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[Presentazione]: I libretti di Luigi Pernier: scavo del Palazzo di Festos (1900-1902) / coordinamento di Enrica Fiandra ; ed Erika Notti ; [presntazione di Emanuele Greco ; introduzione di Mario Negri]
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Gli scartafacci di Vittorio Imbriani. Genetica di una prosa umoristica.
Full text linkVittorio Imbriani’s drafts. Genetics of a humorous prose.
The thesis – organised in three chapters respectively devoted to the aesthetic and philosophical theories, the writing practice and the rhetoric of humor -considers the intellectual experience of Vittorio Imbriani across the entire span of its production highlighting links between his theoretical works and those really artistic. Several critical approaches are used: philological, narratological, stylistic and philosophical. The first part deals with the works about aesthetics and literary criticism, written between 1863 and 1868, Imbriani’s early years in which he exploits De Sanctis’s teachings and philosophical trainings, developing a theory of art (the macchia) and of prose (the ghiribizzo). The second chapter analyzes in detail the ghiribizzo, stylistic paradigm that translates chaos and meandering into narrative syntax, renouncing explicitly all claims of order and rationality, in sharp opposition to both the principles of naturalism and realism and the romantic didactic-allegorical prose. The last section explores the humorous speech, that must be first of all considered as literary form, not only as a gradation of the comic mood. Humour is a rhetorical (or anti-rhetorical) conscious program with specific rules that govern the running of the internal machine. In his prose Imbriani plays customizing -the most typical humorous literary form, the journey, which is both constant fluctuation between different authorship’s 'moods' and sentimental journey to discover the most secret folds of the human soul; journey is also -materially -doodle, pen's travel on the paper, word’s adventure on the sheet. Imbriani’s accession to the modules of humor has philosophical, existential reasons (his perception of humor as a contradiction of reality reproduced in an apparent narrative chaos) and an historical root (the nature of modernity for him is "belligerency"). This construction method is chosen by Imbriani with absolute consistency and awareness: the philological analysis of the author’s variants confirms the trend of a systematic expansion of the text-shirt that responds to a very special instance of mimesis based on the principles of expressionism. The critical outcome which the thesis lands is finally overcoming not only the categories of ‘pique’ and ‘spite’, but most of the critical judgments that have painted Imbriani as an obsessive scholar or as a parodic polemicist and fierce exponent of anti-literature: Imbriani’s irony is obviously humorous, a bitter laugh of a sentimental writer, expression of the intimate and unavoidable dissonance of reality and human soul. The work concludes with two appendices: the first is a bio-bibliographical note that reconstructs the main stages of Imbriani’s intellectual experience, the second offers a transcription of the various drafts of narratives texts on which the study was conducted
Senso ontologico, mimesis e rappresentazione: la sceneggiatura d’autore come testo letterario. Proposte di analisi di alcuni scenari di Pier Paolo Pasolini e Cesare Zavattini
Full text linkIs it possible to consider a cinematographic screenplay as a literary work and not more just like a «transient state» (as Giorgio Tinazzi says in his studies on Cinema and Literature) or a text which can only be read as a technical note strictly connected to the filmic realization? And what kind of critical and interpretative approaches could we adopt to study a scenario such as a literary text? So the main purpose of this thesis is to study a screenplay realized by a literary author as a literary text (a novel, for example) and not only like a script containing only directions on the locations and gestures for the movie. This includes a linguistic approach to the texts, in order to find the techniques for speech reproduction, and also an interpretative approach to find the main characteristics of the style and of the Weltanschauung of the writer. The linguistic approach aims at investigating the screenplay as a text belonging to the linguistic category of the “scritto-trasmesso” (written-speech), typical of the so-called “diamesia” – (derived from the Greek words dia, διά ‘through’and mesos, έσος ‘middle’), while the interpretative one wants to study the cultural identity of the two writers and also to search, in their own style, the way they use to represent and reproduce reality. The thesis deals with screenplays written by Pier Paolo Pasolini and Cesare Zavattini. Regarding Pasolini, it seemed very important to focus the attention on two fundamental aspects: the free expression of the triumph of the senses and bodily impulses and the harsh poverty that pervades the representation of roman underclass of 60s. So the two screenplays analyzer are : Il Decameron and Accattone. While the two chosen scenarios by Zavattini, Miracolo a Milano and Umberto D., represent the neo-realist orthodoxy and the need for an instance of mimesis and also the fantasy and the magic realism that represent the style of the auctor
Conclusioni. / E. Greco : Aχαϊα και Nότιος Iταλία : επικοινωνία, ανταλλαγές και σκέσεις απο την αρχαίοτητα ως σήμερα. Πρακτικά Συνεδρίου, Αίγιο, 6-9 Ιουλίου 2006. / Eπιμέλεια Λ. Δρούλια, Α. Δ. Ριζάκης = L’Acaia e l’Italia Meridionale : contatti, scambi e relazioni dall'antichita ai nostri giorni : Atti del Convegno, Eghio, 6-9 Luglio 2006. / A cura di L. Droulia, A. D. Rizakis
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Fra Italia e Spagna. Napoli crocevia di culture durante il vicereame
No full textI ventuno contributi del volume, frutto della collaborazione di studiosi italiani e stranieri, concorrono a tratteggiare l'ampio quadro della cultura linguistica e letteraria che s'impose nella Napoli spagnola: dalla produzione dei poeti iberici attivi presso la corte aragonese di Alfonso il Magnanimo alle riscritture teatrali seicentesche di celebri opere spagnole, come il "Burlador". Il libro offre un unitario e, al tempo stesso, variegato panorama di fenomeni che, oltre a studiare significativi fenomeni di cultura linguistica e religiosa, ovvero interessanti manifestazioni negli ambiti della trattatistica, della epistolografia e della storiografia sugli ultimi aragonesi e i primi vicerè (Gran capitano, Pedro de Toledo), prende in considerazione i grandi generi letterari, come la poesia, da Carvajal a Garcilaso, a Campanella; la prosa narrativa, da Guevara a Cervantes; il teatro con Della Porta, Lope de Vega ed altri