DOCSLIB.ORG

Open Ikuho Amano Thesis.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Examining historical as well as cultural causalities attributable to the conditions of decadence, such as psychological or mental degeneration, immorality, and excessive self-indulgence, this project argues that the perennial phenomena of decadence reflect the prevalence of a regulatory or totalitarian superstructure whose effect is to stifle, and, paradoxically, to promote the birth of self-awareness as modern individualism. The literary discourse of decadence by the latecomers to modernity clearly replaces any fixed singularity of subjectivity by multiplicities of consciousnesses. This dissertation analyzes morphologies of decadent subjectivities in selected works of Italian and Japanese decadent literature of the late nineteenth and early twentieth centuries. In the formation of the subject, these works commonly engage issues of the reevaluation and valorization of anti-modern and non-utilitarian thoughts, iv and the incorporation of cultural and ontological heterogeneities into indigenous literatures. These characteristics shed new light on decadent literature’s hermetic mission. The multifarious phases in decadent subjectivities help to articulate modern individuals’ disquietudes about the totalitarian tendencies in modern social life. Under the regulatory framework of the scientific objectification of human beings, these Italian and Japanese discourses of decadence, constructed from the perspectives of the socio-cultural periphery, facilitate our understanding of individuals’ consciousnesses of modernity. v Table of Contents Acknowledgements vi Chapter I Introduction 1 Decadence in Modern Japanese Literary Discourse: Subjectivity, Lapse, and Un-Collated History Chapter II De-Naturalizing the Subject: 34 The Birth of Modern Subjectivity from Decadent Liminality Narrative on Threshold: A Historical Configuration of Morita Sōhei’s Baien and Gabriele D’Annunzio’s Il Trionfo della Morte Chapter III The Decadents’ Phenomenology of Modernity: 84 Dialogues, Intersubjectivity, and Community as the Consciousness of History Giovanni Pascoli’s Visionary Child in Il Fanciullino The Sensibilities of kichōsha Writers: Ueda Bin’s Uzumaki and Nagai Kafū’s Reishō Chapter IV Anti-Modern Consumption of Modern Man: 139 Generosity, Dedication, and Defeat in D’Annunzio’s Il Piacere and Mishima’s Haru no Yuki Chapter V The Hyperbolic Other as an Antidote for Decadence: 187 Sacred-Primitive Figures in Sakaguchi Ango’s The Idiot and Pier Paolo Pasolini’s Teorema Conclusion 230 Works Cited 234 vi Acknowledgements Completion of this dissertation would have been impossible without the generous support, encouragement, and guidance offered over the years by my professors, editors, colleagues, friends, and family members. First of all, I would like to express my gratitude to my committee members at The Pennsylvania State University, especially to Dr. Reiko Tachibana, whose consistent support and patience enabled me to reach this stage of my career. Dr. Thomas O. Beebee’s guidance with literary theory and critical commentaries on my work has been invaluable. I am greatly indebted to Dr. Véronique M. Fotí, who encouraged my literary study by her philosophical expertise, especially through her discussions of alterity in her seminar on Merleau-Ponty. Without Dr. Maria R. Truglio, whose meticulous commentaries on my interpretation of the Italian texts supported my research, I could not have concluded this comparative study. I would also like to express my gratitude to my Department Head, Dr. Caroline D. Eckhardt, for her continuous encouragement and support since my first year in this graduate program. It is not possible to list all the other people who have supported my work in the Department of Comparative Literature at Penn State, yet I am deeply thankful to the other faculty members, staff, and fellow graduate students. Thanks to their presence, I am very sure that I will always remember this department as my academic home. My final appreciation goes to my mother, Yoshiko Amano, and my sister, Sachiho Amano. I dedicate this dissertation to my father, Minoru Amano, who departed from us without seeing its completion. 1 CHAPTER I Introduction Decadence in Modern Literary Discourse: Subjectivity, Lapse, and Un-Collated History Decadence in Modern Literary and Cultural Discourse Through a comparative examination of the modern concepts of Decadence and its representations in Japanese and Italian literary discourses, this dissertation explores the ways in which decadent subjectivities fill the social and cultural hiatus that was left invisible in the official histories of these nations as well as in the progressivist/rationalist discourse of modernity. Focusing on empirical investigations of the formation and decomposition of subjectivity in narratives illustrative of Il Decadentismo in Italy and of Decadence in Japan, this study aims to elucidate aspects of human consciousness that have been obscured by official histories. Narratives of Decadentism in Italy and Japan often have been understood as offshoots of French Symbolism and Decadence. Traditionally, studies of Decadent literature implicitly disregarded inquiries into subjectivities, as though they were salient, pre-existing conditions that would assume solipsism as the foundational mindset. This study aims to question such blanket assumptions and to instead articulate complexities in the formation of decadent subjectivities through an investigation of narrative and poetry. The locational focus of this project – modern discourses of decadence in Italy and Japan – distinguishes itself from studies of fin-de-siècle Decadent literatures in France and England. The mode of discourse underpinned by the socio-cultural maturity of modernity, as prominently observed in French and British cases, reveals that the modern 2 bourgeois-dominated world is characterized by vulgarized materialism and mental banality and is therefore subject to abhorrence. However, decadent discourses from Italy and Japan in the late nineteenth and early twentieth centuries exhibit a far more fluid view of the contemporary world; they witness the ongoing stages of modernity and thereby accommodate human subjectivities in transition. As one of the most idiosyncratic of modern aesthetic movements, fin-de-siècle Décadence reinterpreted the notion of “decadence” as an epistemological configuration of history that considered its particular moment in time to be the twilight of civilization. This historical consciousness went hand in hand with a psychological “restlessness and a need for self-examination” that anticipated the imminence of an apocalyptic end of the world (Calinescu 154). This awareness inevitably led to a pessimistic world view of the present age as having arrived belatedly and now being in decline, after the peak of an earlier cultural golden age. The irreversibility of history, then, evokes a collective psychological impasse; at a socially visible level, various forms of degeneration invade peoples’ lives. Such pessimistic views are, however, compensated by the soteriological configuration of the world offered by various religions. For example, the Judeo-Christian tradition interprets history as a cycle, although we cannot escape the linear progression of temporality. Following the eschatological end of the world, a long-awaited messiah will restore the whole world. Encouraged by this future-bound imagination, history has accepted the permutations of epochs and their perennial decays. Thus, decadence historically apprehends contemporaneity as a locus of liminal conditions. According to Matei Calinescu, the concept of decadence originates in various ancient civilizations, although the Latin noun decadentia began to circulate
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]
  • Copyright by Deborah Helen Garfinkle 2003
    Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy.
    [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]
  • PDF the Migration of Literary Ideas: the Problem of Romanian Symbolism
    The Migration of Literary Ideas: The Problem of Romanian Symbolism Cosmina Andreea Roșu ABSTRACT: The migration of symbolists’ ideas in Romanian literary field during the 1900’s occurs mostly due to poets. One of the symbolist poets influenced by the French literature (the core of the Symbolism) and its representatives is Dimitrie Anghel. He manages symbols throughout his entire writings, both in poetry and in prose, as a masterpiece. His vivid imagination and fantasy reinterpret symbols from a specific Romanian point of view. His approach of symbolist ideas emerges from his translations from the French authors but also from his original writings, since he creates a new attempt to penetrate another sequence of the consciousness. Dimitrie Anghel learns the new poetics during his years long staying in France. KEY WORDS: writing, ideas, prose poem, symbol, fantasy. A t the beginning of the twentieth century the Romanian literature was dominated by Eminescu and his epigones, and there were visible effects of Al. Macedonski’s efforts to impose a new poetry when Dimitrie Anghel left to Paris. Nicolae Iorga was trying to initiate a new nationalist movement, and D. Anghel was blamed for leaving and detaching himself from what was happening“ in the” country. But “he fought this idea in his texts making ironical remarks about those“The Landwho were” eagerly going away from native land ( Youth – „Tinereță“, Looking at a Terrestrial Sphere” – „Privind o sferă terestră“, a literary – „Pământul“). Babel tower He settled down for several years in Paris, which he called 140 . His work offers important facts about this The Migration of Literary Ideas: The Problem of Romanian Symbolism 141 Roșu: period.
    [Show full text]
  • Paris and Havana: a Century of Mutual Influence
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 Paris and Havana: A Century of Mutual Influence Laila Pedro Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/264 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Paris and Havana : A Century of Mutual Influence by LAILA PEDRO A dissertation submitted to the Graduate Faculty in French in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 LAILA PEDRO All Rights Reserved i This manuscript has been read and accepted for the Graduate Faculty in French in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Mary Ann Caws 04/22/2014 Date Chair of Examining Committee Francesca Canadé Sautman 04/22/2014 Date Executive Officer Mary Ann Caws Oscar Montero Julia Przybos Supervisory Committee THE CITY UNIVERSITY OF NEW YORK ii Abstract PARIS AND HAVANA: A CENTURY OF MUTUAL INFLUENCE by Laila Pedro Adviser: Mary Ann Caws This dissertation employs an interdisciplinary approach to trace the history of exchange and influence between Cuban, French, and Francophone Caribbean artists in the twentieth century. I argue, first, that there is a unique and largely unexplored tradition of dialogue, collaboration, and mutual admiration between Cuban, French and Francophone artists; second, that a recurring and essential theme in these artworks is the representation of the human body; and third, that this relationship ought not to be understood within the confines of a single genre, but must be read as a series of dialogues that are both ekphrastic (that is, they rely on one art-form to describe another, as in paintings of poems), and multi-lingual.
    [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]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • Crítica Y Arte
    Volumen 15 Europa II. Crítica y Arte Pág. ÍNDICE ESPAÑA The Sun, 26 de noviembre de 1880. Modern Spanish Poets. 15 Poetas españoles contemporáneos. (Traducción) 24 Revista Universal, 13 de marzo de 1875. Bella literatura. Echegaray, Zapata, Blasco. Herranz. Dramas nuevos. 39 Revista Universal, 16 de abril de 1875 Teatro. El Circo y el Príncipe. Matilde y Teodora. Calvo y la Boldun. Variedades y Luján. “La Muerte de Cisneros”. “Romeo y Julieta”. 47 Revista Universal, 8 de junio de 1875 Teatro Principal, “El Tío Martín o la honradez”. El señor Guerra. La señora Rodríguez. La señora Muñoz. 55 Revista Universal, 11 de junio de 1875.Teatro Principal. 61 Revista Universal, 15 de octubre de 1875. “El Estómago”. 69 Revista Universal, 9 de noviembre de 1875. “El Libro Talonario”. 77 Revista Universal, 13 de noviembre de 1875. “La Esposa del Vengador”. 83 Echegaray. Apuntes 93 La Opinión Nacional, 1881. Centenario de Calderón. Primeras nuevas. 109 La Opinión Nacional, 23 de junio de 1881. El centenario de Calderón. 119 Goya. Apuntes 131 Museo de Madrid. 6 de diciembre de 1879. Notas sin orden tomadas sobre la rodilla, al pie de los cuadros. Rapidísima visita al Salón de “Autores Contemporáneos”. 136 Madrazo. Apuntes 147 Madrazo. (Traducción) 149 The Hour, 21 de febrero de 1880. Raimundo Madrazo. 151 Raimundo Madrazo. (Traducción) 154 Fortuny 161 Fortuny. (Traducción) 163 The Sun. 31 de julio de 1880. The Bull Fight. 171 La corrida de toros. (Traducción) 175 Prosa de próceres 183 España 184 FRANCIA Libros nuevos 189 The Hour, 1880. Modern French Novelists. 197 Modernos novelistas franceses.
    [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]
  • Modernismo: a Comparative Study
    MODERNISMO: A COMPARATIVE STUDY HENRYK ZIOMEK University of Georgia Modernismo, a form of cultural and especially literary upheaval, is a complex phenomenon that faded away by now in the Hispanic world. Today Modernismo can be viewed as a universal revolution as well as a stage in literary history. Usually two opposing forces can be discerned in a movement: rise and fall, in the first case, we deal with the avant-garde of the particular cultural literary movement. When discussing the fall of a movement, one can unveil the similarities among creative poets, who once were partakers of the vanguard, but later strode their own ways. The poets' common share, thus, in shaping the passing period of li- terary activities is revealed. Hence, by Modernismo, in this study should be understood the early preparatory period of young poets such as Nájera, Martí, Casal, Silva, and Darío. It is difficult to deter- mine precisely either the movement's origin or its apex with dates. In general, the year, 1882, when Marti(l) and Nájera wrote their firsl modernista poetry can be set as the terminus a quo and the year, 1896(2), in which Darío's Prosas profanas was published, as the ter- minus ad quem. Darío's book synthesized Romantic sentimental phe nomena with the finely sculptured Parnassian verse and with symbo- lic nuances and word-music; in this way, Darío's work established the modernista renovation in the Hispanic world and thus it is considered to be the height of the rise of Modernismo. 1. In that year Marti wrote his Ismaellllo and Versos libres.
    [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]