By Marco Bonfiglio
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Given these trends Vico is forced to accept a radical a-topia: the fact that "non solo viveva da straniero nella sua patria, ma anche sconosciuto" (p. 26) (he lived in his native city not only a stranger but quite unknown). The metaphorics of place and displacement offer a sharp sense of the contradictory complexity of Vico's thought both in the Autobiography and, as I will show in the successive chapters, in the New Science. It is in a second encounter in a bookstore, for instance, that he is asked if he wants to become a Theatine.
The assumption behind this narrative posture is that an authentic autobiography is a confession: it is a way of making sense of one's life, and, as such, it can be written only when one knows the end of his life. The knowledge of the end, which coincides with one's own death, defines and imparts a significance to the blurred contours of the chaotic events of daily living. Vico's Autobiography marks a radical departure from the Augustinian autobiographical model in one crucial sense: he alters St.
69]). The phrase (as well as the anaphoric "medito" [he meditated] used to convey philosophy as meditative language) encapsulates Vico's awareness of the necessity of a hybrid discourse whereby literary representation is necessarily inseparable from both history and philosophy. What joins these disciplines together is the question of education. The picture of man's powerless condition, dramatized by the child's fall and sickness, constitutes the Augustinian backdrop against which Vico etches the process of the making of the self within the context of the problematics of education.
Odissea di Omero adattata in prosa e per tutti by Marco Bonfiglio
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