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Grandi, Tommaso <1985>. ". Leopardi, l'immaginazione, l'immaginario." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10197/1/T.%20Grandi%2C%20%C2%ABPare%20un%20assurdo%2C%20e%20pure%20%C3%A8%20esattamente%20vero%C2%BB.%20Leopardi%2C%20l%27immaginazione%2C%20l%27immaginario.pdf.
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Questa ricerca è volta all’analisi dell’immaginazione nell’opera di Giacomo Leopardi secondo una prospettiva critico-interpretativa, cercando, da una parte, di comprenderne la funzione all’interno delle dinamiche complessive della teoria della conoscenza leopardiana e, dall’altra, di indagare le modalità attraverso le quali Leopardi si accosta alle figure dell’immaginario. In quest’ottica si è deciso di dividere in due parti equivalenti il lavoro, destinando la prima, all’esame della facoltà immaginativa in una prospettiva prettamente gnoseologica, intesa nell’economia generale degli atti mentali, mentre la seconda, alle sue applicazioni pragmatiche, alla ricerca, da una parte, di una categorizzazione utile all’interpretazione dell’immaginario leopardiano, dall’altra, dell’utilità pratica e morale dell’immaginazione.La présente recherche vise à analyser le concept du imagination dans l’œuvre de Giacomo Leopardi selon une perspective critique-interprétative, en essayant, d’une part, de comprendre sa fonction dans la dynamique globale de la théorie de la connaissance de Leopardi et, de l’autre, d’étudier les modalités à travers lesquelles Leopardi aborde les figures de l’imaginaire. Dans cette perspective, on a décidé de diviser l’œuvre en deux parties équivalentes et d’allouer la première, à l’examen de la faculté imaginative dans une perspective purement gnoséologique, considérée dans l’économie générale des actes mentaux, tandis que la seconde, est dédiée à ses applications pragmatiques, à la recherche, d’une part, d’une catégorisation utile pour l’interprétation de l’imaginaire léopardien, d’autre part, de l’utilité pratique et morale de l’imagination.
This research analyses the concept of imagination in Giacomo Leopardi's works through a critical-interpretative perspective, trying, on one hand, to understand its function into Leopardi's global theory of knowledge and, on the other, to study how Leopardi approaches imaginary objects. In this perspective, the work has been divided into two parts: the first one is dedicated to the analysis of imagination through a gnoseological point of view, considered into the general scheme of mental acts. The second part is dedicated to its pragmatic applications, searching, on one side, for a category able to interpret Leopardi's imaginary and, on the other, for the practical and moral utility of imagination.
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Brungs, Karl-Hans. "Giacomo Leopardis Aenisübersetzung : die Übersetzung Leopardis in der Kritik des 19. und 20. Jahrhunderts, textkritische Ausgabe und Kommentar /." Frankfurt am Main ; Berlin ; Paris [etc.] : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb39268470d.
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Natali, Andrea. "Il mito nell'opera di Giacomo Leopardi." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0063.
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À partir de la constatation de l’absence du mot mito dans les écrits de Leopardi on a essayé de reconstruire le rapport changeant de Leopardi avec le mythe en en mettant en lumière la cohérence substantielle. De l’approche érudite et démystifiant propre à la rédaction du Saggio sopra gli errori popolari degli antichi on est passé à la lecture du Discorso di un italiano intorno alla poesia romantica. Du Discorso on a analysé la défense de la valeur poétique des fables anciennes et la démarcation des conditions de possibilité de l’usage des fables anciennes par les poètes modernes. Les pages du Zibaldone ont nous permis de comprendre le motif du recours au favoloso biblique et le motif de la non-réalisation du projet des Inni cristiani. Si à cause du changement des opinioni popolari les fables grecques ne sont plus capables de susciter la persuasion dont la fiction littéraire a besoin, le favoloso tiré par la tradition biblique se démontre être moins indiqué par rapport à celui païen à l’emploi en littérature. Alla Primavera et l’Inno ai patriarchi semblent prendre congé des fables anciennes or pendant les ans successifs Leopardi émancipe le statut de la mythologie de la religion en créant les bases pour un approche diffèrent à la réécriture des matériaux mythologiques. Le Operette morali et la catabase de Leccafondi dans les Paralipomeni constituent le résultat de l’émancipation des figures de la mythologie grecque de leur propre sfondo di senso : le cosmos. La création d’un sfondo di senso capable de mener au langage ce que de la nature des hommes et des choses est changé pendant les siècles jette les bases pour un emploi moderne des matériaux mythologiquesThe myth in the work of Giacomo Leopardi
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Belletti, Roberta Regina Cristiane. "A poesia de Giacomo Leopardi e suas traduções brasileiras: temas e problemas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06102010-112855/.
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A presente pesquisa tem como finalidade apresentar uma leitura da obra poética de Giacomo Leopardi, com um olhar atinente à estilística. A fim de abrir horizontes, no sentido de novas pesquisas e perspectivas da poética leopardiana, escolheu-se fazer um cotejo entre poemas selecionados e as suas traduções em língua portuguesa do Brasil, paralelamente, de modo que a análise estilística, feita em etapas, contribua para mostrar o sentido presente no texto poético, sentido esse que pode estar alterado na versão traduzida. Quatro foram os poemas escolhidos: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representando um conceito que circula há tempo, mas que se acredita manter a sua importância, referente às fases do pessimismo leopardiano: individual, histórico, cósmico e heroico.The present study is to present a reading of the poetry of Giacomo Leopardi, with a look regards on the stylistic. In order to open horizons to new research and perspectives of Leopardi´s poetry we chose to make a comparison between the selected poems and their translations into Portuguese of Brazil, in parallel, so that the stylistic analysis, done in stages contributes to show the sense in this poetic text, meaning that it can be altered in the translation. Four poems were chosen: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representing a concept that circulate for some time, but believed to remain important, on stages of Leopardi´s pessimism: individual, historical, cosmic and heroic.
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Panicara, Vittorio. "La nuova poesia di Giacomo Leopardi una lettura critica della Ginestra /." Firenze : L.S. Olschki, 1997. http://catalogue.bnf.fr/ark:/12148/cb37520959r.
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Steinert, Holm. "Giacomo Leopardis Sprachansichten : seine Aufzeichnungen zum Italienischen und der "Parallelo delle cinque lingue" (1817 - 1829)." Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2635166&prov=M&dokv̲ar=1&doke̲xt=htm.
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Feo, Nicola. "L'innaturale convivenza : antropologia e società nel penserio di Leopardi." Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL027.
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L’argument de ma thèse correspond à la conception de la société de Leopardi. Dans la première partie, on a affronté la question au travers de l’analyse des régimes politiques qui se sont succédés dans l’histoire: monarchie primitive, république, despotisme. Dans la deuxième partie on a pris en considération la théorie générale de la société, en vérifiant comment elle se déroule dans différents contextes d’écriture: Zibaldone, Operette morali, Pensieri, Palinodia, La ginestraThe argument of my thesis corresponds to the Leopardi’s conception of society. In the first part I have faced the problem through the analysis of the political systems that have followed each other in time: primitive monarchy, republic, despotism. In the second part I have considered the general theory of society, verifying the way it develops in different contexts of writing: Zibaldone, Operette morali, Pensieri, Palinodia, La ginestra
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Gallo, Giulia <1996>. "Metamorfosi del mito nella scrittura di Leopardi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20427.
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Con l’avvento dell’Ottocento in Europa si assiste ad una svolta di rilevante portata: è il secolo delle grandi trasformazioni. Questo arco temporale, infatti, vede cambiare l’assetto politico, economico e sociale del territorio europeo, rivelandosi poi una tappa fondamentale per lo sviluppo della modernità. I cambiamenti che investono questi campi hanno ripercussioni anche in ambito artistico e culturale, dove si assiste alla diffusione del Romanticismo: una nuova sensibilità che tende a focalizzare l’attenzione sull’individuo, sul suo rapporto con la natura, sulle emozioni e i sentimenti che ne agitano l’animo e sugli aspetti propri della sfera irrazionale. In questo contesto ricco di nuovi stimoli, anche il dibattito culturale acquista vitalità e assume respiro europeo; in Italia tali sviluppi portano all’opposizione tra classicisti e romantici. Un ruolo singolare è occupato da Leopardi che, pur rimanendo ai margini del dibattito, affronta questioni in esso centrali come il rapporto uomo-natura, il mito, l’immaginazione, l’antico. Questo lavoro mira ad evidenziare come le tematiche già presenti nella prima produzione leopardiana si modificheranno nel corso del tempo, con particolare attenzione all’evoluzione del tema del mito. La mia analisi prenderà in esame le diverse attuazioni letterarie che il motivo trova a partire dagli scritti giovanili in prosa, passando per i Canti, fino ad arrivare alle Operette morali, con costante riferimento allo Zibaldone.
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Cerretani, Gianni. "John Keats and Giacomo Leopardi : a comparative study." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416103.
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Cori, Paola. "'Paragonarmi meco medesimo' : immagine e memoria in Leopardi." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/487/.
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The aim of this thesis is to show the importance of memory in Giacomo Leopardi’s Canti and Zibaldone, not only as a theme for his poems and a source of theoretical speculation, but as a modelling structure of his writing. Following the first chapter on Leopardi and the philosophy of memory from Locke to the first half of the nineteenth century, chapter II investigates the self-referential perspective implicit in the recurrence of certain images in the Canti, and its consequences for the structure of the book, both in the Piatti and the Starita editions. Chapter III, focusing on the concept of clarity, demonstrates the importance and effect of Leopardi’s reading and re-reading of the Zibaldone, and shows the constant presence of a habit memory which acts through repetition, binds together demonstrative thoughts, and is responsible for their expansion. The second part of this chapter highlights Leopardi’s search for perfect images and their mnemonic power, as well as their general influence on the text. Leopardi’s knowledge of the phenomenology of memory is reflected in the text and offers an insight into the strong links in his works between thinking and writing as a whole.
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Ubbidiente, A. Roberto. "Storia della critica leopardiana dal 1961 al 1996 /." Frankfurt am Main ; Berlin ; Bern : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb375423668.
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Müller, Margot Cristina. "Tradução comentada do Discorso sopra Mosco de Giacomo Leopardi." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135149.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Made available in DSpace on 2015-09-22T04:10:57Z (GMT). No. of bitstreams: 1 334478.pdf: 796015 bytes, checksum: 64ad6f23d9f36c6c6ebe5d6e32c3f1b5 (MD5) Previous issue date: 2015
A presente dissertação tem por objetivo apresentar a tradução comentada do prefácio Discorso sopra Mosco (1815) de Giacomo Leopardi. O trabalho percorre os prefácios das traduções de Leopardi analisando as suas contribuições para a teoria da tradução. À luz de conceitos do próprio Leopardi sobre tradução e com base na perspectiva ética de Berman, comenta a tradução realizada no decorrer da pesquisa do Discorso sopra Mosco a partir de questões como: a) títulos, nomes, topônimos e seres mitológicos, b) repetições de palavras, c) pontuação, d) sintaxe, e discute as soluções adotadas no processo de tradução.
Abstract : This dissertation has the objective of presenting the commented translation of the preface Discorso sopra Mosco (1815) by Giacomo Leopardi. The work covers the prefaces of the translations of Leopardi, analysing his contributions to the translation theory. Based on Leopardi s conceptions about translation, and on Berman ethics perspective, addressing topics like: a) titles, names, toponyms and mythological beings, b) repetitions of words, c) pontuaction, d) sy ntax, and discusses the soluctions used in the process of translation.
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Valle, Suzanne. "Giacomo Leopardi et la pensée française du dix-huitième siècle." Paris 3, 1994. http://www.theses.fr/1994PA030162.
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Cette these est consacree a l'influence de la pensee francaise des lumieres sur le poete italien giacomo leopardi (1798-1837). Elle s'articule autour de l'idee de nature, idee-force de la philosophie du dix-huitisme siele, aussi bien que lde l'oeuvre leopardien. Elle aborde successivement le theme de la natureharmonie, avec laquelle l'homme moderne se trouve en contradiction par l'effet destructeur de sa raison, l'analyse de la societe moderne par opposition a l'etat de nature, la conception sensualiste de l'homme, la vision materialiste de l'univers et l'image de la nature comme force aveugle qui caracterise la derniere phase de la production leopardienne. La premiere partie du travail expose la pensee de leopardi telle qu'elle se developpe notamment dans le zibaldone, sorte de journal ou s'elabore ce que leopardi appelle son "systeme" philosophique, mais aussi dans les chants (canti) et dans les petites pieces morales (operette morali) ainsi que dans les oeuvres mineures. La seconde partie etudie les sources des themes leopardiens dans l'oeuvre, notamment, de montesquieu, voltaire, rousseau, buffon, diderot et condillacThis thesis deals with the influence of french enlightenment on the italian poet giacomo leopardi (1798-1837). It is organised around the idea of nature, a key-element of eighteenth century philosophy as well as of leopardi's work. The following questions are successively dealt with : nature as harmony, with which modern man feels in contradiction because of the disruptive effect of reason, the analysis of modern society as opposed to the state of nature, the idea of man in sensualist philosophy, the materialistic interpretatioin of the universe, the image of nature as a blind force which characterizes the last phase of leopardi's work. Part i presents the evolution of leopardi's thought. It covers mainly the zibalone, a sort of diary which shows the developments of what leopardi calls his philosophical "system", but also his poems (canti) and philosophical dialogues (operette morali) as well as minor writings. Part ii studies the sources of leopardi's major themes in the work of montesquieu, voltaire, rousseau, buffon, dierot and condillac
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Jérôme, David. "La question du système dans le Zibaldone de Giacomo Leopardi." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30030.
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Le Zibaldone est le grand journal de pensées de Giacomo Leopardi (1798-1837). Le jeune philologue et poète y consigne, sur près de quinze ans (1817-1832) et plus de 4500 pages, des pensées qu’il nomme « de philosophie variée et de belle littérature ». Et en effet, c’est bien la variété, et même la plus étonnante bigarrure qui caractérisent ce monumental magasin d’écriture : bigarrure des matières brassées (théorie de la connaissance, métaphysique, anthropologie, politique, morale, esthétique, autobiographie) ; bigarrure de ses formes (aphorisme, anecdote, maxime, remarque, citation, note érudite, essai) ; bigarrure de ses tonalités (tour à tour sarcastique ou sérieuse, docte ou familière, polémique ou poétique) ; intensité variable de ses rythmes d’écriture etc. Le Zibaldone apparaît donc tout d’abord comme un flux discontinu et disparate de pensée. Cependant, Leopardi n’entend pas y exposer une rhapsodie de vérités isolées et fragmentaires mais une véritable philosophie, un authentique système philosophique. « Il mio sistema » : « mon système se fonde sur un scepticisme raisonné », « mon système ne se fonde pas sur le christianisme mais s’accorde avec lui », « mon système ne détruit pas l’absolu mais le multiplie » etc. La philosophie de Leopardi se place sous le signe d’une assomption répétée et explicite de la systématicité : « il n’existe pas de philosophe véritable sans système ». Affronter la question du système revient alors pour lui à affronter la question de l’ordre. Il ne s’agit pas d’une simple velléité mais d’une exigence aussi bien méthodologique qu’ontologique. Manquer d’esprit de système c’est manquer d’ordre, et c’est surtout manquer l’essence même du réel, de la nature en tant que totalité , une nature qu’il ne saurait concevoir autrement, elle aussi, que comme un système et comme un ordre. Quel est donc l’ordre du système léopardien ? Et dans quelle mesure celui-ci épouse-t-il l’ordre du système de la nature ? Quel est leur fondement commun ? Répondre à ces questions revient à parcourir l’ensemble du manuscrit et à montrer en quoi cette totalité mouvante, ouverte et réticulaire qu’est le Zibaldone est le seul lieu à même d’accueillir une pensée placée devant l’urgence de statuer sur les guises de l’existence et de la contradictionThe Zibaldone is Giacomo Leopardi’s (1798-1837) famous diary of thoughts. The young philologist and poet recorded, for almost fifteen years (1817-1832) and in over more than 4,500 pages, thoughts that he calls "of varied philosophy and fine literature." And, indeed, it is its variety and even the most striking variegation which characterise this monumental magasin d’écriture: the variegation of its subject matters (theory of knowledge, metaphysics, anthropology, politics, morals, aesthetics, autobiography); the variegation of its forms (aphorism, anecdote, maxim, observation, quotation, scholarly notes, essay); the variegation of its tones (sarcastic or serious, learned or familiar, polemical or poetic); the variable intensity of its writing rhythms and so forth. So the Zibaldone appears as a discontinuous and disparate stream of thought. However, Leopardi does not mean to put forward a rhapsody of isolated and fragmentary truths but a true philosophy, a genuine philosophical system. "Il mio sistema": "my system is based on a well-argued scepticism", "my system is not based on Christianism but is compatible with it", "my system does not destroy the absolute but multiplies it", etc. Leopardi’s philosophy is placed under the sign of a repeated and explicit assumption of systematicity: "there is no true philosopher without a system." For him confronting the question of the system means confronting the question of order. It is not about a simple inclination but about a methodological as well as an ontological requirement. Lacking the spirit of a system is lacking order, and it’s above all lacking the essence of reality itself, the essence of nature as a totality, a nature he cannot conceive otherwise than as a system and an order. So what is the order of the leopardian system? And to what extent does it fit in with the order of the system of nature? What is their common foundation? Answering these questions means browsing through the whole manuscript to show to what extent this moving, open and reticular totality which is the Zibaldone is the only suitable place to receive a thought placed in front of the urgency to pronounce a judgment on the modes of existence and contradiction
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Fernández, García Oriol. "Giacomo Leopardi, poeta-filòsof. Modernitat i hermenèutica cap a un ultrahumanisme." Doctoral thesis, Universitat Ramon Llull, 2019. http://hdl.handle.net/10803/667065.
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A partir d’una visió crítica emmarcada dins de l’hermenèutica d’arrel pareysoniana, hom aplica les consideracions heideggerianes al voltant de Hölderlin a la figura de Leopardi i es planteja, com a pressupòsit inicial, que aquest autor també forma part dels anomenats poetes-filòsofs: Giacomo Leopardi medita mentre canta. No es tracta, doncs, d’una investigació històrico-filosòfica o històrico-filològica, sinó d’una tesi de tipus documental amb una finalitat palesament exploratòria en què se subratlla la importància de l’activitat interpretativa a l’hora de constituir i transformar l’ésser. El principal objectiu d’aquest estudi consisteix a distingir el nulla possibilitador del niente anorreador i a equiparar, doncs, el nulla leopardià amb l’ésser. El nulla esdevé el veritable fonament sense fonament amb què es caracteritza el seu pensar poètico-filosòfic, així com l’element que origina la indissolubilitat entre les reflexions estètiques i ontològiques que saturen la totalitat de l’obra i el pensament leopardians. La principal aportació teorètica d’aquest estudi, el neologisme imitació-interpretant, i amb el qual hom situa la meditació de l’italià dins el solc de la mímesi aristotèlica, subratlla, de fet, l’originària i indissoluble duplicitat de tot acte imitatiu: tota imitació en imitar, interpreta i constitueix l’ésser. D’aquest nou terme en resulta, per tant, el segon gran objectiu de la tesi, és a dir, la distinció entre còpia i imitació, la qual permet de concloure que el seu és un pensar ultrametafísic. I és que mentre que la còpia classicista fa referència a un ésser-com-a-objecte i, per consegüent, a la mera còpia d’un contingut òntic —un model establert a priori—, la imitació-interpretant, en canvi, remet a un pensar ontològic segons el qual l’ésser es dóna en el mateix moment en què hom s’hi relaciona, és a dir, tan bon punt és imitat i, consegüentment, redescrit. A l’últim, tant el nulla com la imitació-interpretant permeten que la tesi, en tant que elements vertebradors del projecte ultrametafísic de Leopardi, reinterpreti tres dels conceptes poètico-filosòfics més importants del present autor: ultrafilosofia, mezza filosofia i poesia mista. I és que tots tres palesen la ultrametafisicitat del seu pensar poètic, en el sentit que es tracta d’una filosofia i d’una poesia que no cerca pas la transparent immediatesa, ja que això n’implicaria l’encongiment de l’ésser, sinó el nulla o el buit de sentit de la interposició interpretativa. La imitació, la traducció i la poesia esdevenen, doncs, els exemples amb els quals s’il·lustra la interposició com a obstacle ontològic, és a dir, com els elements que permeten de constituir la realitat.A partir de una visión crítica enmarcada dentro de la hermenéutica de raíz pareysoniana, se aplican las consideraciones heideggerianas alrededor de Hölderlin a la figura de Leopardi y se plantea, como hipótesis inicial, que este autor también forma parte de los llamados poetas-filósofos: Giacomo Leopardi medita mientras canta. No se trata, pues, de una investigación histórico-filosófica o histórico-filológica, sino de una tesis de tipo documental con una finalidad manifiestamente exploratoria en la que se subraya la importancia de la actividad interpretativa a la hora de constituir y transformar el ser. El principal objetivo de este estudio consiste en distinguir el nulla posibilitador del niente agotador y equiparar, pues, el nulla leopardiano con el ser. El nulla se convierte en el verdadero fundamento sin fundamento con el que se caracteriza su pensar poético-filosófico, así como el elemento que origina la indisolubilidad entre las reflexiones estéticas y ontológicas que saturan la totalidad de la obra y el pensamiento leopardiano. La principal aportación teorética de este estudio, el neologismo imitación-interpretante, y con el cual se sitúa la meditación del italiano bajo la estela de la mímesis aristotélica, subraya, de hecho, la originaria e indisoluble duplicidad de todo acto imitativo: toda imitación en imitar, interpreta y constituye el ser. De este nuevo término resulta, por tanto, el segundo gran objetivo de la tesis, es decir, la distinción entre copia e imitación, la cual permite concluir que el suyo es un pensar ultrametafísico. Y es que mientras que la copia clasicista hace referencia a un ser-como-objeto y, por consiguiente, a la mera copia de un contenido óntico —un modelo establecido a priori—, la imitación-interpretante, en cambio, remite a un pensar ontológico según el cual el ser se da en el mismo momento en que uno se relaciona con él, es decir, en cuanto es imitado y, consiguientemente, redescrito. Por último, tanto el nulla como la imitación-interpretante permiten que la tesis, en calidad de elementos vertebradores del proyecto ultrametafísico de Leopardi, reinterprete tres de los conceptos poético-filosóficos más importantes del presente autor: ultrafilosofia, mezza filosofia y poesia mista. Y es que los tres manifiestan la ultrametafisicidad de su pensar poético, en el sentido de que se trata de una filosofía y de una poesía que no busca la transparente inmediatez, ya que esto implicaría el encogimiento del ser, sino el nulla o el vacío de sentido de la interposición interpretativa. La imitación, la traducción y la poesía se convierten, pues, en los ejemplos con los que se ilustra la interposición como obstáculo ontológico, es decir, como los elementos que permiten constituir la realidad.
Based on a critical vision framed within the hermeneutics of the Pareysonian root, Heideggerian considerations around Hölderlin are applied to the figure of Leopardi and it is considered, as an initial assumption, that this author also forms part of the so-called poets-philosophers: Giacomo Leopardi meditates while singing. Therefore, it is not a historical-philosophical or historical-philological investigation, but a thesis of a documentary type with a purpose that is fundamentally exploratory, underlining the importance of interpretative activity when it comes to constituting and transforming the Being. The main objective of this study is to distinguish the possibilitator nulla from the exhausting niente and to equate, thence, the leopardian nulla with the Being. The nulla becomes the true unfounded foundation with which its poetic-philosophical thinking is characterized, as well as the element that causes the inseparability between the aesthetic and ontological reflections, that saturate the totality of the work and the leopardian thought. The main theoretical contribution of this study, the neologism imitation-interpreting with which the Italian’s meditation is aligned with the Aristotelian Mimesis, underlines, in fact, the original and indissoluble duplicity of any imitative act: any imitation in imitating, interprets and constitutes the Being. This new term results, thus, as the second great objective of the thesis, that is, the distinction between copy and imitation, which allows us to conclude that his thinking is an ultrametaphysical one. And while the classicist refers to a Being-as-a-object and, as a result, to the mere copy of an ontic content —a model established a priori—, imitation-interpreting, on the other hand, refers to an ontological thinking according to which the Being occurs at the same moment in which one is related to it, that is to say, as soon as it is imitated and, consequently, redescribed. Ultimately, both the nulla and the imitation-interpreting allow the thesis, as the backbone of Leopardi's ultrametaphysical project, to reinterpret three of the most important poetic-philosophical concepts of the present author: ultrafilosofia, mezza filosofia and poesia mista. So, all three concepts point to the ultrametaphysicity of their poetical thinking, in the sense that it is a philosophy and a poetry that does not seek the transparent immediacy, which would imply the shrinkage of Being, but the nulla or the void of meaning of the interpretative interposition. Imitation, translation and poetry become, then, the examples with which interposition is illustrated as an ontological obstacle, that is, as the element that allow to create reality.
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Piperno, Martina. "Temporalities and fractures in post-Napoleonic Italy : Leopardi and Vico's legacy." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/79412/.
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This dissertation discusses whether Giacomo Leopardi (1798-1837) can be considered a philosophical heir of Giambattista Vico (1668-1744), as some scholars retain, despite the fact that there is no evidence that Leopardi read Vico’s New Science or other works until late (1828); too late to demonstrate a direct influence of the philosopher’s thought on the deepest nexuses of Leopardi’s reflection. This dissertation clarifies how Leopardi responded to Vico-related questions characterizing the culture of his time through an innovative methodology that looks at the diffraction of Vico’s ideas in Bourbon Restoration Italian culture. This work aims to paint a dynamic picture of Italian nineteenth-century polycentric culture through a geographical organization of the material; it in fact tackles the diffusion of Vico’s works and ideas from Naples to Venice (Chapter 1), to Milan (Chapter 2), to Leopardi’s hometown Recanati (Chapter 3), to Florence (Chapter 4), and again to Naples (Chapter 5). Not only does this work shed new light on the existence of a Vico-Leopardi philosophical lineage, but it also present an original study of perceptions of time and history and of the dichotomy ancient/modern in Post-Napoleonic Italian culture.
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Cerimonia, Daniella. "Making the Foreign familiar : Giacomo Leopardi and Percy Bysshe Shelley translation." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528879.
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Cervato, Emanuela. "Un sistema asistematico? : gnoseologia e morale nello Zibaldone di Giacomo Leopardi." Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:7198.
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Ricca, Silvia. "Théories de la compassion dans le Zibaldone. Leopardi lecteur des Lumières." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA139.
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Thème central des débats du XVIIIe siècle sur les fondements de la sociabilité humaine et sur les sources du Moi, la compassion est aussi l’un des sentiments les plus analysés par Leopardi dans son journal philosophique, le Zibaldone. Or, plus que tout autre siècle ou tradition, le XVIIIe siècle marque de son empreinte l’étude léopardienne des passions humaines. La doctrine de la compassion de Leopardi subit-elle aussi cette influence ? Quelle place occupe Leopardi dans l’histoire moderne des théories philosophiques de la compassion ? Se situe-t-il du côté des défenseurs de la compassion, exemplairement représentés par Rousseau, ou du côté de ses nombreux adversaires ? Après un premier chapitre introductif sur le contexte où prend forme le nouveau paradigme moral et lexical du XVIIIe siècle, cette recherche aborde les grandes questions rencontrées par Leopardi dans son analyse de la compassion : la nature énigmatique de ce sentiment ; ses principes et ses composantes ; les conditions psycho-physiques des différentes catégories de personnes qui sont prédisposées ou non à éprouver ce sentiment ; les objets « pitoyables » ainsi que les états d’âme et les moments de la vie qui favorisent davantage l’apparition de ce sentiment. Enfin, le dernier chapitre ouvre une perspective sur la dernière forme de compassion envisagée par Leopardi : la compassion universelle. Ce travail souhaite ainsi souligner les nuances de la théorie et de l’expérience du sentiment de la compassion chez Leopardi, en montrant la complexité d’une analyse toujours en tension entre anthropologie et morale, ontologie et phénoménologie, philosophie et poésieCompassion, at the center of the Enlightenment debate on the fundamentals of sociability and human nature, is perhaps one of the most analyzed feelings in Leopardi’s Zibaldone. Enlightenment contributed, more than any other tradition, to the shaping of Leopardi’s thought, and surely contributed to his interest in passions and human nature. Hence, can we say that it also influenced his examination of compassion ? What is the place of Leopardi within the modern history of the philosophical theories of compassion ? Does he stand with its defenders, whose main champion is Rousseau, or rather with its many opponents ?After an introductory chapter outlining the context in which the new moral and lexical paradigm of the Enlightenment develops, this study explores the topics examined by Leopardi in his analysis of compassion : the enigmatic nature of this feeling, its principles and elements ; the psychophysical conditions of different categories of people who are predisposed, in different degrees, to feel compassion ; the objects that move compassion ; the different moods and stages of life in which one is more inclined to compassion. Finally, the last chapter presents the ultimate form of compassion in Leopardi : the universal compassion. The main goal of this research is therefore to illustrate the diverse facets of the theory and experience of compassion in Leopardi, and to show the complexity of his analysis, which is constantly in between anthropology and morals, ontology and phenomenology, philosophy and poetry
Al centro del dibattito illuministico sui fondamenti della sociabilità e della natura umana, la compassione è forse uno dei sentimenti più analizzati nello Zibaldone di Leopardi. Più di ogni altro secolo e di ogni altra tradizione, quella illuministica ha contribuito alla formazione del pensiero di Leopardi, influenzandone soprattutto l’interesse verso le passioni e la natura umana. Si può dire che questa tradizione abbia inciso anche sull’analisi leopardiana della compassione ? Qual è il posto di Leopardi nella storia moderna delle teorie filosofiche della compassione ? Si schiera con i suoi difensori, di cui il rappresentante principale è Rousseau, o con i suoi numerosi avversari ?Dopo un primo capitolo introduttivo sul contesto in cui prende forma il nuovo paradigma morale e lessicale dell’illuminismo, questa ricerca affronta le tematiche incontrate da Leopardi nella sua analisi della compassione : dalla natura enigmatica di questo sentimento ai princìpi e componenti ; dalle condizioni psicofisiche delle diverse categorie di persone che sono più o meno predisposte a provare compassione, agli oggetti “compassionevoli” ; dagli stati d’animo ai momenti della vita in cui si è più inclini a provare questo sentimento. Infine, l’ultimo capitolo offre uno scorcio sull’ultima forma di compassione leopardiana : la compassione universale. Questo lavoro intende così mettere in luce le numerose sfaccettature della teoria e dell’esperienza della compassione in Leopardi, mostrando la complessità di un’analisi sempre in tensione tra antropologia e morale, ontologia e fenomenologia, filosofia e poesia
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Schiavon, Georgia <1979>. "Felicità antica e infelicità moderna. Due prospettive materialiste: l'epicureismo e Leopardi." Doctoral thesis, Università Ca' Foscari Venezia, 2009. http://hdl.handle.net/10579/6946.
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Though he borrows his conception of eternal and uncreated matter from Greeks' physics – in particular from Strato of Lampsacus's one, that in modern debate contends with Epicurus's one for the status of paradigm of coherent materialism – Leopardi breaks with ancient philosophy. Indeed, his reflection takes to its extreme consequences the sceptical issue of modern thought, which, despite its denial of platonism, has carried on maintaining the existence of an absolute. According to Leopardi the reality has no foundation: the principle of all things is nothing. He overturns the rationalism reigning in the western philosophy since its Greek origins. Even when is founded over a materialistic and afinalistic view of nature, Greek ethics remains rationalistic: for the Epicureanism the knowledge of truth is the phármakon, the remedy for pain. Epicurus condemns the sentence of Silenus. For Leopardi, heir of Silenus and Solomon's wisdom, the reason, knowing «the infinite vanity of everything», sees in eternity of annihilation the «medicine of all evils».Pur mutuando la sua concezione di materia eterna e increata dalla fisica greca, nella fattispecie da quella di Stratone di Lampsaco, che nel dibattito moderno si contende con quella di Epicuro lo status di modello di materialismo coerente, Leopardi rompe con la filosofia antica. La sua riflessione porta infatti alle estreme conseguenze lʼesito scettico del pensiero moderno, che, nonostante la sua negazione del platonismo, ha continuato a sostenere lʼesistenza dellʼassoluto. Per Leopardi la realtà non ha alcun fondamento: il principio delle cose è il nulla. Egli sovverte il razionalismo che ha imperato nella filosofia occidentale fin dalle sue origini greche. Anche quando è fondata su una visione della natura meccanicistica e ateleologica, lʼetica greca rimane intellettualistica: lʼepicureismo identifica nella conoscenza della verità il phármakon, il rimedio contro il dolore, condannando la sentenza silenica. Per Leopardi, erede della sapienza del Sileno e di Salomone, la ragione, che conosce «lʼinfinita vanità del tutto», vede nellʼeternità dellʼannullamento la «medicina di tutti i mali».
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Casagrande, David <1992>. "Come un legno alla deriva. La disperazione in Kierkegaard e Leopardi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8225.
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Con la presente tesi si cercherà di dimostrare come la Filosofia esistenzialista novecentesca (intesa nel suo senso primario e originale, e cioè in quanto filosofia che abbia un immediato contatto con il vissuto personale) non possa prescindere dall'insegnamento di S. Kierkegaard e da quello di G. Leopardi.
La disperazione, tratto comune dell'esistenza di tutti gli uomini su questa terra, e vero e proprio sottosuolo dell'animo di ciascuno di noi, è il terreno comune sopra il quale si innestano moltissimi pensieri dello "Zibaldone" leopardiano nonchè tre delle più belle poesie del Recanatese, e la grandiosa "Sygdommen til doden" di Kierkegaard. Nella certezza che solo studiando l'uomo a partire dal suo più infimo stadio, quello della disperazione, si possa giungere a conoscere la sua essenza e la sua esistenza reali in quanto fondate ambedue negli atti dello spirito, questa tesi si propone di accostare il poeta italiano e il pensatore danese mettendoli in continua dialettica con la quotidianità reale della vita di ognuno.
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PANI, MARIA LUISA. "Gli animali nei 'Paralipomeni' di Giacomo Leopardi e le Scienze Naturali." Doctoral thesis, Università degli Studi di Cagliari, 2017. http://hdl.handle.net/11584/249644.
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The thesis aims to investigate animals in Paralipomeni della Batracomiomachia and Natural Science. The critical scope of the study highlights the absence of specific research on the topic at hand. This is despite the existence of important recent studies concerning links between various branches of science and other works by Leopardi, the results of which underline the author’s wide-ranging and consistent interest in science. Analysis of the animal kingdom and its comparison with humans can be seen in Leopardi’s largely reflective works, such as Zibaldone di pensieri and the early Dissertazioni filosofiche. It is also evident in his more creative works, including Operette morali, which contains many explicit references to both ancient and modern naturalist essays, ranging from the fundamental Historia Animalium by Aristotle to the more recent Histoire Naturelle by Buffon. The study aims to demonstrate the culmination of Leopardi’s active effort and participation in the historical debate on the ‘animal issue’, represented by one of the poet’s later productions: Paralipomeni. The poem’s depiction of animals elaborates and develops reflections on beasts, evolved by Leopardi throughout his life.
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Andreotti, Francesca Romana. "Les ressources du français dans l'oeuvre de Giacomo Leopardi : théorie et pratique." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030071.
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Le français en tant que système linguistico-culturel et, de manière privilégiée, dans sa codification philosophico-littéraire en tant qu’ensemble de modules, de genres et de textes, a eu un rôle central dans la pensée et dans l’oeuvre de Leopardi et cela depuis ses premières années de formation philosophico-littéraire jusqu'à la fin de sa production. Il s’agit en effet de la seule langue moderne – c’est-à-dire l’unique ressource réellement disponible pour cet échangepassage interlinguistique de tra[ns]duction qui a agi de manière vraiment significative dans l'élaboration et la production de cet auteur. Il s’identifiait en effet dans les termes de l’autre langue. Ainsi, tout en conservant son effet double et ambivalent dans un rapport qui se révèle riche et raffiné sur le plan de la création, polémique et conflictuel sur le plan de l'activité théorique, marque en particulier dans les pages du Zibaldone mais aussi dans d'autres textes, la réflexion théorique autour des langues et de la traduction ainsi que de nombreuses notes lexicologiques et de linguistique contrastive et surtout de l'écriture épistolaire, d'essais et de poésie. Dans ce contexte, la première partie de cette thèse explore d’un point de vue de la traduction, l’utilisation du français par Leopardi dans ses différentes formes d’écriture où la création linguistique et la genèse du texte littéraire se constituent dans le terrain de l’entre-deux des langues analogues. Au contraire, la deuxième partie met l'accent sur le rapport entre les formes brèves, l’écriture poétique et la pratique de la réécriture d’une langue à l’autre, dans la traduction-remaniement de la fable poétique La Feuille de A.-V. Arnault, mise par le poète de Recanati à la fin son livre les Canti dans sa dernière organisation de 1835French - meant as a cultural and linguistic whole with a unique philosophical-literary coding structured in ensemble of forms, genres and texts – has a crucial role in the thought and in the works of Giacomo Leopardi, from the beginning of his philosophical and literary education to his very late writings. It is, indeed, the only modern language - i.e. the only available resource for the interlinguistic exchange in the translation-transaction - which acted significantly in the author’s elaboration and production, emerging as the other language par excellence. Its ambivalent role both in writing, where French is used in a fruitful and refined way, and in theory, where it is faced to a polemical and critical approach, is evident throughout the Zibaldone, in author’s theoretical considerations about languages and translation, in many notes about lexicology and contrastive linguistic as well as in literary forms varying from the assay to the poem or the letter. In this context, the first section of this thesis explores, from a translatological point of view, Leopardi’s use of French in those various forms of writings where the linguistic invention and the genesis of literary texts themselves set up in the field of the entre-deux between similar languages. The second section, instead, focuses on the relation among short forms, poetic writing and the practice of the re-writing from a language to another, in the translation-remake of A.V. Arnault’s La Feuille, the tale in form of a poem, that Leopardi put at the end of the Canti, in its very last structure published in 1835
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Franzoni, Maria Giulia. "A philosophy as old as Homer : Giacomo Leopardi and Greek poetic pessimism." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11357.
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The aim of this thesis is twofold: it explores Giacomo Leopardi's (1798-1837) interpretation of, and engagement with, Greek pessimistic thought and, through him, it investigates the complex and elusive phenomenon of Greek pessimistic thought itself. This thesis contends that Greek pessimistic thought – epitomised by but not limited to the famous wisdom of Silenus, the µὴ φῦναι topos – is an important element of Greek thought, a fundamental part of some of Greece's greatest literary works, and a vital element in the understanding of Greek culture in general. Yet this aspect of ancient thought has not yet received the attention it deserves, and in the history of its interpretation it has often been forgotten, denied, or purposefully obliterated. Furthermore, the pessimistic side of Greek thought plays a crucial role in both the modern history of the interpretation of antiquity and the intellectual history of Europe; I argue that this history is fundamentally incomplete without the appreciation of Leopardi's role in it. By his study of and engagement with ancient sources Leopardi contributed to the 19th century rediscovery of Greek pessimistic wisdom, alongside, though chronologically before, the likes of Arthur Schopenhauer, Friedrich Nietzsche, and Jacob Burckhardt. Having outlined some fundamental steps in the history of the reception of Greek pessimism, this thesis examines the cardinal components of Leopardi's reception of it: his use of Greek conceptions of humanity to undermine modernity's anthropocentric fallacy, his reinterpretation of the Homeric simile of the leaves and its pessimistic undertones, and his views on the idea that it would be best for man not to be born.
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SILVI, DANIELE. "Traduzione e ricezione:i Canti di Giacomo Leopardi in Spagna nell’ottica del polisistema." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2010. http://hdl.handle.net/2108/202627.
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La tesi analizza le teorie della ricezione e della traduzione dai primi anni del Novecento per giungere al pensiero di Itamar Even-Zohar e alla scuola di Tel Aviv. Dopo un primo capitolo di ricognizione storica si passa, nel secondo capitolo, a presentare la fortuna europea dei Canti di Giacomo Leopardi. Si analizza inoltre il rapporto culturale tra Italia e Spagna dai primi dell’Ottocento fino agli anni Venti del Novecento. Nel terzo capitolo si applicano le teorie del polisistema di Even-Zohar alla ricezione dei Canti di Leopardi in Spagna tra gli anni 1855-1920. L’analisi tiene conto di: antologie poetiche, attività editoriale, riviste letterarie e la pubblicazione di alcuni saggi critici. Nella disamina verrà particolarmente sottolineata l’importanza del polisistema filosofico che giustifica l’ingresso della poesia di Leopardi in terra spagnola e del Krausismo come fattore storico-filosofico determinante alla predisposizione a tale ingresso. L’ultimo capitolo propone infine una applicazione di metodologie di analisi testuale informatica a due antologie poetiche trattate nella tesi per evidenziare i caratteri dello stile traduttivo utilizzato nei diversi periodiThis thesis is focused on reception and translation theories from the beginning of the 20th century to the Tel-Aviv School and Itamar Even-Zohar. After a historical review (chapter I), the second chapter is centered on the success of Giacomo Leopardi’s Canti in Europe. The cultural relationship between Italy and Spain between the beginning of the 19th century and 1920s is taken into account. In the third chapter, Even-Zohar’s polysystem theories are employed in order to analyze the reception of Leopardi’s Canti in Spain between 1855 and 1920. The analysis is based on: poetry anthologies, publishing activities, literary journals and critical essays. The importance of the philosophical polysystem will be particularly highlighted (since it justifies Leopardi’s initial success in Spain) as well as Krausism’s influence, which created a historical and philosophical framework. The last chapter will employ textual analysis tools on two poetry anthologies in order to stress the different translation styles according to the different periods
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Bontempo, Valentina <1993>. "La conversione poetica e filosofica di Giacomo Leopardi nel biennio 1816-1817." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14402.
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L’indagine presentata nell’elaborato muove da iniziali cenni dell’infanzia leopardiana e prosegue attraverso un’analisi degli scritti eruditi e filologici (1811-1815) frutto degli intensi anni di studio presso la biblioteca paterna. Tali studi, motivati dalla volontà familiare di rendere il Leopardi un giovane erudito difensore della fede cattolica, si rivelano il terreno su cui si staglia l’eccezionalità leopardiana. Nello svolgersi del 1816 il carattere divergente del recanatese, nei confronti della cultura dominante e nei riguardi della propria famiglia, si esprime attraverso una particolare produzione erudita, filologica e letteraria. La presa di coscienza della propria divergenza concorre alla manifestazione della conversione attraverso le prime composizioni originali. Alla conclusione del ’16, estinta la possibilità di corrispondenza al progetto familiare, il recanatese inizia a intrattenere un rapporto epistolare con Pietro Giordani. Riconosciuto per la prima volta nella propria breve vita come ‘letterato’, il Leopardi trae dal rapporto epistolare con il piacentino un’occasione di crescita umana e letteraria tale da concretizzarsi nella ratifica della conversione attraverso la produzione di nuovi componimenti poetici e la stesura delle prime pagine zibaldoniane.
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Wang, Xinyi <1995>. ""Canti" di Giacomo Leopardi Una proposta di traduzione e relativa analisi traduttologica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14434.
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This thesis focuses on the translation of poems by the great Italian writer Giacomo Leopardi in the nineteenth century, and studies some poems selected and translated by the translator Lü Tongliu and other translators. However up to now, Leopardi is still not well known in China.
In this regard, the first chapter of the paper explores this issue in depth by looking the overall publication and development of foreign books in China, as well as the proportion of Italian books in the whole market. The author's life, main ideas and characteristics of his works are also briefly introduced. In addition, taking Leopardi's translation anthology Wuxian as an example, this section analyses the influence of cultural similarities and differences in Sino-Italian literature on readers.
The second chapter is the translation of eleven representative poems written by Leopardi in different periods, in order to present the poet's mental journey and thought changes for readers.
The third chapter is about the specific problems encountered in the translation process, the specific solutions proposed, as well as some techniques and strategies for poetry translation.
The last chapter of the thesis is a comparative analysis of the translated versions of the poet’s most famous poem, Infinito. In particular, there are great differences between the version translated from English into Chinese and the version translated from the original Italian to Chinese. In the end, compared the new translation version given in the Chapter II with the previous versions to find out the changes and their reasons.
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PUZZO, Giulia. "Gravitas e levitas. Alle origini della soggettività poetica fra Tasso e Leopardi." Doctoral thesis, Scuola Normale Superiore, 2022. http://hdl.handle.net/11384/112104.
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GHIDINI, OTTAVIO. "MANZONI E LEOPARDI A CONFRONTO: INTERTESTUALITÀ, FORME DELLO STILE, FORME DEL PENSIERO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/2513.
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La tesi mette a confronto l'opera letteraria di Giacomo Leopardi e quella di Alessandro Manzoni. La tesi è strutturata in tre capitoli. Il primo capitolo raccoglie tutti i dati storico-biografici utili per inquadrare i termini di questo rapporto e si conclude con un dittico dedicato a Monaldo Leopardi, lettore di Manzoni, e a Matilde Manzoni, figlia di Alessandro, lettrice di Leopardi. Il secondo capitolo presenta invece i risultati di una lettura intertestuale, che ha come oggetto principale lo studio di citazioni o allusioni manzoniane nei leopardiani canti pisano-recanatesi. Il terzo capitolo invece mette a confronto le pagine di Leopardi e di Manzoni nelle quali si fa riferimento alla figura storica di Marco Giunio Bruto, personaggio importante della classicità latina, spesso utilizzato come simbolo della Rivoluzione francese.The thesis compares the literary works of Giacomo Leopardi and Alessandro Manzoni. The thesis is structured in three chapters. The first chapter collects the historical-biographical elements useful to explain the terms of this relationship and ends with two portrait dedicated to Monaldo Leopardi, reader of Manzoni, and Matilde Manzoni, daughter of Alessandro, reader of Leopardi. The second chapter instead presents the results of an intertextual reading, which has as its main subject the study of quotations from or references to Manzoni in the poems written by Leopardi between 1828 and 1830. The third chapter compares the pages of Leopardi and Manzoni about the historical figure of Marcus Junius Brutus, an important figure of the classical latin word, often used as symbol of the French Revolution.
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GHIDINI, OTTAVIO. "MANZONI E LEOPARDI A CONFRONTO: INTERTESTUALITÀ, FORME DELLO STILE, FORME DEL PENSIERO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/2513.
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La tesi mette a confronto l'opera letteraria di Giacomo Leopardi e quella di Alessandro Manzoni. La tesi è strutturata in tre capitoli. Il primo capitolo raccoglie tutti i dati storico-biografici utili per inquadrare i termini di questo rapporto e si conclude con un dittico dedicato a Monaldo Leopardi, lettore di Manzoni, e a Matilde Manzoni, figlia di Alessandro, lettrice di Leopardi. Il secondo capitolo presenta invece i risultati di una lettura intertestuale, che ha come oggetto principale lo studio di citazioni o allusioni manzoniane nei leopardiani canti pisano-recanatesi. Il terzo capitolo invece mette a confronto le pagine di Leopardi e di Manzoni nelle quali si fa riferimento alla figura storica di Marco Giunio Bruto, personaggio importante della classicità latina, spesso utilizzato come simbolo della Rivoluzione francese.The thesis compares the literary works of Giacomo Leopardi and Alessandro Manzoni. The thesis is structured in three chapters. The first chapter collects the historical-biographical elements useful to explain the terms of this relationship and ends with two portrait dedicated to Monaldo Leopardi, reader of Manzoni, and Matilde Manzoni, daughter of Alessandro, reader of Leopardi. The second chapter instead presents the results of an intertextual reading, which has as its main subject the study of quotations from or references to Manzoni in the poems written by Leopardi between 1828 and 1830. The third chapter compares the pages of Leopardi and Manzoni about the historical figure of Marcus Junius Brutus, an important figure of the classical latin word, often used as symbol of the French Revolution.
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Cacciapuoti, Fabiana. "Étude sur le Zibaldone." Paris 3, 2005. http://www.theses.fr/2005PA030143.
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Dans ce travail nous analysons la structure du texte du Zibaldone en commençant par nous interroger sur sa vraie nature. Notre propos est de démontrer que le Zibaldone est un texte qui en contient d'autres parce que la composition de cette œuvre répond à un projet méthodiquement structuré. Nous essayons aussi de démontrer que la construction du texte du Zibaldone suppose des principes philosophiques, c'est-à-dire que la forme et la méthode de l'écriture pourraient se fonder sur une théorie philosophique. Par conséquent, le Zibaldone est ce qu'on est convenu d'appeler, depuis les travaux d'Umberto Eco, une " œuvre ouverte ", conçue pour fixer des principes de connaissance, c'est-à-dire dans une intention philosophique. Toutefois, le domaine philosophique comprend aussi une partie linguistique et littéraire, essentielle aux formes de cette connaissanceThe aim of this thesis is to analyse the structure of the Zibaldone starting from the main question about the real nature of this work. We intend to demonstrate that the Zibaldone is a text containing other texts, for the project underpinning it was methodically structured. We will also try to demonstrate that the making of the text implies philosophic principles, as the form and the method of the writing could be based on a philosophic theory. Consequently, the Zibaldone can be regarded, after Umberto Eco, as an “open work” devised to focus some principle of cognition, then it can be considered as conceived with philosophical means. This philosophical means also includes a literary and a linguistic parts, which are essential to the forms of the cognition
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Teixeira, Fábio Rocha. "Fim do ethos antigo e ocaso das ilusões: Giacomo Leopardi e a modernidade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16082013-103851/.
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Esta Tese tem como tema a problemática do fim do antigo ethos e o ocaso das ilusões no mundo moderno com base na reflexão de Giacomo Leopardi (1798-1837) sobre os seus efeitos nefastos. Tal reflexão considera também a problemática da barbárie moderna e pressupõe, igualmente, as formas anteriores da barbárie: a primitiva e a medieval. Na presente investigação não se retorna à questão da ideia de uma filosofia leopardiana ou de uma proposta de sistema no seu interior, pois não se trata, quer da antiga querela de um Leopardi poeta ou filósofo quer de uma exposição pormenorizada acerca de uma filosofia em Leopardi. Nesta investigação adotam-se as seguintes hipóteses interpretativas: i) o Discorso sopra lo stato presente dei costumi deglitaliani, escrito em 1824, contribui para uma compreensão da análise leopardiana acerca do processo de modernização europeia; ii) o Discorso pressupõe uma nova mudança no desenvolvimento da obra leopardiana, da nova crise ocorrida no seu pensamento em 1824, seguida da nova concepção de natureza, não mais aquela amorosa, mas uma natura matrigna, responsável por todos os males e a infelicidade humana; iii) Leopardi aborda elementos fundamentais das mudanças ocorridas no ethos após o processo de modernização europeu com base em um diagnóstico da situação econômica, social, cultural e política italiana; iv) no seu diagnóstico sobre a modernização, ele indica um novo princípio de conservação da vida civil; v) a experiência da modernização, por causa da nova forma de racionalidade e de espiritualização das coisas e do homem, põe em risco a vitalidade humana e conduz a uma nova barbárie: barbárie da sociedade. Ao investigar a experiência filosófica italiana dos séculos XVIII e XIX, Leopardi destaca os rumos tomados pela racionalidade e os riscos identificados por ele de uma barbárie dos novos tempos. Ele denomina o século XIX como século de morte em virtude do desaparecimento da dimensão poética e das ilusões, tão necessárias à conservação da existência humana. Trata-se de uma critica aos novos fenômenos de banalização da vida no mundo moderno e de suas degenerescências: ruína das ilusões, vacuidade dos valores e risco da barbárie da sociedade.The theme of this thesis is the end of the ancient ethos, the twilight of illusions in the modern world and its adverse effects based on the reflection of Giacomo Leopardi (1798-1837). Such reflection also considers the issue of modern barbarism and presupposes its earlier forms, namely, the primitive and medieval barbarism. This research does not investigate the idea of a Leopardi\'s philosophy nor the proposal of a system inside his philosophy. It does not approach the old quarrel over Leopardi as a poet or as philosopher, nor a detailed exposition of philosophy in Leopardi\'s work. This research adopts the following interpretative hypotheses: i) the Discorso sopra lo stato presente dei costumi deglitaliani, written in 1824, contributes to the understanding of the Leopardi\'s interpretation of the European modernization process; ii) the Discorso presupposes a new change in the development of Leopardi\'s work, because of the new crisis in his thought in 1824, followed by a new conception of nature, which is no longer a loving one, but a natura matrigna, responsible for all evil and human misery; iii) Leopardi addresses the main economic, social, cultural and political changes in the Italian ethos after the European modernization process; iv) His diagnosis of modernization indicates a new principle of the conservation of civil life; v) the experience of modernization endangers human vitality and leads to a new barbarism, because of the new rationality and spiritualization of objects and man, namely, the barbarism of society. Leopardi emphasizes the new forms of rationality and their risks, a new era of barbarism, in his investigation of the philosophical experience of the Italian Eighteenth and Nineteenth centuries. He calls the Nineteenth century the century of death because of the disappearance of the poetic dimension and of the illusions, that are so necessary for the preservation of human existence. This thesis focus a critique of the new phenomena of banalization of life in the modern world and its degeneracies, namely, the end of illusions, vacancy of values and the risk of the society barbarism.
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Pineri, Riccardo. "Poesie et pensee. Le retrait de la voix dans l'oeuvre de giacomo leopardi." Montpellier 3, 1989. http://www.theses.fr/1989MON30013.
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L'auteur prend ses distances par rapport a la critique traditionnelle qui a vu dans l'oeuvre de giacomo leopardi la manifestation de themes pessimistes, ouvrant la voie aux differents phenomenes du nihilisme europeen du xixeme siecle. La pensee de leopardi a comme horizon constitutif la tentative de repondre a l'unique question qui traverse la modernite: comment le mal est-il possible? l'oeuvre poetique de giacomo leopardi est la tentative singuliere de se confronter avec le neant comme condition ontologique de la modernite, faisant de la memoire et de l'imagination, en tant que modalite propre du poetique, la reponse possible a ce meme neantThe author distances himself from traditional critics who saw in leopardi's work the expression of pessimistic themes opening up the way to the various phenomena of 19 th century european nihilism. The framework of leopardi's thought is the attempt to answer the one underlying question of modernity: why does evil exist? g. Leopardi's poetic work stands out as an uncommon endeavour to face nothingness as an ontological condition of modernity by making memory and imagination, as instruments of poetics, the possible answer to this very nothingness
34
Angioy, Antonella Anedda. "Il topo, le piante, i vermi : Giacomo Leopardi, ed Erasmus e Charles Darwin'." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:d03cefd2-75f0-474f-bc8f-1a0763d86651.
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My thesis focuses on three apparently distant authors: Giacomo Leopardi, Erasmus Darwin and Charles Darwin. Exploring significant affinities between their view of Nature, and of human and animal existence, the thesis does not ignore chronological discrepancies (Leopardi died in 1837, the year in which Darwin returns from his voyage on the Beagle, and the Origin of Species would be published only in 1859), but rather offers a 'diffractive' interpretation that considers Leopardi and Charles Darwin's shared reading. From an extensive study of Leopardi's work, one figure clearly emerges: Erasmus Darwin, Charles's grandfather. Erasmus was a physician, a poet, a free thinker and materialist, a man who dared to write about sexuality and, following in the footsteps of the Roman poet Lucretius, about the nature of things. He was also one of the most important 'lunar man', as Jenny Uglow recorded in Lunar Men, who anticipated many evolutionary ideas, a committed campaigner against slavery (as was his grandson Charles, see Adrian Desmond and James Moore's Darwin's Sacred Cause). The discovery of a copy of Erasmus Darwin's bestselling and famous book The Loves of the Plants in the library of Leopardi's family home in Recanati, provides 'evidence' for the evolutionary hints scattered in Leopardi's works, above all the prose works Zibaldone and Operette morali, and among the poems 'Paralipomeni alla Batracomiomachia', 'I nuovi credenti', and 'La Ginestra'. In my study I have therefore adopted a comparative approach in order to shed light on the important points of contact between the formative backgrounds of both Leopardi and Charles Darwin, including first and foremost Erasmus Darwin. As Rebecca Stott pointed out in Darwin's Ghosts, Erasmus was one of Charles's most important 'ghosts' and significant precursor of his work. Employing an interdisciplinary approach, I researched Erasmus Darwin's works, particularly The Loves of the Plants, but also Zoonomia, comparing his ideas with the works and thoughts of both Charles Darwin and Leopardi. The image of the 'gnome' in Leopardi as in Erasmus Darwin appears to be the witness of an Earth wounded by volcanos and natural catastrophes but above all ravaged by human cupidity. Thus I envisaged a triangulation - where Erasmus Darwin is the base of the triangle and Leopardi and Charles Darwin are the catheti. Within this configuration, the thesis explores the transmission of ideas across borders of time and space, and suggests that, within this triangulation, Leopardi can be considered a forerunner of Charles Darwin not only, as many scholars have pointed out, because of his knowledge of Buffon, La Mettrie and others but also because of their shared knowledge of Erasmus's work. The title of the thesis has been inspired by three books which have been fundamental for my research: L'io del topo by Liana Cellerino who investigated Leopardi's anti-anthropocentrism in his poem 'Paralipomeni'; The Loves of the Plants, Erasmus Darwin's poem; and Adam Phillips's Darwin's Worms, an analysis of the works of Darwin and Freud. Phillips's book, especially, has been an important inspiration for my thesis, particularly in the final part dedicated to Leopardi's last poem 'La Ginestra'. I read the plant's resistance to Nature's harshness as an equivalent to the resilience of worms, the 'heroes' of Charles Darwin's last masterpiece The Formation of Vegetable Mould, published in 1881. Nature in all three writers is shown to be far from idyllic, but all three equally stress how our awareness of what imperils the human condition - as Phillips puts it "we are all relaxing in the killing fields" - can lead to solidarity and resistance.
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Gurgacz, Glaci. "A poesia nos cursos de estética de Hegel e no Zibaldone de Leopardi." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/99246.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaMade available in DSpace on 2013-03-04T18:09:28Z (GMT). No. of bitstreams: 1 307994.pdf: 2157498 bytes, checksum: 74ac3edf42ac2278286ffe2e34ac885f (MD5)
A palavra estetica vem do grego IO0NTKN ou aisthesis e seu significado esta vinculado a percepcao e tambem a nocao do que e sensivel ou daquilo que se re-laciona com a sensibilidade. Baumgarten quando usou pela primeira vez, em 1735, a palavra estetica, descreveu-a como a ciencia da beleza. Nos Cursos de Estetica, publicado em 1835, Hegel descreve a sua filosofia da arte, a ciencia do belo, e, mais especificamente, do belo artistico, uma vez que dela se exclui o be-lo natural. Mostra a relacao da poesia com as demais artes e explicita de modo preciso o lugar da poesia como arte. Ja no Zibaldone di Pensieri (1817-1832), Leopardi elabora o seu pensamento estetico atraves da criacao de um sistema de Belas-Artes, especulando sobre o belo, o sublime, o prazer, a simplicidade, o habito, a novidade, a imitacao, a feiura, a surpresa, o gosto, entre outros. Por is-so, o objetivo principal desta tese e verificar como as esteticas de Hegel e Leo-pardi dialogam, especialmente, as formulacoes sobre poesia. A analise permitiu constatar que existem convergencias entre as abordagens esteticas na poesia en-tre o filosofo alemao e o poeta italiano no que tange a distincao entre belo e na-tural, a imaginacao, ao genio, ao elogio aos antigos e a critica aos romanticos, ao gosto, a feiura e a simplicidade. Mas o ponto central de convergencia entre os dois estudiosos deve ser atribuido a imaginacao, uma vez que em Leopardi ela tambem esta relacionada com a sensibilidade e com a criacao artistica. Ja os elementos divergentes sao a nocao de beleza, a hierarquizacao da poesia quanto aos generos literarios, a imitacao e o sublime. Mas o conceito de beleza e a grande diferenca entre Hegel e Leopardi, uma vez que o primeiro se move no terreno do espirito e da historia e o segundo se move no terreno da natureza. Em Hegel, a reflexao esta ancorada nos estimulos sensiveis. Em Leopardi, por outro lado, no habito.
The word aesthetics comes from the Greek IO0NTKN or aisthesis and its mean-ing is tied to perception and also to the notion of what is sensitive or that which relates to sensitivity. When Baumgarten first used the word aesthetic in 1735, he described it as the science of beauty. In Courses in Aesthetics, pub-lished in 1835, Hegel describes his philosophy of art, the science of beauty, and more specifically, of artistic beauty, since it excludes natural beauty. He shows the relationship of poetry with other arts and explains precisely poet-ry#fs place as an art. In the Zibaldone di Pensieri (1817-1832), Leopardi de-velops his aesthetic ideas by creating a system of Fine Arts, speculating about the beautiful, the sublime, pleasure, simplicity and habit, novelty, imitation, the ugly, surprise, taste, among others. Therefore, the main objective of this thesis is to verify how the aesthetics of Hegel and Leopardi dialogue, espe-cially, the formulations about poetry. The analysis allowed noticing that there are similarities between the aesthetic approaches in poetry from the German philosopher and the Italian poet regarding the distinction between natural and beautiful, the imagination, the genius, the cheering of the old and the criticism of the Romantics, the taste, the ugliness, and simplicity. But the central point of convergence between the two scholars should be assigned to the imagina-tion, since in Leopardi it is also related to sensitivity and artistic creation. On the other hand, the divergent elements are the notion of beauty, poetry in the hierarchy of literary genres, the imitation and the sublime. Yet the concept of beauty is the main difference between Hegel and Leopardi, since the first moves on the grounds of spirit and history, and the second moves in the field of nature. In Hegel, the reflection is anchored in sensitive stimuli, in Leopardi on the other hand, in the habit.
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LOMBARDINILO, ANDREA. "Leopardi: la bellezza del dire: scrittura e modernità nella crestomazia italiana della prosa." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2009. http://hdl.handle.net/2108/202597.
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Pubblicata nel 1827 presso l’editore Stella di Milano, la Crestomazia italiana della prosa segna la prima apparizione in Italia di un nuovo istituto letterario: l’antologia per brani scelti mirata a fornire non più soltanto una mera rassegna di esempi di «bello scrivere», ma un quadro d’assieme della letteratura italiana. Per riuscire nell’impresa Leopardi sfrutta a fondo i libri della biblioteca paterna, preleva brani di prosa prelevati da una quantità sterminata di volumi: ma non si limita a trascriverli e a riportarli integralmente nella sua antologia, ma li adatta, talvolta plasmandoli e modificandoli secondo le necessità redazionali. Il risultato è un’opera che rompe gli schemi: così facendo Leopardi mette in discussione il canone critico della letteratura italiana stabilito dalla tradizione, cercando di renderla intellettualmente accattivante e moderna. Ne risulta un’opera affatto personale. Al di là delle reazioni accese e polemiche dei contemporanei, va rilevata la portata comunicativa e sociale dell’antologia della Crestomazia, dove anche la semplice comunicazione di nozioni e pensieri partecipa del meccanismo generale dell’opera. La presente ricerca mira a scandire le vicende redazionali dell’opera e a ricostruire il contesto sociale e culturale in cui prende forma il progetto dell’antologia, destinata ad un mercato editoriale in rapida evoluzione. Allo stesso tempo il lavoro si propone di indagare il modus operandi del redattore, attraverso l’indagine filologica di tre sezioni dell’opera (Filologia, Filosofia pratica e Filosofia speculativa). La ricerca è volta anche a individuare le rispondenze tematiche e stilistiche tra i brani della Crestomazia e la produzione in versi e in prosa del poeta, soprattutto lo Zibaldone. Il tutto inserito nel contesto più ampio del rinnovamento culturale in atto sul principio dell’Ottocento di cui Leopardi è protagonista indiscusso, nella fase in cui la letteratura assume valenze comunicative non trascurabiliPublished in 1827 by the Milan editor “Stella”, the “Crestomazia italiana della prosa” is the first ever example of a new literary institute: a selected anthology not only willing to choose “beauty” in written works, but trying to give the reader the chance of a complete “painting” of Italian literature. To achieve this goal, Leopardi deeply searches in his father library, but not only transfers in the anthology part of the books as they appear, but tries to adapt them to his “Crestomazia”. The final result is a breaking schemes work: in this way Leopardi innovates literary criticism tradition, trying to write in a much more modern and fascinating way. The anthology definitely communicates directly to the reader, and the simple thoughts and knowledge writing is itself part of the work engine. This research wills to analyze the masterpiece, connecting it to the Leopardi’s cultural and social context, in which takes form the anthology project. Meanwhile another research will is to investigate the author’s “modus operandi”, through a philological analysis of three “Crestomazia” sections (Philology, Practical Philosophy and Speculative Philosophy). Last goal is to connect the “Crestomazia” selection to the Leopardi poems, mostly the “Zibaldone”. Both written in the early 19th century, a period of time where Leopardi is considered one of the leading actors
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TRIACHINI, STEFANIA. "MONALDO LEOPARDI "CAVALIERE CRISTIANO". L'ESPERIENZA LETTERARIA GIOVANILE TRA CULTURA GESUITICA E ACCADEMIE RECANATESI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/46248.
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Il presente lavoro si propone di studiare la produzione letteraria giovanile di Monaldo Leopardi (1776-1847), padre del celebre poeta Giacomo, contestualizzandola entro una cornice di carattere storico-culturale che possa restituirne le origini e gli sviluppi. Si è in primo luogo ricostruito il legame di Monaldo Leopardi e della sua famiglia con la Compagnia di Gesù (secc. XVI-XVIII), mettendo in luce il modello del «cavaliere cristiano» che il conte recanatese fu chiamato a impersonare negli anni della sua scuola domestica di stampo gesuitico. Si è quindi analizzata l'attività letteraria (1800-1806) di Monaldo Leopardi declinandola attraverso tre esperienze: quella delle Accademie, con particolare attenzione a quella da lui fondata, i Disuguali Placidi Ravvivati (1801-1803), di cui si è ripercorsa la storia attraverso fonti d'archivio; quella delle scritture poetiche; quella dei testi teatrali. Il volume di riferimento sono state le "Opere del conte Monaldo Leopardi Gonfallonieri da Recanati" (1803). Di questa produzione, cristianamente connotata, si sono inoltre indagati gli sviluppi, mettendo a confronto la "letteratura" di Monaldo Leopardi con quella del figlio Giacomo e focalizzando, infine, l'attenzione sulla rivista "La Voce della Ragione" (1832-1835) e sulla corrispondenza che, in tale ambito, il conte intrattenne con il generale dei gesuiti Jan Philip Roothaan.This work aims to study the first literary production of Monaldo Leopardi (1176-1847), Giacomo Leopardi’s father, according to a cultural and historical point of view. Initially, we rebuilt the relationship between Monaldo Leopardi and his family with the Society of Jesus (XVI-XVIII Century), pointing out the model of «Christian hero» he embodied during his jesuitical homeschooling. Then, we analysed Monaldo Leopardi’s literary production (1800-1806) considering three different aspects: first of all, the connection with the Italian Accademie that we investigated thanks to archives resources, with a special focus on the Accademia dei Disuguali Placidi Ravvivati (1801-1803) he founded; afterwards, we studied his poetic and theatrical works referring to the volume "Opere del conte Monaldo Leopardi Gonfallonieri da Recanati" (1803). Finally, we decided to examine the development of this literary production with main Christian traits, by comparing father’s and son’s literature and by focussing on the journal “La Voce della Ragione” (1832-1835) and the letters between Monaldo and the jesuitical general Jan Philip Roothaan.
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TRIACHINI, STEFANIA. "MONALDO LEOPARDI "CAVALIERE CRISTIANO". L'ESPERIENZA LETTERARIA GIOVANILE TRA CULTURA GESUITICA E ACCADEMIE RECANATESI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/46248.
Full textAbstract:
Il presente lavoro si propone di studiare la produzione letteraria giovanile di Monaldo Leopardi (1776-1847), padre del celebre poeta Giacomo, contestualizzandola entro una cornice di carattere storico-culturale che possa restituirne le origini e gli sviluppi. Si è in primo luogo ricostruito il legame di Monaldo Leopardi e della sua famiglia con la Compagnia di Gesù (secc. XVI-XVIII), mettendo in luce il modello del «cavaliere cristiano» che il conte recanatese fu chiamato a impersonare negli anni della sua scuola domestica di stampo gesuitico. Si è quindi analizzata l'attività letteraria (1800-1806) di Monaldo Leopardi declinandola attraverso tre esperienze: quella delle Accademie, con particolare attenzione a quella da lui fondata, i Disuguali Placidi Ravvivati (1801-1803), di cui si è ripercorsa la storia attraverso fonti d'archivio; quella delle scritture poetiche; quella dei testi teatrali. Il volume di riferimento sono state le "Opere del conte Monaldo Leopardi Gonfallonieri da Recanati" (1803). Di questa produzione, cristianamente connotata, si sono inoltre indagati gli sviluppi, mettendo a confronto la "letteratura" di Monaldo Leopardi con quella del figlio Giacomo e focalizzando, infine, l'attenzione sulla rivista "La Voce della Ragione" (1832-1835) e sulla corrispondenza che, in tale ambito, il conte intrattenne con il generale dei gesuiti Jan Philip Roothaan.This work aims to study the first literary production of Monaldo Leopardi (1176-1847), Giacomo Leopardi’s father, according to a cultural and historical point of view. Initially, we rebuilt the relationship between Monaldo Leopardi and his family with the Society of Jesus (XVI-XVIII Century), pointing out the model of «Christian hero» he embodied during his jesuitical homeschooling. Then, we analysed Monaldo Leopardi’s literary production (1800-1806) considering three different aspects: first of all, the connection with the Italian Accademie that we investigated thanks to archives resources, with a special focus on the Accademia dei Disuguali Placidi Ravvivati (1801-1803) he founded; afterwards, we studied his poetic and theatrical works referring to the volume "Opere del conte Monaldo Leopardi Gonfallonieri da Recanati" (1803). Finally, we decided to examine the development of this literary production with main Christian traits, by comparing father’s and son’s literature and by focussing on the journal “La Voce della Ragione” (1832-1835) and the letters between Monaldo and the jesuitical general Jan Philip Roothaan.
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Leardini, Francesca. "Il canto senza "guidardone" il riso nelle ultime novelle di Pirandello /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=990278141&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Natale, Giuseppe. "Poetry and translation /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6651.
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Allegrini, Vincenzo. "La nuova retorica della memoria. Teorie e pratiche di memorizzazione da Vico a Leopardi." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86110.
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Gli ormai classici studi di Frances A. Yates e di Paolo Rossi sull’ars memoriae si
chiudevano entrambi nel nome di Leibniz, poiché è possibile, scriveva la studiosa
warburghiana, che con il filosofo di Lipsia, nel quale culmina e allo stesso tempo si
esaurisce la tradizione sia lulliana sia ermetico-occultista, «si arresti l’influsso dell’arte
della memoria come fattore nei progressi fondamentali dell’Europa»1
. Eppure, continua
Yates, libri sulla mnemotecnica continueranno ad apparire (più avanti ne vedremo due
esempi), e «probabilmente si potrebbe scrivere un altro libro che estendesse l’esame
dell’argomento ai secoli successivi»2
. Le pagine che seguono non hanno un obiettivo
così ambizioso, ma mirano a rintracciare ciò che resta, o non resta, della disciplina
inaugurata da Simonide nell’arco cronologico che va da Vico a Leopardi. Tra questi due
estremi, si è scelto di indagare testi e autori meno approfonditi dalla critica (Muratori,
Conti, Genovesi e Bettinelli) con uno sguardo attento a una serie di fattori socioculturali di vasta portata: la crisi della retorica e la sempre più diffusa
‘scritturalizzazione’ della memoria (e dunque il diverso rapporto con la voce e con le
immagini); la scissione tra segni, parole e cose (ovvero, in termini foucaultiani, il
passaggio dalla cultura della somiglianza a quella della differenza)
3
; l’esplosione del
moderno mercato editoriale, la minaccia del troppo e il ‘collasso’ dell’enciclopedia; o ancora, l’affermarsi di un’estetica dell’originalità e la differente funzione attribuita alla
memoria e alla fantasia nei processi creativi e conoscitivi (entrambe, almeno da Cartesio
in poi, associate all’errore, ma con significative eccezioni, tra le quali, per non dire di
Vico e Leopardi, vi è senz’altro Bettinelli e in parte anche Conti). [...].
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Balzano, M. "'IL PRINCIPIO DISTRUGGENTE' E 'L'ETERNO FANCIULLO'. ODIO E AMORE NEL PENSIERO POLITICO DI LEOPARDI." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/171534.
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This study analysis Leopardi’s thought about amor proprio and amor patrio (let.: love of self driven by pride and jealousy; patriotism), concepts that have been discussed at great length in Zibaldone, with very important conclusions also in other works, especially Operette morali. Staring from the two concepts we can analyze the original interpretation that Leopardi gave in some Rousseau’s works, in particular Discourse on Inequality, and later we can examine the concept of hate in its philosophical and political meaning. It is then analyzed the problem of Christianity in relation to amor patrio and Leopardi’s readings on hate thematic are highlighted: Polibio, Sallustio and Velleio Patercolo, Machiavelli and Montesquieu. In the second part it is underlined how the theory of social hate of Leopardi comes from the theory of metus hostilis presented by Polibio and other classical historiographers who followed. Finally I analyzed the concept of love, always under the philosophical and political point of view: once he has abandoned the idea of a hate capable of keep the society alive, Leopardi studies love as solidarity and sign of altruism and endurance of life. Some Operette morali and La ginestra, that I examined in the last chapter, have been inspired by this concept of love.
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Herold, Milan [Verfasser]. "Der lyrische Augenblick als Paradigma des modernen Bewusstseins : Kant, Schlegel, Leopardi, Baudelaire, Rilke / Milan Herold." Göttingen : V&R Unipress, 2017. http://www.v-r.de/.
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Vignati, Sara <1986>. "La teoria del piacere di Leopardi Un percorso intellettuale nello Zibaldone tra poesia e filosofia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3302.
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Bellizzi, Aretina. "Platone, l'antagonista. Tracce della presenza e forme della rielaborazione di Platone nell'opera di Giacomo Leopardi." Doctoral thesis, Università degli studi di Trento, 2022. http://hdl.handle.net/11572/337962.
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The work aims at investigating the presence of Plato in Giacomo Leopardi’s works, in order to understand the influence of the philosopher’s dialogues on the genesis of the “Operette morali”. While maintaining the focus on the “Operette”, however, the research also explores many other areas of Leopardi’s production, in order to offer the widest and most exhaustive overview of the different sources and filters through which Leopardi became acquainted with Plato’s doctrines, even before reading his dialogues comprehensively. The first section explores the reception of Plato in Italy before Leopardi, by examining the attempts at translating his works and the various interpretations of his dialogues proposed throughout the eighteenth century up to the first decade of the nineteenth century. If placed in this context, the failure of Leopardi’s project to translate all of Plato’s dialogues, as proposed by the publisher De Romanis, can no longer be interpreted just as the result of a private matter, but also as a stage in a historical path that has never been outlined in its entirety until now. The rest of the work, articulated in other three sections, is entirely dedicated to Giacomo Leopardi’s work.Firstly, the thesis focuses on Leopardi’s earliest production, mapping the occurrences of the name “Plato”, as well as all the quotes either related to the philosopher or taken from his dialogues, in Leopardi’s “Puerilia” (1809-1810), “Dissertazioni filosofiche” (1811-1812), “Dialogo filosofico” (1812), “Storia dell’Astronomia” (1813) and, finally, in his “Saggio sopra errori popolari degli antichi” (1815). Research shows that Leopardi had been reading Ficino’s edition of Plato’s complete works (Lugduni, 1590) (which was present in the family library) since writing the first drafts of his erudite writings; therefore, Leopardi’s direct knowledge of Plato’s texts, even if partial, must be backdated compared to what has been noted so far. Furthermore, extending the research on Leopardi’s knowledge of Plato not only to his first stay in Rome but also to the following years confirms that it’s not possible to have Leopardi’s Plato coincide with Ast’s Plato: there is evidence of the fact that Leopardi knew and had read or consulted several other editions of Plato’s dialogues and that therefore his knowledge of the philosopher was quite extensive, although conditioned by different interpretative perspectives. The research then focuses on the “Zibaldone” and on the “Operette” in order to reconstruct the profile of Leopardi’s Plato, as it emerges from the “scartafaccio”, as well as the methods of re-elaboration of the dialogues found within Leopardi’s moral book. The last two chapters of the thesis are dedicated to the latter objective. Starting from an analysis of the genesis of only two operettas, the “Elogio degli uccelli “ and the “Dialogo di Plotino e di Porfirio”, the aim is to demonstrate how the “Plato function” is expressed not only through form, as critics have long believed, but also in terms of philosophical elaboration. This study ultimately proves that Plato, acting both as a model and an anti-model for the “Operette morali”, had a profound effect on the genesis of this book which, according to Leopardi’s own declaration, was intended to be “entirely philosophical and metaphysical”.
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Silva, Anatália Carmelina Corrêa da. "A tradução como experiência e reflexão no Epistolario e no Zibaldone di Pensieri de Giacomo Leopardi." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100634.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2012Made available in DSpace on 2013-06-25T21:06:00Z (GMT). No. of bitstreams: 1 312418.pdf: 1163875 bytes, checksum: 1156a54d9334d7f8deca61c9b72e0d04 (MD5)
Esta dissertação analisa as reflexões sobre tradução de Giacomo Leopardi (1798-1837) presentes no Epistolario (1807-1837) e no Zibaldone di Pensieri (1817-1832), no período de 1817 a 1832 por meio de um estudo comparativo. O primeiro capítulo traz uma breve contextualização do cenário histórico-literário do século XIX, que evidencia os acontecimentos que geraram o intenso debate entre Classicistas e Românticos, e contempla o percurso do autor de Recanati nessa discussão. O segundo capítulo aborda o Epistolario e o Zibaldone, à luz dos gêneros literários, e evidencia a importância deles no conjunto da obra do autor de Recanati. O terceiro capítulo apresenta uma análise dos principais aspectos sobre tradução discutidos pelo autor italiano, dos quais destacam-se: a tradução como exercício para se tornar um importante escritor; a importância da retradução dos Clássicos; a questão da (in)intraduzibilidade; a fidelidade ao original e a questão da língua no que diz respeito ao estilo, ao caráter e à adaptabilidade na tradução.
Abstract : This dissertation analyzes the reflections on translation by Giacomo Leopardi (1798-1837) found in Epistolario (1807-1837) and Zibaldone di Pensieri (1817-1832), within the period from 1817 to 1832 through a comparative study. The first chapter presents a brief contextualization of the 19th century historical and literary scenery, that highlight the events which generated the intense debate between Classicists and Romantics, and it thinks over the path of Recanati#s author in this discussion. The second chapter approaches Epistolario and Zibaldone, under the light of literary genres, and highlight their importance within the entire work of Recanati#s author. The third chapter presents an analysis of the main aspects on translation discussed by the Italian author, which include: the translation as an exercise to become a good writer, the importance of retranslation of the Classics, the issue of (in)translatability; fidelity and the question of the original language with regard to style, the character and adaptability in translation.
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Franco, Mario Fernando. "Le "cœur, le talent et la doctrine" de Pietro Giordani dans la formation de Giacomo Leopardi." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30076/document.
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La problématique de cette thèse, à savoir la présence simultanée du trinôme "doctrine-esprit-cœur'' dans la relation Giordani-Leopardi a révélé, que le legs le plus important de ce rapport doit être recherché dans ses aspects affectifs plus que dans une filiation de nature littéraire ou doctrinale. Giordani révèle à Leopardi une tradition de pensée "noble" par rapport à la monotonie du conformisme à travers lequel s'était développé le rapport entre intellectuels et pouvoir. À côté de la "noblesse" il y a aussi la composante de la "modernité", grâce à laquelle Giordani fut le promoteur d'idées innovantes, accordant aux jeunes gens une grande confiance et poussant à l'extrême les conséquences d'une "nouvelle" conception de la réalité comme un langage apte à l'interpréter même dans les traits les plus secrets et incertains de l'esprit. On peut alors affirmer qu'un tel langage "moderne" est celui qui a été défini comme le "langage du cœur" et dont, pour une partie considérable, l'avènement a été rendu possible grâce à la correspondance entre les deux amis. Les possibles parallélismes existentiels en présence concourent à créer ce ressenti commun qui se transmet dans la dimension littéraire et culturelle. La communauté d'idées et la syntonie qui émergent à partir de 1817 et qui perdurent jusque dans les années 1820 va progressivement diminuer en intensité sans toutefois s'éteindre totalement. Il est indubitable que lorsque Leopardi réussit finalement à s'éloigner de Recanati, la tension si pressante à l'égard de son ami (sa fenêtre sur le monde) se relâche. Cela est humainement explicable par le fait que, comme Leopardi avait enfin l'occasion d'élargir son propre horizon d'une manière indépendante, il ressentait moins le besoin de le faire par le biais de sa relation avec Giordani. C'est dans la dimension affective que doit être recherchée la vocation originale de ce rapport, même sous l'aspect de l'engagement civil et littéraire: le don de l'amitié et l'attention fraternelle réciproque, même si, chez Giordani, nous pouvons parler d'une attention "paternelle", ne sont pas des oripeaux qui viseraient à embellir ou à enrichir le rapport entre les deux lettrés, mais ils constituent plutôt la sève même dont se nourrit un tel rapport. Leopardi ne voit pas seulement en Giordani un mentor plus âgé et plus mûr auquel il pouvait confier ses propres secrets et ses pensées les plus intimes. À l'inverse, tous deux ressentent la tension qui les pousse vers une pensée "rebelle", une dimension "autre" de la réflexion humaine par rapport aux "coordonnées" réactionnaires et à l'excessive dérive rationaliste de la raison. Cette rébellion les rapproche et leur permet de s'inscrire dans la lignée la plus pure des "anciens" qui étaient non seulement porteurs de ces valeurs à partir desquelles mesurer les tensions intellectuelles et morales, mais aussi dépositaires de cette étincelle du "doute" générant une vision beaucoup plus complexe de l'individu que ni le rationalisme, ni le psychologisme romantique, ne pouvaient percevoir avec clarté. L'éclosion et l'évolution de cette syntonie particulière apparaissent comme une très belle expérience existentielle dont témoignent leurs lettres. Cette expérience est celle de la rencontre entre deux personnalités, par ailleurs assez "difficiles" sur le plan du caractère : c'est dans la volonté réciproque de se soutenir, de se chercher, de s'aiguillonner qu'il est possible de comprendre ce qu'a pu signifier une telle amitié, surtout pour le jeune Leopardi désireux d'un ami véritable dans la solitude de Recanati. Vie et littérature se mêlent, c'est pourquoi de même que l'accueil d'une pensée, une réflexion, un écrit de l'un et de l'autre, s'accompagnent toujours d'une joie de l'esprit réciproque, de même sont partagées les heures de tristesse, de désolation, de mélancolie, de doute et de peur. Le tout en vient à former l'une des expériences les plus touchantes du panorama littéraire italien de tous les tempsThe central issue of this thesis, namely the simultaneous presence of the triad "doctrine-mind-heart '' in the relationship Giordani-Leopardi revealed that the most important legacy of this report must be sought in its emotional aspects than in filiation of a literary or doctrinal. Giordani reveals to Leopardi a tradition of thought "noble" in relation to the monotony of conformity through which had developed the relationship between intellec-tual and power in Italy. Next to the "nobility" there is also the element of "modernity", through which Giordani was the promoter of innovative ideas, giving young people a lot of confidence and pushing to the extreme consequences of "new "conception of reality as a language suitable for interpretation even in the most secret and uncertain features of the mind. It can be said that such language "modern" is one that has been defined as the "language of the heart" which, for a considerable part of the rise was made possible thanks to the correspondence between the two friends. Possible parallels existential presence combine to create this common feeling that is transmitted in the literary and cultural dimensions. The community of ideas and harmony emerging from 1817 and lasts until 1820 will gradually decrease in intensity but totally disappeared. There is no doubt that when Leopardi finally managed to get away from Recanati, the tension so pressing against his friend (his window on the world) is released. Humanly explained by the fact that, as Leopardi finally had the opportunity to expand their own horizon of my independent-manner, he felt less need to do so through his relationship with Giordani. It is in the emotional dimension that must be sought the original purpose of this report, even in the aspect of civic engagement and literary: the gift of friendship and fraternal mutual attention, although in Giordani, we can speak of a "paternal" care are not rags that would seek to embellish or enhance the relationship between the two scholars, but they are the same sap that feeds such a report. Leopardi does not see only Giordani an older and more mature that he could trust his own secrets and innermost thoughts mentor. Conversely, both feel the tension that pushes a pen-lish "rebel" size "other" human thinking in relation to "coor-data" reactionary and excessive drift rationalist reason . This brings the rebel-lion and allows them to enroll in the purest tradition of the "year-cians" who were not only carrying these values from which to measure intellectual and moral tensions, but also custodians of the spark "doubt" generating a more complex vision of the individual or the rationalism, or the romantic psychologism could not perceive with clarity.The emergence and evolution of this particular tune appear as a beautiful existential experience as evidenced by their letters. This experience is that of the encounter between two personalities, otherwise rather "difficult" in terms of character: it is the mutual desire to support, to seek, to goad it is possible to understand what has been serving as a friendship, especially for the young Leopardi wanting a true friend in the solitude of Recanati. Literature and life meet, so as the home of thought, reflection, written one and the other, are always accompanied by a reciprocal spirit of joy, shared the same hour of sadness, desolation, of Melan-choly, doubt and fear. Everything comes to form one of the most touching experiences of the Italian literary scene of all time
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Sourdillon, Jean-Marc. "Philippe Jaccottet et les poètes qu'il a traduits : Homère, Gongora, Hölderlin, Leopardi, Rilke, Ungaretti, Mandelstam et Musil." Paris 4, 1993. http://www.theses.fr/1993PA040196.
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C'est la cohérence du choix opéré par Philippe Jaccottet dans les œuvres à traduire que nous avons voulu interroger. C'est elle qui a fourni au champ de notre recherche ses limites. Nous nous sommes attachés à dégager une constante dans ces diverses œuvres, que chacune actualise d'une manière différente dans son projet, sa forme, son écriture. Cette constante peut être décrite comme une définition de l'acte poétique et de ses conditions: il y a une convergence ou une similitude dans les façons d'envisager et d'accomplir l'acte poétique, que l'œuvre du poète-traducteur nous révèle. Par "définition", nous avons entendu l'énoncé de l'ensemble des traits communs à la pratique et a l'approche de l'acte poétique chez les auteurs traduits par Jaccottet : leur réaction par rapport à une situation historique semblable, l'invention à partir de cette situation d'une même ligne de conduite tant dans la façon de mener sa vie que de construire son œuvre, l'acceptation des normes implicites d'une même sensibilité et surtout la création d'un langage adapte à une expérience qui leur est commune. Ces traits nous ont permis de déceler sous le lien qui réunissait ces écrivains l'existence d'une "tradition cachéeéWe have aimed at showing how coherent Ph. Jaccottet has been in the choice of the poems he has translated. Our goal has been to bring out a permanent feature in these various poetical works. This permanent feature is actualized in different ways in these works, either in their purpose or in their style. This feature can be described as a definition of the process of poetic creation and of its prerequisites. The works of the translating poet highlight a likeness or a convergence in the way the poets view and carry out the process of poetic creation. To our mind, the definition of poetry has meant at the next step of our study the utterance of all the common features of the poets'writing process and their viewing process in the poems Jaccottet has translated : that is to say that their finding guidelines in their lives and in their writings and their response to a similar historical situation follow the same pattern. Moreover their acceptance of the implicit norms of a kindred sensitivity and above all the working out of a language adapted to their common experience run along the same lines as the features mentioned above
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Pavanello, Beatrice <1997>. "La filosofia d'amore di Giacomo Leopardi. Una categoria conoscitiva che aiuta a «percorrerne» il sistema di pensiero." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20937.
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Il presente scritto si pone l’obiettivo di inquadrare la concezione leopardiana dell’amore sotto molteplici sfaccettature, partendo dal presupposto che l’amore rappresentò per l’autore innanzitutto un’esperienza con valore di conoscenza.
L’analisi inizia prendendo in esame le "Memorie del primo amore", una giovanile prosa autobiografica che registra il primo innamoramento dell’io per poi rapidamente abbandonare la modalità narrativa e volgere in un trattato quasi scientifico che analizza in modo viscerale questo sentimento. Seguirà un confronto tra questa prosa diaristica e la quasi coeva elegia "Il primo amore" – dal momento che entrambe nascono a partire dalla medesima esperienza– evidenziando affinità e differenze tra i due mezzi espressivi. Si cercherà di mostrare inoltre come questo scritto così precoce anticipi delle importanti acquisizioni e riflessioni alle quali Leopardi arriverà compiutamente molti anni dopo, ad esempio il piacere per un suono ascoltato da lontano senza avere cognizione della fonte.
Altri due aspetti presi in esame saranno: la malinconia in amore – con valore principalmente strumentale – e la categoria di tempo analizzata soprattutto, ma non solo, nelle "Memorie". Si cercherà poi di ripercorrere le prove in versi che affrontano in qualche misura il tema amoroso: da "Alla sua donna" alle poesie che costituiscono il famoso "Ciclo di Aspasia". Si insisterà in particolare sul capolinea di "Aspasia", mostrando come l’uscita da un amore grande produca nel finale il raggiungimento di un particolare atteggiamento di fronte alle circostanze della vita: il titanismo o l’agonismo leopardiano.
La trattazione assumerà poi uno sguardo più disteso: si utilizzerà la categoria amore per comprendere gli effetti di questo sentimento proiettato sull'umanità.
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Swanepoel, Lourens Hendrik. "Ecology and conservation of leopards, Panthera pardus, on selected game ranches in the Waterberg region, Limpopo, South Africa." Diss., Pretoria : [s.n.], 2009. http://upetd.up.ac/thesis/available/etd-11302009-220336.
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