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i !"#$%"#%&'()"*$+'(,-%)"("%"#$+".%&'()"*%/$+0" ii !"#$!%&"%'(#)" !*+,-./*01(-+234015*60-+*172-18217-2/*032190+62-3./*0+*13:88;.-,0<2+40=12172-1*813:01 *+34.+9.>*82130342,+0? iii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i riferisco soprattutto a Gabriele d’Annunzio e al suo interesse per la figura di Leonardo da Vinci, così come ai Futuristi, e al loro progetto di “rinascita” delle arti. 2 La letteratura critica relativa al rapporto tra le arti e la letteratura italiana di fine Ottocento e dei primi del Novecento si concentra, per lo più, sulle singole coppie di scrittori e pittori qui presi complessivamente in considerazione. Cfr. Irene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aurizio Fagiolo dell’Arco, The Dioscuri: Giorgio de Chirico and Alberto Savinio in Paris, 1924-1931, Milano: A. Mondadori: Edizioni P. Daverio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erd Roos, Giorgio de Chirico e Alberto Savinio: ricordi e documenti: Monaco, Milano, Firenze 1906-1911, Bora/Bologna, 1999. 3 Il sistema di pensiero di Georg Wilhelm Friedrich Hegel, concentrato soprattutto, ma non esclusivamente, nell’insieme degli scritti pubblicati tra il 1806 e il 1830 (Fenomenolgia dello spirito, Scienza della logica, e Enciclopedia delle scienze filosofiche in compendio), ha profondamente influito sullo sviluppo delle arti dell'Ottocento. Per un inquadramento dell’influenza di Hegel sullo sviluppo dell’estetica dell’Ottocento cfr. almeno >01*)T#C"T()= #*$(+,$+'-(./&#.0123$-+'4'+5.6%").7/&+.+".8'$+9(-,$=#Q017#)17=# ;&0+<)$,)*P#;&0+<)$,)*#B0(-)*$(,N#@*)$$=#QRRKS#;"0*")#E7#C)&*1$!)N=#*$(+,$+'-(.6%"). :;/(('-/;.<%$$-$.+".+,$.=%$($&+>.U)T#V"*OP#A<)#;&+/(!!&0#E"/%&0NS#L"01"0P#E"!!()*W ;&+/(!!&0#L,17=#XYZZ7#Per un inquadramento storico della filosofia di Hegel cfr.#?*)1)*(+O# E7#C)($)*= #&#+.*&#1(= #?,$.:/)2%'#@$.:")A/&'"&.+".B$@$;> .# E&/6*(13)P#E&/6*(13)# B0(-)*$(,N#@*)$$=#XYYKS#E<&*!)$#A&N!"*=#B$@$;>.E&/6*(13)P#E&/6*(13)#B0(-)*$(,N#@*)$$7## 4 Auguste Comte, Cours de philosophie positive, Paris: Paris: Hermann, 2 vols., 1975. Per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un inquadramento dell’influenza del Positivismo sull' arte cfr. cfr. Nicola Abbagnano, Storia della filosofia. La filosofia moderna e contemporanea: dal Romanticismo all’Esistenzialismo, cit., pp. 281-333; M#)4#-'D6'C-%4/!+-I& '!"#$%"$&'#()*+,(-./##&'/.( 0*""'"($+($%"(1*"#"2$3(1($6' 5 Alberto Abruzzese, Giorgio Tinazzi, e Marina Zancan, a cura di, Cinema e letteratura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del neorealismo, Venezia: Marsilio Editori, 1983; Gian Piero Brunetta, Storia del cinema italiano, Roma: Editori riuniti, 2001; E-012*+2&'P0""!55$3'%&+#-0'*'20#0"&.&'0'2!-0'($3'/!, 0)*"1#,$"),2)((+%)3,4",#%(),",)!,0)*"1#,)(#!)#*+,5678956:8; ,:0+#$."$&12*""&3':*1#-&',*-' "O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'R!"S'FT#B'Q'U&7*%N*-'T#B'IKKJ3'A$"01&V'MW$-0' *($#&-*3'IKKJ9 6 Ettore Spalletti, Gli anni del Caffè Michelangelo (1848-1861), Firenze: De Luca Edizioni d’Arte; Roma: Leonardo Editore, 1989; Da Courbet a Fattori. I princìpi del vero, :0+#$."$&12*""&3':*1#-&',*-'"O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'FD'"!."$&'Q'F' 1&7*%N-*'IKKH3'A$"01&V'MW$-0'X($#&-*3'IKKH9 7 Alberto Maria Fortuna, a cura di, Gazzettino delle arti del disegno, Firenze: L. Gonnelli & Figli Editore, 1968. 5 !"#$%&%'#()'*+,-.'/%')(&&01%'(')2%#%)343'$(5)3'4613&&3'$3'7%1&())3'('835#"13#3'%91('3)'$346"14"' 40'0#%'#0":%'$(!3#3;3"#('$3':(1"'6<('5(&&%')('=%43'#"#'93>'#())2%4&1%;3"#('$())2?$(%@'6"A(' %66%$(:%'#())('9"(&36<('$3'"1353#('1"A%#&36%@'=(#4B'40))"'4&0$3"'$())%'1(%)&C'"44(1:%&%.'?'