DOCSLIB.ORG

A Reading of Iginio Ugo Tarchetti's Fosca Giorgio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Reading of Iginio Ugo Tarchetti's Fosca Giorgio CONTRIBUTI THE SUBLIME WOMAN: A READING OF IGINIO UGO TARCHETTI’S FOSCA GIORGIO MELLONI State University of New York at New Paltz New Paltz, N. Y. Abstract: This article on the short novel Passion (original title, Fosca ) by Iginio Ugo Tarchetti offers textual evidence, through the individuation of the sublime woman as central character, or myth, of the story, for the inclusion of Tarchetti in the aesthetic canon of the Post-Romantic Sublime (see Bloom 1982; De Man 1971; Foster 1997; Freeman 1997; Hertz 1985; Lyotard 1994). The essay investigates the differences between the Romantic notion of the Sublime and that of Tarchetti (a member of the Scapigliatura , “ The Disheveled Ones ”, a post-romantic Italian literary movement), which anticipates the poetical themes and aesthetic forms of later authors such as D’Annunzio, Tozzi, and Anile. Indeed, in many Post-Romantic writers, such as the well studied French poet Baudelaire (see Auerbach 1959), the paradoxical tranquility guaranteed by the Romantic Sublime to the individual – at least in its manifestation as an infinite destructive danger, however remote – seems to be converted into a sensation of annihilation or devastation in which the act of perception of the object reaches a peak. In the Post- Romantic Sublime the contemplation of the aesthetic object is not resolved in the survival of the subject, an act permitted by the Romantic sublime. Instead, it concludes in the frustrating defeat or death of the individual before the impenetrable veil which filters reality. Key-words: Female Body, Sublime, Picturesque, Grotesque, Romantic, Scapigliatura, Stylistic Hermeneutics. ny reader who explores that controversial manifesto of criticism and poetics set forth in the “Idee minime sul romanzo” ( Tutte le opere, AVol. II, pp. 522-35) of Tarchetti is presented, almost at the beginning of the essay, with a declaration on the historical destiny and the ethical purpose of Literature: 72 THE SUBLIME WOMAN: A READING OF IGINIO UGO TARCHETTI’S FOSCA S’egli è vero che l’umanità progredisca lentamente, ma in modo sicuro, e che nulla possa arrestare e far retrocedere il genio nel suo cammino, i nostri posteri, fra migliaia di anni, vivranno moralmente della nostra vita attuale: le lettere avranno raggiunto per essi quello scopo sublime e generale, che è di moltiplicare ed accrescere ed invigorire nello spirito quelle mille ed infinite sensazioni per le quali si manifesta il sentimento gigantesco della vita. (“Idee minime sul romanzo”)1. (pp. 523-24) (If it is true that humanity progresses slowly but surely, and that nothing can hinder or turn back the genius in his course, then our present life will be the spiritual fodder for our descendents in a thousand years: for them, literature will have achieved the general and sublime end, that of multiplying, increasing, invigorating the many infinite sensations in the spirit through which the immense feel of life manifests itself.) (My translation) This passage recalls unequivocally the terms and keywords of Romantic aesthetics, through which the reader must also decipher the belief – expressed by Tarchetti in a previous passage not far from the one just quoted – that the “fine comune delle lettere ” (“common goal of literature”) is “ l’istruire e educare allettando ’ (“to instruct and educate while entertaining”; “Idee minime’ p. 522). This eighteenth-century version of Horace’s principle of the utile dulci is filtered, however, through an eye that belongs neither to the Enlightenment nor to Neo-Classicism (Finzi, “Introduzione”, Fosca , p. 7) 2. Tarchetti was considering the advantages which a broader diffusion of the artistic form of the novel 3 would provide to human history. We must therefore reflect more closely on the contextual, semantic meaning of the specific terms used by the author. First of all, we are struck by the presence of one of the keywords of Romantic poetics: “genius”. Indeed, though the word is used here more in the collective sense of an intellectual and creative principle of the history of society, and of the development of humankind, than that of the original intuitive and “poetic” power of the artist, it is nevertheless a sign of a purposeful metaphorical choice. Tarchetti’s selection sinks its roots in the semantic patrimony of Romanticism, which is also related to the idea – idealistic and positivistic at the same time – of the progress of the human being. The adjective “ sublime ” followed by “ generale ’ in the structure of a dicholon , may at first appear to be employed in a very bland way indeed. Immediately after, however , the writer specifies the concept by means of the triple synonymic anaphora of verbs which indicate the intensification of perception. Its “phenomenology’ as Merleau-Ponty would term it, is articulated – surely not by coincidence – around a dynamic hierarchy of three spheres of the human mind-body, namely lo spirito, il sentimento and la sensazione, typical of what we call Romanticism. The simple use of these 73 GIORGIO MELLONI particular verbs ( moltiplicare , accrescere , invigorire ) immediately implies a corresponding adjective ( infinite ), which insists on the idea of infinity implied in the recurring nature of sensations (underlined by the connection between the explicit appearance of the adjective and the hyperbole of the syntagm “mille ed infinite ”), and on the extraordinary dimensions that the sense of life can attain. But it is precisely this notion of infinity and of the “gigantic” disproportion between the limits of man and the power of Nature that results in one of the key concepts of the Romantic reflection on the Sublime. In this way, Tarchetti wants to indicate an interpretive key or path to his own poetics, in addition to the delineation of an aesthetic synthesis of the cultural and artistic times in which he lived (particularly of the “current” of the Italian Scapigliatura , alias “the disheveled ones” 4). The Romantic idea of the Sublime is alive in many of Tarchetti’s works, but it finds its truest expression in his short novel Fosca 5, as this article will show. Indeed, Tarchetti’s Fosca is a great example of a nineteenth-century Italian novel of seduction, where an unsightly woman (a “sublime woman”) seduces the main male character, who also represents the focal point of the narration, and puts him in a revolutionary 6 situation of confusion regarding the traditional sense of masculinity. Thus, in order to identify the “sublime” modalities used by Tarchetti in Fosca , it seems proper to recall briefly some of the conceptual nuclei of Romantic speculations on the Sublime. Whoever considers the problem of the sublime in Romantic aesthetics and painting must always keep in mind that fundamental text entitled A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful , published in 1757 by the statesman Edmund Burke. Burke, on a theoretical path trod by Joseph Addison 7, Francis Hutcheson 8 and David Hume 9, opposes both the interpretations of Boileau and the hypotheses of Winckelmann. He clearly distinguishes the aesthetic concept of “Beauty” or “the Beautiful” from that of the “Sublime”. With the first are associated notions of order, composure, and harmony, understood as expressions of a form that reflects Nature’s sense of proportion and symmetry, in the perfection of its earthly finiteness. From this natural perfection, a peaceful feeling of “pleasure” is born in the mind of the spectator or the reader. To the Sublime, on the other hand, are connected ideas of disorder and disharmony, embodied in the infinite dimensions of the portrayed Object, emblematic of the negation and destruction of the traditional or classical artistic Form. The result is the feeling of “delight”, a strange enchantment that does not exclude what is dreadful and hideous, but indeed requires and welcomes it (De Paz, p. 212). Burke writes: No passion so effectually robs the mind of all its powers of acting and reasoning as fear. For fear being an apprehension of pain or death, it operates in a manner that resembles actual pain. Whatever therefore is 74 THE SUBLIME WOMAN: A READING OF IGINIO UGO TARCHETTI’S FOSCA terrible, with regard to sight, is sublime too, whether this cause of terror be endured with greatness of dimension or not; for it is impossible to look on anything as trifling, or contemptible, that may be dangerous. There are many animals, who, though far from being large, are yet capable of rising ideas of the sublime, because they are considered as objects of terror, as serpents and poisonous animals of almost all kinds. And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean; but can it ever fill the mind with anything so great as the ocean itself? This is owing to several causes; but it is owing to none more than this, that the ocean is an object of no small terror. Indeed terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime. […] To make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly nights add to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings. (pp. 57-59) The beholder of the Sublime is petrified, invariably seduced by an irrepressible and irresistible strength which often assumes features of the monster .
Load more

Recommended publications
  • Doubles and Doubling in Tarchetti, Capuana, and De Marchi By
    Uncanny Resemblances: Doubles and Doubling in Tarchetti, Capuana, and De Marchi by Christina A. Petraglia A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Italian) At the University of Wisconsin-Madison 2012 Date of oral examination: December 12, 2012 Oral examination committee: Professor Stefania Buccini, Italian Professor Ernesto Livorni (advisor), Italian Professor Grazia Menechella, Italian Professor Mario Ortiz-Robles, English Professor Patrick Rumble, Italian i Table of Contents Introduction – The (Super)natural Double in the Fantastic Fin de Siècle…………………….1 Chapter 1 – Fantastic Phantoms and Gothic Guys: Super-natural Doubles in Iginio Ugo Tarchetti’s Racconti fantastici e Fosca………………………………………………………35 Chapter 2 – Oneiric Others and Pathological (Dis)pleasures: Luigi Capuana’s Clinical Doubles in “Un caso di sonnambulismo,” “Il sogno di un musicista,” and Profumo……………………………………………………………………………………..117 Chapter 3 – “There’s someone in my head and it’s not me:” The Double Inside-out in Emilio De Marchi’s Early Novels…………………..……………………………………………...222 Conclusion – Three’s a Fantastic Crowd……………………...……………………………322 1 The (Super)natural Double in the Fantastic Fin de Siècle: The disintegration of the subject is most often underlined as a predominant trope in Italian literature of the Twentieth Century; the so-called “crisi del Novecento” surfaces in anthologies and literary histories in reference to writers such as Pascoli, D’Annunzio, Pirandello, and Svevo.1 The divided or multifarious identity stretches across the Twentieth Century from Luigi Pirandello’s unforgettable Mattia Pascal / Adriano Meis, to Ignazio Silone’s Pietro Spina / Paolo Spada, to Italo Calvino’s il visconte dimezzato; however, its precursor may be found decades before in such diverse representations of subject fissure and fusion as embodied in Iginio Ugo Tarchetti’s Giorgio, Luigi Capuana’s detective Van-Spengel, and Emilio De Marchi’s Marcello Marcelli.
    [Show full text]
  • Scapigliatura
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Baudelairism and Modernity in the Poetry of Scapigliatura Alessandro Cabiati PhD The University of Edinburgh 2017 Abstract In the 1860s, the Italian Scapigliati (literally ‘the dishevelled ones’) promoted a systematic refusal of traditional literary and artistic values, coupled with a nonconformist and rebellious lifestyle. The Scapigliatura movement is still under- studied, particularly outside Italy, but it plays a pivotal role in the transition from Italian Romanticism to Decadentism. One of the authors most frequently associated with Scapigliatura in terms of literary influence as well as eccentric Bohemianism is the French poet Charles Baudelaire, certainly amongst the most innovative and pioneering figures of nineteenth-century European poetry. Studies on the relationship between Baudelaire and Scapigliatura have commonly taken into account only the most explicit and superficial Baudelairian aspects of Scapigliatura’s poetry, such as the notion of aesthetic revolt against a conventional idea of beauty, which led the Scapigliati to introduce into their poetry morally shocking and unconventional subjects.
    [Show full text]
  • El Mito De Baudelaire En Emilio Praga: Interferencias Poéticas
    EL MITO DE BAUDELAIRE EN EMILIO PRAGA: INTERFERENCIAS POÉTICAS Alfredo Luzi Universidad de Macerata, Italia [email protected] Resumen Este artículo analiza el uso que hace el poeta italiano Emilio Praga (1839-1875) del modelo ofrecido por la poesía del simbolista francés Charles Baudelaire (1821-1867). Sitúa la obra de Praga dentro del contexto histórico de los grandes cambios en el plano económico y comercial que precedieron la Primera Guerra Mundial y dentro de la corriente artística de la scapigliatura y propone que, para Praga, Baudelaire ofrece una alternativa a la vieja retórica de lo bueno y lo bello y una posibilidad de renovación estilística que contribuye a abrir la literatura italiana hacia perspectivas europeas. Palabras clave: Emilio Praga (1839-1875); Charles Baudelaire (1821-1867); scapigliatura ; simbolismo francés; modelos poéticos y culturales. Abstract The Myth of Baudelaire in Emilio Praga: Poetic Interference This article offers an analysis of the use that Italian poet Emilio Praga (1839-1875) makes of the model presented by the poetry of the French symbolist Charles Baudelaire (1821-1867). It places Praga’s work in the context of the large economic and commercial changes that preceded World War I and in the context of the artistic movement known as scapigliatura , and it argues that, for Praga, Baudelaire offered an alternative to the old rhetoric of the good and the beautiful, as well as a possibility of Boletín de Literatura Comparada ISSN 0325-3775 Año XL, 2015, 93–116 Recibido: 05/12/2013 Aceptado: 24/04/2014 El mito de Baudelaire en Emilio Praga: Interferencias poéticas stylistic renovation that would help open Italian literature towards European perspectives.
    [Show full text]
  • Documento 15 Maggio 5° Liceo Scienze Umane 20-21
    1 INDICE 1. DESCRIZIONE DEL CONTESTO GENERALE………………………………….……………………………………………………….p. 4 1.1 - Presentazione dell’Istituto ………………………………………………………………………………………………………………..p. 4 1.2 - Profilo in uscita dell’indirizzo del liceo delle Scienze Umane ………………………...……………………………...….p. 4 1.3 - Quadro orario settimanale ……………………………………………………………...….……………………………………………p. 5 1.4 – Riorganizzazione didattica alla luce dell’emergenza COVID-19 ………………………………………………….……..p. 6 2. DESCRIZIONE DEL CONTESTO CLASSE ………………………………………………………………………………………….……p. 7 2.1- Composizione del Consiglio di classe ……………………………………………………………………..………………….……...p. 7 2.2- Docenti succedutisi nell’insegnamento delle discipline (a.s. 2015/16 - a.s. 2019/2020) ………………..…..p. 8 2.3- Caratteristiche generali e storia della classe …………………………………………………………………………………..….p. 8 2.4- Situazione in ingresso: risultati dello scrutinio finale dell’a.s. 2019-2020 (classe 4° SU) …………………...p. 10 3. INDICAZIONI GENERALI ATTIVITÀ DIDATTICA …………………………………………………………………………….……p. 10 3.1- Metodologie e strategie didattiche ………………………………………………………………………………………….……...p. 10 3.2- Strategie e metodi per l’inclusione …………………………………………………………………………………………………..p. 11 3.3- Obiettivi trasversali perseguiti, strumenti e criteri …………………………………………………………………………...p. 11 3.4- Obiettivi trasversali raggiunti comportamentali e cognitivi ………………………………………………………………p. 14 4. ATTIVITÀ E PROGETTI ……………………………………………………………………………………………………………..……..p. 14 4.1- CLIL: attività e modalità di insegnamento ………………………………………………………………………….……..........p. 14 4.2- Percorsi per le
    [Show full text]
  • O Plágio Retraduzido: O Caso De Tarchetti E Venuti
    e-ISSN 2358-4793 O PLÁGIO RETRADUZIDO: O CASO DE TARCHETTIREVISTA E VENUTI - DELuana Ferreira de Freitas, Rafael Ferreira da Silva LETRAS O PLÁGIO RETRADUZIDO: O CASO DE TARCHETTI E VENUTI RETRANSLATED PLAGIARISM: THE CASE OF TARCHETTI AND VENUTI Luana Ferreira de Freitas, Rafael Ferreira da Silva* RESUMO Neste artigo, revisitamos a questão do conto fantástico “The mortal immortal” (1833), de Mary Shelley, traduzido para o italiano pelo escritor scapigliato Ugo Tarchetti, porém assumido como obra sua nas publicações de 1865, intitulado “Il mortale immortale (dall’inglese)” e de 1868, já nomeado como “L’elixir dell’immortalità (imitazione dall’inglese)” nas revistas italianas Rivista Minima e Emporio Pittoresco. Buscamos reletir sobre o motivo pelo qual Tarchetti teve tal ati tude e por que Lawrence Venuti retraduziu tal texto que era originalmente em inglês para o inglês. Palavras-chave: Tradução; Plágio; Literatura Fantástica. ABSTRACT In this article, we revisit the question of the Mary Shelley’s fantastic tale “The mortal immortal” (1833), translated into Italian by the scapigliato writer Ugo Tarchetti, who assumed the work as his in both editions: the 1865 one, whose title was “Il mortale immortale (dall’inglese)” and the 1868 one, named “L’elixir dell’immortalità (imitazione dall’inglese)” in the Italian magazines Rivista Minima and Emporio Pittoresco. We aim to relect on why Tarchetti had such attitude and why Lawrence Venuti retranslated the text that was originally in English into English. Keywords: Translation; Plagiarism; Fantastic literature. * Professora de Literatura em língua inglesa na UFC. Doutora em Teoria Literária (2007) pela UFSC, com Pós-Doutorado em Estudos da Tradução na PGET/UFSC.
    [Show full text]
  • Manifesto of American Verismo
    Manifesto of American Verismo By Jerry Ross, 2013 American verismo is a catch-all phrase for an artistic style that draws its main inspiration from Italian art, both classical and modern. There is an implied nostalgia for work done “dal vero” (after life) whether classical (Raphael, Rubens, or Caravaggio, etc.) or 19th century (the Tuscan I Macchiaioli school) or more contemporary. Verismo is somewhat akin to contemporary “atelier realism” but the latter has been criticized for an academic uniformity and its over attention to details. American verismo is more poetic and linked to post-impressionism, the Milan- based Scapigliatura (‘wild hair’) movement, and the I Machiaioli’s commitment to social issues. But like atelier realism, American verismo is associated with a painterly sketching style, use of broad brushstrokes, and the alla prima, “direct attack” technique of painting. It is also linked to al aperto (open air) impressionist-style landscape painting. In short, to pleinairism which has become widely popular in recent years. The term “American verismo” was first introduced by Jerry Ross during several classes he taught at the Maude Kerns Art Center in Eugene and then later at the Angels Fight Road Art Center plein air retreat up the McKenzie River during the summers of 2010 and 2011. In portraiture and figurative work, American verismo is influenced by Alessandro Milesi , Giacomo Favretto, and Ettore Tito. A “social verismo” aspect of the style is political and makes comments on society and often depicts scenes with political or moral narratives. In “verismo” there is also the belief in the importance of making sketch studies from old master paintings and sculptures.
    [Show full text]
  • Open Ikuho Amano Thesis.Pdf
    The Pennsylvania State University The Graduate School Department of Comparative Literature ASCENDING DECADENCE: A COMPARATIVE STUDY OF DILEMMAS AND PLEASURES IN JAPANESE AND ITALIAN ANTI-MODERN LITERARY DISCOURSES A Thesis in Comparative Literature by Ikuho Amano © 2007 Ikuho Amano Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2007 ii The thesis of Ikuho Amano was reviewed and approved* by the following: Reiko Tachibana Associate Professor of Comparative Literature and Japanese Thesis Adviser Chair of Committee Thomas O. Beebee Professor of Comparative Literature and German Véronique M. Fotí Professor of Philosophy Maria R. Truglio Assistant Professor of Italian Caroline D. Eckhardt Professor of Comparative Literature and English Head of the Department of Comparative Literature _________________________ * Signatures are on file in the Graduate School iii Abstract This dissertation examines the significance of the notion of “decadence” within the historical framework of Modernism, especially in Italy and Japan, which were latecomers to modernity. In contrast to the major corpus of fin-de-siècle Decadence, which portrays decadence fundamentally as the subjectively constructed refutation of modern material and cultural conditions, the writers of decadent literature in Italy and Japan employ the concept of decadence differently in their process of rendering the modern self and subjectivity in literary discourse. While mainstream fin-de-siècle Decadence generally treats the subject as an a priori condition for its aesthetics, these writers on modernity’s periphery incorporate heterogeneous spectrums of human consciousnesses into their narratives, and thereby express their own perspectives on the complexities inherent in the formation of modern subjectivity.
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • [Mobile Pdf] Fosca Par Iginio Ugo Tarchetti DOC | *Audiobook | Ebooks | Download PDF | Epub Dtails Sur Le Produit Rang Parmi
    [Mobile pdf] Fosca Fosca Par Iginio Ugo Tarchetti DOC | *audiobook | ebooks | Download PDF | ePub Dtails sur le produit Rang parmi les ventes : #338757 dans eBooksPubli le: 2016-01-25Sorti le: 2016-01- 25Format: Ebook Kindle | File size: 42.Mb Par Iginio Ugo Tarchetti : Fosca before purchasing it in order to gage whether or not it would be worth my time, and all praised Fosca: Commentaires clientsCommentaires clients les plus utiles1 internautes sur 1 ont trouv ce commentaire utile. Une vision de la femmePar Marie-paule Veyret"Fosca" est un roman posthume de Igino Ugo Tarchetti publi en 1869. Ce dernier appartient au courant littraire de la Scapigliatura (que l'on peut traduire par La Bohme, en rfrence au roman de Murger). D'ailleurs des musiciens comme Arrigo Boto, Catalini, Ponchielli et mme Puccini se situaient dans l'orbite de ce mouvement, fort influenc par Baudelaire et les frres Goncourt. Bien que "Fosca" raconte la double histoire d'amour d'un jeune militaire, Giorgio, d'abord avec une femme belle et douce, Clara, marie et bientt dcde, ensuite avec Fosca, parente du colonel qui le loge, c'est bien entendu celle-ci, comme le titre le souligne, qui est le personnage principal de l'oeuvre. Et quel personnage ! Laide faire peur, c'est Fosca qui tombe amoureuse de Giorgio et qui va mettre tout en oeuvre pour sduire le beau militaire (qui est aussi le narrateur). Fosca, c'est "la maladie personnifie, l'hystrie faite femme, un miracle vivant du systme nerveux". Ce qui est passionnant, c'est l'image de la femme que reprsente Fosca, qui vient beaucoup de Baudelaire et qui envahit la l'art de la fin du XIX sicle: on la retrouve chez Villiers de l'Isle Adam, chez Gustave Moreau, chez Beardsley...
    [Show full text]
  • Il Romanzo in Italia Nel Secondo Ottocento Lezioni D'autore
    Il romanzo in Italia nel secondo Ottocento Lezioni d'Autore Alfred Stevens, Jeune femme lisant, 1856 Fermenti culturali nell’Italia postunitaria La seconda metà dell’Ottocento è l'età della borghesia e del romanzo. Dopo il rivoluzionario esperimento manzoniano, inizia una vasta produzione in prosa. Il genere risponde a esigenze diverse: educare il pubblico ai valori civili e all’amor di patria, rappresentare i vari aspetti della realtà sociale, dare voce alle istanze di rinnovamento (adesione ai modelli europei), divertire, soddisfare le esigenze del mercato editoriale. Il mercato editoriale Nella seconda metà dell’Ottocento, in Italia come in Europa, la produzione in prosa vede un incremento senza precedenti. L’editoria rientra ormai a tutti gli effetti all’interno del sistema produttivo industriale e impone un certo volume di vendite. Autori e pubblico Gli autori ricercano la popolarità. Iniziano a tenere in considerazione il settore di mercato cui sarà destinata la loro opera. Nascono generi destinati a un preciso target di pubblico: narrativa d’avventura per ragazzi e libri d’appendice. I temi e lo stile Prendono sempre più spazio le ambientazioni contemporanee e argomenti di attualità quali la questione meridionale, la riflessione sul Risorgimento, le problematiche sociali e psicologiche legate alla società industriale. Orientamenti stilistici: si possono identificare diverse correnti, che si rifanno alle influenze culturali d’Oltralpe. Il romanzo storico All’indomani della proclamazione del Regno d’Italia il romanzo storico (che aveva avuto tra i suoi massimi rappresentanti Grossi, Guerrazzi, d’Azeglio) assolve alla necessità di educare il pubblico ai valori dell’unità. Sul piano stilistico permane la fedeltà al modello manzoniano, anche se la documentazione storica è meno rigorosa e risulta più marcata la contrapposizione tra eroi positivi e negativi.
    [Show full text]
  • Il Primo Mefistofele in Più Rispetto Alla Scena
    Gentile professore, portiamo alla sua attenzione alcuni sospesi. Le saremo grati se vorrà darci indicazioni a riguardo. - alcune indicazioni di scena sono centrate (atto primo), altre no (atto secondo). Abbiamo mantenuto la differenza, va bene? - tutte le battute (tranne l’ultima) dell’Intermezzo sinfonico (p. 127) sono virgolettate, a differenza di quanto accade nel resto dell’opera. Va bene? Arrigo Boito - Controllare i rientri dell’atto terzo. Di solito scena e nomi dei personaggi sono allo stesso livello (es. p. 73), mentre nel pdf di riscontro le battute e i personaggi del terzo atto hanno un rientro Il primo Mefistofele in più rispetto alla scena. Noi l’abbiamo eliminato, per uniformità con il resto del dramma, dobbiamo ripristinarlo? a cura di Emanuele d’Angelo - Non ci è chiaro l’allineamento delle epigrafi: talvolta le fonti sono allineate a destra e altre volte sono centrate sotto al blocchetto. Si prega di controllare - Abbiamo compilato noi l’indice. Può controllarlo? Marsilio MEFISTOFELE.indd 2-3 18/03/13 13.35 INDICE 7 Rivolta pazza Il volume è stato realizzato con i contributi di Emanuele d’Angelo 51 Nota al testo il primo mefistofele 58 Personaggi 59 Prologo in teatro 65 Prologo in cielo 73 Atto primo 87 Atto secondo 103 Atto terzo 109 Atto quarto © 2013 by Marsilio Editori® s.p.a. in Venezia 127 Intermezzo sinfonico Prima edizione: mese 2013 isbn 978-88-317- 131 Atto quinto www.marsilioeditori.it Realizzazione editoriale: Studio Polo 1116, Venezia 135 Note MEFISTOFELE.indd 4-5 18/03/13 13.35 RIVOLTA PAZZA A proposito del libretto del Mefistofele Arnaldo Bonaventura ha osservato che «bisognerebbe, veramente, dire i testi, perché son due: quello del 1868 e quello del 1875» 1, e Paolo Paolini si è chiesto: «Sarà forse il caso di dire [...] che si tratta di testi male paragonabili, frut- to di momenti diversi, da leggere e valutare separatamente come due opere autonome?» 2.
    [Show full text]
  • A Scholarly Exchange of Epic Proportions | University of Toronto Mississauga
    GASTRONOMY, CULTURE, AND THE ARTS: A SCHOLARLY EXCHANGE OF EPIC PROPORTIONS | UNIVERSITY OF TORONTO MISSISSAUGA “Noi stassera danzeremo, e nel vino affogheremo”: The Ideology of Food and Drink in Three Works of Scapigliatura Jonathan R. Hiller, Adelphi University I. The Scapigliati: The Starving Artists of United Italy’s New Cultural Capital Italy, united by a series of serendipitous events from 1859–61, was at the time a land in which food production remained a monumental challenge. Although predominantly an agrarian society where, as historian Christopher Duggan notes, some 60% of the labour force worked in agriculture (147), primitive farming techniques, poor soil quality, overcultivation, and meager pasturelands made subsistence a struggle for the majority of Italians. Christopher Seton-Watson, another historian, points out that Italy’s crop yield at this time was extremely low relative to its European neighbours in food production: “[While] Italy had the highest wheat acreage in Europe, in proportion to size, [it had] the lowest wheat yield per acre outside Russia” (18). Famines were a chronic plague in all corners of Italy before and after unification (Duggan 16– 18), with particularly difficult conditions persisting in the interior regions for generations (Seton- Watson 18). While the cities were generally better fed than the hinterlands, the years before unification were not much kinder to Milan than elsewhere. Indeed, the Lombard capital, which had been part of the crownlands restored to Austria following the Napoleonic Wars, was little better off than Manzoni’s depiction of the city and its seventeenth-century starving underclasses in his famous novel I promessi sposi (1840) when the new regime took root.
    [Show full text]