Tra il “chicco” e l’“immenso”: La ricucitura epifanica dell’intero nei Frammenti lirici di Clemente Rebora

This article aims to demonstrate – through the analysis of Clemente Rebora's Frammenti lirici – the centrality of epiphany within the author's aesthetic and literary system, in particular considering the relationship epiphany establishes with the compositional form of the fragment. Moving from Rebora's statements contained in the Letters, epiphany is consciously posited as the privileged epistemological mode capable of rearticulating, in an Expressionist mode, the modernist experience of fragmentation: the intermittent and momentary nature of the recomposition finds in the brief and discontinuous status of the fragment the conditions for its own coherent aesthetic translation. Given this, it becomes possible to discern not only a stylistic but also an epistemological motivation behind Rebora's decision to convey poetry per fragment, especially considering the epistemic value of the poetic medium within the framework of La Voce 's expressionism, in which the author is situated.