16 research outputs found
Giorgio Bassani saggista, verso “Il Giardino dei Finzi-Contini”
No full textIl percorso saggistico di Giorgio Bassani inizia quando il futuro autore de "Il giardino dei Finzi-Contini" è ancora uno studente universitario. La sua evoluzione fino agli Sessanta si rivela indispensabile alla formazione di quella idea di letteratura espressa nella maniera più compiuta all'interno del romanzo. Questo lavoro ricostruisce i singoli passaggi di questo percorso nel tentativo di osservare la maturazione dell'autore ferrarese nel continuo confronto con la letteratura coeva e non solo, fino alla "riflessione su se stesso" che occupa quasi per intero il lavoro saggistico dell'ultimo Bassani.
Giorgio Bassani's essayistic journey begins when the future author of "The Garden of the Finzi-Continis" was still a university student. His evolution up to the Sixties proves indispensable to the formation of that idea of literature expressed in the most complete way within the novel. This work reconstructs the individual steps of this path in an attempt to observe the maturation of the Ferrarese author in the continuous comparison with contemporary literature and beyond, up to the "reflection on himself" which occupies almost the entire essayistic work of the late Bassani
Meneghello and Proust's road
No full textL’autore propone la tesi di una somiglianza profonda tra l’incipit di Libera nos («S’incomincia con un temporale […]») e il celebre episodio della madeleine nel primo volume della Recherche di Proust. L’autore rileva però anche le differenze: quanto Proust era teorico, esponendo tutte le sue distinzioni sulle due memorie, volontaria e involontaria, che portano alla tesi del primato dell’intuizione sulla ragione, tanto Meneghello è ellittico. L’ellissi è peraltro un tratto stilistico costitutivo del suo stile. L’autore si chiede peraltro se la pagina di Meneghello risenta dell’influenza della lettura di Proust, o se non si tratti piuttosto di un caso di poligenesi, e lascia aperta la risposta. Nell’articolo si stabilisce anche un confronto con l’inizio narrativo del Giardino dei Finzi Contini di Giorgio Bassani.The author proposes the thesis of a profound similarity between the incipit of Libera nos («S’incomincia con un temporale […]») and the famous episode of the madeleine in the first volume of Proust's Recherche. However, the author also notes the differences: Proust sets out all his distinctions on the two memories, voluntary and involuntary, leading to the thesis of the primacy of intuition over reason, and he is therefore theoretical, while Meneghello is elliptical. Ellipsis is moreover a constitutive stylistic feature of his style. The author wonders, however, whether Meneghello's page is influenced by reading Proust, or whether it is not rather a case of polygenesis, and leaves the answer open. The article also establishes a comparison with the narrative beginning of Giorgio Bassani's Giardino dei Finzi Contini
Il giardino, il vento, il cuore. Manzoni e Bassani
No full textIn this paper I propose a first investigation about the influence of Manzoni’s model in the works of
Giorgio Bassani. This is a very important model for him, as evidenced by the many references to
Manzoni in the Ferrarese author’s essays and the various intertextual links that can be perceived
in his poetic compositions and in his narrative proses. Bassani is one of the authors of the second
half of the twentieth century who have taken more inspiration from Manzoni to renovate Italian
narrative. In this paper I want to analyze above all the citations-allusions of The Betrothed in
The Garden of Finzi-Continis. This intertextual analysis is preceded by a study of the essay texts
of Bassani and in his interviews that help to better undestarnd the years 1955-1958 in the cultural
itinerary of this author to validate the links found between the Manzoni masterpiece and the novel
of Finzi-Contini
La ricezione delle opere di Giorgio Bassani in Slovenia
No full textThe article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation
Giorgio Bassani y el imaginario cinematográfico: adaptaciones, apropiaciones, reescrituras y recepción.
No full textThis article deals with the Giorgio Bassani’s relationship with the cinema, distinguishing different moments of contact between the writer and this audiovisual medium. We will mention the filmic rewriting based on his works, with special emphasis on the film adaptation of Il Giardino dei Finzi-Contini, as an emblematic reference of the ideological disagreement expressed by the author towards Vittorio De Sica’s film. Moreover, we will focus on some specific ideas of the author about the difference between literary and filmic writing, as well as the degree of fidelity of the rewriting process of literary adaptations. Because of that we will make an analysis of the author’s reproductive reception in Spain and in Argentina, relating to a series of recontextualizations that have increased the interest in Bassani’s work inside the Hispanic context.En el presente trabajo se afronta la relación de Giorgio Bassani con el cine. Mencionaremos las reescrituras fílmicas basadas en sus obras, haciendo especial hincapié en la adaptación cinematográfica de Il Giardino dei Finzi-Contini (1970), referencia emblemática de la disconformidad ideológica expresada por el autor hacia la película de Vittorio de Sica. A partir de esta polémica daremos cuenta de la postura crítica bassaniana en torno a las adaptaciones cinematográficas y nos detendremos sobre algunas consideraciones específicas del autor acerca de la diferencia entre la escritura literaria y fílmica, así como del grado de fidelidad del proceso de reescritura de las adaptaciones literarias. Dicha operación permitirá un análisis sobre la recepción reproductiva del autor en España y Argentina, relativa a una serie de recontextualizaciones que ha tenido el mérito de impulsar el interés hacia la figura literaria de Bassani en el contexto hispánico
BASSANI E FERRARA
No full textNel decimo numero della rivista di Georgetown University dedicato al rapporto tra gli autori del Novecento e le più importanti città d'Italia, Paola Italia si occupa del rapporto tra Giorgio Bassani e Ferrara, città a cui l'autore dedica tutta la sua opera narrativa e che diventa un vero e proprio personaggio letterario. In particolare, grazie al lavoro compiuto durante la curatela del Meridiano dedicato a Giorgio Bassani, pubblicato nel 1998, Paola Italia mette in risalto il ruolo della città natale nel rapporto con il primo abbozzo del "Giardino dei Finzi Contini", intitolato "Primo appunto" e pubblicato sul "Caffè" sette anni prima della versione a stampa del celebre romanzo. Abbozzo in cui si chiarisce, nel diaframma dantesco, la sostanza simbolica della narrazione bassaniana e la sua rappresentazione di Ferrara.In the tenth issue of the journal of Georgetown University dedicated to the relationship between the authors of the twentieth century and the most important cities in Italy, Italian Paola deals with the relationship between Giorgio Bassani and Ferrara, a city to which the author devotes all her fiction and that becomes a real literary character. In particular, thanks to the work done during the curatorship of the Meridian dedicated to Giorgio Bassani, published in 1998, Paola Italian emphasizes the role of the town in the relationship with the first draft of "" The Garden of the Finzi Contini "," titled "" First note the "" and published in the "" Coffee "" seven years before the print version of the famous novel. Sketch in which it is specified in the diaphragm Dante, the symbolic substance of the narrative bassaniana and its representation in Ferrara
Jews in the Novels by Giorgio Bassani
No full textThe subject of this thesis is an analysis of novel's works of Giorgio Bassani, namely Gli occhiali d'oro, Il giardino di Finzi-Contini, Ditero la porta and L'airone. In the introduction the author is presented and his prosaic work is described. Then the analysis of the mentioned works focused on Jewish issues is made. The analysis in the first part persues the question of Judaism and the problem of the alienation and the loss of individual identity. The following charter focuses on fascism in relation to the Jews. The historical context of the fascist era is sketched and explains the changes that were under way in the society and the mind of an individual that are reflected in the author's works. Finally the individual is confronted with the society of Ferrara of which he is eventually excluded as a foreigner
A novel interplanetary communications relay
No full textA case study of a potential Earth-Mars interplanetary communications relay, designed to ensure continuous communications, is detailed. The relay makes use of orbits based on artificial equilibrium points via the application of continuous low thrust, which allows a spacecraft to hover above the orbital plane of Mars and thus ensure communications when the planet is occulted with respect to the Earth. The artificial equilibria of two different low-thrust propulsion technologies are considered: solar electric propulsion, and a solar sail/solar electric propulsion hybrid. In the latter case it is shown that the combination of sail and solar electric propulsion may prove advantageous, but only under specific circumstances of the relay architecture suggested. The study takes into account factors such as the spacecraft's power requirements and communications band utilized to determine the mission and system architecture. A detailed contingency analysis is considered for recovering the relay after increasing periods of spacecraft motor failure, and combined with a consideration for how best to deploy the relay spacecraft to maximise propellant reserves and mission duration
