Dissertations / Theses on the topic 'Montale, Eugenio'

Eugenio Montale (1896-1981) ha esercitato la professione di critico letterario per tutta la vita. A partire dal 1920 e poi sino alla morte, Montale ha collaborato con numerosi periodici e con le più importanti riviste letterarie del suo tempo. Nel 1948 viene poi assunto al "Corriere della sera", a Milano: qui diventa giornalista per mestiere e si dedica alla divulgazione della letteratura italiana ed europea, con una particolare attenzione a quelle inglese e francese. La presente ricerca analizza le sue prose critiche, individuandone le linee principali: autori e libri recensiti, temi e questioni culturali che Montale analizza nel corso della sua attività. Alcune figure di scrittori, critici e filosofi (Sergio Solmi, Emilio Cecchi, Benedetto Croce, Roberto Bazlen) rappresentano i confini ideali di un'idea di poesia, che Montale mostra nelle sue prose: dialogando con questi personaggi, egli riflette infatti sui principali problemi della cultura e della letteratura contemporanee. Lo stile critico di Montale si colloca perciò tra il giornalismo e la saggistica. Nell'ultima parte della ricerca si è cercato di individuare alcune importanti intersezioni tra prosa critica, prosa narrativa e poesia, che convivono nell'attività montaliana.
Eugenio Montale (1896-1981) has been a literary critic as long as he lived. Since 1920 till death, Montale worked together with many newspapers and with the most important literary reviews of his period. In 1948 was assumed at «Corriere della sera», in Milan: here he became a journalist as a job and dedicated himself to disclosure Italian and European literature, with a particular attention for English and French ones. This essay analyzes his critical proses, identifying their main themes: authors and books reviewed, themes and cultural issues which Montale wrote about as long as he wrote. Some figures of writers, critics and philosophers (Sergio Solmi, Emilio Cecchi, Benedetto Croce, Roberto Bazlen) represent the ideal boundaries for an idea of poetry, which Montale points in his proses: communicating with these figures, he reflects upon the main issues of contemporary culture and literature. Montale’s critical style can infact be placed between journalism and literary criticism. In the last part of this essays it has been tried to find out some important junctions between literary essays, narrative proses and poetry, living all together in Montale’s activity.

Texte remanié de: Doctoral thesis--Cambridge--University, 1998. Titre de soutenance : Figurations of ideology and the retrat from history in the later poetry of Eugenio Montale.
Bibliogr. p. 184-192.

Cette etude qui se presente comme une approche globale de l'oeuvre monta lienne vise a rendre compte de l'univers poetique a partir de deux dimensions essentielles : d'une part la dimension metaphysique et d'autre part la dimension mythique. La premiere partie retrace le processus d'approfondissement de la visee gnoseologique inherente a la metaphysique montalienne, celle-ci etant envisagee comme un depassement du naturalisme et de la rationalite. Les 5 premiers chapitres analysent les etapes de la genese de l'univers poetique. 1) la quete du reel 2) naissance d'une metaphysique. Ossi diseppia ou la dialectique de l'etre et du non-etre 3) vers une systematique du signe. Le occasioni ou l'enigmaticite du monde 4) le clos et l'ouvert. La bufera ed altro ou l'"ordre different". 5) l'apologie du non-savoir. Satura, diario del '71 e del '72, quaderno di quattro anni, altri versi, ou l'"oxymoron permanent" le cinquieme chapitre intitule une metaphysique de l'absurde analyse le substrat culturel et speculatif qui conditionne l'experience poetique de montale. La deuxieme partie retrace le processus d'elaboration des mythes inherents a l'initiatisme poetique dans leur double articulation morale et religieuse et en fonction d'une problematique du salut 1) l'univers de la chute 2) les voies du salut 3) vita nuova 4) dieu. Le cinquieme chapitre intitule l'aigle, le rat et le sage desenchante pose le probleme de la definition et de la finalite de la sagesse
This study which is a global approach to montale's work ains to explain his poetic universe in two essential dimensions : on one hand the metaphysical, on the other the mythical dimension. The first part retraces the process of deepening the gnosiological aim inherent in montale's metaphysics which is seen as going beyard naturalism and rationality. The first five chapters analyse the main stages of the genesis of his poetic universe 1) the quest of reality 2) genesis of a metaphysics. Ossi di seppia or the dialectic of being or not being. 3) towwards a systematics of the sign. Le occasioni or the enigmaticity of the world 4) the closed and the open. La bufera ed altro or the "different order" 5) the apologue of non knowledgr. Satura. . . Or the "permanent oxymoron". The chapter 6 a metaphysics of the absurd analyse the cultural and speculative substratum which conditions montale's poetic experience. The second part retraces the process of elaboration of myths inherent in poetic initiatism in their moral and religious articulation, and as a fonction of a problematics of a salvation. The chapter 4 approaches the theological substructures which condition montale's poetry and riplaces the problematics of divinity in a cultural perspective. The chapter 5 places the problem of the quest for wisdom

Il «Corriere della Sera» e il «Corriere d’Informazione» ospitarono, tra il 1947 e il 1964, una serie di racconti stesi da Eugenio Montale che confluirono nelle raccolte Farfalla di Dinard (1956) e Fuori di casa (1969). Se la produzione lirica montaliana è stata spesso letta in chiave modernista, anche quella narrativa può essere interpretata in una luce analoga. Rispetto alle prime tre raccolte poetiche la prosa risulta però marcata da una peculiare spinta umoristica che si rileva propedeutica alle ultime poesie. Tra i temi preponderante risulta essere quello della memoria, che si manifesta in fulminee accensioni e nel recupero di frammenti legati a esperienze apparentemente insignificanti. Ancora di matrice modernista è una ferma posizione di ostilità contro ogni forma di progresso, rispetto cui l’autore oppone un ideale snobistico di «decenza quotidiana». Questi e altri motivi si collocano, spesso, lungo una linea temporale stratificata, in cui il momento presente si alterna a quello del passato. A questa molteplicità corrisponde una pluralità di voci narranti, considerati quali suggestivi doppi dell’autore. I personaggi che si muovono tra le prose vengono sottoposti a un significativo processo di svilimento ironico: ne sono messi in risalto particolarità fisiche che alimentano ritratti caricaturali, coinvolgendo anche caratteristici emblemi zoomorfi. Forme umoristiche sono riconoscibili anche a livello stilistico: Montale ricorre al doppio senso linguistico, al mistilinguismo, a citazioni di luoghi letterari propri o altrui rivitalizzati in chiave ironica. I temi e i moduli stilistici ricorrenti e comuni tra le due raccolte instaurano un fruttuoso dialogo con l’universo poetico montaliano. Se ciò è stato evidente per i primi tre libri di poesia fin dalle prime apparizioni delle prose, meno indagato è stato il rapporto che questi ultimi intrattengono con la successiva produzione in versi, in uno scambio reciproco in cui l’umorismo rappresenta il tratto d’unione e il filo di continuità.
If Montale’s lyric production has often been reread in a modernist key, also the narrative production of Farfalla di Dinard (1956) and Fuori di casa (1969), much less explored by critics, can be interpreted in a similar way. This work intends to investigate the themes and the patterns through which Montale’s modernism reveals its humouristic content. Among the themes, as for the lyric, memory seems to be predominant and it occurs with sudden outbursts and with the retrieval of fragments linked to seemingly insignificant experiences that have momentous historical events as a background. Also of modernist matrix is his immovable hostility against any form of progress or cultural homologation, to which the author opposes a snobbish ideal of «everyday decency». These and other motives are often found along a shattered and multi-layered timeline, where the present and the past moment alternate. To this multiplicity corresponds a plurality of narrators that can often be considered as suggestive duplicates of the author. The characters that are found in the prose production are subject to a significant process of ironical degradation: physical traits that generate caricatures are highlighted, preferably even involving zoomophic emblems. Humouristic patterns are identified also at a stylistic level: Montale widely uses linguistic double meaning, mixed-language, quotations of his own or others’ literary common places revitalized in an ironical way. The thematic fields and the stylistic patterns that are recurrent and common between Farfalla di Dinard and Fuori di casa establish a fruitful dialogue with Montale’s poetry. If this has been evident for the first three books of poems since the first prose writings appeared, on the contrary the relationship between these first prose writings and the later poetic production (from Satura onward), a reciprocal exchange where humour represents the continuity thread, has been less explored.

Texte remanié de: Thesis Ph. D.--Princeton university, 1998. Titre de soutenance : Mythical youth : the sense of history and the redemption of the present in the work of T.S. Eliot and Eugenio Montale.
Bibliogr. p. 145-153.

Le sujet de ma recherche est Eugenio Montale, écrivain italien prix Nobel en 1975. Il s'agit de l'étudier en tant que critique de la littérature française et européenne. En général, il s'agit d'étudier le vingtième siècle, ses auteurs et ses critiques, surtout français. A partir de certaines considérations préliminaires, je pourrai établir des courants idéologiques et politiques des journaux sur lesquels Montale participe comme critique. En ce qui concerne les auteurs étrangers, on peut observer que c'est la littérature française la plus considérée par Montale. En effet, on le constate déjà dans son interview imaginaire du 1946 où il avoue ses sources. Ma thèse va considérer deux degrés. En premier lieu, comme une analyse d'un auteur et ses sources littéraires ; deuxièmement comme une étude d'un siècle de littérature française, italienne et les influences réciproques.

Aquesta tesi tracta l’obscuritat poètica entesa com a fenomen lligat a la comprensió i a la recerca i creació de sentit. Es parteix de tres corpus textuals: una selecció de cants d’Ausiàs March (València, s. XV), les Soledades de Luis de Góngora (Còrdova, s. XVII) i Ossi di seppia i Le occasioni d’Eugenio Montale (Gènova, s. XX). El primer objectiu és analitzar la qüestió de l’obscuritat en cada un dels tres casos, evaluant-ne tant els marcs i mecanismes, com les raons i els impactes en el passat i en el present. El segon, és posar en diàleg les pluralitats i les diferències (diferents llengües, èpoques i tradicions; però també diferents històries de la recepció), que mostren les inesgotables maneres de donar-se de l’obscuritat dintre del marc de la creació poètica, proposant, finalment, què ens pot continuar donant avui.
This dissertation deals with the poetics of obscurity phenomenon related to the understanding and the research and creation of meaning. It is based on three collections of writings: a selection of songs by Ausiàs March (Valencia, s. XV), the Soledades by Luis de Góngora (Cordova, s. XVII) and Ossi di Seppia and Le Occasions by Eugenio Montale (Genoa, s. XX). The first objective is to analyze the question of obscurity in each of these three cases, evaluating their frameworks and mechanisms, including the reasons and impacts either in the past or in the present. The second is to put the pluralities and differences (different languages, periods and traditions, but different stories of receipt) into a dialogue, showing the obscurity’s endless ways to be within the framework of poetic creation, also suggesting what it can continue to give to us today.

A partir de l'analyse des traductions en chinois des poèmes d'Eugenio Montale, on a repéré des séries récurrentes de problèmes. En premier, les difficultés liées aux différences de structures des langues : problèmes d'analyse syntaxique du texte original et d'interprétation des mots polysémiques, difficultés engendrées par les temps et modes verbaux, enfin la question du sujet et celle des connecteurs indéterminés. Deuxièmement, sur le plan littéraire, on a analysé la manière dont les traducteurs ont négocié les écarts culturels et ont rendu compte de contextes étrangers. Troisièmement, on a examiné les traits spécifiques des poèmes de Montale : procédé de la détermination postposée, ton ironique, et jeu sur les registres. Cette étude est illustrée par l'analyse comparée des traductions de quatre poèmes : Corno inglese, Meriggiare pallido e assorto. . . , La casa dei doganieri et Dora Markus. Il s'agit d'un échantillon du travail effectué sur l'ensemble des poèmes traduits
The topic of my thesis is the analysis of the chinese translations of Montale's poems, first published in China in 1978. First of all, translation problems of linguistic nature are taken into consideration : difficulties in identifying the syntactical structure of the original text and in selecting the meaning of a polysemous word; problems with the tenses and the moods of the italian vebs; the question of indefinite subjects and connectors. The thesis focuses then on problems of literary nature : how the Chinese translators have dealt with the different cultural background and its literary implications. The third part is devoted to the problems connected with Montale's style and language : the determination put after the determinate, the ironic tune and the jumble of registers. The textual analysis of the poems Corno inglese, Meriggiare pallido e assorto. . . , La casa dei doganieri, and Dora Markus is given in the last part, to exemplify how it has been carried on for the whole body of translations

Cette étude vise à approfondir les travaux sur l'influence de Leopardi dans la poésie de Montale et à confirmer les hypothèses avancées par la critique sur le rôle fondamental de cette influence non avouée et ‘cachée' dans les mailles des textes. L'étude met à jour, à travers cinq grandes thématiques (l'aridité, le temps, le mal, la connaissance, l'affect), les traces de cette filiation. Elle montre que Montale puise une part essentielle de son inspiration dans toutes les facettes de l'œuvre leopardienne (poétique, narrative ou philosophique) et que cette influence concerne aussi bien les aspects thématiques et conceptuels que les différents aspects formels de la poésie (du lexique, de la versification et du rythme jusqu'à la structure des poèmes voire l'organisation des recueils). L'étude fait ressortir l'importance idéologique du modèle leopardien en soulignant la profonde communauté de pensée qui lie les deux esprits mais aussi la manière dont Montale, tout en s'inspirant du pessimisme de son aîné, cherche à dépasser la révolte et la colère qui caractérisaient celui-ci
The aim of this study is to corroborate the work on the influence of Leopardi in the poetry of Montale and to confirm the hypotheses about the fundamental role of this unacknowledged influence “hidden” within the texts. The filiation is traced through five major themes (aridity, time, evil, knowledge, affect). The study focuses particularly on the way this influence concerns the different formal aspects of poetry (vocabulary, versification, rhythm, but also the structure of poems and even the organisation of volumes) and on how Montale's inspiration largely stems from all facets of Leopardi's work (poetical, narrative or philosophical). The ideological importance of the Leopardian model is also made clear, by showing the deep community of thought uniting the two minds but also the way in which Montale, while inspired by the older artist's pessimism, sought to go further than the revolt and anger which characterised the latter

La tesi ha come obiettivo principale riflettere sulla traduzione poetica, sulle sue possibilità e sul ruolo del traduttore di poesia. La riflessione verrà condotta per la coppia di lingue italiano-spagnolo attraverso l’esempio di Eugenio Montale e Jorge Guillén, due poeti ma anche traduttori, che si sono tradotti reciprocamente. Nel primo capitolo viene data una definizione di testo poetico, per la quale è fondamentale il concetto di indissolubilità tra contenuto e forma. Questo crea un punto di partenza per riprendere il dibattito sulla traducibilità o intraducibilità del testo poetico. Verranno prese in esame le teorie di filosofi, scrittori, poeti e traduttori, in un excursus che va da quelle più conosciute fino ad arrivare a quelle contemporanee. Segue poi una riflessione sul ruolo del traduttore in quanto recreador del testo originale e sul significato di fedeltà o creatività in traduzione, facendo riferimenti anche all’evoluzione storica della concezione di traduttore letterario. Il secondo capitolo tratta delle relazioni tra Montale e Guillén, dalla genesi delle reciproche traduzioni e dei rapporti dei due poeti rispettivamente con la Spagna e con l’Italia. Per quanto riguarda le traduzioni di Montale si è scelto di analizzare “Albero autunnale” (Árbol del otoño), mettendo in risalto le strategie traduttive, per Guillén le due traduzioni da lui eseguite di “Meriggiare pallido e assorto”, esempio perfetto per concludere la riflessione sui concetti di fedeltà e creatività in traduzione.

Cette thèse prend la forme d’une pyramide renversée : à la base, qui est en réalité la surface, il faut imaginer les deux poètes du XXe siècle, alors qu’à la pointe extrême se situerait Proust, point d’émanation d’une certaine énergie intellectuelle qui se diffuse dans toute la modernité. Pedro Salinas et Eugenio Montale ont lu À la recherche du temps perdu dans l’Europe du premier proustisme (1920-1930). Les poétiques du poète italien et du poète espagnol s’inscrivent dans une même recherche du secret invisible, de l’essence du monde. Le parallélisme, inédit et intertextuel, entre leurs poèmes et le roman proustien met en valeur des aspects essentiels de leur lyrisme : une mémoire intermittente, oublieuse et épiphanique, enveloppant le parcours amoureux du sujet lyrique moderne. Les recueils « La voz a ti debida » (1933) de Salinas et « Le occasioni » (1939) de Montale, en particulier, sont deux véritables canzonieri d’amour construits autour de la phénoménologie du souvenir et de l’ « adresse tutoyante ». Les poétiques de Montale et de Salinas convergent d’autant plus vers la présence-absence d’un destinataire féminin, qu’ils s’écartent du chemin du Narrateur proustien. La comparaison entre prose et poésie fait émerger l’adresse au tu comme élément nouveau qui, n’existant pas dans le roman de Proust, constitue en poésie une alternative au « solipsisme proustien ». La relation exclusive du je lyrique avec un tu lyrique l’amène à partager l’intime, à sauvegarder la mémoire et à continuer l’amour contre tout oubli
This thesis has the form of an upside down pyramid: at the base, which is on top, we put two lyrical 20th century poets. At the tip of the pyramid is Proust, from who emanates an intellectual energy that spreads all over modern thought. Pedro Salinas and Eugenio Montale read “In Search of Lost Time” during the first period of European proustism (1920-30). Just as Proust, they shared the same search for the invisible secret, for the world’s essence. Comparing their poems between them and with Proust’s novel reveals key-aspects of their lyricism. In their poetry, like in Proust’s novel, memory is intermittent, alternating between oblivion and epiphanic moments that are essentially part of the experience of love. “La voz a ti debida” (1933) by Salinas and “Le occasioni” (1939) by Montale are based on a phenomenology of memory and love address. When Montale’s and Salinas’s poetics converge on the importance of dialogue with female figure, they move away from the Proustian narrator’s trajectory. The comparison between prose and poetry demonstrates that the lyrical relationship with “you” (an element which was absent in Proust's novel) has a direct impact on the writing form. Dialogical form of lyricism appears an alternative to the “Proustian solipsism”. The lyrical subject of Salinas and Montale can share with his beloved “tu” (you) his memory and preserve love from oblivion
Questa tesi ha la forma di una piramide rovesciata: alla base, che è in realtà la superficie, sisituano due poeti del XX secolo, la punta estrema è invece Proust, punto d’emanazione d’una certa energia intellettuale che si diffonde in tutta la modernità. Pedro Salinas e Eugenio Montale hanno letto Alla ricerca del tempo perduto immerse nel primo proustismo europeo (1920-1930). Le poetiche del poeta italiano e del poeta spagnolo convergono verso una ricerca simile del segreto invisibile, dell’essenza del mondo. Il parallelismo, inedito e intertestuale, tra le loro opere e il romanzo di Proust mette in luce alcuni aspetti fondamentali della loro poesia lirica: memoria intermittente, oblio e momenti epifanici costituiscono il perno del loro discorso soggettivo e amoroso. Le raccolte “La Voz un debida ti” (1933) di Salinas e “Le occasioni” (1939) di Montale, in particolare, sono due “canzonieri” moderni costruiti intorno alla fenomenologia della memoria e al dialogo con il tu amato. Le poetiche di Montale e di Salinas convergono verso la presenza-assenza costante di un tu femminile nel momento stesso in cui più si allontanano dal percorso del Narratore proustiano. Il confronto tra poesia e prosa lascia emergere il dialogo con il “tu lirico” come un elemento nuovo, inesistente nel romanzo di Proust, che diventa in poesia un’alternativa al “solipsismo proustiano”. La relazione esclusiva tra io e tu lirico porta il soggetto lirico alla condivisione dell’intima ricerca, per custodire la memoria e continuare l’amore contro le forme dell’oblio

Cette thèse de doctorat est consacrée à l'œuvre de Carlo Michelstaedter et, en particulier, à l'étude de son influence dans le Vingtième siècle italien : les chapitres monographiques qui composent cette investigation visent à évaluer la possibilité de son héritage dans l'œuvre de Montale - le plus important interprète littéraire de Michelstaedter - et dans celles de Gozzano, Pavese et Menon. Au cours des études, nous avons considéré ces auteurs comme des interprètes de la pensée du Vingtième siècle en tant que liée à la leçon de Michelstaedter, voire comme des continuateurs d'une expérience intellectuelle très importante mais précocement interrompue : à un niveau général, la recherche entend faire réagir la fonction de Michelstaedter - un complexe de motifs littéraires et spéculatifs, se référant à son œuvre et à sa figure d'auteur - avec le Vingtième siècle italien. Montale, Gozzano, Pavese et Menon ont été choisis pour identifier de multiples liaisons entre leur activité esthétique et la fonction de Michelstaedter, dont l'œuvre n'a pas obtenu une place stable dans le canon du Vingtième siècle. Fondamentalement, Michelstaedter est étudié en tant qu'il pouvait faire partie des canons des quatre auteurs étudiés, mais non pas d'un canon unique : il appartient donc à quatre anti-canons identifiés par opposition à une idée de canon générale. L'œuvre d'Eugenio Montale (1896-1981) est l'exemple le plus grand de l'influence de Michelstaedter sur un auteur italien : car elle représente toutes les déclinaisons possibles de la fonction michelstaedterienne au Vingtième siècle, la position initiale du chapitre est justifiée. La longue durée de la poésie montalienne, par rapport à Michelstaedter, est décrite des premières aux dernières Poesie disperse, des Ossi di seppia (1925) aux Altri versi (1981). Parmi les problèmes et les images abordés dans le chapitre, nous soulignons le flatus vocis, la chrysalide, le Christ, la persuasion et le temps. Le deuxième chapitre porte sur l'idée de la chrysalide de Guido Gozzano (1883-1916), liée au problème de la coextension des concepts opposés de vie et de mort et à celui de l'authenticité existentielle dans les Epistole entomologiche, notamment, dans Le farfalle (1914). L'étude du thème littéraire de la nymphe, ainsi que des implications philologiques et intertextuelles du poème de Gozzano, met en évidence l'influence potentielle de Il canto delle crisalidi de Michelstaedter (publié en 1912). L'œuvre de Cesare Pavese (1908-1950), étudié au cours du troisième chapitre, porte sur une générale tension au transcendant, équivalente à celle que Montale a pu trouver chez Michelstaedter et liée à la figure du Christ ainsi qu'à des problématiques comme l'attachement et le sacrifice/charité/don. Le thème du silence, en tant qu'empreinte de l'influence de Michelstaedter, est interprété comme une réaction de l'intellectuel en proie au vice qui aspire à l'authenticité. Au niveau littéraire, ces tourments existentiels peuvent être associés au problème de la décadence morale des expressions linguistiques (Pavese parle de « rhétorique ») et à l'impossibilité de réaliser une authenticité relationnelle. L'horizon de la mort, lié à celui du vice, ainsi que la thématisation du suicide en tant que défense par rapport à la souffrance existentielle, pourraient également être affectés par l'influence de Michelstaedter. L'œuvre de Gian Giacomo Menon (1910-2000) se fragmente au regard de la dichotomie entre authenticité et inauthenticité et opère un scepticisme métalinguistique : cette structure spéculative est liée à la fonction de Michelstaedter. L'inspiration métalinguistique de Menon implique une réduction expressive à un grand silence : ancré à des images géologiques, ce silence ressemble à un abandon de la recherche de l'authentique et est lié la problématisation du temps chronologique. Ce chapitre identifie Menon comme l'un des interprètes les plus originaux de l'héritage de Michelstaedter au Vingtième siècle
The present PhD thesis is devoted to the work of Carlo Michelstaedter, that is, to the study of his influence in the context of the Italian twentieth century: the four monographic chapters that make up this investigation aim to evaluate the possibility of his legacy in the work of Montale - Michelstaedter's most significant literary interpreter - and in the work of Gozzano, Pavese, and Menon. These authors are considered interpreters of twentieth-century thought, in conjunction with Michelstaedter's example, or even continuators of a crucial but early-interrupted intellectual experience: on a general level, the research intends to make Michelstaedter's function - a complex of literary and speculative motifs, referring to his work and his authorial figure - interact with the Italian twentieth century. Montale, Gozzano, Pavese, and Menon have been chosen in order to identify multiple connections between their aesthetic activity and the function of Michelstaedter, whose work has not gained a stable position in the twentieth-century canon. Basically, Michelstaedter is studied insofar as he could be part of the canons of the four authors in question but not of a single canon: he therefore belongs to four anti-canons opposed to a general idea of canon.The work of Eugenio Montale (1896-1981) is the most remarkable example of Michelstaedter's influence on an Italian author: the initial position of this chapter is justified by the fact that it represents all the possible variations of the Michelstaedterian function in the twentieth century. With regard to Michelstaedter, the longue durée of Montalian poetry is described from the first to the last of Poesie disperse, from Ossi di seppia (1925) to Altri versi (1981). Among the issues and the images addressed in the chapter, the flatus vocis, the chrysalis, Christ, persuasion, and time can be highlighted.The second chapter focuses on the notion of chrysalis developed by Guido Gozzano (1883-1916), which is related to the problem of the logical coextension of the opposing concepts of life and death and that of existential authenticity in Epistole entomologiche and, specifically, in Le farfalle (1914). The study of the literary theme of the nymph and of the philological and intertextual implications of Gozzano's poem underlines the potential influence of Michelstaedter's Il canto delle crisalidi (published in 1912).The work of Cesare Pavese (1908-1950), studied in the third chapter, deals with a general tension to transcendence, connected to the figure of Christ and to issues such as attachment and sacrifice/charity/donation. An imprint of Michelstaedter's influence, the theme of silence is interpreted as a reaction of the vice-ridden intellectual who longs for authenticity. On a literary level, these existential torments can be associated with the problem of the moral decay of linguistic expressions (Pavese speaks of «rhetoric») and the impossibility of achieving relational authenticity. The horizon of death, connected to that of vice, and the thematisation of suicide as a defence against existential suffering could also be affected by Michelstaedter's influence.The work of Gian Giacomo Menon (1910-2000) is fragmented with regard to the existential dichotomy between authenticity and inauthenticity and works out a form of metalinguistic scepticism: this speculative structure is related to the function of Michelstaedter. Menon's metalinguistic inspiration entails an expressive reduction to a great silence: being related to geological images, such a silence resembles an abandonment of the quest for authenticity and is connected to the problematisation of chronological time. This chapter identifies Menon as one of the most original interpreters of Michelstaedter's legacy in the twentieth century

Notre travail de thèse consiste en une édition commentée de la correspondance de l’écrivain triestin Italo Svevo autour de la question du "cas Svevo". Le choix de notre objet d'étude répond à une double motivation : tout d’abord il permet de mettre à jour la situation philologique des documents épistolaires concernés, mais aussi d'apercevoir d'une autre manière le rôle même de Svevo en tant qu’écrivain, de bousculer et remettre en question, à travers les paroles de l’auteur, certaines idées reçues que la vulgate critique a longtemps entretenues. Cette étude permet aussi d'envisager de quelle manière Svevo réagit aux accusations des milieux intellectuels italiens qui soulignent l'imperfection de sa langue, ses origines presque étrangères ou du moins triestines, c'est-à-dire périphériques, et son parcours littéraire décidément atypique.Ce travail ajoute, au matériel que nous possédions déjà, des documents inédits, repérés au long de ces années de doctorat dans des fonds et bibliothèques italiens et étrangers
The thesis consists in the commented edition of the correspondence between the writer Italo Svevo and those who took part in the “Svevo affair”. The main reasons for the choice of this topic are two: first of all, the present study allows for an update of the philological state of the documents involved; secondly, this work is an attempt to reinterpret Italo Svevo’s role as a writer, by using his words to question certain ideas passed along and established by the critical vulgata over a period of many years. This research also offers an insight on how the author responded to certain accusations raised by some Italian intellectual environments, whose main claims were related to his imperfect language, his almost foreign origins (or in other words, the marginality of his native city of Trieste), as well as to his anomalous literary career.This work has added more unpublished documents to the material previously acquired, which were found in Italian and foreign libraries and archives during my doctorate studies

Philosophiquement le XXème siècle est de bien des façons un siècle existentialiste où l’existence est pensée comme transcendance du monde dans l’attente. Selon l’existentialisme l’homme est à la fois dans le monde et outre le monde car si la situation nous transcende dans sa factualité nous la transcendons par notre volonté. Pourtant pour l’existentialisme de l’échec rien – si ce n’est la mort – ne peut vraiment libérer l’homme de la situation de fait du monde historique: sa seule transcendance peut alors être seulement dans le sentiment d’une impossibilité de la transcendance et donc dans conscience de l’échec. On retrouve poétiquement cette situation d’échec dans le mythe d’Orphée où elle interroge métalogiquement le pouvoir de l’acte poétique. Au-delà de l’orphisme religieux le mythe d’Orphée nous propose alors la vision d’un chant qui est à la fois désenchantement nostalgique et enchantement épistémique et donc respectivement lamentation pour ce qui n’est plus et admiration pour ce qui est. Orphique est donc la mélancolie nostalgique qui en vain veut transcender le présent dans le passé mais qui toutefois en tant que phonie magique transcende le présent dans le futur. On peut alors pour le XXème siècle poétique parler d’existentialisme orphique et recenser certaines de ses manifestations les plus éminentes. Dans la poésie italienne le poème L’ultimo viaggio (1904) de Pascoli présente un syntagme – non esser più – qui porte à lui seul une problématique existentialiste – aussi bien dans son mode nostalgique négatif que dans son mode épistémique affirmatif – que l’on retrouve de manière tout aussi forte chez Ungaretti et Montale et Pasolini où l’aspiration à l’être vit indiscutablement dans la désolation du ne plus être. Ces quatre poètes sont alors affrontés selon une même méthode herméneutique qui actualise la microcritique d’un syntagme fortement circonstanciel – non esser più pour Pascoli, equivoco della luna pour Ungaretti, eternità d’istante pour Montale et grin di cristàl pour Pasolini – par la macrocritique du corpus poétique de chaque poète afin d’interroger – tout au long du XXème siècle – diverses modalités d’un même existentialisme orphique
Philosophically the 20th century is in many ways an existentialist century where the existence is thought of as transcendence of the world in the expectation. According to existentialism man is at the same time in the world and beyond the world because if the situation transcends us in its factuality we transcend it by our will. Yet for the existentialism of failure nothing – except death – can really free man from the factual situation of the historic world: his sole transcendence can only be in the feeling of the impossibility of transcendence and thus in the consciousness of failure. Poetically we find this situation of failure in the myth of Orpheus where the power of the poetic act is questioned metalogically. Beyond the religious orphism the myth of Orpheus offers us the vision of a chant which is at the same time nostalgic disenchantment and epistemic enchantment and therefore respectively a lamentation for what is no more and admiration for what is. Thus orphic is the nostalgic melancholy which in vain wants to transcend the present in the past but nontheless as a magic word transcends the present in the future. So for the 20th poetic century we can speak of orphic existentialism and list some of its most eminent manifestations. In the Italian poetry the poem L’ultimo viaggio (1904) by Pascoli presents a phrase – non esser più – which carries of its own an existentialist problematic – both in its negative nostalgic way as in its affirmative epistemic way – that we find with equal force in Ungaretti and Montale and Pasolini where, without any doubts, the aspiration to the being lives in the desolation of the no longer being. These four poets are thus faced with the same hermeneutic method which actualizes the microcriticism of a strongly circumstantial phrase – non esser più for Pascoli, equivoco della luna for Ungaretti, eternità d’istante for Montale and grin di cristàl for Pasolini – via the macrocriticism of the poetic corpus of each poet in order to question – all along the 20th century – different modalities of one and the same orphic existentialism

This thesis forms a monograph on the poetry of Eugenio Montale (Genoa, 1896 - Milan, 1981) which considers his principal collections: Ossi di seppia (1925), Le occasioni (1939), La bufera e altro (1956), Satura (1971), Diario del '71 e del '72 (1973), and Quaderno di quattro anni (1977). It focuses on the notion of 'ombra' as the key element through which a greater degree of insight into Montale's eschatological vision can be achieved. Montale's 'shadow' emerges as a paradoxical presence-in-absence, and as a constitutive element of his poetry, in so far as it conceives of the existence of a continuity between life and death. From as early as Ossi di seppia, the status of 'ombra' is two-fold. First of all, 'ombra' is the shadow with which the poetic subject identifies, and it represents the only possibility of attaining a desired existential and poetic self-effacement. Secondly, but no less importantly, 'ombra' is the shadow of the absent loved one, who is reduced to incorporeality, and from whom the poetic subject seeks not to be cruelly separated. By considering the relationship between poetry and mourning from the Derridean perspective of 'demi-deuil', I contribute an original viewpoint to the study of Montale's 'care ombre' ('Proda di Versilia', La bufera e altro, 33, pp. 253-254), whereby subjects of mourning are no longer considered as negatively dominated by the Other's death. They are, indeed, devoted to preserving the affect relationship with the dead, as opposed to the Freudian notion of 'moving on' after loss. The passage from one individual 'ombra' in Ossi di seppia to the plurality of the 'care ombre' in all of the following collections is shown here to delineate the exceptional continuity that marks Montale's œuvre from the very beginning of his poetic journey. This thesis chooses to dialogue with existent scholarship by shifting the focus onto the textual aspect, making it the centre of analysis. This allows the shedding of further light onto specific poetic strategies of the Montalean exploration of the boundaries between life and death, and onto his very individual eschatology.

Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthique
This thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience

El presente trabajo es el resultado de una investigación teórica y de una experiencia de montaje en torno a El gran Dios Brown de Eugene O’Neill. Esta obra, una de las favoritas del autor, fue escrita en 1925, y suele ser considerada como una de las más interesantes y polémicas de su producción. Esquemáticamente la pieza trata del conflicto que sostienen por más de treinta años el convencional y materialista Billy Brown, con el idealista, sufrido y creativo Dion Anthony. Ambos compiten a nivel profesional y luchan por el amor de Margarita (que se transformaría en esposa de Dion) y por la posesión de Sibila (una prostituta amante de Dion que simboliza a la Tierra Madre). La tragedia se agudiza cuando al morir Dion, Billy hereda la personalidad de su rival (simbolizada en la obra original por una máscara) y se transforma en una suerte de esquizofrénico, que alternativamente vivencia las identidades de ambos protagonistas. Gracias a su nueva personalidad, Brown logra usurpar el talento creativo y los amores de Dion, pero sufre la desintegración de su antigua identidad. Finalmente, Billy muere en brazos de Sibila, tras recibir un balazo de la policía. En ese momento se acaba de comprender que los protagonistas simbolizan dos aspectos en pugna dentro del hombre actual, que según el autor está escindido, y que en la obra, metafóricamente, se reintegra y se encuentra a sí mismo en la agonía

Treatise (D.M.A.) Florida State University, 2006.
Advisor: Timothy Hoekman, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-17-07). Document formatted into pages; contains 81 pages. Includes biographical sketch. Includes bibliographical references.

A Dissertation submitted to the Faculty of Arts, University of the Witwatersrandj Johannesburg for the Degree of Master of Arts Johannesburg 1982
This thesis sets out firstly to review the recent Italian and non-Italian bibliography on the problems in Montale's last three volumes. The opening chapter shows how the Nobel prize winning poet's manner altered sharply after La bufera e altro with the collection Satura (1971). It reviews the major responses to Satura, before passing on to a rasseqna of responses to the two M a r i , Quaderno and Altri versi. Having covered the new critical tradition it analyzes Montale's typographical presentation of long, short, titled, untitled, free, rhyming, epigrammatic, punning, polemical, lyric, semi-serious, tendentiously polemical or whimsically anti-literary poems. The second chapter considers the texts' studied 'occasionalness1 and apparent 'anti-poeticity', as well as component parts which break this pattern. The study admits that Montale's recent production does not stand the test of high lyric perfection which most commentators detect in Ossi, Occasion! and Bufera. Chapter 111 considers the M a r i , Quaderno and Altri versi as (a) Montale's assiduous annotation of a modus vivendi in our own time, (b) a dissolution and relativization of all interpretations of time, (c) the 'permanent oxymoron' of the recent years, present in Satura but now flowering in the lack of affirmation and negation, in short, the constant and oscillating and uncertain affirmation of contraries, (d) lists, elenchus, (e) the linguistic privileging of totem fauna and talismanic objects, (e) enumeration as well as elenchus, of sub-species of items scarcely relevant to the poet's immortality and so forth. As an example of our line of enquiry we recall the slapping water in v.7 of 'Casa sul mare' (1927), 'Un altro, altra acqua, a tratti...', where semantic effect is subordinated to the genderless trap set by water in eternal motion; mindful always of Montale's own warning that his reader can be 'depistato' by his work and its effects, we refuse to be 'misdirected', in this thesis, by the poet's biography or prose criticism. There are four Appendices which give a selection of colloquial harms used in the three collections, as well as a complete listing of animals., parentheses and foreign words. We have attempted to show that poetry, that supremely useless human occupation, is part of art after all.

This thesis is comparing the poetics of two poetry books: Sepie (1927) written by František Halas, and Ossi di Seppia (1925) written by Eugenio Montale. The comparison is based on semantic analysis of their principal motives, analysis of literary categories of space and time, and also on the interpretation of three thematic areas: semantics of suffering and death, relation of lyric subject to the society, and the reflection of the word crises. The thesis also includes development of these topics in their further poetry books. There is also presented contemporary historical and cultural context, and relation to literary traditiond and avant-gard.