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Dissertations / Theses on the topic 'Italian writer'
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TRAINI, CHETI. "Narrare la Russia: gli scrittori viaggiatori italiani in Russia nel periodo sovietico." Doctoral thesis, Urbino, 2017. http://hdl.handle.net/11576/2641752.
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Zemignan, Roberto. "Jean Cocteau et l'Italie : regards cinématographiques croisés." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00823388.
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Cette thèse, qui croise l'oeuvre de Jean Cocteau avec la culture italienne, a un double but. D'une part, il s'agit de retracer les éléments qui ont contribué à donner vie à la partie italienne de l'imaginaire du poète, au cours de ses séjours dans la Péninsule. D'autre part, elle vise à faire connaître le point de vue italien sur sa présence dans le pays, en particulier pour ce qui concerne ses films et sa réflexion critique. Elle s'articule en trois parties. Dans la première, il s'agit de détecter comment l'imaginaire italien de Cocteau est né, ainsi que de retracer l'historique des relations qu'il a entretenues avec l'Italie. Dans la deuxième partie, elle aborde le domaine cinématographique dans sa spécificité, également sousun double aspect. D'une part, à travers l'analyse des commentaires que Cocteau a écrits après sa découverte des films italiens, pour pouvoir dégager sa conception de ce cinéma sous une forme générale, et comprendre son intérêt pour certains de ses protagonistes en particulier. D'autre part, elle retrace et analyse la place que la presse spécialisée italienne a accordé à son oeuvre dans l'univers cinématographique du Bel Paese. Enfin, la troisième partie examine les liens concrets que Cocteau a noués avec trois cinéastes italiens : Roberto Rossellini pour l'adaptation cinématographique de La Voix humaine; Luciano Emmer, pour la rédaction et la lecture des commentaires français de Venise et ses amants et de La Légende de Sainte Ursule; enfin Michelangelo Antonioni pour la réalisation de son Mystère d'Oberwald, adaptation de la pièce de théâtre L'Aigle à deux têtes.
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Ferrari, Francesca <1996>. "Multiple Consciousness: Rethinking Italian Canadian Women Writers through Susanna Moodie." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20343.
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An inaugural text for launching feminist works and lives in Canadian literature, Susanna Moodie’s Roughing It In the Bush has served as a groundbreaking, multigenre experiment for recent generations of Canadian writers. A didactic book, an autobiography, and a sketchbook on the toilsome experience of immigration recounted through the eyes of a British gentlewoman, Moodie’s narrative articulates the excruciating coexistence of two distant worlds: the Old (England) and the New (Canada). The cultural dynamism of bridging the two worlds, also typical of the immigrant autobiographical form, is also central to the works of many Italian Canadian women writers. Both Caterina Edwards and Mary Melfi, who wrote respectively the memoirs Finding Rosa and Italy Revisited, use the binary oppositions of old/new, past/present, reality/imagination as vantage points to express their being-in-the-world. Italian Canadian women writers were first launched by the poet Pier Giorgio Di Cicco, in his poetry collection Roman Candles (1978). This watershed collection illuminates a new consciousness informed by multiple identities based neither in Italy nor in Canada. Displaced, voiceless and marginalized, Italian Canadians are at home everywhere and nowhere, as the diasporic theory of “Italics” currently argues.
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Gandossi, Elena <1996>. "Intersemiotic translation for cultural heritage promotion: the Vittoriale degli Italiani from the Italian written guidebook to an English audio guide script." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21052.
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Lo scopo di questa tesi è quello di presentare il risultato di un progetto di traduzione dedicato all’ultima dimora di Gabriele D'Annunzio, il Vittoriale degli Italiani. Nello specifico, un testo scritto per essere letto in lingua italiana, selezionato dalla guida, è stato intersemioticamente tradotto in un'audioguida in lingua inglese, che verrà trasmessa oralmente a un pubblico internazionale.
La tesi è suddivisa in quattro capitoli. Il primo capitolo offre una panoramica sulla multimodalità e sulla sua applicazione in traduttologia. In questo capitolo, la traduzione è definita secondo la classificazione di traduzione intersemiotica proposta da Gottlieb (2017). L'ultima parte del capitolo è incentrata sul sistema semiotico del suono, sul ruolo del paesaggio sonoro nei testi multimodali e sull'audioguida come paesaggio sonoro. Il secondo capitolo si sofferma sulla traduzione di testi turistici, esplora il concetto di cultura e illustra le caratteristiche principali del discorso turistico e della comunicazione interculturale. Il terzo capitolo è diviso in due sezioni principali. La prima offre una panoramica generale del testo di partenza, analizzandolo dapprima secondo la teoria del contesto situazionale di Halliday (1985) e classificando poi le principali problematiche traduttive riscontrate durante il processo di traduzione (Nord 1991). Nella seconda sezione, invece, viene effettuata la traduzione intersemiotica vera e propria. L’ultimo capitolo fornisce un commento sulla traduzione in riferimento ai concetti teorici esposti nei capitoli precedenti. Da una parte, troviamo commenti di natura prettamente traduttologica, relativi al capitolo II. Dall'altra, vengono fornite considerazioni sulla riscrittura multimodale sulla base di quanto delineato nel capitolo III.
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Hipkins, Danielle E. "Unmanned territories : contemporary Italian women writers and the intertextual space of fantastic fiction." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/50761/.
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Thethesis examines how somewomen writers of fiction relate to the question of literary tradition in the 1980sand 1990s. Contemporary literary practice appears to be dominated by postmodern anxiety about a state of 'late arrival' as writers. I wish to explore how womenwriters' experience of the weight of literary predecessors is affected by their different subject position. I chooseto site this study within the area of fantastic fiction for several reasons. The fantastic tradition in Italy was largely overlooked by the critics until the 1980s- a factor which has exacerbated the neglect ofwomen's contribution to it. More importantly the fantastic is now vaunted by contemporary criticism as an area conducive to transgressive challenges to traditional literary practice, particularly for women writers. At the same time, however, the traditional tropes ofthe predominantly male-authored canon of fantastic literature offer a problematic and challenging range of gender stereotypes for female authors to 'rewrite'. I choose to focus on the notion of space both literally and metaphorically in the development ofthis thesis. In the opening chapter I tease out the threads which connect space, Italianwomenwriters and the fantastic. I beginby showing that the fantastic itselfis often construed spatially as a genre and offers potential for spatial innovation. This suggests a subtler way of looking at womenwriters' use of literary models, which avoids falling into simplistic analyses of gender portrayal. I then outline the position of womenwriters in Italy in relation to the genre ofthe fantastic. I suggest that the missing sense of a womenwriters' tradition in this genre maybe one reason whythe fantastic is used to explore self-consciously the relation betweenthe female writer and the male authored text. Finally I showhow the fantastic offerswomen a space in which to re-write, namely through their manipulation ofthe literal and metaphorical spaces ofthe text. The following two chapters execute this study with close reference to texts by four authors. The second chapter is dedicated to the early fiction ofPaola Capriolo whoseexperience ofliterary tradition as a particularly claustrophobic space inspired this thesis. I agree with the widely held viewthat her use of a Gothic-oriented fantastic, which privileges a world of enclosure in labyrinthine interiors, reflects a typically postmodern anxiety about the end ofliterature. I argue howeverthat the anxiety ofthe writer's relation to literature is more closely linked to her identification with a predominantly male literary tradition. This gives her writingsome interesting links with muchearlier examples ofwomen's writing. It also provides an interesting springboard from whichto look at the treatmentof similar themes of enclosure in work by other women writers. The final chapter follows the emergence of new models ofthe fantastic in the work ofthe writers FrancescaDuranti, RossanaOmbres and Laura Mancinelli. I suggestthat in their work we see a contemporary use ofthe fantastic 'al femminile' which juxtaposes the external space with the internal space, giving rise to the recurrent motifoftravel. I argue that this use of the fantastic genre pushes the genre in a new direction, towards a space in which the internal fantasy and dialogue co-exist.
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Lee, Joanne Sarah. "Representations of travel and displacement in the work of contemporary Italian women writers." Thesis, University of Bristol, 2008. http://hdl.handle.net/1983/68a98ea2-4b57-47a9-8206-18420a29b199.
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Butler, Rebecca. "Resurgence and insurgence : British women travel writers and the Italian Risorgimento, 1844-1858." Thesis, Bangor University, 2016. https://research.bangor.ac.uk/portal/en/theses/resurgence-and-insurgence-british-women-travel-writers-and-the-italian-risorgimento-18441858(c207e708-49cd-44ad-83ea-4c2abc1b0c50).html.
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This study examines the evolution of British women travel writers’ engagement with the Risorgimento during a decisive period preceding Italian reunification, from the infamous letter-opening incident of 1844 to the eve of the Second Italian War of Independence (1859-1861). Despite being outwardly denied a political voice back home, British women were conspicuous in their engagement with the Italian question. Italy’s allegorical personification lent itself well to female-oriented interpretations of the Risorgimento, with many women seeing Italy’s political oppression under Austria as analogous to their own disenfranchised condition in Britain. The rise of mass tourism on the Continent made Italy increasingly accessible to Victorian women travellers, not only as a locus of culture, but also of political enquiry. The generic hybridity of travel writing further enabled Victorian women’s political engagement by granting a degree of fluidity between traditionally feminine and masculine genres. In turn, Italy played a foundational - albeit somewhat equivocal - role in British women’s literary professionalization as travel writers. My research focusses on the intersections between political advocacy, gender ideologies, national identity, and literary authority in women’s travel accounts of Italy. It contributes to current literary scholarship on the Risorgimento by providing a sustained analysis of Victorian women’s non-fiction travel writing as an under-represented genre in Anglo-Italian studies. Encompassing both published and unpublished travel writing across a variety of media, it aims to represent a broader diversity of literary responses to the Italian question. Through a comparative framework, I position prominent figures like Mary Shelley, Florence Nightingale and Fanny Kemble alongside marginalized writers such as Clotilda Stisted, Selina Bunbury, Mary Charlton Pasqualino, Maria Dunbar, Janet Robertson and Frances Dickinson, with fruitful intersections. My findings identify a number of shared discourses across these women’s travel accounts in response to discrete political moments 3 within the process of Italian reunification. By attending to such moments as unique discursive events, this study interrogates teleological narratives of British writers’ engagement with the Risorgimento. My analysis shows such discourses to be temporally contingent, being shaped not only by the episodes themselves, but also by extrinsic political and commercial considerations. Personal factors also differentiate individual responses to Italy, with many women travellers parallelling their autobiographical journeys with the peninsula’s political travails. However, my findings equally undercut a mutually reinforcing, proto-feminist narrative of women travellers’ liberal engagement with the Risorgimento. Instead, this study delineates the tensions as well as the synchronicities between representations of the female travelling self and Italy, revealing them to be often competing sites of authority.
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Prevedello, Michela. "Feminisms and postfeminisms : Italian women writers in the 1970s and the new millennium." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743002.
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Ponzanesi, Sandra. "Paradoxes of postcolonial culture : contemporary women writers of the Indian and Afro-Italian diaspora /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb400414161.
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Carletti, Elena. "The Photographic Eye: Poetry and the Visual in 1950s and 1960s Italian Experimental Writers." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/22076.
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This PhD thesis argues that, in the 1950s and 1960s, several Italian experimental writers developed photographic and cinematic modes of writing with the aim to innovate poetic form and content. By adopting an interdisciplinary framework, which intersects literary studies with visual and intermedial studies, this thesis analyses the works of Antonio Porta, Amelia Rosselli, and Edoardo Sanguineti. These authors were particularly sensitive to photographic and cinematic media, which inspired their poetics. Antonio Porta’s poetry, for instance, develops in dialogue with the photographic culture of the time, and makes references to the photographs of crime news. Furthermore, his poetry relies on the technique of poetic montage, and juxtaposes photographic and cinematic sequences through the use of percussive meter and frequent punctuation. Amelia Rosselli, on the other hand, refers to photography as a medium to capture and record her life story. Her poetry seems to work like a camera, recording a precise personal experience in both space and time. The still camera and film camera also inspire her metrical system, presented in her manifesto of poetics Spazi metrici. Finally, Edoardo Sanguineti claims to see the world photographically through a camera eye as well as through a cinematic mind. His poetry also borrows formal techniques from other artistic practices – such as collage and montage – and aims to deconstruct normative syntax as a form of resistance to bourgeois hegemony. This thesis intends to provide new and unexplored perspectives on the work of the authors analysed. It also suggests that there is a broader interrelation of literary and photographic cultures beyond the presented case studies. In post-war Italy, experimental and neo-avant-garde writers reshaped their poetry in direct dialogue with both photography and cinema. By recognising that the interactions between literature, photography, and cinema lay at the core of the poetic research of several authors in the 1950s and 1960s, this thesis aims to fill a gap in Italian Studies scholarship on poetry and calls for further research in this area.
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Waring, Caroline. "The reception of Ariosto's Orlando Furioso (1532) by three Italian women writers of the sixteenth century." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439686.
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Frigerio, Sara. "The Role of Transfer in Italian High School Students' Written Production in English." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-144710.
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This study aims at exploring to what extent transfer plays a role for young Italian learners of English. The informants consisted of a group of Italian high school students whose English written compositions are investigated. The collection of data is made up of an error analysis based on Pit Corder’s methodology (Corder in Ellis 2008: 46), in which six different linguistic categories are examined such as collocations, word order, the past tenses with special focus on the simple present perfect versus the simple past, furthermore the null subject parameter, false friends and subject-verb agreement. A brief discussion is also dedicated to the difference between what constitutes an error and a mistake. What emerges in this study is that the category of collocations is the one in which most instances of transfer errors are found followed by word order and the use of the simple past tense. Finally, the research aims to find out what could be the plausible reasons as to why certain categories appear to be more subject to the transfer phenomena.
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Maxson, Brian Jeffrey. "Book Review of A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/2656.
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A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650 Lisa Kaborycha, A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650, Oxford University Press: Oxford, 2016; 320 pp.; 9780199342433, £19.99 (pbk)
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Hunin, Juliette. "Le "mouvement de 77" : perceptions littéraires." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030001/document.
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Neuf ans après 1968, l’Italie connaît une nouvelle année d’agitation. Pendant quelques mois la péninsule est parcourue par un mouvement social, politique et culturel extrêmement vigoureux et offensif qui prendra le nom de « mouvement de 77 ». Cette contestation irrévérencieuse évoluera au fil des mois : les manifestations vont se tacher de sang et le « mouvement de 77 » se radicaliser. Mais il sera vite oublié, l’Italie se précipitant, le 16 mars 1978 avec l’enlèvement d’Aldo Moro, au cœur de ce que l’on nomme les « années de plomb ». De ce fait l’historiographie italienne mentionne rarement cette année de mobilisation, et seuls quelques romanciers ont été inspirés par le mouvement insurrectionnel de 1977. Nous dégagerons les raisons littéraires qui ont poussé les écrivains à s’emparer du « mouvement de 77 », afin de comprendre l’exploration paradoxale de cette année : d’un côté volontairement refoulée de l’histoire et de la littérature, de l’autre instrumentalisée afin d’illustrer les valeurs, les échecs ou les victoires de toute une génération. Comment les écrivains ont-ils évoqué ce mouvement ? Comment se sont-ils mesurés à ses enjeux, à ses dérives et à ce qu’il représente ? Quelles solutions narratives ont-ils exploré pour en rendre compte ? Comment leurs textes répondent-ils aux « mythes », ces conceptions dominantes et réductrices que la société italienne, traumatisée par cette période de son histoire, a produit envers cette jeunesse contestatrice ? Nous suivrons la diachronie des perceptions littéraires de cet événement, de 1979 à 2007, à travers les œuvres de Bruno Arpaia, Nanni Balestrini, Ferdinando Camon, Enrico Palandri, Paolo Pozzi et Luca Rastello<br>Nine years after 1968, Italia is going again through one year of agitation. For a few months, the peninsula is crossed over by a social, political and cultural movement, extremely vigorous and offensive, that was named "movement of ’77". This irreverent contestation is going to change with the passing months : the demonstrations become bloody and the movement of ’77 turns to more radicalism. But it will be soon forgotten when Italia, on the 16th of March 1978, day of the kidnapping of Aldo Moro, will rush into the heart of what were called the "Years of Lead". Thus, the italian historiography rarely mentions this year of mobilisation, and only a few italian novelists were inspired by the insurrectionary movement of 1977. We will draw the literary reasons that led those novelists to take over the "movement of ’77", in order to understand the paradoxical exploration of that year which was on one side forgotten by the history of literature, and on the other side used to illustrate the values, the failures and the victory of a whole generation. How did the writers picture that movement? How did they confront its stakes, its drifts, and what it represents? What are the narrative solutions they have found to express it? How do their texts answer to the "myths", these dominating and reducing conceptions that the italian society, traumatised by this period of its history, have brought to the contestating youth? We will follow the diachrony of the literary perceptions of that event, from 1979 to 2007, through the works of Bruno Arpaia, Nanni Balestrini, Ferdinando Camon, Enrico Palandri, Paolo Pozzi and Luca Rastello
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Bazzoni, Maria Alberica. "Writing for freedom : body, identity and power in Goliarda Sapienza's narrative." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d99db352-1203-479b-9f1c-7099e384ffe9.
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This thesis explores the theme of freedom in Goliarda Sapienza's narrative, focusing in particular on three works: Lettera aperta (1967), L'arte della gioia (1998, posthumous) and Io, Jean Gabin (2010, posthumous). The analysis concentrates on the interplay between body and power in processes of identity formation; the main aspects taken into consideration are gender, sexuality and political ideology, with specific attention to the power involved in human relationships. This thesis comprises four chapters. The first three develop a close textual analysis of individual works, each one progressing from the exploration of the internal composition of the self to the analysis of identity in its interpersonal and socio-political dimension. The fourth chapter engages with a comparative analysis of the same works’ narrative structures, accounting for the role of writing in the evolution of Sapienza’s narrative. I identify the pivotal tension of Sapienza's works in the ideal of freedom, and propose to define her narrative as Epicurean and anarchic, characteristics that place it at the intersection of post-structuralist and Marxist-feminist discourses. Overall, I argue in favour of Sapienza's originality and significance within the context of 20<sup>th</sup>-century Italian literature. I suggest an affinity between Sapienza's works and the literary legacy of Pirandello and Svevo, as well as certain tenets of postmodern fiction, but also a significant difference, concerning the presence of a tension towards agency and subjectivity, extraneous to the trajectory of the modern and postmodern subject. From a position of marginality and ex-centricity, Sapienza gives voice to a radical aspiration to individual and social transformation, in which writing and literary communication are granted a central role. Her works trace the parable of a strenuous deconstruction of oppressive norms and structures, aimed at retrieving a space of powerful bodily desire, which constitutes the foundation of the process of becoming a subject.
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Bortoluzzi, Maria. "The interpersonal function in written discourse : a comparative study of English and Italian undergraduate writing." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/28599.
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This study is a comparative analysis of university student writing in English and Italian (the native languages of the students). The main research issue investigated here relates to the differences and similarities in student writing across languages when the same text-type is produced within comparable situations. Cross-linguistic and cross-cultural variation in encoding and transmitting knowledge and in the way critical enquiry is conducted can be an area of potential difficulty when languages and cultures come into contact. Comparative analysis is a tool for investigating, explaining and, possibly, avoiding some of the potential errors and misunderstandings that may arise in cross-cultural communication. In particular the study focuses on writing conventions used by English and Italian native speaker students when writing about literature for their university courses. The data are texts of argumentative prose about literature (in the students' mother tongue) written for university examinations during an undergraduate degree course. The linguistic analysis focuses on discoursal devices related to the interpersonal metafunction. The fundamental hypothesis underlying the study is that the devices more centrally related to this metafunction can offer insights into the writing conventions adopted by the students. Whereas the interpersonal metafunction as the focus of analysis is a concept derived from Halliday, the actual linguistic analysis of discoursal features draws on different approaches to discourse study because the framework of analysis had to be flexible enough to encompass the investigation of two different languages and there was no standardised method of analysis for the present type of research. The linguistic areas focused upon are: person markers, 'impersonal' and passive structures, modality, evaluative strategies (Politeness Theory), metadiscoursal features, devices establishing an overt link between writer and reader, rhetorical prominence and its effects on discourse.
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Quinn, Jessie Erin <1994>. "The Acquisition of Wh-Questions in Italian Learners of English: Evidence from Elicited Written Production." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18189.
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The particular syntactic structure of English questions has made them a topic of interest in both first language and second language acquisition research. Wh-questions pose difficulties for both monolingual English-speaking children and second language learners of English. English main wh-questions require subject-auxiliary inversion (SAI) while embedded questions do not allow for it. Studies have shown that main questions are acquired before embedded questions and, due to the structural asymmetry between the two, learners often incorrectly apply SAI in embedded contexts. The goal of the present study is to investigate how intermediate/advanced L2 English learners acquire both main and embedded wh-questions, focusing on SAI errors. In addition, the present study examines the effect of wh-word, focusing on the arguments what, who, and whose and the adjuncts where and why. Through an elicited written production task, L1 Italian participants were asked to produce both main and embedded English questions. The results show low inversion rates in why-questions, a phenomenon that has been noted in both L1 and L2 acquisition research, higher rates of inversion in arguments in embedded questions, and particular difficulty acquiring and producing whose-questions. Within errors of non-inversion in embedded questions, learners overgeneralize obligatory SAI from main questions to embedded questions, rather than transferring L1 properties, indicating an interference of the L2. Pilot data gathered from highly advanced/bilingual L2 learners living in an English-speaking country for at least two years showed these participants produced more correct responses in both contexts compared to learners in a non-immersive context. However, the results indicate that errors in whose-questions and errors of non-inversion in embedded questions persist in highly advanced, bilingual speakers, perhaps signaling a need for explicit instruction of these structures.
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Elmi, Elizabeth Grace. "Singing Lyric among Local Aristocratic Networks in the Aragonese-Ruled Kingdom of Naples| Aesthetic and Political Meaning in the Written Records of an Oral Practice." Thesis, Indiana University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13857081.
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<p> In this dissertation, I examine the predominantly oral practice of singing lyric poetry among members of the Neapolitan aristocracy in southern Italy during the late-fifteenth century. The tradition of singing Neapolitan lyric developed and gradually gained ascendancy in the Kingdom of Naples over the nearly sixty years of the Aragonese dynasty (1442–1501)—both in the capital city of Naples and at feudal courts throughout the Kingdom’s rural provinces. The surviving song repertory and its preservation in late-fifteenth-century musical and literary sources bear witness not only to these varied performance contexts, but also to the inherently communal aspect of the tradition as a whole. </p><p> Combining approaches in musicology, ethnomusicology, and literary theory, I question the fixity and purpose of this written repertory in preserving a fluid and dynamic oral practice that flourished as the artistic expression of a subjugated class—Neapolitan nobles and intellectuals living under Aragonese rule. The manuscript collections, historical descriptions, theoretical and literary works that preserve and transmit the records of this oral practice demonstrate how writing was used to record, recollect, recreate, and ultimately memorialize a communal practice of song-making—lending value and legitimacy to the Kingdom’s local aristocracy—during a tumultuous time in the history of southern Italy. Some copies, perhaps preserved on less durable media, have likely been lost while others preserve traces of orality with varying levels of fixity and transformation. How and why these records were created and preserved is the central question that this study seeks to answer.</p><p>
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PISCI, ALESSIO. "Costaguana Writes Back/Along: di come Juan Gabriel Vásquez ha sfidato Joseph Conrad per scrivere un’iTentica storia della Colombia." Doctoral thesis, Università degli Studi di Cagliari, 2017. http://hdl.handle.net/11584/249646.
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In 2007, the Colombian writer Juan Gabriel Vásquez published a historical novel entitled “Historia secreta de Costaguana” (“The Secret History of Costaguana”), which tells the history of Colombia from 1820 to 1903 (when the province of Panama became independent) intertwining it with the biography of Joseph Conrad. The first-person narrator, José Altamirano, claims to have met the Polish author, who at that time was writing “Nostromo”, in 1903 in London. On that occasion, he told him his life story and, at the same time, that of his homeland, Colombia. Then, according to Altamirano, the ex-sailor transformed Colombia into Costaguana, Panama into the Occidental Province and the interoceanic canal into the San Tomé mine, erasing him (Altamirano) from his own (hi)story. For this reason, after Conrad’s death, he decides to retell his version of events, which constitutes the text of Vásquez’s novel.
The purpose of this study is to analyse the way in which the Colombian author constructed his own personal chronicle of his country’s history and of the biography of the Polish writer, by creating a complex intertextual structure, as well as through the use of parody and, in particular, of travesty. His account contends the hegemonic position (in the Gramscian sense) to the grand narratives that preceded it. One of them, maybe the most important, is the “official” history of Colombia, created in its image and likeness, between the late 19th and early 20th centuries, by the Bogotan “ciudad letrada” (Rama, 1984), which ruled the country from the capital. “Historia secreta de Costaguana” is also a case of historiographic metafiction (Hutcheon, 1989), where the narrator constantly interrupts his tale to dwell on the explanation of his narrative techniques. By doing so, he makes explicit the fact that his version of events and (by analogy) those that preceded it are only some of the many possible representations of reality, but not reality itself. In this regard, it will be argued that Vásquez’s text could be interpreted as part of an iThentic universe (as opposed to “authentic”, with the “i” standing for “interactive”), that is to say a portrayal of the real world which is no longer one-dimensional but, rather, negotiated by a plurality of subjects. None of these narratives prevails over the others. On the contrary, they all contribute, with equal dignity, to the making of a “macronarrative” in which the “write back” is also, at the same time, a “write along”.
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Casari, Jacopo <1994>. "Intersemiotic Translation for Tourism Promotion. The history of Treviso from an Italian written guidebook to an English audio guide script." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21053.
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L’elaborato presenta il risultato di un processo di traduzione intersemiotica in ambito turistico. Il testo originale in italiano, proveniente da guide cartacee, contiene una serie di informazioni su diversi siti e luoghi di interesse ed è rivolto a quei turisti interessati a visitare la città di Treviso. Il testo in questione è stato poi tradotto a livello intersemiotico, e quindi adattato, in modo da assumere le caratteristiche di uno script che possa fungere da copione per la creazione di un’audioguida adatta ad essere ascoltata. Nonostante il testo di arrivo sia in inglese, l’elaborato è rivolto a qualunque turista straniero in grado di comprendere la lingua, non necessariamente ad un pubblico madrelingua.
Il primo capitolo include una panoramica sul concetto di ‘cultura’ e sull’impatto che una cultura differente (quella del turista straniero) può avere sull’approccio ed il risultato di un processo di traduzione.
Nel secondo capitolo viene presentata un’introduzione al concetto di ‘multimodalità’, seguita poi da una definizione del concetto di ‘soundscape’.
Nel terzo capitolo viene trattato tutto ciò che sta alla base della creazione di un’audioguida, partendo da una definizione generale e analizzandone poi le caratteristiche principali, tra cui il tipo di linguaggio utilizzato e le molteplici strategie legate a prosodia e soundscape impiegate. Queste ultime in particolare hanno permesso di trasformare il testo di partenza in uno script adatto ad essere ascoltato. L’ultima sezione del capitolo presenta un paragone tra le caratteristiche principali delle audioguide in italiano e di quelle in inglese.
Infine, il quarto capitolo presenta la traduzione vera e propria, completa di note a piè di pagina che spiegano e trattano le micro e macro strategie utilizzate. La traduzione è quindi seguita da un commento traduttologico basato su quanto è stato discusso nei capitoli precedenti.
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Mayo, James Oliver. "Images of Corsica in France: Travel Memoirs and 19th Century Writers." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1764.
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Considered an integral part of Metropolitan France, the island of Corsica is situated nonetheless on the very periphery of the modern state that claims it. Actually situated geographically closer to Italy than to any part of France, its culture and its people are likewise more closely related to their Italians neighbors than to the rest of what Corsicans term "Continental France." Following the acquisition of Corsica, both government officials and bourgeois travelers would seek to visit the island, often recording their findings and publishing these memoirs for others to know of their travels. This concept of travel memoirs, specifically those regarding Corsica, had already been a fairly common practice among the British, as they had often placed interest in the island itself. From this group of French and British travel memoirs would come the writings of James Boswell, P. P. Pompéi, and the Baron de Beaumont, among others. Corsica becomes a place of unique setting for novels and short stories throughout the century, with tales of banditry, vendetta, and violence from the island. For those authors seeking to place their stories in Corsica, inspiration was drawn from the very travel memoirs they had read regarding the island, although often they chose to ignore them in favor of stereotypes. I have chosen three specific 19th century authors in relation to the images created by the travel memoirs of Corsica: Prosper Mérimée, Honoré de Balzac, and Guy de Maupassant. The purpose behind each author's use of the images of Corsica was very different and shows different ways that these images were used. Mérimée directly used Corsica to question the triumph of the civilized over the uncivilized, Balzac used Corsica to represent France itself, and Maupassant used Corsica to show that "reality" is really nothing more than a personal illusion. Though when publishing their travel memoirs the authors might not have expected much to come of them, they have actually influence an entire century of writers, and possibly an entire nation, with their images of Corsica.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Presutti, Stefano. "L'interdépendance entre oralité et écriture : le cas de la consonne latérale palatale dans l'acquisition phonologique de l'italien langue étrangère." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0410.
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Aujourd’hui, l’apprentissage de l’écriture, tout comme celui d’une langue étrangère, paraissent essentiels dans le parcours de nombreux individus. Lors du processus d’apprentissage d’une L2, l’apprenant se confronte souvent à des informations à la fois phonologiques et orthographiques. Notre recherche souhaite interroger les raisons pour lesquelles, au sein des processus d’apprentissage, le rapport entre langue écrite et langue parlée parait déséquilibré. Nous avons orienté notre réflexion sur l’inconsistance de la correspondance graphème-phonème (CGP) de la consonne spirante latérale palatale voisée en italien. Cette thèse souhaite d’abord analyser les interactions entre la langue écrite et la langue orale lors de l'évolution diachronique des sociétés occidentales. Nous décrirons ensuite le phonème et les graphèmes cibles d’un point de vue historique, sociolinguistique et phonosymbolique. Enfin, nous examinerons la CGP de la latérale palatale italienne à travers une tâche de discrimination audiovisuelle menée en contexte L2. Cette étude invite à sensibiliser à instaurer une relation plus équilibrée entre les inputs oraux et écrits lors des processus d'enseignement de la L2<br>It is vital today for most people to learn a second language, acquiring both spoken and written skills. In the Second Language (L2) learning process, especially with adult students, both oral and written inputs are used. This study investigates why today in Western societies there is an incorrect balance between oral and written language, especially during the language acquisition processes. I focus particularly on inconsistent grapheme-to-phoneme correspondence (GPC) of the consonant palatal lateral approximant in Italian. In the present thesis, first I analyse the relationship between oral and¬ written language through the diachronic evolution of Western societies. Secondly, I describe the phoneme and the grapheme targets synchronically, diachronically and phono-symbolically. Finally, we examined the GPC of the Italian palatal lateral approximant with an audio-visual discrimination test in L2 context. The study urges teachers and scholars to pay more attention to the phonological features of the L2 teaching processes, and to raise awareness about a more balanced relationship between oral and written input
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Da, Lio Giulia. "Narrare l'Albania in italiano : Dalla letteratura di immigrazione verso il colonialismo dell'immaginazione." Thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190439.
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The aim of this thesis is to show how the contemporary critical debate on migrant literature in Italy has proved to be inadequate to grasp the complexity of novels such Onela Vorpsi’s The Land where No One Ever Dies and Anilda Ibrahimi’s Rosso come una sposa (“Red as a Bride”). The main critical trends are presented, the two novels are analysed in their themes and new methods of analysis are suggested. In particular, I open for the possibility of framing these two novels within the multidisciplinary debate on the imaginative colonisation of Eastern Europe.
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Toninato, Paola. "The rise of written literature among the Roma : a study of the role of writing in the current re-definition of Romani identity with specific reference to the Italian case." Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/1224/.
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So far, textual hetero-representations of the Romani people (usually called `Gypsies' by the non-Roma) have focused on their foreignness and alleged `non-conformity' to the dominant order. Such depictions, conflating history and myth, art and reality, promote the perception of an unbridgeable divide between the `primitive', `illiterate' Roma and the `civilized' society. In this respect, the forging of a fictional `Gypsy' identity can be seen as an ethnic strategy aimed at endorsing harsh policies of oppression and social marginalization of the Roma. The recent rise of *a Romani written literature has shown that, contrary to common belief, the Roma cannot simply be defined as people `without writing'. This thesis aims to highlight the complex features of their literature, characterized by an irreducible plurality of voices and styles which is in striking contrast with the rigid, monolithic structure of the conventional images of the 'Gypsy'. The intertextual, hybrid features of Romani literature seem to suggest alternative ways of looking at Romani identity which substantially undermine the rigid binarism of ethnocentric definitions of the 'Gypsy'. More specifically, the study of Romani literature enables us to view Romani textual hetero- and auto-representations not as irreconcilable, mutually exclusive terms, but in the light of their interconnections and mutual influences. The adoption of a dynamic, intercultural approach is a crucial factor in our understanding of the complex features of Romani identity, and may ultimately contribute to a profound (and long due) reassessment of the troubled Roma/Gağe relationship.
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Lorandini, Francesca. "Au-delà du formalisme : la critique des écrivains en France et en Italie pendant la seconde moitié du XXe siècle." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100044.
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Ce travail arpente le domaine de ce qu’Albert Thibaudet nommait « la critique des artistes » pour montrer que, au cours de la seconde moitié du XXe siècle, ce genre de critique a constitué un véritable laboratoire permettant de sortir des impasses auxquelles avait conduit la vision autotélique de l’œuvre proposée par la critique formaliste et par la néo-avant-garde. Dans la première partie de l’étude on s’interroge sur l’évolution de la critique formaliste, en envisageant le tournant linguistique des années 1960 comme l’aboutissement naturel d’une révolution culturelle qui a eu lieu à la fin du XIXe siècle. En menant une analyse comparée entre la France et l’Italie, on observe les deux critiques formalistes en-dehors de leur rapport de filiation, et on brosse un modèle transnational qui montre qu’elles partagent la même conception de la littérature postulée par la néo-avant-garde. La deuxième partie du travail est consacrée à l’analyse d’une tendance relevable dans la critique des écrivains à partir de l’après-guerre, où une étude purement intrinsèque de l’œuvre d’art est mise en discussion. On propose une analyse comparée de la critique littéraire de Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini et Pier Vittorio Tondelli, afin de souligner que leur pratique critique ne s’est pas limitée à une déclaration personnelle de poétique, mais elle a ouvert une voie alternative à l’exaspération des positions théoriques formalistes, en anticipant ou en prônant le dépassement d’une vision autoréférentielle de l’œuvre qui a caractérisé la littérature de la fin du XXe siècle aussi bien en France qu’en Italie<br>My dissertation covers the field of what Albert Thibaudet called “the critique of artists” in order to show that, throughout the second half of the twentieth century, this form of criticism has given readers a different perspective on literature in comparison to that of the formalists and the neo-avant-garde. In the first part of my study, I examine the evolution of formalist criticism in the twentieth century, considering the linguistic turn of the 1960s as the natural outcome of a cultural revolution which took place at the end of the nineteenth century. By conducting a comparative study between France and Italy, I attempt to outline a transnational model which shows that the two formalist critiques share the same understanding of the literature postulated by the neo-avant-garde. The second part of my thesis is devoted to the study of one of the main tendencies in the critique of the writers since the Second World War, a tendency that called into question a purely intrinsic study of the work of art. Here, I propose a comparative study of the literary critique of Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini and Pier Vittorio Tondelli, in order to underline that their critical practice has not limited itself to a personal declaration of their poetic views, but it has truly opened up an alternative approach to formalist theoretical positions. They refused to speak of literature as a secluded world, and by doing so they anticipated one of the most important features of the literature of the end of the twentieth century, both in France and in Italy
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Henriques, Mariana de Loureiro. "A escrita cursiva itálica no ensino." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2021. http://hdl.handle.net/10400.5/22809.
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Simonetta, Elisabetta. "Lucrezia Gonzaga et Ortensio Lando. Enjeux et contraintes d'un camouflage épistolaire (1552)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA151/document.
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Les lettres de Lucrezia Gonzaga da Gazzuolo (1524-1576), imprimées pour la première fois à Venise en 1552 et republiées en 2009 seulement, constituent un riche corpus épistolaire en partie inexploré qui n’a pas encore fait l’objet d’une étude systématique. Les quelques travaux critiques qui nous ont introduit à une lecture du recueil montraient la pertinence d’une vaste analyse intertextuelle de ce livre de lettres. Notre étude a révélé la présence constante et multiforme de la figure intellectuelle de son éditeur non déclaré : le polygraphe Ortensio Lando. Son choix éditorial consistant à miser sur l’exemplarité que Lucrezia incarnait dans son vécu à la fois actif et tragique découle de l’importance croissante que l’industrie culturelle accordait aux femmes-auteurs et, par conséquent, au public féminin.Sur le recueil pèse le doute d’une paternité problématique qui nous a conduit à placer au centre de notre réflexion le rapport d’interdépendance qui liait étroitement Lucrezia à Ortensio Lando. La thèse révèle la dépendance formelle et thématique des lettres par rapport à l’écriture ‘irrégulière’ du polygraphe irrévérencieux. Cela permet de dévoiler toute l’ampleur d’une tortueuse initiative éditoriale conçue et orchestrée par Lando dont la visée principale s’est avérée être la diffusion d’une nouvelle forme de dissidence spirituelle inspirée par la Philosophia Christi d’Érasme. Face à une crise religieuse croissante, cette diffusion, qui passe à travers l’usage de l’imprimerie, repose sur le succès retentissant du ‘livre de lettres’ et se manifeste, entre autres, par un prosélytisme réformiste complexe. Les lettres s’insèrent ainsi dans un univers littéraire enchevêtré qui concerne d’un côté les écrits de Lando publiés entre 1550 et 1554 et de l’autre, le vilipendé Enchiridion militis christiani d’Érasme, et elles deviennent, dans un moment d’intensification des contrôles inquisitoriaux, une forme discrète de diffusion de positions religieuses hétérodoxes. Le recueil représente aussi un terrain d’enquête fertile pour réfléchir sur le statut de la lettre en tant qu’instrument de diffusion de la modernité et d’affirmation socioculturelle de la femme cultivée, mais aussi pour évoquer des questions méta-littéraires telles que les notions d’autorité, d’authenticité et d’auctorialité, et pour s’interroger sur les possibilités et les limites éditoriales d’une consécration littéraire des femmes<br>Lucrezia Gonzaga da Gazzuolo’s (1524-1576) Lettere, first published in 1552 in Venice and reprinted in 2009 only, constitutes a rich epistolary corpus that remains relatively untouched, not having been studied systematically yet.The few academic studies that introduced us to this volume of letters made apparent the need for an extensive analysis of it, with a focus on its intertextuality. Our work reveals the constant, if many-faceted, intellectual presence of Lucrezia’s unofficial editor: the polygraph Ortensio Lando. His editorial decisions capitalize on Lucrezia’s exemplarity, given her misfortunes and active daily life, and on the growing importance of women authors in the cultural industry and, in turn, of women readers.Suspicions of a not-so-straightforward authorship prompted us to center our reflection on the tight relation of interdependence between the gentlewoman and the writer. Our study sheds light on the formal and thematic influence of the irreverent polygraph’s ‘irregular’ writing style on Lucrezia’s letters. This leads us to uncover the full scope of a tortuous publishing project, conceived and orchestrated by Lando, aiming crucially at propagating a new strain of spiritual dissidence, inspired by Erasmus’s Philosophia Christi. Such dissemination, in face of rising religious tensions, would rely on the overwhelming demand for ‘letterbooks’, and take the form, among others, of a complex and reformist proselytism. The letters are thus part of an intricate literary universe ranging from the writings of Lando published between 1550 and 1554 to Erasmus’s much-maligned Enchiridion militis christiani. During a time of increased inquisitorial control and interventions, epistolography become a discrete means of heterodox religious propaganda. The collection of letters also opens up a promising field of investigations and research on the letter: first as a tool to broadcast modern ideas as well as the socio-cultural claims of learned women, but also as a crux for meta-literary issues such as authority, authenticity and auctoriality, and finally a springboard for reflecting on the editorial possibilities and limitations acting upon the literary consecration of women
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Dogliotti, Rosa-Luisa Amalia. "Arte e mito nell'opera di giuseppe conte lo scrittore come sciamano." Thesis, 2005. http://hdl.handle.net/10500/1847.
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This study examines the literary texts of the Ligurian writer Giuseppe Conte published between 1972 and 2005. In Part One, the reasons are considered which justify this research on Giuseppe Conte. This author is discussed in the context of the literary movements of the second half of the 20th century in Italy, with special reference to his approach to literature, which proposes a modern rewriting of myth. Conte is in fact a co-founder of "Mitomodernismo". "Mitomodernismo" is a literary movement, established in 1994 and currently still active, which aims to revive modern society through a spiritual rebirth promoted by a recovery of basic human values, as these appear within the boundaries already suggested by myth since antiquity.
The Mitomodernisti propose an alternative which could assist contemporaries to overcome the obstacles created by modern "maladies", particularly in the West, whether these be socio-cultural, ecological, or religious. Throughout Conte's entire æuvre one clearly perceives this strong desire for rebirth which for the author is concretised in "Fare Anima", that is, a way to reconnecting with the universe, of rising towards the "light".
This tension towards rebirth could be compared metaphorically to the quest for the Graal, which involves suffering as a way to redemption. The artist's visionary work is comparable to the extrasensory journey undertaken by the shaman during his trance. For this reason, in Part One of this study the figure of the shaman will also be examined in a socio-cultural context, in order to transfer it better to the literary context.
The whole of Part Two is dedicated to an analysis of Conte's æuvre - poetry, novels and also, but only indirectly, essays and articles - in the light of his fundamental themes, which metaphorically turn the writer into a "shaman".
The analysis is based on some concepts put forward by the Swiss psycho-analyst Carl Gustav Jung, such as the function and symbolism of myth in literature from a psychoanalytical perspective.
RIASSUNTO
In questo studio vengono prese in esame le opere dello scrittore ligure Giuseppe Conte, pubblicate dal 1972 al 2005. Nella Parte Prima vengono considerate le ragioni che giustificano questa ricerca su Giuseppe Conte. L'autore viene discusso nel contesto dei movimenti letterari del secondo Novecento in Italia, ed in particolare il suo approccio alla letteratura che propone una riscrittura del mito in chiave moderna. Lo scrittore è infatti uno dei cofondatori del "Mitomodernismo". Il "Mitomodernismo" è un movimento letterario che vide la luce nel 1994 e che è ancora attivo alla data attuale. Esso si prefigge di risanare la società moderna mediante una rinascita spirituale promossa dalla ripresa dei valori umani di base, simili a quelli suggeriti dal mito fin dai tempi antichi.
A tutto ciò i Mitomodernisti propongono un'alternativa che aiuti l'uomo contemporaneo a superare gli impedimenti creati da queste "malattie" moderne, particolarmente nell'ambito occidentale, siano queste socioculturali, ecologiche, religiose, o altre. Attraverso tutta l'opera di Conte si percepisce chiaramente questo desiderio di rinascita che per lo scrittore si concretizza nel "Fare Anima", vale a dire in un modo di ricollegarsi al cosmo, di innalzarsi verso la "luce".
Questa tensione verso la rinascita può venire metaforicamente comparata alla ricerca del Graal attraverso la sofferenza che redime. L'opera visionaria dell'artista è paragonabile al viaggio extrasensoriale intrapreso dallo sciamano durante la sua trance. Per questo motivo nella Prima Parte di questo studio si esamina la figura dello sciamano anche in ambito socioculturale per poterla poi meglio trasferire in quello letterario.
La Parte Seconda è completamente dedicata all'analisi dell'opera contiana - poesie, romanzi e, trasversalmente, i saggi e gli articoli alla luce dei suoi temi portanti, che dello scrittore fanno metaforicamente uno "sciamano".
L'analisi viene condotta basandosi su alcuni concetti elaborati dallo psicoanalista svizzero Carl Gustav Jung, quali la funzione ed il simbolismo del mito in letteratura da una prospettiva psicoanalitica.<br>Classics & Mod Euro Lang<br>D. Lit. et Phil.
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Oliveira, António Batista de. "Estratégias de retoma referencial em textos escritos por aprendentes de PLE de LM italiana." Master's thesis, 2017. http://hdl.handle.net/10316/85477.
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Dissertação de Mestrado em Português como Língua Estrangeira e Língua Segunda (PLELS) apresentada à Faculdade de Letras<br>The proposal for this work appears in the framework of the study of Textual Linguitics and focus, mainly, on the analysis of the anaphoric recovery as a fundamental element of cohesion (and coherence) in the elaboration – and discursive progression – of the texts produced by the learners of Portuguese as Foreign Language (PFL) of Italian nationality. In this analysis we followed closely the proposals of Paiva Raposo et al (2013), Lopes & Carapinha (2013), and Ferrari (2014). The choice of these proposals are mainly due to the fact that they are recent, based, although partially, on the foundational texts proposed by Halliday and Hasan (1976) and Beaugrande and Drassler (1981) and for being in the literature on this theme, relatively consensual proposals. On the other hand, and although each one of these authors is dedicated to a specific language, taken together, these authors presented analyzes that departed from the two languages here in analysis, reason that also justified our choice.This work has as field of study some strategies used by Italian learners of portuguese to refer back to ideas on the text. With this analysis, we aim to understand which are the anaphoric expressions most frequently used by Italian students for the establishment of referential relations in the textual fabric. Also, the referential background deserves here a special attention by the fact that they are the ingredients that will allow to introduce new entities in the textual universe and will trigger chains of reference. At last, the type of function that anaphora plays and the contextualization of intraphasic and/or supraphrasy in which the anaphoric recovery takes place, will merit a brief reflection in the data analysis.<br>A proposta para este trabalho surge no enquadramento do estudo da Linguística Textual e foca, sobretudo, a análise da retoma anafórica como elemento fundamental de coesão (e coerência) na elaboração – e progressão discursiva – dos textos produzidos por aprendentes de Português como Língua Estrangeira (PLE) de nacionalidade italiana. Na análise, seguimos de perto as propostas de Paiva Raposo et al (2013), Lopes & Carapinha (2013) e Ferrari (2014). A escolha destas propostas prende-se, sobretudo, com o facto de serem recentes, se basearem, ainda que parcialmente, nos textos fundacionais propostos por Halliday e Hasan (1976) e Beaugrande e Dressler (1981) e serem, na literatura sobre o tema, propostas relativamente consensuais. Por outro lado, e embora cada um desses autores se dedique a uma língua específica, tomados em conjunto, esses autores apresentaram análises que partiram das duas línguas aqui em análise, razão que também justificou a nossa escolha. Este trabalho tem como objeto de estudo algumas estratégias de retoma referencial nos textos de alunos italianos aprendentes de português. Com esta análise, pretendemos compreender quais as expressões anafóricas a que mais frequentemente os alunos italianos recorrem para o estabelecimento de relações referenciais no tecido textual. Também os antecedentes referenciais merecem aqui atenção pelo facto de serem eles os constituintes que vão permitir introduzir novas entidades no universo textual e vão desencadear cadeias de referência. Por último, o tipo de função que a anáfora desempenha e a contextualização de correferencialidade intrafrásica e/ou suprafrásica em que ocorre a retoma anafórica merecerão na análise de dados uma breve reflexão.
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Pike-Fiorindi, Lisa Kathleen. "Penelope speaks: Making the mythic specific in the works of five contemporary Caribbean and Italian writers---Lorna Goodison, Juana Rosa Pita, Derek Walcott, Silvana La Spina and Luigi Malerba." 2008. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=742253&T=F.
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Šupíková, Barbora. "Zločin a trest po sicilsku v prózách současných italských spisovatelů-novinářů." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-373765.
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The aim of this thesis is to show the current Italian authors work specifics who are asserted as journalists as well as writers and their journalistic and prosaic outputs is devoted to organized crime in today's Sicilian society. Roberto Alajmo, Gaetano Savatteri and Salvo Sottile and their literaty outputs È stato il figlio, Tempo Niente. La breve vita felice di Luca Crescente, Gli uomini che non si voltano, I ragazzi di Regalpetra, Maqeda and Più scuro di mezzanotte were chosen for an analysis. The criterion in choosing works was particularly a time span of its formation - for the first time they were published after 2005 and at the same time they are mostly the newest literary outputs of selected authors meeting the requirements. Particular authors are presented after an opening which is describing logical interrelationship between writers and journalists in history of Italian literature ever since the unification of Italy in 1870 and deals with history of Sicilian Mafia and Sicilian literature concerning a phenomenon of Mafia. Part of the following analytic section is devoted to work of particular writers-journalists. Emphasis is put on analysis of prosaic texts considering authors journalistic outputs. Watched is particularly a thematic line of their work and a possible reflection of events...
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Lampron, Eve-Marie. "Entre cohésions et divisions : les relations entre femmes auteures en France et en Italie (1770-1840)." Thèse, 2012. http://hdl.handle.net/1866/9120.
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Cette thèse documente, répertorie et analyse les relations entre les femmes auteures en France, en Italie, et entre Françaises et Italiennes, de 1770 à 1840, à partir de l’étude des correspondances et des ouvrages publiés de douze écrivaines (Anne-Marie de Beaufort d’Hautpoul, Sophie Gay, Félicité de Genlis, Marie-Émilie de Montanclos, Constance Pipelet Salm, Germaine de Staël, Teresa Bandettini, Elisabetta Caminer, Carolina Lattanzi, Diodata Saluzzo, Fortunata Sulgher Fantastici et Isabella Teotochi Albrizzi). Au cours d’une période caractérisée par le développement de l’imprimé, par l’importante participation féminine à la querelle des femmes, par le bouleversement politique international issu de la Révolution française et de l’époque napoléonienne, ainsi que par la présence affirmée des auteures, ces dernières font face à une réactivation des attaques contre l’autorat féminin. Dans ce contexte, les relations entre écrivaines illustrent le défi de « l’action commune » conçue dans une optique de défense d’une cause (celle des auteures) avant l’émergence du mouvement féministe.
Les écrivaines étant souvent présentées soit comme « sœurs, » soit comme « rivales », notre étude démontre que la nature des relations féminines est infiniment plus complexe dans les faits. D’un côté, les relations entre femmes auteures témoignent d’une certaine cohésion au sein de la communauté : les contacts sont nombreux, celles-ci s’épaulent en temps de crise, construisent des généalogies littéraires féminines, et déconstruisent les discours portant sur la soi-disant « exceptionnalité » et la « rivalité » des femmes de lettres. De l’autre côté, d’importantes divisions traversent leurs réseaux, notamment liées à l’appartenance nationale, aux opinions politiques et au positionnement de chacune dans le milieu littéraire. Outre les divisions sociales et politiques, cette thèse illustre la difficulté éprouvée par les auteures à arrimer leurs intérêts individuels (promotion de leur propre carrière, identités multiples interférant avec l’appartenance de sexe/genre) aux intérêts collectifs (légitimer l’autorat féminin). Ainsi, les écrivaines reconnaissent l’importance de la communauté des femmes auteures, tout en étant confrontées au défi d’en maintenir la cohésion, à une époque où non seulement l’activité littéraire, mais également le contexte culturel et politique, sont en pleine transformation.<br>This thesis documents, catalogues, and analyses relationships between female authors in France and Italy, and between French women and Italian women, from 1770 to 1840. It results from a study of the correspondence and published works of twelve women authors (Anne-Marie de Beaufort d’Hautpoul, Sophie Gay, Félicité de Genlis, Marie-Émilie de Montanclos, Constance Pipelet Salm, Germaine de Staël, Teresa Bandettini, Elisabetta Caminer, Carolina Lattanzi, Diodata Saluzzo, Fortunata Sulgher Fantastici, and Isabella Teotochi Albrizzi) over the course of a period marked by important developments in print culture, the significant involvement of women in the querelle des femmes, and the increased presence of women authors. These transformations, together with the international political upheaval caused by the French Revolution, saw attacks on female authorship pursued with increased vigour. The relationships between women authors within such a context illustrate the challenges faced in implementing a “common action” aimed at defending a female cause (that of female authors) before the advent of the feminist movement.
Often described as either “rivals” or “sisters”, this study demonstrates that the nature of relationships between women in this period was in fact far more complex. On the one hand, the community of female authors examined was marked by a certain degree of cohesion. These writers had wide-ranging networks of contacts, and could rely on each other for support in times of crisis. They constructed female literary genealogies and deconstructed the discourse used by others in reference to their community, particularly that relating to the “exceptionality” of and “rivalry” between women authors. On the other hand, significant differences also ran across the membership of these networks, notably in terms of nationality, political opinions, and the position each woman occupied within literary circles. Over and above these social and political divisions, this thesis illustrates the difficulties women faced in reconciling their individual interests (the advancement of their own careers, the divisive impact of their multiple identities with the cohesion of their sex/gender) with those of the collective (legitimizing female authorship). In short, this study examines the ways in which female authors recognized the importance of their community and faced the challenges of maintaining its cohesion, at a time when not only literary activity, but also the political and cultural context in which it was framed, were undergoing great transformation.
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Hu, Yifan. "Essays on monetary policy and international finance /." 2003. http://www.gbv.de/dms/zbw/557889626.pdf.
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