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Journal articles on the topic 'Montale, Eugenio'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

Tandello, Emmanuela, and Jared Becker. "Eugenio Montale." Modern Language Review 84, no. 3 (July 1989): 754. http://dx.doi.org/10.2307/3732486.

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2

Thomas, H. "Eugenio Montale: Four Poems." Literary Imagination 2, no. 3 (January 1, 2000): 290–97. http://dx.doi.org/10.1093/litimag/2.3.290.

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3

Thomas, H. "Eugenio Montale: Two Poems." Literary Imagination 6, no. 1 (January 1, 2004): 94. http://dx.doi.org/10.1093/litimag/6.1.94.

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4

Popova, Elitza. "Montale, Eugenio (2005). «Las ocasiones»." Quaderns d’Italià 12 (November 3, 2002): 167. http://dx.doi.org/10.5565/rev/qdi.209.

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5

Brotto, Alessio. "Eugenio Montale, Testimonianza su Valéry." Italianist 29, no. 1 (February 2009): 88–99. http://dx.doi.org/10.1179/026143409x409792.

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6

Barfoot, Gabrielle, Sergio Campailla, and Cesare Federico Goffio. "La poesia di Eugenio Montale." World Literature Today 59, no. 2 (1985): 255. http://dx.doi.org/10.2307/40141509.

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7

Frassica, Pietro, and Franco Contorbia. "Eugenio Montale. Immagini di una vita." MLN 105, no. 1 (January 1990): 164. http://dx.doi.org/10.2307/2905135.

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8

Vilella, Eduard. "Cornudella, Jordi (ed.) (1995). «Eugenio MONTALE, Xènia»." Quaderns d’Italià 2 (November 2, 1997): 163. http://dx.doi.org/10.5565/rev/qdi.459.

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9

Saburova, Lyudmila Ye. "TOMMASO LANDOLFI AND EUGENIO MONTALE ON THE WAY TO THE GAME (based on autobiographical prose)." Vestnik of Kostroma State University, no. 2 (2020): 185–90. http://dx.doi.org/10.34216/1998-0817-2020-26-2-185-190.

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In the autobiographical prose of Eugenio Montale and Tommaso Landolfi , the theme of travel plays a signifi cant role. The development and refraction of this theme is directly related to the concept of home, which is different for these writers. Tommaso Landolfi , leading the life of a hermit in a small provincial town, seeks to travel to large centres full of social life. Eugenio Montale, who was less attached to the family nest, in the latter part of his life lives in Milan. Tired of the burden of fame and the noise of the big city, he sets off for quiet secluded places unlike Italy, where he can fi nally rest. In the works of both writers, travel is closely related to the theme of the game. Tommaso Landolfi , who sees the meaning of human life in the game, combines his travels with «forays into gambling», that is, to the casino. Roulette becomes an opportunity for him to communicate with a higher power, to receive answers to existential questions that torment him. Eugenio Montale travels in disguise, changing masks. In his imaginary game world, he animates objects and makes friends with them. For both writers in their travel, a special role is played by inscriptions and signs, which are perceived by them as secret messages.
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10

West, Rebecca, and Eanna O. Ceallachain. "Eugenio Montale: The Poetry of the Later Years." Modern Language Review 98, no. 2 (April 2003): 479. http://dx.doi.org/10.2307/3737875.

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11

Barile, Laura. "T.S. Eliot, Eugenio Montale e la modernità dantesca." Italian Culture 39, no. 2 (July 3, 2021): 240–42. http://dx.doi.org/10.1080/01614622.2021.1976973.

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12

Thomas, H. "The House of the Customs Men: EUGENIO MONTALE." Literary Imagination 12, no. 2 (September 24, 2009): 252. http://dx.doi.org/10.1093/litimag/imp072.

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13

Sonzogni, Marco. "Don't Ask Me: For Jonathan Galassi after Eugenio Montale." Books Ireland, no. 227 (1999): 380. http://dx.doi.org/10.2307/20631982.

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14

Camps, Assumpta. "El mito en la obra poética de Eugenio Montale." Cuadernos Literarios 1, no. 1 (December 1, 2003): 50–60. http://dx.doi.org/10.35626/cl.1.2003.228.

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Assumpta Camps estudia la función del mito en Eugenio Montale y observa, por ejemplo, la fina reelaboración de mitos como el Orfeo y Eurídice o Teseo y Ariadna en determinado periodo de su obra poética. Así, el tema referido al amor, y más concretamente al “fantasma femenino", será el objeto de estudio en este ensayo. Para ello, se centrará en la exégesis del “ciclo de Arletta”, partiendo de la dimensión heurística que adquiere el mito clásico en la obra del autor lígure.
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15

Malicka, Paulina. "La questione del dono nella poesia di Eugenio Montale." Studia Romanica Posnaniensia 37, no. 1 (January 1, 2010): 117. http://dx.doi.org/10.14746/strop.2010.371.009.

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16

Pelosi, Pietro. "Review: Concordanza di tutte le poesie di Eugenio Montale." Forum Italicum: A Journal of Italian Studies 22, no. 1 (March 1988): 127–28. http://dx.doi.org/10.1177/001458588802200123.

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17

Gwynn, K. S. "Mottetti: Poems of Love/The Motets of Eugenio Montale." Translation Review 32-33, no. 1 (March 1990): 69–72. http://dx.doi.org/10.1080/07374836.1990.10523496.

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18

Singh, G., Eugenio Montale, Gianfranco Contini, and Dante Isella. "Eusebio e Trabucco: Carteggio di Eugenio Montale e Gianfranco Contini." World Literature Today 73, no. 2 (1999): 315. http://dx.doi.org/10.2307/40154727.

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19

Salvatori, Mariolina. "Thomas Hardy and Eugenio Montale: In mourning and in celebration." Journal of Aging Studies 1, no. 2 (June 1987): 161–85. http://dx.doi.org/10.1016/0890-4065(87)90005-3.

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20

Colella, Massimo. "«Con righe a puntini… quasi per suggerire ‘continua’».Aposiopesi e retorica del silenzio nella poesia montaliana." Rhetorica 35, no. 4 (2017): 425–44. http://dx.doi.org/10.1525/rh.2017.35.4.425.

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The paper deals with the analysis of the rhetorical morphology and of the semantic functions of various emersions of ‘aposiopesis’ (or ‘reticence’) in The Occasions (1939) by Eugenio Montale, poetic collection characterized by an important ‘silence strategy’ (“to omit the occasion-spur”). The theory and the praxis of the non-said and the non-finite efficaciously outline, between inventio and dispositio, an original and coherent definition and explanation of some recurring stylistic patterns of Montale's poetry. Moreover, the critical recognition allows to clarify the essential role of the rhetorical use of silence and “textual scars” in the lyrical creation of negative or positive epiphanies and, more generally, in the poetic construction of memory, transfiguration and meaning.
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21

Polizoes, Elias. "Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO." Forum Italicum: A Journal of Italian Studies 43, no. 2 (September 2009): 405–17. http://dx.doi.org/10.1177/001458580904300205.

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This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, however, rather than work to organize the chaotic present according to the idealized image of form and order Classicism promises, the structural use the poet makes of Christianity serves a demythologizing function. On the one hand, it exposes how Classicism is unable to marshal the chaos of the present beyond transforming it into a work of art; on the other, it shows that ideas of order are in fact allegories of the kind elaborated by Walter Benjamin, that is to say, provisional, makeshift, and ultimately empty.
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22

Orsino, Margherita. "Figure dell’apocalissi nella poesia di Eugenio Montale: verso una metafisica dell’inesistenza?" Revista de Italianística, no. 23 (May 12, 2014): 51. http://dx.doi.org/10.11606/issn.2238-8281.v0i23p51-71.

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A partire da un’affermazione di E. Sanguineti sulla metafisicadell’inesistenza in Montale, si studia qui la presenza del tema apocalittico (inteso sia come rivelazione che come catastrofe) in una problematica moderna e laica. Dalla donna-angelo de Le occasioni e La bufera, all’angelo nero di Satura, fino alla Morgana del Quaderno di quattro anni, si analizzano la compresenza o evoluzione di registri e figure e si tentanoalcune sintesi della poetica montaliana.
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23

Zancani, Diego, Maria A. Grignani, and Eugenio Montale. "Prologhi ed epiloghi. Sulla poesia di Eugenio Montale. Con una prosa inedita." Modern Language Review 84, no. 2 (April 1989): 492. http://dx.doi.org/10.2307/3731629.

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24

West, Rebecca. "Eugenio Montale: The Poetry of the Later Years by Éanna Ó Ceallacháin." Modern Language Review 98, no. 2 (2003): 479–80. http://dx.doi.org/10.1353/mlr.2003.0114.

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25

Esposito, Maria Cristina. "Il poeta racconta la danza. Le recensioni di balletto di Eugenio Montale." Il segno e le lettere - Saggi 9788879167628 (December 2015): 247–63. http://dx.doi.org/10.7359/762-2015-espo.

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26

Pepe, Tommaso. "David Michael Hertz, Eugenio Montale, the Fascist Storm, and the Jewish Sunflower." Forum Italicum: A Journal of Italian Studies 53, no. 1 (December 9, 2018): 184–86. http://dx.doi.org/10.1177/0014585818819721.

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27

Sielo, Francesco. "Gli intellettuali italiani e il cinema: il caso esemplare di Eugenio Montale." Quaderns de Cine, no. 8 (2013): 101–10. http://dx.doi.org/10.14198/qdcine.2013.8.12.

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28

Parmeggiani, Francesca. "Memorial Space, Poetic Time: The Triumph of Memory in Eugenio Montale (review)." Italian Culture 24, no. 1 (2007): 232–34. http://dx.doi.org/10.1353/itc.2007.0011.

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29

Peterle, Patricia. "Páscoa de neve de Enrico Testa." El Hilo de la Fabula, no. 20 (September 26, 2020): 255–69. http://dx.doi.org/10.14409/hf.v0i20.9651.

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A tradução da poesia italiana foi muito importante ao longo do século XX, a partir de nomes que deixaram suas marcas e abriram um diálogo com outras culturas. É possível lembrar de Giuseppe Ungaretti, Eugenio Montale, Umberto Saba e também Andrea Zanzotto, Giorgio Caproni. A primeira dé- cada do novo milénio viu a circulação de uma série de antologias poéticas e de novos volumes de poemas. Neste ensaio, propõe-se uma leitura pontual de Páscoa de neve de Enrico Testa, a partir da publicação da edição brasileira em 2016.
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30

Bouchard, Norma. "Recovering Samuel Beckett’s Italian Translations of Raffaello Franchi, Giovanni Comisso, and Eugenio Montale." Journal of Beckett Studies 15, no. 1-2 (January 2005): 145–59. http://dx.doi.org/10.3366/jobs.2006.15.1-2.10.

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31

Garofalo, Silvano, and Giuseppe Savoca. "Concordanza di tutte le poesie di Eugenio Montale: Concordanza, Liste di frequenza, Indici." Italica 67, no. 2 (1990): 255. http://dx.doi.org/10.2307/478614.

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32

Pagano, Tullio. "Eugenio Montale e Maria Luisa Spaziani: proposte di lettura per un dialogo Poetico." Italian Culture 11, no. 1 (January 1993): 259–71. http://dx.doi.org/10.1179/itc.1993.11.1.259.

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33

Martínez Aguirre, Guillermo. "Fundamentos estéticos en el poema de José Ángel Valente “El arte pobre”." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 16 (December 29, 2020): 17–31. http://dx.doi.org/10.24197/ogigia.16.2014.17-31.

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Como parte de una búsqueda estética infatigable, José Ángel Valente se va a acercar al ámbito de la traducción poética a través de la obra de una serie de autores próximos a su modo de pensar. La cercanía a la materia, así como un sentir próximo a la mística, denotarán una afinidad espiritual entre Eugenio Montale y Valente que este último sabrá reconocer trasladando al castellano algunos de los versos más logrados del italiano. En el poema “El arte pobre” apreciaremos un intento de acercamiento entre la estética del gallego y la defendida por el llamado Arte Povera.
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34

Chiarelotto, Arivane. "Traçados da letra e do perfil de um poeta na tradução completa de Ossi di Seppia para o português." Revista de Italianística, no. 33 (October 31, 2017): 121. http://dx.doi.org/10.11606/issn.2238-8281.v0i33p121-129.

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Neste texto serão analisados os elementos paratextuais da tradução de Ossi di Seppia, livro de poemas de Eugenio Montale, feita por Renato Xavier e publicada pela Companhia da Letras em 2002, como Ossos de Sépia. Apesar de se tratar de um autor canônico da literatura italiana e de nos aproximarmos do tempo de comemorar um século de sua primeira publicação (1925), a tradução de Renato Xavier ainda é a única que versa a obra completa para o português, o que, seguramente, a torna importante para o leitor brasileiro. Neste caso, o que dispõem os textos que apresentam a obra e que características portam as descrições e traçados da expressão poética montaliana?
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35

Parmeggiani, Francesca. "From Eugenio Montale to Amelia Rosselli. Italian Poetry in the Sixties and Seventies (review)." Italian Culture 23, no. 1 (2005): 197–99. http://dx.doi.org/10.1353/itc.2006.0025.

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36

Greco, Lorenzo. "STRUTTURE FORMALI ED EMERGENZA STORICA: ANCORA SU “A LIUBA CHE PARTE” DI EUGENIO MONTALE." Forum Italicum: A Journal of Italian Studies 30, no. 2 (September 1996): 320–31. http://dx.doi.org/10.1177/001458589603000205.

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37

Gendre, Renato. "[Condello, Federico. I filologi e gli angeli. È di Eugenio Montale il Diario postumo?]." Études romanes de Brno, no. 1 (2019): 165–66. http://dx.doi.org/10.5817/erb2019-1-17.

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38

Riccobono, Rossella. "Letturain liminedi 'La canna che dispiuma'e di 'Fuscello teso dal muro' di Eugenio Montale." Italianist 14, no. 1 (June 1994): 111–32. http://dx.doi.org/10.1179/ita.1994.14.1.111.

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39

Butcher, John. "Eugenio Montale and Italo Calvino: LE COSMICOMCHE, TI CON ZERO and the Post-Bufera Verse." Forum Italicum: A Journal of Italian Studies 36, no. 2 (September 2002): 411–37. http://dx.doi.org/10.1177/001458580203600208.

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40

Assini, Fabiana Vasconcellos, Luiza Kaviski Faccio, and Patricia Peterle. "Caproni traduzido: um olhar sobre os paratextos." Revista de Italianística, no. 33 (October 31, 2017): 111. http://dx.doi.org/10.11606/issn.2238-8281.v0i33p111-120.

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A intenção deste artigo é refletir sobre a recepção do poeta italiano Giorgio Caproni (1912-1990) no Brasil a partir da primeira antologia publicada no país dedicada ao poeta, A coisa perdida: Agamben comenta Caproni, publicada em 2011 pela Editora da Universidade Federal de Santa Catarina. Busca-se a partir da obra, analisar os paratextos nela presentes, tentando compreender a imagem do poeta, ainda pouco conhecido se comparado a outros poetas italianos contemporâneos como Eugenio Montale (1896-1981). Refletir também acerca da importância dos elementos paratextuais para a motivação da aquisição e leitura de um livro. Elementos que, muitas vezes, passam despercebidos para o público, mas que podem se tornar peças fundamentais aos estudiosos da literatura, sobretudo da literatura traduzida.
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41

Camps, Assumpta. "“Eugenio Montale e il viaggio nel Medio Oriente: da Fuori di Coso a ‘Flashes e dediehe’”." Italian Culture 16, no. 2 (January 1998): 191–202. http://dx.doi.org/10.1179/itc.1998.16.2.191.

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42

Bernard, Enrico. "1927–1932 Il lustro che cambiò la letteratura italiana." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 22, 2018): 282–300. http://dx.doi.org/10.1177/0014585818757479.

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Il neorealismo viene comunemente datato, ma è una concezione alquanto approssimativa, a partire dal secondo dopoguerra. Si è naturalmente tenuto conto dei vari “laboratori” e delle fermentazioni letterarie del primo ‘900, in particolare gli anni Venti e Trenta, che hanno gettato le basi del “nuovo” realismo successivamente affermatosi nel cinema e nella narrativa. Tuttavia, l’approfondimento di questa determinante “eredità”, sia pur individuata, è stata scandagliata solo in parte. Esempio delle lacune nella ricerca è rappresentato dall’attività del giovane Carlo Bernari tra il 1927 e il 1932, un quinquennio preparatorio non solo del suo capolavoro—nel senso letterale di “origine” di una nuova concezione artistica— Tre operai (Rizzoli, 1934), ma da riconsiderare, sulla scia delle interpretazioni di Remo Cantoni e Eugenio Montale, come fulcro dei successivi sviluppi della letteratura italiana. Con le lettere manoscritte inedite di Breton e Ribemont Dessaignes a Carlo Bernari (pseudonimo di Carlo Bernard dal 1938).
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43

Lucchesi, Valerio, S. Campailla, C. F. Goffis, and Eugenio Montale. "La poesia di Eugenio Montale (Atti del Convegno Internazionale tenuto a Genova dal 25 al 28 Novembre 1982)." Modern Language Review 82, no. 2 (April 1987): 494. http://dx.doi.org/10.2307/3728496.

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44

O'Brien, Catherine. "From Eugenio Montale to Amelia Rosselli: Italian Poetry in the Sixties and Seventies by John Butcher, Mario Moroni." Modern Language Review 102, no. 2 (2007): 537–38. http://dx.doi.org/10.1353/mlr.2007.0151.

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45

Riccobono, Rossella. "Lettura in limine di 'La canna che dispiuma'e di 'Fuscello teso dal muro' di Eugenio Montale." Italianist 14, no. 1 (June 1, 1994): 111–32. http://dx.doi.org/10.1179/026143494792170623.

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46

Camps, Assumpta. "“Eugenio Montale e il viaggio nel Medio Oriente: da Fuori di Coso a ‘Flashes e dediehe’”." Italian Culture 16, no. 2 (January 1, 1998): 191–202. http://dx.doi.org/10.1179/016146298803707981.

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47

Saburova, Liudmila E. "Music and Painting in the Autobiographical Prose of Eugenio Montale and Antonio Delfini (The Butterfly of Dinard, “One Story”)." Studia Litterarum 4, no. 3 (2019): 124–35. http://dx.doi.org/10.22455/2500-4247-2019-4-3-124-135.

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48

Malicka, Paulina. "Lucio Piccolo, Eugenio Montale e Maria Luisa Spaziani. Tre voci in ascolto e un luogo nel gesto della scrittura." Studia Romanica Posnaniensia 41, no. 4 (January 1, 2014): 11. http://dx.doi.org/10.14746/strop2014.414.002.

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49

MORGAN, EDWIN. "The Coastguard's House. By Eugenio Montale. English versions by Jeremy Reed. Pp. 223. Newcastle-upon-Tyne: Bloodaxe, 1990. Pb. £7.95." Translation and Literature 1, no. 1 (April 1992): 189–93. http://dx.doi.org/10.3366/tal.1992.1.1.189.

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50

Costa-Zalessow, Natalia, and Ulrich Fusen. "Akustische Dimensionen und musikalische Parallelen in der Lyrik der "Poeti-musicisti" Eugenio Montale und Giorgio Caproni. Sprachklang, Klangbezeichnungen, Klangmetaphorik und Klangsymbolik." Italica 74, no. 2 (1997): 270. http://dx.doi.org/10.2307/480093.

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