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Alexandre Dumas figlio, La signora delle Camelie. Traduzione, nota al testo, introduzione e postfazione di Marisa Verna. Introduzione e postfazione tradotti in lingua inglese
No full textIl dramma a tesi di Dumas figlio si propone come un teatro “intelligente”, di riflessione morale, in più o meno aperta polemica con il vaudeville e il puro divertissement.
Il volume contiene, oltre a una nuova traduzione del dramma e della prefazione di Dumas fils (edita a scopi didattici nel 2008 presso EduCatt), un capitolo introduttivo nel quale viene indagata la forza mitogena e la canonicità del testo per la cultura europea ed extraeuropea. Il saggio introduttivo si propone di mettere in luce l’intrinseca dualità del testo stesso, dalla quale si è generato appunto il mito: delle due strutture drammatiche presenti nella pièce (quella neoromantica e quella borghese), è la prima, contro ogni previsione dello stesso Dumas figlio a prevalere nei decenni e poi nel secolo successivo alla sua creazione.
Nel saggio finale si propone invece l’analisi di due rappresentazioni considerate cruciali per la storia drammaturgica del testo (poiché la storia scenica di questo dramma è letteralmente immensa, si propone l’analisi di una rappresentazione coeva, e di una novecentesca), in Francia e in Italia. Segue un brevissimo excursus della fortuna scenica della pièce nel mondo, e una bibliografia selettiva.The Lady of the Camellias, by Alexandre Dumas fils
Marisa Verna ed., Edizioni ETS, Pisa 2011
The drame à thèse by Dumas fils appears as a form of intelligent theatre, proposing moral reflections in at times explicit opposition against the vaudeville and the pure divertissement.
Besides a new translation of the drama and of the preface by Dumas fils (previously published by EduCatt in 2008 for teaching purposes), the volume contains an introductory chapter which investigates the mythopoeic force and the canonicity of the text within the European and non-European cultures. The introductory essay aims at highlighting the intrinsic duality of the text which has originated the myth: of the two dramatic structures which make up the pièce the neo-romantic and the bourgeois one the former prevailed in the years and centuries following its creation, contrary even to any prediction of the author himself. The concluding essay analyzes two performances, in France and in Italy, acknowledged as crucial for the dramaturgical history of the text (since the staging history of this drama is immense, the analysis concerns one coeval performance and one from the 20th century). The essay is followed by a brief digression on the international staging success of the pièce and by a selected bibliography
Des images en quête de sens.Par les écrans du monde de Fanny Taillandier
Full text linkThis paper analyses the category of space in Fanny Taillandier’s last novel Par les écrans du monde. We argue that Taillandier tries to “make sense” of 9/11 terrorist attack through a stylistic recomposition of the dimension of space, while situating it in a “geometry of words” that makes it meaningful and human again. In effect, in Taillandier’s novel, the devastation and the final regeneration of the city are conveyed by a verbal picture, where images that constantly flow in the media find a solidity that no “digital modeling” (Taillandier) could reach, being the digital representation only able to show (and rationalize) chaos. Literature, on the other hand, bears human life. Our theoretical framework is the “Geopoetic” approach, as it is conceived by Kenneth White, Michel Collot and the Canadian research group of Marcello Vitali-Rosati and Servanne Montjour.Dans notre article nous nous proposons d’analyser le traitement de l’espace dans le dernier roman de Fanny Taillandier Par les écrans du monde (2018). Dans ses descriptions de la ville bouleversée par le cataclysme, Taillandier met en oeuvre une série de stratégies stylistiques qui, dans l’esthétisation de l’horreur, lui redonnent paradoxalement un sens: la fragmentation de l’espace et sa recomposition passent en effet par une peinture verbale où l’image trouve une ‘consistance’ que la “modélisation numérique” ne peut pas représenter, alors qu’elle est à même de concevoir un “chaos” qui nous est inaccessible. Nous nous servirons pour notre analyse du cadre théorique de la géopoétique, telle qu’elle a été élaborée par Kenneth White, Michel Collot et par l’équipe canadienne de Marcello Vitali-Rosati et Servanne Montjou
L'Education sentimentale. Flaubert et l'histoire
No full textThis article proposes a didactical approach of Flaubert's novel L'Education sentimentale. Our goal is to develop two different skills in students: stylistic analysis and critical learning of history.La lecture du roman Flaubertien peut être proposée dans une classe de lycée avec un double objectif: a) introduire l’élève à l’analyse littéraire et stylistique d’un des textes fondateurs de la littérature française ;b) introduire l’élève à la critique de l’histoire. Les évènements racontés dans le roman couvrent en effet toute la deuxième partie du XIXe siècle: deux Révolutions (février et juin 1848), un coup d’Etat (1851), le second Empire. Il ne s’agit pas d’apprendre l’histoire dans un roman, mais de réfléchir de manière critique sur un chapitre d’histoire que l’on aura appris auparavant en classe d’histoire. La collaboration entre les professeurs de français et d’histoire est indispensable. Nous allons proposer de suite une lecture du roman, qui s’attache au style flaubertien tout en visant l’élaboration critique d’évènements qui risquent de paraître “abstraits” à des adolescents du XXIème siècle, mais qui furent tragiques et lourds de conséquences sur l’Europe entière. La littérature peut les rendre vivants, aider les jeunes générations à traverser le miroir du réel
Daniela Della Valle, Il mito cristianizzato. Fedra/Ippolito e Edipo nel teatro francese del Seicento
No full textUn mistico ladro di fuoco. Péladan, Prometeo e la salvezza
No full textPéladan’s Prométhéide was written in 1893 and published in 1895. In the Preface of the trilogy Péladan had inserted a letter of Émile Burnouf, a famous French scholar of ancient Greek literature, in which the latter testified to the philological correctness of the play. Burnouf proclaimed his certainty that Aeschylus’s work was an esoteric introduction to mysteries, a mystical ritual of which the main goal was the revelation of religious truth to the public.
As it is known, only one of the three Aeschylus’ tragedies on the Titan is left, Prometheus Unbound. Péladan pretended to have “restored” the two lost tragedies, the Fire Thief and Prometheus released, and to have translated the only one we do have. Yet his interpretation of Aeschylus’ work is an esoteric one, in which he tries to balance the values of ancient Greek culture and the Christian Revelation: Péladan’s Prometheus is the creator and savior of humankind, Christ’s precursor (or the precursor of Christ). Prometheus’ sacrifice is interpreted by Péladan as an anticipation of Christ’s suffering for the salvation of mankind/humankind, as his Aeschylus ‘translation’ demonstrates: the Greek Prometheus suffers “for the destiny of his brothers”, while Péladan’s hero suffers “in his brothers". His suffering is, furthermore, a “suffering for justice”, an expression that finishes the three Péladan’s tragedies and exhibits the deep sense of his work. His Prometheus is moreover a Symbolist character, without a realistic personality and without a real risk of dramatic conflict: an absolute character, indeed
Soi-même dans un autre: Hélé Béji, Proust et les portes de Tunis
No full textSoi-même dans un autre: Hélé Béji, Proust et les portes de Tunis, “Bulletin Marcel Proust”, 66, 2016, pp. 145-156.
Oneself in another. Hélé Béji, Proust and the Tunis’ doors.
In her autobiographical novel L’oeil du jour (1985), Hélé Béji passes thrice through the Tunis’ doors, thus breaking through the barriers of her own identity, as a Tunisian and/or as a French woman. The frontiere can indeed be considered as an aesthetic category in this narrative of the North African writer, in which reality is represented by a moving Self, ceaseless caught in an interim space that situates itself at the edge of things and worlds, between times and spaces, on the borderline, above all, of writing styles.
The stylistic dimension can actually be considered the very pathway through which Hélé Béji achieves her own identity as a woman and as a Tunisian. In effect, her systematic echoing of Proustian narrative and stylistic patterns is not meant to barely imitate a model. Instead, this conscious imitation process is chosen by Béji to develop an original resource, able to represent the image of the Self as it was defined by Paul Ricoeur in 1990, that is to say, possible only in the recognition and the acknowledgment of the Other (Ricoeur, 1990). This stylistic intertwining and its cultural implications are the main topics of this article. On the other hand, I intend to demonstrate that Béji’s relation to the French novelist’s work responds accurately enough to the notion of “hospitality”, as it has been formulated by G. Boruszko and S. Tötösy de Zepetnek (2013), and thus to contribute in building on new bases a remoulded theory of the World Literature. In effect, the cultural heritage that Béji receives by France and one of its greatest authors allows her to access her own identity, in a linguistic and stylistic reshuffle that is far from being a simple pastiche, but weaves in the thread of the discourse her presence in the “Other’s” world: Tunis, Paris and their ivory doors.Dans L'oeil du jour Hélé Béji passe par deux fois les portes de Tunis, en franchissant en même
temps le seuil de sa propre identité, tunisienne et française. La frontière peut mme être
considérée comme une catégorie esthétique a part entière dans ce roman de l'écrivaine
maghrébine, où le réel est représenté par un moi en mouvement, sans cesse pris dans un entredeux
qui le situe à la lisière des choses et des mondes, des moments et des espaces, à la lisière,
surtout, des écritures. !
La dimension stylistique peut être considérée, en effet, comme le véritable lieu de passage par où
Hélé Béji arrive à reconnaître sa propre identité de femme et de tunisienne. La reprise
systématique de structures stylistiques et narratives proustiennes est vouée moins à l'imitation
d'un modèle qu'à l'exploitation d'une ressource, à même de restituer dans un miroir translucide
cette image de soi que Ricoeur croyait possible uniquement dans la reconnaissance de l'Autre
(Ricoeur, 1990). !
Nous nous proposons donc d'étudier la catégorie de la frontière -- culturelle, psychologique, mais
surtout esthétique -- dans L'oeil du jour, que nous allons lire à travers le philtre du style proustien.
Notre objectif est de démontrer, entre autre, que la relation de Béji à l'oeuvre proustienne répond
assez exactement à la notion de "hospitality" élaborée par G. Boruszko and S. Tötösy de Zepetnek
dans le but de fonder sur de nouvelles bases une théorie de la "World Literature" (CLCWeb:
Comparative Literature and Culture 15.6 (2013). L'héritage culturel que Beji reçoit de la France et
d'un de ses plus grands auteurs est en effet la frontière qui lui permet d'accéder à soi-même, dans
un remaniement de la langue qui, loin d'être un simple pastiche, coud dans la trame du discours la
présence à l' "autre" monde, Tunis et ses portes d'ivoire.
La Pantomime, une structure poétique et dramatique
No full textBetween 1820 and 1846 the mime actor Jean-Gaspard Deburau was Pierrot in the Parisian Théâtre des Funambules. His reckless and impassable acting style was read as a new poetic and dramatic pattern by two generations of poets.
The Romantic Jules Janin and Théophile Gautier created the myth of the ‘white man’, whose melancholic and cruel gesture interpreted the disease and the spiritual vacuum of an entire group of artists in search for a new ‘poetic drama’. It was nevertheless Charles Baudelaire who built a new theory of drama out of this mute play mode: his essay De l’essence du rire et généralement du comique dans les arts (1855) defines pantomime as the life synthesis, quintessence of comedy, pure comic element: the grotesque. Pantomime shows human tragic greatness, balanced between the vacuum of reality and the light of dream.
Théodore de Banville and Jules Champfleury took up (?) Baudelaire's suggestions and elaborated two dramatic theories that would be seminal for Symbolist and Naturalist Dram
2013 Diversité des sens, unité sensible
No full textThe hero of the Recherche seems to despair of ever being able to master a life in which everything is nothing but fragment and loss. Friendship, love, travel, art itself are dispersed and crumble in the luring diversity of our senses.
Indeed, unity only lies within writing, in the fusion of sensorial rhetoric (TR, IV, 470), that 'small furrow' where life's meaning hides away. A dense network of synesthetic figures runs though Proust's text, wrapping the diversity of human perceptions in a delicate yet perfect casing.
Our aim is to identify and analyse selected passages from the Recherche, in which this stylistic trend seems symptomatic of the unity of the writing, whose foundation rests on existential diversity. We will attempt to show that this sensorial rhetoric lies at the very heart of Proustian 'truth': secular though spiritual, carnal though eterna
Transporter des lampes à huile. Les mots du “style” de Proust en italien et an anglais
No full textThe "oily liquid, which, from nightfall onwards, seeps incessantly from the lamps' reservoir" (II, 395-396) is a marker of Proust's style. Describing this style means borrowing regularly from the lexicon of "unctuous". From Italian to English, have translators of Swann been able to conserve this semic molecule or have they had to change its substance? Which stylistic strategies have they adopted to resituate the oily texture of his style into different cultural codes
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