Akademik Veri Yönetim Sistemi
e-Scripta Romanica, cilt.13, ss.177-190, 2025 (Scopus)
This study explores the hermeneutics of the oneiric phonosphere in three short stories—Reginetta (1846), La coltrice nuziale (1850), and La fila (1854)—by the Friulian writer Caterina Percoto (1812–1887), known as the “peasant countess” (Valussi, 1889, p. 10). Drawing on Schafer’s (1977) theory of soundscapes—which encompasses both the spatial dimension and its distinctive sonic texture, including geophonies and biophonies, as well as the anthropological sphere, namely anthrophonies (Krause, 2012) —this analysis extends to the dream world, conceived as both a “reflection” and an “inversion” of reality. Within this framework, key elements of Percoto’s work emerge: the depiction of the Friulian rural landscape, a central motif in her poetics, and her strong socio-political engagement. Percoto’s dreamlike soundscape is shaped primarily by the sounds of nature; yet, human presence is never entirely absent. The auditory dimension of dreams serves to enrich and redefine a specific historical moment, where the often harsh sounds of the countryside accentuate the struggles of daily life. Oneiric anthrophonies play a dual role, conveying both individual and collective moral tensions while reflecting the suffering of the common people and the turmoil of combatants. In this interplay between biographical elements and ideological aspirations, silence itself becomes a powerful presence, heightening the profound and unsettling nature of human suffering.