Tesi--Lettere--Zurigo--Facoltà di lettere dell'Università di Zurigo, 1983. / Bibliogr. p. 221-224.

Diss. phil.-hist. Bern (KA).

Texte remanié de: Habilitationsschrift--Würzburg--Julius-Maximilians-Universität, 2002. / Bibliogr. p. 461-478.

Tesi--Lettere--Zurigo, 1978. / Bibliogr. p. 110-114.

The present study looks at the influence that two of the major cultural forces of the twentieth century had on the output of Carlo Emilio Gadda. It grew out of a search for ways of discussing Gadda and in particular his 1957 novel Quer pasticciaccio brutto de via Merulana that would be accessible to the widest possible audience. Ten chapters in length, the study treats first the influence that Christianity and in particular Italian Catholicism had on the avowedly atheist writer over five chapters, paying attention to the saints and holy places used in Gadda’s output, then moves on to consider the importance of his scientific training as an engineer and his interest in physics in the second half. Aside from examining the text of Quer pasticciaccio and other works such as Cognizione del dolore and La Madonna dei filosofi, I have used biographical information and in particular data gleaned from research in Gadda’s own personal library. The aims of the study are to introduce the reader unfamiliar with Gadda to his work, to offer a new framework by which the Gadda scholar may consider the Gran Lombardo, and to suggest new solutions to the unending puzzle that is Quer pasticciaccio.

À partir de l’analyse des discours sur la traduction et le pastiche aux XIXe et XXe siècles, la thèse trace l’archéologie des pensées de la traduction en France et en Italie, souligne la différence radicale de deux territoires pourtant si proches. En articulant les histoires politiques et linguistiques de ces deux pays, ce travail vise à montrer comment l’imaginaire et le sentiment que les cultures française et italienne ont eu de leurs propres langues ont structuré des perceptions foncièrement autres de l’à traduire.La réflexion part d’une lecture de ce que Foucault appelle la « structure parlée du perçu », c’est-à-dire l’ensemble des discours traductifs et imitatifs susceptibles de faire apparaître, par la verbalisation, la perception des ressemblances entre textes premiers et textes seconds. Dans ce travail, la pensée de la traduction est donc moins une pensée produite consciemment par des individus que la pensée appartenant aux discours eux-mêmes et ne pouvant apparaître que dans / A study of the discourses on translation and pastiche in the 19th and 20th centuries serves as a basis to examine the archeology of translation thought in France and Italy, highlighting the radical difference between these neighbor territories. Articulating the political and linguistic histories of the two countries, this work aims to show how the linguistic imaginaries and sentiments which developed in French and Italian culture are responsible for shaping radically other perceptions of the à-traduire (‘yet-to-translate’).This work originates in a reading of what Foucault calls the “spoken structure of the perceived”: the discourses on translation and imitation which, through verbalization, render visible the perception of resemblances between original and second texts. In this thesis, the thinking of translation is less a consciously produced thinking than a thinking belonging to the discourses themselves, which can only appear in their circulation. A thinking that is also an epistemology.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 202-212). Also available for download via the World Wide Web; free to University of Oregon users.

(in English): The main aim of this thesis is to focuse on the two of C. E. Gadda's most famous novels in their comparative interpretations based on the perspective of the debate on subject and intersubjectivity by philosophers E. Husserl, M. Heidegger and L. Wittgenstein. After a short intoduction dedicated to life and work of the author, we analyse both novels in which we witness the shift of attention from the problem of the subject to the problem of the intersubjectivity seen as socially anchored truth that gives rise to antidetective novel. In conclusion we emphasise once again the epistemological level of meaning in Gadda's novels - their insights into the essence of truth and the character of human knowledge in general which emerge especially with the crime fiction against the background of questions regarding conscience and justice.

Ce travail met sur un plan de comparaison deux auteurs apparemment écartées l’un de l’autre: C.E.Gadda et M.Merleau-Ponty. La "Meditazione Milanes"e constitue le premier plan d'approche entre eux: écrite dans le cadre de l’éventuel diplôme de Gadda en philosophie, ce texte est aussi point de référence et de départ de son œuvre littéraire, plus connue et importante. Sur les rélations entre philosophie et littérature s'axe la confrontation avec Merleau-Ponty, qui pérçoit l’exigence d’élargir le domaine de la philosophie à l'art, et la littérature notamment. La première partie, «Une phénoménologie», analyse d'abord la problématique posée à la philosophie et à la littérature par la phénoménologie, et se concentre ensuite sur la comparaison entre la conception merleau-pontienne de corps et les propositions corporelles présentées dans l’œuvre de Gadda.La deuxième partie, «Le baroque», scrute de près les structures du baroque (gaddien et merleau-pontien) à travers l’analyse des notions de structure et de monade, puis des problématiques liées à l’expression et au travail de Saussure; ensuite introduit les thèmes de la multiplicité et du devenir à partir de la confrontation des deux auteurs avec le langage cinématographique. Le chapitre final approfondit le thème gaddien du rapport entre totalité et multiplicité par le biais des figures merleau-pontiennes du chiasme et de la chair, et montre tout acte de language comme déformation, c'est-à-dire tant comme création que comme passivité, où le silence est cosubstantiel aux paroles. / This doctoral thesis conducts a comparison between two authors seemingly distant from each other: C. E. Gadda and M. Merleau-Ponty. The Meditazione milanese represents a first step of approximation between them: written by Gadda with a view to his eventual philosophy degree, this text is also the point of departure of his more noted and important literary work. The comparison with Merleau-Ponty is based on the relationship between philosophy and literature, as, like Gadda, Merleau-Ponty maintains that philosophy must abandon its conceptual vocabulary in order to broaden its own horizon towards art and literature in particular. Entitled “A Phenomenology”, the first part of this thesis analyses above all the contribution of phenomenology to philosophy and literature; subsequently, it concentrates on the analogies between Merleau-Ponty’s notion of the body and the theme of corporeality as it is present in Gadda’s writings. The second part, “The Baroque”, scrutinises the baroque structures evident in the works of Gadda and Merleau-Ponty by examining the ideas of the system and the monad; it then broadens the topic of language on the grounds of F. Saussure’s Cours de linguistique; finally, departing from an engagement with cinematic language, it introduces the themes of multiplicity and becoming which the two authors have in common. The final chapter deepens Gadda’s concern with the relationship between totality and multiplicity through Merleau-Ponty’s figures of the chiasm and the flesh, describing every linguistic and expressive act as a deformation, i.e. as a movement which is both creation and passivity, where silence is the co-substance of words. / Questo lavoro mette a confronto due autori apparentemente distanti tra loro: C.E Gadda e M. Merleau-Ponty. La Meditazione milanese costituisce un primo livello di accostamento tra loro: questo testo, scritto da Gadda in previsione dell'eventuale laurea in filosofia, è anche il punto di partenza della sua opera letteraria, più nota e importante.Sulla relazione tra filosofia e letteratura si struttura il confronto con Merleau-Ponty, il quale, al pari di Gadda, ritiene che la filosofia debba rinunciare ad un vocabolario concettuale, per allargare il proprio orizzonte all'arte, e alla letteratura in particolare.La prima parte di questo lavoro, “Una fenomenologia”, analizza anzitutto il contributo della fenomenologia alla filosofia e letteratura; si concentra in seguito sulle analogie tra la nozione merleau-pontiana di corpo e le tematiche della corporeità presenti negli scritti di Gadda.La seconda parte, “il barocco”, scruta le strutture del barocco (gaddiano e merleau-pontiano) attraverso l'analisi delle nozioni di sistema e di monade; approfondisce poi il tema del linguaggio sulla base del Cours de linguistique di Saussure; introduce infine i temi della molteplicità e del divenire a partire da un confronto con il linguaggio cinematografico, comune ai due autori. Il capitolo conclusivo, approfondisce il problema gaddiano del rapporto tra la totalità e la molteplicità attraverso le figure merleau-pontiane del chiasma e della carne, e mostra ogni atto linguistico ed espressivo come una deformazione, ovvero come un movimento che è insieme creazione e passività, dove il silenzio è consustanziale alle parole.

Traduir el dialecte i les llengües minoritàries implica sempre realitzar una empresa acrobàtica. Encara més quan el text original presenta una mescla multicolor de codis lingüístics, i cadascun d'ells és portador d'una diferent realitat geogràfica i social. Aquest és el cas de les novel·les de Pasolini, Gadda y Camilleri, el personal estil dels quals dóna veu a la complexa qüestió de la llengua italiana i mostra les diferents funcions que el dialecte pot exercir en un text literari. L'estudi descriptiu de les traduccions catalanes de Ragazzi di vita, Il pastiacciaccio i Il birraio di Preston és el centre de la nostra recerca, que vol fer llum sobre les estratègies adoptades pels traductors, analitzar les seves conseqüències a nivell macrotextual i, finalment, entrellaçar-les amb qüestions relatives al sistema literari català, des del món editorial fins a la complexa situació sociolingüística que el caracteritza. / Traducir el dialecto y las lenguas marginales implica siempre realizar una empresa acrobática. Aún más cuando el texto original presenta una mezcla variopinta de códigos lingüísticos, y cada uno de ellos es portador de una diferente realidad geográfica y social. Es éste el caso de las novelas de Pasolini, Gadda y Camilleri, cuyo estilo tan personal da voz a la compleja cuestión de la lengua italiana y muestra las diferentes funciones que el dialecto puede desempeñar en un texto literario. El estudio descriptivo de las traducciones catalanas de Ragazzi di vita, Il pastiacciaccio e Il birraio di Preston es el centro de nuestra investigación, que quiere arrojar luz sobre las estrategias adoptadas por los traductores, analizar sus consecuencias a nivel macrotextual y, finalmente, entrelazarlas con cuestiones relativas al sistema literario catalán, desde el mundo editorial hasta la compleja situación sociolingüística que lo caracteriza. / Translating a dialect or marginal languages is always a kind of acrobatic task. Even more so when the original text presents a multicoloured mixture of linguistic codes, each of which is representative of a different geographical and social reality. This is the case of the novels by Pasolini, Gadda and Camilleri, whose personal style voices the complex matter of the Italian language and shows the various functions that a dialect can fulfil within a literary text. The focus of our research is the descriptive study of the Catalan translations of the novels Ragazzi di vita, Il pasticciaccio and Il birraio di Preston. With this study we aim to shed some light on the strategies adopted by the translators and analyse their consequences at a macrotextual level. Moreover, we intend to link such consequences to specific matters related to the Catalan literary system, ranging from the publishing world to the intricate sociolinguistic situation characterizing it.