2,123 research outputs found
Premessa a L. Carnevale, C. Cremonesi (a cura di), Spazi e percorsi sacri: i santuari, le vie, corpi
No full textThrough the eyes of a clown : Dickens and Fellini’s vision of life
No full textAn attempt to analyse the central role of the circus and of the figure of the clown in Charles Dickens and Federico Fellini’s visions of life. For both, the circus represents the possibility to escape an uncomfortable reality in favour of a saving imagination. Hard Times offers Mr. Sleary’s positive values in order to overcome the constraining Mr. Gradgrind’s “philosophy of fact,” while Fellini insists on the necessity to screen existence through the eyes of the clown, both the Whiteface and the Augusto. The author and the film director, fascinated to the theatrical, meet each other within the circus ring
Spazi e percorsi sacri: i santuari, le vie, i corpi. Prefazione di C. Cremonesi e L. Carnevale.
No full text
The circus-image : from literature to cinematography
No full textThis study focuses on the central role of the circus and of the figure of the clown in Charles Dickens’s and Federico Fellini’s visions of life. During their lives, both the novelist and the film director were personally involved with this form of entertainment. For both, the circus represents the possibility to escape an uncomfortable reality in favour of imagination and its redeeming role. Hard Times (1854) contrasts Mr. Sleary’s positive values against Mr. Gradgrind’s "philosophy of facts" and Mr. Bounderby’s capitalist greed, while Fellini insists on the necessity to screen existence through the eyes of the clown figures, traditionally named Whiteface and Augusto. My purpose is to explore this connection, through the analysis of Dickens’s novel Hard Times and Fellini’s movies La strada (The Road, 1954), 8 1⁄2 (Eight and a Half, 1963), and I clowns (The Clowns, 1970), in order to suggest that the novelist and the film director meet each other across time and within the circus ring
Writing about Dogs, Why Not? : Flush, the Biography of Elizabeth Barrett's Cocker Spaniel
No full textThe aim of this paper is to investigate the writing of animal life, through the analysis of Virginia Woolf's Flush: A Biography (1933). Flush is a significant biographico-fictional experiment in which biography and fiction mingle together. It serves as a criticism concerning the way of experiencing the city and the condition of women in the 1850s, as well as, implicitly, in the 1930s. By highlighting Flush's perceptions, Woolf also manages to have access to Elizabeth Barrett's inner feelings, and, as a consequence, to explore her own emotions in order to control her ghosts with the help of a therapeutic writing. For all these reasons, Flush becomes a life within the life, a work of criticism and, to some extent, of self-revelation
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