright on the
typographic and layout choices, as well as the methodologies and results of the performed
analysis are 2022 © Changing Lenses.</p>
</div>
<div class="paridx" id="parGeo">
<h4>2.2. Spatial Analysis</h4>
<p>While reading <i>Gli occhiali d'oro</i> there's something that the readers cannot avoid immediately
noticing, the heavy and continuous presence of information regarding the locations in which the
story takes place: Ferrara. Ferrara is not just a background for the unfolding of the events,
her streets and venues also act alongside the other characters, and it's not by chance, indeed,
that Bassani collected under the name "Il Romanzo di Ferrara" his 5 short stories, among which
also <i>Gli occhiali d'oro</i>, highlighting exactly this aspect. </p>
<p>In <i>Changing Lenses</i>, wanting to analyse marginalisation strategies under every perspective
we asked ourselves if the attention to details given by the author in the description of
locations, paths and places could also be playing a significant role, and if so in which ways
does the relationship between the main characters and the urban space change during the story.
</p>
<p>Analysing Fadigati's behaviour throughout the book one can easily notice that there are two main
thresholds: first the moment of the outing, when gossips start circulating regarding his
sexuality at the end of the second chapter; and second the so referred to "scandalo" (chapters
11-12) when, after having spent the summer together with Deliliers, the two have a loud argument
in front of everyone else at the Grand Hotel in Rimini. </p>
<p>During the first part of the book Fadigati for most of the time follows the paths beaten by the
middle class from which perspective the narrator tells the story, despite disappearing for just
an hour a day in the evening in less beaten streets, and even after the outing his habits don't
change, even though other's behaviours are starting to, since they still keep accepting him
strictly thanks to his discretion (cfr. ch. 3, pg.16). For all the time preceding the summer the
image of Fadigati that appears through the pages is of a man trying to fit in the society he
lives in, first egregiously thanks to his status and manners, then progressively less and less
as the rumours increase. </p>
<p>The real change is identified after the summer's incident: the fact the Fadigati starts to openly
show himself with Deliliers is perceived in an extremely negative way and the doctor starts to
be very reluctantly accepted (notice the behaviour of Lavezzoli's family), no one shows up at
his study anymore and Fadigati is drastically and permanently marginalized, restricted in the
most distant places and infamous streets.</p>
<p>All of these changes are easy to perceive for someone living in Ferrara as the story takes place,
and even for whoever knows the city as it is today, hence despite some streets have nowadays
changed names, most of them have remained the same, however it's really hard to grasp all these
facets without have a map of the city by hand. This is exactly where <i>Changing Lenses</i> proposes
itself to fill in this gap and allow everyone to have a complete analysis of the story, by
providing an interactive map showing the changes of Fadigati's paths around the city before
(layer Fadigati prima) and after (layer Fadigati dopo) the summer "incident" and comparing them
to the paths usually beaten by Ferrara's middle class (layer Borghesia).</p>
<p>To these main layers we added also a fourth one showing the narrator's change in habits (layer
Bassani dopo) that also offers an interesting insights: the time that follows the summer
incident temporally also corresponds to the moment when in Italy opens up the debate and
discussion about racial laws and in which the narrator, being Jews, begins to feel the weight of
what is about to happen and although still not being marginalized by the rest of the society, he
himself starts to feel no longer fitting, nor able to merge in what was up to that moment his
own world, starting to physically move away from his usual paths.</p>
<p>Indeed when dealing with texts in which places play such an important role one need to remember
that "neither cartography nor narrative on their own can capture the essence of place: both are
required to get a better sense of it" (<a href="#khatib1">El Khatib et al., 2020</a>) that's why
we decided to visualize the evidence of this insights on a map to better figure if our insights
where in the right place and having a visual proof of them. </p>
<p>As Moretti (<a href="#moretti">Moretti, 2005</a>) said
<blockquote> In order to see patterns we must first extract it from the literature and the only way
to do it is with a map. Not that the map is already an explanation but at least it shows us that
there is something that needs to be explained. </blockquote>
That's why we decided to visualize the spatial analysis creating a map on Leaflet.js an open-source
JavaScript library for mobile-friendly interactive maps that allows to display a background map and
to add on top of it, different layers of points, polygons and markers. For our map polygons were
mostly preferred, in the form of lines to better follow the path of the streets and replicate the
idea of the paths followed by the characters as they were described during the story. </p>
<p>
The marked-up text described in §2.1. can provide useful data to understand and study the
geographical dimension of <i>Gli occhiali d'oro</i>. The maps above visualizes the progressive
marginalization of the protagonist and the narrator, yet describe from a quantitative point of
view neither the attention paid by the author to give the reader geographical coordinates of the
plot nor the relevance of this shit from the centre to the suburbs. To answer this
sub-questions, data were extracted from the TEI/XML marked up text through a XQuery
transformation (see §2.1).
</p>
<div class="container mb-3" style="padding-left: 0px; padding-right: 0px;">
<!-- This is the graph of placeName vs persName, cfr js/graphteitag.js -->
<div class="row" style="width: 100%;">
<div class="col-12">
<div id="chart_div" style="margin-bottom: 1.5em; border: 0.2em solid #996515"></div>
</div>
<div class="col-12">
<p>
This first graph compares chapter by chapter the number of <persName> and
<placeName> tags. Even though these values cannot be considered extremely
precise (the mark up was made manually and some entities might be unintentionally be
skipped), they still reflect a relevant trend. Indeed, comparing to the distribution
of <placeName> tags, <persName> ones show a shift in the peaks. The highest
values of the curve of <placeName> can be seen almost exclusively in the change
of setting, as if the author wanted before to describe the place of the story and
then populate it with his characters. The geographical dimension is hence proved to
be crucial in the poetics of Bassani, which hence encourage further spatial
analyses.</p>
<p>
To make an example: besides the map, the distribution of central and peripherical
places can be measured with the support of other methodologies. A second XQuery has
been developed to collect all the reference to Ferrarese places in the chapters with
this Emilian city has primary setting. These values can be hence compared
calculating percentual rates and visualize the distribution as follows. The category
of center and periphery have been populated as follows (the toponyms are in
Italian):
</p>
<table>
<tr>
<th>Center</th>
<th>Periphery</th>
</tr>
<tr>
<td style="padding-right: 2.5%;">Via Gorgadello, Piazza delle Erbe, Corso
Giovecca, Corso Roma, Palazzo Assicurazioni Generali, Castello, Piazza
Cattedrale, Via Bersaglieri del Po, Cinema, Ristoranti, Farmacia Barillari,
Filiale del Credito Italiano, Vicolo del Granchio, Via Mazzini, Via
Saraceno, Duomo, Piazza Travaglio, Via Garibaldi, Via San Romano, San Carlo
Il Listone, Circoli cittadini, il Montagnone, Viale Cavour, Caffè della
Borsa</td>
<td>Via Bomporto, Mura degli Angeli, Via Vignatagliata, Vicolo-mozzo Torcicoda,
Ghetto di Ferrara, Corso Ercole I, Via Ripagrande, L'Acquedotto, La
Spianata, Via Piangipane, Pontelagoscuro, Via Cairoli, Via Savonarola,
Chiesa di San Girolamo</td>
</tr>
</table>
</div>
<div class="col-12 mt-3">
<div id="chart_divFE"
style="margin-bottom: 1.5em; border: 0.2em solid #996515; height: 25rem;">
</div>
<p>
This graph is extremely eloquent has it shows how the "first act" of this little
Italian tragedy (first two chapters) takes place exclusively in the city centre,
hence suggesting a full harmony between the protagonist and the social class he
belongs to. Only with his outing (chapter 3) the periphery starts being mentioned
and, after the summer on the Adriatic coast in the autumn of 1937, the two areas of
the city ends up being in an almost perfect balance. Such a rapid increase witnesses
how fast the descrimination of the character happens, which is also reflected by the
plot. Less than a year after the outing, the protagonist decides to suicide, as it
was given no other solution to cope with the claustrophobic judgment of the
righteous Fascist bourgeoisie.
</p>
</div>
<hr class="my-2 mx-4">
<p>Besides the XQuery used to extract data from the marked up document (see §2.1), three
JavaScript scripts were developed to answer this research question:
<ul style="list-style-type:none; list-style: none;">
<li>
<a href="js/maps.js" download>
<svg xmlns="http://www.w3.org/2000/svg" width="20" height="20"
fill="currentColor" class="bi bi-filetype-js" viewBox="0 0 16 16">
<path fill-rule="evenodd"
d="M14 4.5V14a2 2 0 0 1-2 2H8v-1h4a1 1 0 0 0 1-1V4.5h-2A1.5 1.5 0 0 1 9.5 3V1H4a1 1 0 0 0-1 1v9H2V2a2 2 0 0 1 2-2h5.5L14 4.5ZM3.186 15.29a1.176 1.176 0 0 1-.111-.449h.765a.578.578 0 0 0 .255.384c.07.049.153.087.249.114.095.028.202.041.319.041.164 0 .302-.023.413-.07a.559.559 0 0 0 .255-.193.507.507 0 0 0 .085-.29.387.387 0 0 0-.153-.326c-.101-.08-.255-.144-.462-.193l-.619-.143a1.72 1.72 0 0 1-.539-.214 1.001 1.001 0 0 1-.351-.367 1.068 1.068 0 0 1-.123-.524c0-.244.063-.457.19-.639.127-.181.303-.322.528-.422.224-.1.483-.149.776-.149.305 0 .564.05.78.152.216.102.383.239.5.41.12.17.186.359.2.566h-.75a.56.56 0 0 0-.12-.258.624.624 0 0 0-.247-.181.923.923 0 0 0-.369-.068c-.217 0-.388.05-.513.152a.472.472 0 0 0-.184.384c0 .121.048.22.143.3a.97.97 0 0 0 .405.175l.62.143c.218.05.406.12.566.211.16.09.285.21.375.358.09.148.135.335.135.56 0 .247-.063.466-.188.656a1.216 1.216 0 0 1-.539.439c-.234.105-.52.158-.858.158-.254 0-.476-.03-.665-.09a1.404 1.404 0 0 1-.478-.252 1.13 1.13 0 0 1-.29-.375Zm-3.104-.033A1.32 1.32 0 0 1 0 14.791h.765a.576.576 0 0 0 .073.27.499.499 0 0 0 .454.246c.19 0 .33-.055.422-.164.092-.11.138-.265.138-.466v-2.745h.79v2.725c0 .44-.119.774-.357 1.005-.236.23-.564.345-.984.345a1.59 1.59 0 0 1-.569-.094 1.145 1.145 0 0 1-.407-.266 1.14 1.14 0 0 1-.243-.39Z" />
</svg>
</a> The JS code used to draw the interactive map is available here
</li>
<li>
<a href="js/graphteitag.js" download>
<svg xmlns="http://www.w3.org/2000/svg" width="20" height="20"
fill="currentColor" class="bi bi-filetype-js" viewBox="0 0 16 16">
<path fill-rule="evenodd"
d="M14 4.5V14a2 2 0 0 1-2 2H8v-1h4a1 1 0 0 0 1-1V4.5h-2A1.5 1.5 0 0 1 9.5 3V1H4a1 1 0 0 0-1 1v9H2V2a2 2 0 0 1 2-2h5.5L14 4.5ZM3.186 15.29a1.176 1.176 0 0 1-.111-.449h.765a.578.578 0 0 0 .255.384c.07.049.153.087.249.114.095.028.202.041.319.041.164 0 .302-.023.413-.07a.559.559 0 0 0 .255-.193.507.507 0 0 0 .085-.29.387.387 0 0 0-.153-.326c-.101-.08-.255-.144-.462-.193l-.619-.143a1.72 1.72 0 0 1-.539-.214 1.001 1.001 0 0 1-.351-.367 1.068 1.068 0 0 1-.123-.524c0-.244.063-.457.19-.639.127-.181.303-.322.528-.422.224-.1.483-.149.776-.149.305 0 .564.05.78.152.216.102.383.239.5.41.12.17.186.359.2.566h-.75a.56.56 0 0 0-.12-.258.624.624 0 0 0-.247-.181.923.923 0 0 0-.369-.068c-.217 0-.388.05-.513.152a.472.472 0 0 0-.184.384c0 .121.048.22.143.3a.97.97 0 0 0 .405.175l.62.143c.218.05.406.12.566.211.16.09.285.21.375.358.09.148.135.335.135.56 0 .247-.063.466-.188.656a1.216 1.216 0 0 1-.539.439c-.234.105-.52.158-.858.158-.254 0-.476-.03-.665-.09a1.404 1.404 0 0 1-.478-.252 1.13 1.13 0 0 1-.29-.375Zm-3.104-.033A1.32 1.32 0 0 1 0 14.791h.765a.576.576 0 0 0 .073.27.499.499 0 0 0 .454.246c.19 0 .33-.055.422-.164.092-.11.138-.265.138-.466v-2.745h.79v2.725c0 .44-.119.774-.357 1.005-.236.23-.564.345-.984.345a1.59 1.59 0 0 1-.569-.094 1.145 1.145 0 0 1-.407-.266 1.14 1.14 0 0 1-.243-.39Z" />
</svg>
</a> The JS code used to draw the first graph (<persName> and
<placeName> per chapter) is available here
</li>
<li>
<a href="js/graphFerrara.js" download>
<svg xmlns="http://www.w3.org/2000/svg" width="20" height="20"
fill="currentColor" class="bi bi-filetype-js" viewBox="0 0 16 16">
<path fill-rule="evenodd"
d="M14 4.5V14a2 2 0 0 1-2 2H8v-1h4a1 1 0 0 0 1-1V4.5h-2A1.5 1.5 0 0 1 9.5 3V1H4a1 1 0 0 0-1 1v9H2V2a2 2 0 0 1 2-2h5.5L14 4.5ZM3.186 15.29a1.176 1.176 0 0 1-.111-.449h.765a.578.578 0 0 0 .255.384c.07.049.153.087.249.114.095.028.202.041.319.041.164 0 .302-.023.413-.07a.559.559 0 0 0 .255-.193.507.507 0 0 0 .085-.29.387.387 0 0 0-.153-.326c-.101-.08-.255-.144-.462-.193l-.619-.143a1.72 1.72 0 0 1-.539-.214 1.001 1.001 0 0 1-.351-.367 1.068 1.068 0 0 1-.123-.524c0-.244.063-.457.19-.639.127-.181.303-.322.528-.422.224-.1.483-.149.776-.149.305 0 .564.05.78.152.216.102.383.239.5.41.12.17.186.359.2.566h-.75a.56.56 0 0 0-.12-.258.624.624 0 0 0-.247-.181.923.923 0 0 0-.369-.068c-.217 0-.388.05-.513.152a.472.472 0 0 0-.184.384c0 .121.048.22.143.3a.97.97 0 0 0 .405.175l.62.143c.218.05.406.12.566.211.16.09.285.21.375.358.09.148.135.335.135.56 0 .247-.063.466-.188.656a1.216 1.216 0 0 1-.539.439c-.234.105-.52.158-.858.158-.254 0-.476-.03-.665-.09a1.404 1.404 0 0 1-.478-.252 1.13 1.13 0 0 1-.29-.375Zm-3.104-.033A1.32 1.32 0 0 1 0 14.791h.765a.576.576 0 0 0 .073.27.499.499 0 0 0 .454.246c.19 0 .33-.055.422-.164.092-.11.138-.265.138-.466v-2.745h.79v2.725c0 .44-.119.774-.357 1.005-.236.23-.564.345-.984.345a1.59 1.59 0 0 1-.569-.094 1.145 1.145 0 0 1-.407-.266 1.14 1.14 0 0 1-.243-.39Z" />
</svg>
</a> The JS code used to draw the second graph (comparison of relative amount of
central or peripheric <placeName> of Ferrara) is available here
</li>
</ul>
</p>
</div>
</div>
</div>
<div class="paridx" id="parNet">
<h4>2.3. Network Analysis</h4>
<!-- Introduction -->
<p><i>Gli occhiali d'oro</i> by Giorgio Bassani and its deeply societal plot immediately appeared to be
the perfect starting point for a network analysis. In fact, the whole story revolves around the
experience of the dramatic marginalisation perceived not only by Fadigati, but also by the young
narrator (who could be a representation of Bassani). During the development of the plot, the
reader cannot help but feel uneasy in front of the increasing discrimination towards the doctor
by society; such isolation will eventually escalate in Fadigati's unannounced suicide,
unexpectedly discovered by the narrator, grown closer and closer to the doctor by the end of the
book, on a newspaper's page.
</p>
<p>Network theory can go a long way in better understanding how the events build up to this dramatic
epilogue: as "it studies connections within large groups of objects [...] it can reveal many
unexpected features of large system" (<a href="#MorettiNET">Moretti, 2013</a>), also
allowing us to "see the underlying structure of a complex object"(<a href="#MorettiNET">Moretti, 2013</a>). In particular, it transforms the target text into a model through a
process of abstraction that allows the user to visualise the literary text as a model, to
analyse it and to possibly reconceptualise previous notions given for granted: with a network of
characters (and locations, such as in our project) it is possible to fully observe the general
structure of the novel and even to intervene on it, inferring from its shape and composition
new, original interpretations.
</p>
<!-- Research Questions -->
<h5>Research Questions</h5>
<p>Starting from our corpora (an entire edition of Bassani's <i>Gli occhiali d'oro</i>, carefully edited
and tagged according to TEI guidelines), our network analysis was guided by two main research
questions:
<div class="featured-text text-center text-lg-left">
<h5 style="font-style: italic;">How are the characters connected to each other?</h5>
<h5 style="font-style: italic;">How do Fadigati's social and spatial networks change after his
outing?</h5>
</div>
With these research questions we were interested in carefully analysing not only Fadigati's
particular situation and circumstances, but also the shape and structure of the world he lives in:
the other characters' movements and relationships are helpful in understanding the social and
cultural background of Ferrara during the late Thirties and to contextualise better the
protagonist's isolation.
</p>
<h5>Connection definition</h5>
<p>In literary text the definition of connections between characters can vary a lot depending on a
multitude of factors: the overall structure of the text, the genre, and even the plot.
Characters can be considered connected whenever there are dialogues between them or when they
appear in the same sentence (this circumstance being either a direct interaction between two
characters or an indirect one, whenever a third character compares the first two). After a first
attempt at taclking this problem, the particular structure of Bassani's <i>Gli occhiali d'oro</i>
made it difficult to consider the coexistence of characters inside a sentence a sufficient
condition for defining a relation between them: while testing the Python script used to detect
them in the isolated sentences, many times there would be only one character, making it
impossible to infer any relation whatsoever. Hence, we have considered the <b>coexistence</b> of
characters (and places) in the <b>same paragraph</b> as the condition for establishing
relationships between them.</p>
<p>Moreover, <i>Gli occhiali d'oro</i> is a story narrated by a character that is never identified by a
name but is referenced to mainly by personal pronouns. This meant that the text had to be
profusely tagged whenever pronominal particles or possessive pronouns appear (e.g. "mi", "a me",
"mio", "mia"). Of course, a deeper analysis could involve even verbal structures, as Italian
sentences tend to lose the subject pronoun.</p>
<h5>Graph building</h5>
<p>A Python script was then developed to retrieve the occurrences of different characters in the
same paragraph: this was done by means of Regular Expressions, that could identify the the
tagged characters and their meaningful tags. In fact, both characters and places had two tags
associated to them: the first one to distinguish between their "type" (either pers-name or
place-name, as the starting text was the TEI-tagged one), the second one to distinguish between
a variety of "classes" (primary characters, characters belonging to the bourgeoisie, the family
of the narrator, students peers of the narrator, historical and cultural character; Ferrara,
Bologna and Adriatic Region's locations).
After their identification inside the input text, the Python script then associated them in
tuples and used these tuples to build CSV files containing the relevant information regarding
entities' type and class. The CSV was then passed to Gephi for the <b>visualisation</b> of the
network.</p>
<p>As one of our research questions focuses on <i>how</i> Fadigati's social and spatial network
changes after the discovery of his sexuality, it was crucial for us to distinguish between two
moments: before the outing and after. <b>Two</b> different <b>sub-corpora</b> were thus created:
<ul>
<li>Chapters 1-2: the first sub-corpora, <i>before</i> the outing</li>
<li>Chapters 3-18: the second sub-corpora, <i>after</i> the outing</li>
</ul>
The script was then run thrice on the different corpora (the full text and the two sub-corpora) to
obtain three different networks, each representing a different moment of the book:</p>
<img src="img/fulltext.png" alt="Network of the full text" class="center">
<p>The two networks representing Fadigati's social and spatial context before and after the outing:
</p>
<img src="img/F1.png" alt="Fadigati's network before the outing" class="center">
<img src="img/F2.png" alt="Fadigati's network after the outing" class="center">
<p>It is worth pointing out how the two Fadigati's networks vary also because of the different size
of the
sub-corporas: after a brief introduction to the context and the characters in the first two
chapters, Fadigati's sexuality is immediately pointed out and becomes the center of the
story,
being the talk of the town.</p>
<p>By simply observing and comparing the two Fadigati's networks we can already infer some
differences and some particular and new interpretations:</p>
<ul>
<li>In the "before" network, we can see how Fadigati appears connected mainly to places and
characters belonging to the upper class: social clubs, painters, Opera singers... These
connections depict a man that, if not for some particular traits (such as the lack of a
wife) fully belongs to the bourgeoisie social class</li>
</ul>
<img src="img/Fadigati1zoom.png" alt="Fadigati's network before the outing, with focus on Fadigati"
class="center">
<ul>
<li>In the "after" network, we can see how not only the locations visited by Fadigati expand to
other cities (Riccione and Bologna), but even his social network shows some interesting
features: one of the most peculiar, which is not easily perceived while reading the book, is
the <b>connection between Fadigati and the narrator's father</b>. This relationship, that
can be found in the "adriatic chapters" of the book, could symbolise a particular trait that
distinguishes Fadigati's relationship with the narrator himself: he could be seen as a
fatherly figure for the narrator, who grows closer and closer to the doctor while feeling
more and more frustrated by his father's reaction to the atmosphere created by the incoming
racial laws (these feelings arise specifically towards the end of the book)</li>
</ul>
<img src="img/Fadigati2zoom.png" alt="Fadigati's network after the outing, with focus on Fadigati"
class="center">
<p>The analysis of the networks, which could be further deepened, help us discovering some new
points of view on <i>Gli occhiali d'oro</i> story: we are able to discover new relationships between
characters that seem very far from one another, how different classes of characters live in
different urban spaces and interact differently with the protagonist.
Mainly, we can observe how the discovery of
Fadigati's sexuality and his subsequent behaviour influence his social and spatial context:
particularly after the summer "accident" with Deliliers, it all seems to pull away from the
doctor to such an extent that, by the end of the book, the only one who really is close to him
and empathises with his struggles is the narrator himself.
However, not even this support can be enough to mend the deep wounds of isolation and
discrimination of Athos Fadigati, who decides to commit suicide exactly where he was supposed to
go to with the narrator, who finds out about his death through a newspaper's page.</p>
<hr class="my-2 mx-4">
<p>To perform this network analysis, different scripts and files where produced. A complete list
is available at this <a href="netan">folder</a> of the GitHub repository of the project.
Nonetheless, relevant scripts are referenced here:</p>
<ul style="list-style-type:none; list-style: none; margin: 0px; padding: 0px;">
<li>
<a href="netan/buildgraph.py" download><i class="fab fa-python"></i></a> The Python code
used to create the networks is available here
</li>
<li>
<a href="netan/Fulltext.gephi" download><i class="fa-solid fa-diagram-project"></i></a> The
Gephi file to visualize the entire text is available here
</li>
<li>
<a href="netan/F1.gephi" download><i class="fa-solid fa-diagram-project"></i></a> The Gephi
file to visualize the relationships of Fadigati in the first chapters of the novel is
available here
</li>
<li>
<a href="netan/F2.gephi" download><i class="fa-solid fa-diagram-project"></i></a> The Gephi
file to visualize the relationships of Fadigati in the remaining chapters of the novel is
available here
</li>
</ul>
</div>
<div class="paridx mt-3" id="parResult">
<h3>3. Results and final remarks</h3>
<p>When approaching this digital edition, one could easily ask himself if all the information and
focuses pointed out by these thorough analyses actually were in the mind of the author as he was
writing the story or if we forced them out by focusing on unimportant details. And even if all
of this was indeed compliant to the will of the author and already hidden in the pages, then <i>why
the need for a digital edition?</i><br>
The key answers to these questions in our opinion rely in two words: <b>context</b> and <b>visualization</b>.
First whenever we read something we need to keep in mind the context in which what we're reading
is taking place, and Bassani's <i>Gli occhiali d'oro</i> is no exception. The author speaks in first person
through the words of the narrator and although the story he is telling may not be derived from a
true story, what is true indeed is that the author fills the pages with his memories and
reminiscences of places and people from his past that have in some ways influenced his writing.
Moreover, is not by chance that our first step in the analyses was indeed to create a semantic
edition allowing us to stay faithful to the story and testing through the tools made available
by a digital edition the perception we had reading the book, a <i>digital</i> semantic edition
indeed allowed us by tagging person and place's names to easily highlight their occurrences
and frequencies in the text, and it was starting from those results that we could then focus
on the other analyses. <br>
This is where the visualization part took place. By deciding to focus on the marginalization
strategies from a spatial and relational point of view we drastically cut the number of
other analyses that can easily emerge by the reading of Bassani's work, preferring to focus
our attention just on these to aspect, following what was Sinclair and Rockwell (<a
href="#sinviz">Sinclair and Rockwell, 2016</a>) perspective:
<blockquote>Visualizations are transformations of text that tend to reduce the amount of
information presented, but in service of drawing attention to some significant aspect
</blockquote>
Lastly a digital edition was the perfect tool for displaying our results and interpretations
and to validate, expand and contextualise them !here cit allowing us both to interactively
show our workflow and the tools we have used, i.e. Leaflet.js map for the spatial analysis
and Gephi graphs for the network analysis, and to open space for further development,
leaving the reader of our digital edition at the same time the possibility to read the text
as it was written by the author, have a look at our point of view for the analyses of the
marginalization strategies depicted and maybe noticing something else that could become
equally meaningful and prepare for other insightful investigation (<a href="#khatib1">Khatib, 2020</a>).
</p>
</div>
<div id="biblio">
<h3>4. Bibliography</h3>
<ul>
<li id="CassoBassa">Acerbi, Maria Teresa and Sandra Faré (1966): "Cassola e Bassani: L'intimismo
psicologistico". <i>Aevum</i>, 40, 1/2 (Jan. - Apr.).</li>
<li id="bellhooks">bell hooks (2015): "Choosing the Margin as a Space of Radical Openness".
<i>Yearning. Race, Gender, and Cultural Politics</i>. New York: Routledge.
</li>
<li id="campo">Campo, Cristina (2014): "Notti". <i>Gli imperdonabili</i>. Milano: Adelphi.</li>
<li id="bufalini">Daquino, Marilena, Francesca Giovannetti and Francesca Tomasi (2019): "Linked
Data per le edizioni scientifiche digitali. Il workflow di pubblicazione dell'edizione
semantica del quaderno di appunti di Paolo Bufalini". <i>Umanistica Digitale</i>, no. 7.
</li>
<li id="khatib1">El Khatib, Randa, and Marcel Schaeben (2020): "Why Map Literature? Geospatial
Prototyping for Literary Studies and Digital Humanities." Digital Studies/Le champ numérique
10(1): 7, pp. 1–22</li>
<li id="Ferroni13">Ferroni, Giulio et al. (2013): <i>Storia e testi della letteratura italiana.
Ricostruzione e sviluppo nel dopoguerra (1945-1968)</i>. Vol. X. Milan: Mondadori
Education.</li>
<li id="ManciPier">Mancinelli, Tiziana and Elena Pierazzo (2020): "Che cos'è un'edizione
scientifica digitale?". Roma: Carocci</li>
<li id="moretti">Moretti, Franco (2005): <i>Graphs, Maps, Trees: Abstract Models for a Literary History</i>.
London: Verso.</li>
<li id="MorettiNET">Moretti, Franco (2013): "Network Theory, Plot Analysis". In Moretti, Franco:
<i>Distant Reading</i>. London: Verso.
</li>
<li id="Oldman">Oldman, Dominic et al. (2016): "Zen and the Art of Linked Data: New Strategies
for a Semantic Web of Humanist Knowledge". In Schreibman Susan, Ray Siemens and John
Unsworth: <i>A New Companion to Digital Humanities</i>. Oxford: Wiley Blackwell</li>
<li id="sinviz">Sinclair, Stéfan and Geoffrey Rockwell (2016): "Text Analysis and Visualization:
Making Meaning Count". In Schreibman Susan, Ray Siemens and John Unsworth: <i>A New
Companion to Digital Humanities</i>. Oxford: Wiley Blackwell</li>
<li id="Sahle16">Sahle, Patrick (2016):"What is a Scholarly Digital Edition?". In Pierazzo,
Elena and Matthew James Driscoll. <i>Digital Scholarly Editing. Theories and Practices</i>.
Cambridge: Open Book Publisher. </li>
<li id="Editor">Vitali-Rosati, Marcello (2018): "On Editorialization. Structuring Space and
Authority in the Digitial Age". Cambridge: Open Book Publisher. In Rasch, Miriam: <i>Theory
on Demand</i>, no. 26. Amsterdam: Institute of Network Cultures.</li>
<li id="fair">Wilkinson, Mark D. et al. (2016). "The FAIR Guiding Principles for scientific data
management and stewardship". <i>Scientific Data, 3.</i></li>
</ul>
</div>
</div>
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