693 research outputs found
L’india di mario luzi: «questa enorme, meravigliosa forza del paradosso»
No full textThe article is focused on Mario Luzi’s travels to India, a compelling experience for the Florentine poet. Starting from the author’s travel notebooks, the essay analyses Luzi’s impressions and attitudes towards Indian culture. The poet was initially shocked at the sight of extreme poverty, even if fascinated by India’s monumentality. Little by little, he discovered the essence of India in its “force of paradox”. The article also investigates the importance for Luzi’s poetical career of the writings of the Indian philosopher Sri Aurobindo
Uno spazio alogico di reintricazione genetica. Note su un elemento del metodo di Giorgio Agamben
No full textIn this chapter, I will discuss Agamben's work through an analysis of one of his recurrent techniques: the genealogical interlacing of apparently antithetical concepts. I will examine this technique of Agamben's in some detail, with particular reference to what it enables him to adopt from and reshape in the work of Michel Foucault. In doing so, I give some justifications for Agamben's procedure in quite abstract philosophical terms, before showing how the challenges it raises are anything but abstract. I further show how this technique functions as a kind of motor for Agamben's work, driving him to extend and revisit his own theses on biopolitics. I conclude with a remark on its recent redeployment in The Kingdom and the glory, where it enables a further rearticulation of familiar political oppositions, such as those between thought and action, power and glory, and repressive and ideological state apparatuses. Finally, I suggest that it is this intellectual operation of Agamben's that gives us an orientation towards the challenges of radical politics today, as well as itself being a mode of pursuing such a politics
Friendship and farewell : Mario Luzi and Symbolism
No full textMa recherche porte sur l’héritage symboliste dans la poésie de Mario Luzi (1914 – 2005). Dans le premier chapitre, j’ai décrit l’« attirail » symboliste en repérant les caractéristiques thématiques et stylistiques qui révèlent une perception partagée de la poésie.Dans le deuxième chapitre, j’ai focalisé l’analyse sur la permanence des thèmes et des figures de style symboliste dans le cadre du recueil luzien Frasi e incisi di un canto salutare (1990).J’ai développé ma recherche en suivant le plan du premier chapitre :1) L’imaginaire :- Le poète ou l’« histrion spirituel ».- Le balbutiement poétique ou l’idée d’une création poétique fragmentaire.- Les correspondances.2) Le regard : la vision du poète est soulignée par le choix des couleurs et par l’élaboration d’une certaine perspective.3) La voix : la syntaxe et la ponctuation révèlent une conception poétique particulière. Luzi redécouvre l’oralité d’inspiration symboliste. Le rapport entre Luzi et le symbolisme se distingue en deux moments. Le premier, qui est d’ordre ontologique, se réalise à l’époque hermétique de Avvento Notturno (1940); le deuxième, de nature plutôt linguistique et rythmique, se rapporte aux recueils Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985) et Frasi e incisi di un canto salutare (1990).C’est en relation à ce deuxième moment qu’il est intéressant d’évaluer la persistance des caractéristiques symbolistes et la manière dont Luzi les a organisées et systématisées au sein de son parcours poétique. Ces caractéristiques constituent des réactifs qui nous permettent de comprendre l’importance de la poésie symboliste sur le plan de l’élaboration poétique luzienneMario Luzi, after a poetic history that crosses all the Nineteenth Century, has really understood what Symbolism means. It is required to distinguish between two steps in the Symbolist influence on Mario Luzi’s poetry: the first step is ontological, and it takes place in Avvento Notturno (1940). The second period is marked by linguistic and rhythmic features, and it is related with the collections Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985), Frasi e incisi di un canto salutare (1990). In my research I examined this latest work, in order to enlighten the continuities between Symbolism and Mario Luzi’s poetry, that is marked by two fundamental characteristics: from one side Luzi realizes a long itinerary in exploring new solutions, but on the other side we can observe the resurgence – also if fickle and transformed – of features and stylistic motifs.In this overview, the French Symbolism is an essential starting point: indeed, Symbolist poets are the underground or outward source, depending on the creative periods; Symbolist features accompany the author throughout all his production.Moreover, in 1990, with Frasi e incisi di un canto salutare, the distance occurred between the first readings of these poets makes come to lights the permanence, the life span features inherited from the Symbolist poets and entered in Luzi’s poetry as raw materials, even if deeply transformed.From the texts emerges a constant reference to the idea, to the Symbolist way: in the Luzi’s Nineties poetry it becomes a substantial, settled Symbolism, that is visible in the structure and in the poetic trend, other than in the permanence of topics and stylistic motif
Da Dante a Luzi sulle tracce del divino
No full textIl saggio offre un’interessante riflessione sull’ultimo volume di Michele Bianco, “Lev Shomeà (I RE 3,9) «Un cuore ascoltante». Da Dante a Luzi. Epifania del divino, ierofania e amor di Patria”, che presenta un’analisi su autori e momenti significativi della nostra tradizione letteraria. Bianco disegna, attraverso 17 densi saggi, un affresco della nostra storia letteraria, filtrato nell’ottica di una visione rinnovata del mondo della fede, intesa sia come epifania del divino, in autori dichiaratamente credenti (Dante, Petrarca, Luzi), sia come ierofania in autori (come d’Annunzio, Pirandello o Pasolini), aperti a un totalmente ‘Altro’, inteso come Oltre, e dove ‘la parola che si ascolta’ diventa quel filo conduttore, utile a superare l’eterogeneità degli autori trattati, in nome di quella visione rinnovata del mondo della fede che dà senso e unità a questo volume.In this essay, the author provides us with some interesting reflections on the challenging work resulted in the last volume written by Michele Bianco ((‘Lev Shomeá (‘I RE 3,9’) “Un cuore ascoltante”. Da Date a Luzi. Epifania del divino, ierofania e amor di Patria’). The essay is an accurate analysis of different authors and significant eventsof our literary tradition, combining, within a non-specialised concept of knowledge, the contributions of formalism, of the Prague Linguistic Circle, and structural linguistics, with the legacies of the best hermeneutic tradition of the 20th century (Heidegger and Gadamer): The scholar focuses on two fundamental issues. The first one is related to the methodologyderiving, as the title highlights, from shomeá, in other words from the humble approach, from the welcoming, listening attitude of the hermit priest in his/her journey towards knowledge. The other issue deals specifically with the main topic, trying to find that unifying element which could guide the reader through this complex research. In his 17 datailed essays, the author offer us a great, powerful overview of our literary history, in a renewed prespective on the world of faith, both as Divine Epiphany (such as that found in the works by authors who werw declared believer, like Dante, Petrarca luzi) and as Hierophany (such as that foubd in the works by D’Annunzio, Pirandello or Pasolini, who werw open to something which is totally “Other’, meaning “Beyond”), and where ‘the word that you listen to’ becomes the common thread, thanks to which you can overcome the heterogeneity of the authors treated, in the name of that renewed prspective on the world of faith gives meaning and unity to this volume
Lucrezio, Vita e morte nell'universo. Antologia dal De Rerum Natura a cura di Adelmo Barigazzi con un saggio di Mario Luzi (Civiltà Letteraria di Grecia e di Roma. Autori. Serie Latina, 33), 1974
No full textMaisonobe J. F. Lucrezio, Vita e morte nell'universo. Antologia dal De Rerum Natura a cura di Adelmo Barigazzi con un saggio di Mario Luzi (Civiltà Letteraria di Grecia e di Roma. Autori. Serie Latina, 33), 1974. In: Revue des Études Anciennes. Tome 76, 1974, n°3-4. pp. 382-384
Sodalizio e congedo : Mario Luzi e il simbolismo
No full textMario Luzi, after a poetic history that crosses all the Nineteenth Century, has really understood what Symbolism means. It is required to distinguish between two steps in the Symbolist influence on Mario Luzi’s poetry: the first step is ontological, and it takes place in Avvento Notturno (1940). The second period is marked by linguistic and rhythmic features, and it is related with the collections Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985), Frasi e incisi di un canto salutare (1990). In my research I examined this latest work, in order to enlighten the continuities between Symbolism and Mario Luzi’s poetry, that is marked by two fundamental characteristics: from one side Luzi realizes a long itinerary in exploring new solutions, but on the other side we can observe the resurgence – also if fickle and transformed – of features and stylistic motifs.In this overview, the French Symbolism is an essential starting point: indeed, Symbolist poets are the underground or outward source, depending on the creative periods; Symbolist features accompany the author throughout all his production.Moreover, in 1990, with Frasi e incisi di un canto salutare, the distance occurred between the first readings of these poets makes come to lights the permanence, the life span features inherited from the Symbolist poets and entered in Luzi’s poetry as raw materials, even if deeply transformed.From the texts emerges a constant reference to the idea, to the Symbolist way: in the Luzi’s Nineties poetry it becomes a substantial, settled Symbolism, that is visible in the structure and in the poetic trend, other than in the permanence of topics and stylistic motifsMa recherche porte sur l’héritage symboliste dans la poésie de Mario Luzi (1914 – 2005). Dans le premier chapitre, j’ai décrit l’« attirail » symboliste en repérant les caractéristiques thématiques et stylistiques qui révèlent une perception partagée de la poésie.Dans le deuxième chapitre, j’ai focalisé l’analyse sur la permanence des thèmes et des figures de style symboliste dans le cadre du recueil luzien Frasi e incisi di un canto salutare (1990).J’ai développé ma recherche en suivant le plan du premier chapitre :1)L’imaginaire :-Le poète ou l’« histrion spirituel ».-Le balbutiement poétique ou l’idée d’une création poétique fragmentaire.-Les correspondances.2)Le regard : la vision du poète est soulignée par le choix des couleurs et par l’élaboration d’une certaine perspective.3)La voix : la syntaxe et la ponctuation révèlent une conception poétique particulière. Luzi redécouvre l’oralité d’inspiration symboliste. Le rapport entre Luzi et le symbolisme se distingue en deux moments. Le premier, qui est d’ordre ontologique, se réalise à l’époque hermétique de Avvento Notturno (1940); le deuxième, de nature plutôt linguistique et rythmique, se rapporte aux recueils Al fuoco della controversia (1978), Per il battesimo dei nostri frammenti (1985) et Frasi e incisi di un canto salutare (1990).C’est en relation à ce deuxième moment qu’il est intéressant d’évaluer la persistance des caractéristiques symbolistes et la manière dont Luzi les a organisées et systématisées au sein de son parcours poétique. Ces caractéristiques constituent des réactifs qui nous permettent de comprendre l’importance de la poésie symboliste sur le plan de l’élaboration poétique luzienn
Lo sguardo dello scriba. Dialogismo e teatralizzazione in "Nel magma" di Mario Luzi
No full textThe essay reflects on the anomalous, elusive genre set-up of Mario Luzi’s Nel magma, arguing that it is an effective device for representing the subject’s ambiguous relationship with his own time. Within the poems, the subtly anomalous use of lyrical self-diegesis puts the action of the lyric character and the lyric voice in tension, dramatizing the subject reluctance to truly involve himself in a relationship with the Other. To this polarity corresponds, on the macrotextual level, the tension activated between the «deliberately uninspiring» (Verdino) character ‘Mario’ and the mute perspective of the author Luzi, in which one can detect a means, both extreme and oblique, for relativizing (and someway dialogizing) a lyrical Self dramatized and objectified.Il saggio riflette sull’anomalo, sfuggente assetto di genere di Nel magma di Mario Luzi, cogliendovi un potente dispositivo di sceneggiatura delle ambiguità che segnano il rapporto del soggetto con il suo tempo. All’interno dei testi, il peculiare uso dell’auto-diegesi lirica pone in tensione l’azione dell’io personaggio e quella dell’io voce, teatralizzando i limiti di indisponibilità del soggetto a implicarsi davvero in un rapporto con l’Altro. A ciò corrisponde, sul piano macrotestuale, la tensione attivata fra la condotta «volutamente non entusiasmante» (Verdino) del Mario personaggio e la muta prospettiva del Luzi regista, latrice di una estrema, obliqua possibilità di relativizzazione dialogica di quel Sé lirico teatralizzato e obiettivato.  
LCA and Integrated Environmental Monitoring System as tools for evaluation of environmental impact
No full textIl fragile filo della vita : l’opera poetica di Mario Luzi (1914-2005)
No full textNé à Castello près de Florence, Mario Luzi est consideré aujourd’hui comme une des voix plus nobles de la poésie en Europe. Le corpus des textes choisis pour l’étude est constitué par l’édition suivante: Mario Luzi, L’opera poetica, a cura di S. Verdino, Milano, Mondadori, «I Meridiani», 1998. Le volume, établi par l’auteur même, est divisé chronologiquement en trois parties: Il giusto della vita, Nell’opera del mondo et Frasi nella luce nascente. À partir de cette organisation textuelle, notre projet de recherche analyse l’œuvre poétique de Luzi, de son premier recueil La Barca (1935), qui marque sa saison hermétique, jusqu’à Viaggio terrestre e celeste di Simone Martini (1994), qui représente sa pleine maturité artistique. Les nombreuses occurrences des lexèmes «vita» et «filo» dès les premiers recueils confirment que le thème de la vie est le fil principal de l’œuvre poétique luzienne, mais autour de ce fil Luzi tisse d’autres fils poétiques : le sourire, la lumière, le voyage (comme métaphore de la vie). La tendance critique dominante préfère étudier un recueil en particulier, ou s’arrête tout au plus à l’analyse d’un ensemble homogène de recueils. Au contraire nous estimons que la lecture transversale et l’exploration intertextuelle de l’ensemble de l’œuvre poétique luzienne permettent de jeter un nouvel éclairage sur le processus de composition et en même temps de tracer des pistes herméneutiques originales. À travers sa poésie Luzi traque les raisons dernières de l’existence, les transformations perpétuelles du réel et les contradictions qui hantent l’homme moderne, remettant sans cesse en question les certitudes pour tenter d’atteindre à une vérité plus profonde.Born in Castello, near Florence, Mario Luzi is today regarded as one of the highest poetical voice in Europe. The corpus of texts adopted to studying is Mario Luzi, The poetical works, edited by Stefano Verdino, Milano, Mondadori, «I Meridiani», 1998, which is divided into three chronological parts: Il giusto della vita, Nell’opera del mondo and Frasi nella luce nascente. From this textual organization, approved by the author, our project of research analyses Mario Luzi’s poetical works from his first book of verse, La barca (1935), which marks his hermetic season to Viaggio terrestre e celeste di Simone Martini (1994), which represents his full artistic maturity. The high frequency of words «vita» and «filo» in his first books of verse reveals that the theme of life is the principal thread of Luzi’s poetical works, but he interweaves metaphorically others poetic threads such as the thread of smile, the thread of light and the thread of voyage (as metaphor of life). Generally critics examine only one book of verse or no more of a homogeneous collection of poems. On the contrary, we think that a transversal reading and an intertextual exploration of the whole Luzi’poetical works give a new point of view on his artistic process of composition and at the same time they show original interpretations. By his poetry Mario Luzi pursues the ultimate aims of existence, the continuous transformations of reality, the modern human contradictions, and comes certitudes into question to achieve a more deep truth
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