182 research outputs found
Il racconto è un inganno giocato col tempo. L’urgenza della scrittura in Grazia Deledda
No full textEntro la sterminata produzione novellistica deleddiana, il saggio analizza un gruppo selezionato di racconti che rientrano nell’ambito della metanarrativà, una modalità di scrittura che l’autrice predilige fra la fine degli anni Venti e l’inizio del successivo decennio. Una tendenza all’autorappresentazione del proprio mestiere che apre spazi nei quali Deledda fornisce concrete indicazioni operative: se le novelle costituiscono una palestra letteraria che consente all’autrice di saggiare in tempo reale le reazioni dei lettori (pensiamo alla vasta ed eterogenea platea offerta dal ≪Corriere della Sera≫), nella dimensione concernente questa specifica tipologia Deledda assurge al ruolo di lettrice ideale della sua stessa opera. Qui l’autrice tende a sdoppiarsi suscitando nella pagina una protagonista che è un riverbero letterariamente ordito di se stessa. Una voce narrante disincantata, spesso autoironica, esprimendosi in prima persona interfaccia la Deledda-autrice alla Deledda-personaggio.Within Deledda's boundless production of novellas, the essay analyses a select group of short stories that fall within the sphere of metanarrative, a mode of writing that the author favoured between the end of the 1920s and the beginning of the following decade. A tendency towards self-representation of her own craft that opens up spaces in which Deledda provides concrete operative indications: if the novellas constitute a literary gymnasium that allows the author to test her readers' reactions in real time (think of the vast and heterogeneous audience offered by the ≪Corriere della Sera≫), in the dimension concerning this specific typology Deledda rises to the role of ideal reader of her own work. Here, the author tends to split herself into two, bringing to the page a protagonist who is a literarily reverberation of herself. A disenchanted narrative voice, often self-mocking, expressing herself in the first person interfaces the Deledda-author to the Deledda-character
Grazia Deledda, l'equivoco della Secessione e il movimento artistico sardo del primo Novecento
No full textAll’inizio degli anni novanta, il saggio di Nicola Tanda “Da Grazia a Cosima. Dal mito dell’isola all’isola del mito” (incluso nella raccolta Dal mito dell’isola all’isola del mito. Deledda e dintorni, Bulzoni, Roma 1992), ha proposto l’immagine di una Deledda “secessionista”, pienamente inserita nel movimento e partecipe delle istanze, non solo figurative ma in senso più ampio culturali, della Secessione romana; idea poi largamente accolta dagli studi successivi al punto da far ritenere, come di recente è stato scritto, che “i cambiamenti nello stile e nella poetica letteraria della Deledda sicuramente provengono dai saldi rapporti che lei ha stretto con singoli artisti, partecipanti a queste esposizioni” (D. Dubravec Labaš, Grazia Deledda e la “piccola avanguardia romana”, Carocci, Roma 2011).
Il saggio esamina questa linea interpretativa alla luce di una riconsiderazione della natura del fenomeno della Secessione romana, delle relazioni intrattenute dalla scrittrice con essa e con l’ambiente artistico della Capitale, degli interessi da lei manifestati nei primi anni del Novecento nei confronti delle arti visive. Cruciale, nell’ambito di questi rapporti, è la frequentazione del salotto di Giovanni Prini, vivace luogo di ritrovo di artisti e letterati romani, nel quale transitavano tra il 1904 e il 1905 anche i due giovani pittori sardi Giuseppe Biasi e Filippo Figari, futuri protagonisti del movimento artistico a forte carattere regionalista sviluppatosi poco dopo in Sardegna proprio a partire dall’esempio di Deledda e grazie allo stimolo rappresentato dalla sua opera.
Da questa analisi emerge come nell’ambito degli studi deleddiani recenti si sia generalmente teso a fraintendere il carattere delle secessioni europee e della Secessione romana in particolare, attribuendo loro un profilo e una composizione unitari e una marcata connotazione modernista, quando in realtà le secessioni, con l’eccezione di quella di Vienna, furono un fenomeno di natura squisitamente organizzativa e videro la partecipazione di artisti di tendenza conservatrice accanto a frange ridotte di operatori più innovativi, ma in nessun modo avanguardisti. Inoltre, nonostante le relazioni amichevoli della scrittrice con alcune figure dell’ambiente artistico italiano e sardo (e nonostante l’affetto che la legava alla sorella Nicolina, illustratrice dilettante), stando alla rarità dei suoi interventi critici su temi di arte contemporanea (appena due articoli a fronte di una produzione letteraria abbondantissima), non sembra giustificato ascriverle uno spiccato e consapevole interesse per le arti visive, tantomeno di avanguardia.
Mentre non pare possibile attribuire alla Secessione romana il merito dell’elaborazione di un “pensiero mitico” (Tanda) che avrebbe influenzato Grazia Deledda, la scrittrice ebbe un ruolo decisivo nell’orientare in direzione primitivista alcuni artisti sardi determinati a ribaltare in positivo l’immagine all’epoca corrente della Sardegna come terra arretrata e miserabile, infestata dai banditi e dilaniata dalle faide. La parte finale del saggio è dedicata a esaminare l’influsso di Deledda su tre fra i maggiori artisti sardi del primo Novecento, Antonio Ballero (1864-1932), Francesco Ciusa (1883-1949) e Giuseppe Biasi (1885-1945), mettendo in luce le tangenze tra la visione deleddiana e le dinamiche primitiviste in atto nella rappresentazione della Sardegna proposta da questi ultimi
Le Tradizioni popolari di Nuoro di Grazia Deledda
No full textWriting today about Grazia Deledda's Popular Traditions of Nuoro imposes an immediate and not easy comparison with those who have already written and said in an anthropological key of the Nuoro work and writer, that is, the authoritative exponents of the Ciresian school – and Cirese first , and not always, almost never one could say, they wrote and/or said about it in enthusiastic terms. Their positions, perplexities, points of view are almost completely shared even if at the same time in the opinion of the writer, perhaps, sometimes, Deledda has been written and said too severely. The contribution wants to try to question the Sardinian Nobel differently, or try to think again about the demological materials collected for the «Rivista delle Tradizioni Popolari Italiane» and about those that merged into his narrative work, evaluating the possible usefulness of these materials and the Deleddian legacy
Il Paesaggio in Grazia Deledda
No full textAbstract of the Thesis The utilization of landscape in Grazia Deledda. by Angela Cortes Master of Arts in Romance Languages and Literature Italian Stony Brook University 2011 Many authors and poets use landscape and nature to portray to the reader specific information regarding the characters, their feelings and thoughts, as well as the author\u27s own frame of mind, and the historical time frame of the novel. Other authors may use the landscape as a physical representation, to portray feelings and thoughts which could not be represented otherwise. Grazia Deledda, awarded the Nobel Prize in Literature in 1926, is one such author: she uses the landscape of her home town, Nuoro, and of her island, Sardegna, in her novels. This thesis analyzes how Deledda uses her scenery, its ultimate purpose, and whether or not she is consistent in her utilization of the Sardinian landscape and nature throughout her work. In order to provide an adequate theoretical background, I begin my analysis by considering how other Italian writers of the same historical period use nature in their works. In fact, Deledda is often associated with the writers of verismo and naturalismo of post-unification Italy because of their use of the landscape in an effort to accurately represent Italian regional societies. I chose to analyze three of Deledda\u27s novels, Canne al vento, La madre, and Elias Portolu, both for their commonalities and their diversities. The author uses the archaic Sardinian landscape and culture in similar ways across the various social components that make up her home town: the agricultural, the religious, and the animal grazing worlds. However, after analyzing these novels, I have come to the conclusion that her work differs from other writers of the naturalismo and the verismo movements, and as well as other writers and poets who rely on nature and landscape to relay their message to their readers. Deledda does not fit the profile of any particular movement and is in a class all her own. Where the veristi use the third person narrative to convey to the reader the social and cultural injustices into which man is born and from which he cannot escape, Deledda uses her Sardinian landscape as a window to man\u27s soul and depicts nature\u27s part in its formation, regardless of social status. Her characters are not trapped on a specific rung of the social ladder. Rather they are trapped in their own beliefs despite their social status; the landscape is used to give these beliefs an image that the reader can visualize. For this reason, the landscape in Deledda is at times another character, alive and with a personality of its own. This thesis will prove how Deledda uses all facets of the landscape that surrounds her to convey the physical, social, and historical environment in which her characters live. Most importantly, it will show that she uses it to accentuate the characters\u27 inner thoughts, feelings and actions, and how the characters are affected by that same landscape. Furthermore, this thesis will prove that Deledda\u27s use of the landscape does not remain consistent throughout her works. Instead, it becomes less descriptive and visual and more fantastic with her newer novels. She decreases her emphasis on color and integrates more sound and olfaction. Through the use of landscape, Deledda is able to create a realistic novel genre without precedence or succession. She captivates readers by creating characters they can relate to for the simple reason that these same characters are represented and described by a landscape that is vivid, alive and easily visualized by the readers, albeit the author\u27s own Sardinian landscape. Deledda\u27s description of nature is the physical representation of man\u27s thoughts and feelings
Il Paesaggio in Grazia Deledda
No full textAbstract of the Thesis The utilization of landscape in Grazia Deledda. by Angela Cortes Master of Arts in Romance Languages and Literature Italian Stony Brook University 2011 Many authors and poets use landscape and nature to portray to the reader specific information regarding the characters, their feelings and thoughts, as well as the author's own frame of mind, and the historical time frame of the novel. Other authors may use the landscape as a physical representation, to portray feelings and thoughts which could not be represented otherwise. Grazia Deledda, awarded the Nobel Prize in Literature in 1926, is one such author: she uses the landscape of her home town, Nuoro, and of her island, Sardegna, in her novels. This thesis analyzes how Deledda uses her scenery, its ultimate purpose, and whether or not she is consistent in her utilization of the Sardinian landscape and nature throughout her work. In order to provide an adequate theoretical background, I begin my analysis by considering how other Italian writers of the same historical period use nature in their works. In fact, Deledda is often associated with the writers of verismo and naturalismo of post-unification Italy because of their use of the landscape in an effort to accurately represent Italian regional societies. I chose to analyze three of Deledda's novels, Canne al vento, La madre, and Elias Portolu, both for their commonalities and their diversities. The author uses the archaic Sardinian landscape and culture in similar ways across the various social components that make up her home town: the agricultural, the religious, and the animal grazing worlds. However, after analyzing these novels, I have come to the conclusion that her work differs from other writers of the naturalismo and the verismo movements, and as well as other writers and poets who rely on nature and landscape to relay their message to their readers. Deledda does not fit the profile of any particular movement and is in a class all her own. Where the veristi use the third person narrative to convey to the reader the social and cultural injustices into which man is born and from which he cannot escape, Deledda uses her Sardinian landscape as a window to man's soul and depicts nature's part in its formation, regardless of social status. Her characters are not trapped on a specific rung of the social ladder. Rather they are trapped in their own beliefs despite their social status; the landscape is used to give these beliefs an image that the reader can visualize. For this reason, the landscape in Deledda is at times another character, alive and with a personality of its own. This thesis will prove how Deledda uses all facets of the landscape that surrounds her to convey the physical, social, and historical environment in which her characters live. Most importantly, it will show that she uses it to accentuate the characters' inner thoughts, feelings and actions, and how the characters are affected by that same landscape. Furthermore, this thesis will prove that Deledda's use of the landscape does not remain consistent throughout her works. Instead, it becomes less descriptive and visual and more fantastic with her newer novels. She decreases her emphasis on color and integrates more sound and olfaction. Through the use of landscape, Deledda is able to create a realistic novel genre without precedence or succession. She captivates readers by creating characters they can relate to for the simple reason that these same characters are represented and described by a landscape that is vivid, alive and easily visualized by the readers, albeit the author's own Sardinian landscape. Deledda's description of nature is the physical representation of man's thoughts and feelings.Advisor(s): Giuseppe Gazzola. Committee Member(s): Mario Mignone; Irene Marchegiani.Stony Brook University Libraries. SBU Graduate School in Department of Romance Languages and Literature (Italian). Lawrence Martin (Dean of Graduate School)
Deledda tra due lingue. Genesi ed evoluzione di un romanzo
No full text(Il contributo si basa sull'analisi filologica e linguistica di un importante romanzo di Grazia Deledda. L'autore ha studiato le varianti intercorrenti tra le diverse edizioni a stampa fino alla conclusione del ciclo evolutivo e genetico del romanzo [The article is based on philological and linguistic analysis of an important novel by Grazia Deledda. The author investigates and analyzes the variations between different printed editions until the end of the genetic and evolutionary cycle of the novel]
LE MASCHERE AUTOBIOGRAFICHE DI GRAZIA DELEDDA
No full textWithin the production of Grazia Deledda, Cosima is the most autobiographical character, as can be seen from the examples shown. It is also possible to see similarities between the author and three other female figures protagonists of her works: Regina, protagonist of Nostalgie, Nina of The Country of the Wind and Maria Concezione of The church of solitude.All’interno della produzione di Grazia Deledda, Cosima è il personaggio più autobiografico, come si può notare dagli esempi riportati. È anche possibile scorgere assonanze tra l’autrice ed altre tre figure femminili protagoniste delle sue opere: Regina, protagonista di Nostalgie, Nina di Il Paese del Vento e Maria Concezione di La chiesa della solitudine.
Abstract
Within the production of Grazia Deledda, Cosima is the most autobiographical character, as can be seen from the examples shown. It is also possible to see similarities between the author and three other female figures protagonists of her works: Regina, protagonist of Nostalgie, Nina of The Country of the Wind and Maria Concezione of The church of solitude
Rates of the oxidative addition of benzyl halides to a metallacyclic palladium(II) complex and of the reductive elimination from a benzyl-palladium(IV) complex.
No full textPd(II) metallacyclic complexes are key intermediates in sequential reactions in which three new
C−C bonds are formed in an aromatic ring. The Pd(II) metallacyclic complex 10 with
phenanthroline as ligand undergoes oxidative addition to benzyl bromide or chloride in DMF to
generate benzyl-Pd(IV) complexes. The rate constant of the oxidative addition is determined by
means of electrochemical techniques, with the expected reactivity order PhCH2Br (k1Br = 3.6 M−1 s−1)
> PhCH2Cl (k1Cl = 6 × 10−3 M−1 s−1) at 29 °C. When the benzyl-Pd(IV) complex is generated from
PhCH2Br, the oxidative addition is followed by a slow C−C reductive elimination, which gives a
Pd(II) complex. The rate constant of the reductive elimination has been determined in DMF (k2Br = 6
× 10−4 s−1) at 29 °C
Palladium-catalysed synthesis of non symmetrically disubstituted-1,1'-biphenyls from o-substituted aryl iodides through aryl coupling and delayed hydrogenolysis
No full textLavoro in onore di Howard Alpe
The mechanochemical conversion of acetone to methyl isobutyl ketone over Cu-Mg based substrates
No full textSelected results concerning the acetone conversion to methyl isobutyl ketone promoted by mechanical energy are presented. Cu-MgO composites at different Cu contents and amorphous Cu40Mg60, prepared by different ball milling techniques, were employed as solid substrates for the mechanochemical process. The conversion and selectivity values of the acetone transformation were followed under Ar and H-2 reaction atmosphere and as a function of the impact energy. The mechanical treatment under H-2 resulted mainly in acetone hydrogenation leading to 2-propanol, while under Ar, the formation of diacetone alcohol, mesityl oxide and methyl isobutyl ketone (MIBK) was observed. Conversion changes and selectivity shifts were observed depending on the substrates employed, and the largest amount of MIBK; was obtained when amorphous Cu40Mg60 was used. An important structural transformation occurred during the mechanochemical runs. (C) 1999 Elsevier Science S.A. All rights reserved
- …
