Esta dissertação tenciona fazer uma leitura da obra Il Canzoniere, de Umberto Saba, com base na linha tensiva descendente que se inicia na coletânea Trieste e una donna (1910-1912), e cujo ponto de menor temperatura é Cose leggere e vaganti (1920). Procuramos focar nossa leitura nas tensões e ambivalências que perpassam a produção poética do triestino nesse período. Desse modo, o trabalho está estruturado em três capítulos: no primeiro, centramos atenção em Trieste e una donna e tentamos compreender como se estabelece a relação de confluencia entre o eu-lírico e o sensível, como busca de apreensão da elementaridade das coisas e conseqüente aceitação da vida em toda sua variedade; no segundo, tratamos de La serena disperazione(1913-1915) e Poesie scritte durante la guerra (1917), mantendo o foco na dinâmica entre permanência e ruptura, e tendo como base os motivos da tentativa de recuperação de recursos usados em coletâneas anteriores; no terceiro, abordamos Cose leggere e vaganti, com vistas a tentar entender a aparente leveza que perpassa a coletânea, e mostrar como, em última instância, subjaz nela a oposição entre peso e leveza. Com o presente trabalho, procuramos evidenciar, assim, que a linha descendente de tensão estaria, em última instância, associada à tentativa de fuga da dor e do sofrimento. / This dissertation intends to read the work Il Canzoniere, by Umberto Saba, based on the tensed descendent line which begins with the collection Trieste e una donna, and which point of lower temperature is Cose leggere e vaganti. We sought to focus our reading in the tensions and the ambivalence that go across the poetic production of the Triestian in such period. So, this work is structured in three chapters: on the first one, we centered the attention in Trieste e una donna and tried to understand how the confluent relation between the lyric-self and the sensory is established, as we seek to seize the elementary things and its consequent acceptance of life in all its variety; on the second one, we approached La serena disperazione and Poesie scritte durante la guerra, keeping the focus on the dynamics between permanence and rupture, being based on the motives to attempt the recall of the resources used in previous collections; on the third one, we approached Cose leggere e vaganti, in order to attempt to understand the apparent lightness which goes along the collection, and to show how, in a last stage, it is underlain the opposition between weight and lightness. Within this work, we seek to emphasize that the descendent tension line would be, in a last level, associated to the scape of pain and suffering.

Este trabalho apresenta a tradução comentada da língua italiana para o português de uma seleção das crônicas publicadas pelo escritor e cineasta italiano Pier Paolo Pasolini em sua coluna semanal na revista Vie Nuove, órgão oficial do Partido Comunista Italiano, entre os anos de 1960 e 1965. As crônicas foram divididas em três blocos temáticos: Literatura, Cultura e Política e Sociedade. Uma introdução ensaística acompanha a tradução comentada. / This thesis presents a commented translation from Italian to Portuguese language of a selection of chronicles published by the Italian writer and filmmaker Pier Paolo Pasolini on the weekly magazine Vie Nuove, official media of the Italian Communist Party (PCI), between 1960 and 1965. The chronicles are divided into three thematic groups: Literature, Culture and Politic and Society. An essayist introduction opens the commented translation.

Esta dissertação apresenta ao público um desconhecido escritor imigrante italiano da São Paulo de 1900. Durante sua vida em São Paulo, Giuseppe Salerio trabalhou como dentista na Av. São João no centro da cidade, quando ela mostra ao país seu grande potencial para ser a maior e mais industrializada cidade do Brasil. Un ammalato per forza, uma comédia em um ato. Esse trabalho possui muitos aspectos do teatro do imigrante italiano em São Paulo. A dissertação quer mostrar alguns valores da arte dos imigrantes, depois de momentos difíceis na terra natal: a Itália. Também será apresentada uma tradução e análise de Un ammalato per forza. A análise leva em conta as leituras feitas pelo autor, bem como a influência de Carlo Goldoni. / This work seeks to present to the public an unknown Italian immigrant writer in São Paulo in the 1900\'s. During his life in São Paulo, Giuseppe Salerio worked as a dentist in the Av. São João, downtown, when the city was beginning to show what it would be in the future: the biggest and the most industrialized city in Brazil. Un ammalato per forza is a comedy in one act. This work reveals many aspects of the Italian immigrant theatre in São Paulo. This study wants to discuss some merits of the immigrants\' art, after a very difficult life in their country: Italy. Besides there is a translation and an analysis of Un ammalato per forza. The analysis considers readings done by the author, as well as the influence of Carlo Goldoni on his work.

No romance autobiográfico \"Cristo si è fermato a Eboli\", Carlo Levi narra acontecimentos vividos durante o período em que cumpriu pena de confinamento na Lucânia, imposta pelo governo fascista, de quem era opositor. Publicado na Itália em 1945, o livro teve duas traduções no Brasil, uma em 1952 e outra em 1986. No presente trabalho são analisadas as escolhas das tradutoras brasileiras nos trechos em que os personagens comunicam-se fazendo uso de expressões populares e dialetais e provérbios, bem como naquelas passagens em que Carlo Levi mostra-se irônico ou vale-se de outras figuras de linguagem. A análise tem por fundamento a sistemática de deformação a que se refere Antoine Berman e será observada a forma como tal sistemática manifesta-se nas traduções como um todo e em particular nos trechos acima referidos. A metodologia adotada foi a leitura da obra em análise, seu original em língua italiana, bem como das demais obras narrativas de Carlo Levi, para fins de assimilação do estilo do autor e comparação do texto original com as traduções brasileiras. / In the autobiographical novel \"Cristo si è fermato a Eboli\", Carlo Levi narrates events that occurred during the period of his imprisonment in Lucania imposed by the fascist government, to which he was opposed. Published in Italia in 1945, it has two translations in Brazil, one in 1952 and another in 1986. This work will analyze the choices made by the Brazilian translators in the passages where the characters communicate using popular and dialectal expressions and proverbs, as well as in passages where Carlo Levi is ironic or uses other figures of speech. The analysis is based on the system of deformation referred to by Antoine Berman and will be observed how such system is expressed in the translations as a whole and specifically in the passages referred to above. The methodology adopted was the reading of the book under analysis, its original version in Italian and other narrative works of Carlo Levi, for assimilation of the style of the author and comparison of the original text with the Brazilian translations.

"Italian Readers of Ovid: From the Origins to Dante" studies the reception of Ovid's writings in medieval Italian prose and poetry, from the first vernacular poems composed in Sicily to Dante's "Divina Commedia." Starting from the very beginnings of a new literary culture, I show how the increasing availability of Ovid's texts is mirrored in the increasing textual presence of Ovid in the vernacular writings of the period. Identifying the general traits common to this Ovid-inspired literature, I discuss how medieval Italian authors used Ovid's works and his characters to address questions of poetics, openly debating the value of Ovid's poetry for their own writings. I then illustrate how, in his lyric poetry and the "Commedia," Dante inserts himself into this vernacular practice of discussing poetics through the medium of Ovid. Ultimately, I argue that Dante's reading of Ovid in the "Commedia" is deeply rooted in his own lyric poetry and that of his predecessors. Chapter 1, "Medieval Italian Readers of Ovid, Modern Readers of Reception," describes the material and cultural contexts of the reception of Ovid during the thirteenth and early fourteenth centuries in Italy, challenging existing notions about Ovid's reception in medieval Italian scholarship. Previous studies mostly treat Dante's "Commedia" as the starting point of this reception history, neglecting the preceding and equally important lyric tradition. Questioning this approach, I reconstruct the increasing availability of Ovid's works in the thirteenth and fourteenth centuries in Italy and specify in which formats (commentaries, translations, anthologies, mentions in treatises, other works of literature) and contexts (schools, universities, courts, monasteries) contemporary readers could have encountered Ovid's works. By outlining these texts and contexts, I depict a growing community of Italian readers of Ovid, many of whom not only read Ovid but also incorporated the Latin poet's work in their writings. Chapter 2, "Readers Turned Writers: From the Sicilian School to the dolce stil novo," focuses on a first series of these Ovid-inspired Italian writings. This chapter explores the poetic implications of including Ovid in their works--a trait found in the poetry of Pier della Vigna, Guido Cavalcanti, and Guido Guinizzelli, among others. During this period, poets debate with their contemporaries about how to write poetry, openly addressing and even attacking fellow poets while defending their own poetics. The Italian poets explicitly evaluate their readings of Ovid's love poetry in their poems and single out his poetry as an emblem of the kind of poetry they write, or no longer wish to write. The vernacular poets treat Ovid's "Metamorphoses" similarly. By means of the simile, the Italian poets feature a select group of Ovidian characters to underline their own exceptionality: for example, the poet is similar to the male Ovidian character (but better), his lady to the female (but more beautiful). The third chapter, "Readers Turned Writers: Dante Alighieri and Cino da Pistoia," focuses on the exceptional position of Dante and Cino among this group of vernacular writers. Both Dante and Cino integrate Ovidian material in their poetry with more complexity. Including similes in their poetry, Dante and Cino radically revise this common practice by associating themselves with the female Ovidian character--a gender switch that later Petrarch will adopt. Both poets also go beyond comparing their world with that of the "Metamorphoses" (what all the vernacular poets discussed in Chapter 2 did), but truly integrate Ovidian material into their poetry, blending Ovid's world into theirs. Furthermore, this chapter challenges the notion of two phases of Dante's writing posed in Dante scholarship: one phase when he is exclusively interested in vernacular poetry, and the second phase when he turns to classical literature. Finding Ovid featured in one of Dante's earliest poem exchanges, I illustrate that it is precisely in his vernacular lyric poetry that Dante slowly starts to experiment with Ovidian material. The petrose, a series of four poems written around 1296, are central in this development. These poems test out some new techniques that Dante will use more frequently in the "Commedia": the integration of both central and peripheral elements from a larger passage in Ovid's text, and the combination of different Ovidian sources at the same time. Chapters 4 and 5 trace the development of these techniques from Dante's lyric poems to the "Commedia," where for the first time we encounter Ovidian material in a Christian context. While it is not my aim to de-allegorize Dante's reading of Ovid, I stress that the most radically allegorizing and Christianizing commentaries on Ovid are not part of the cultural context of Dante's time and, instead, illustrate how much Dante's reading of Ovid is rooted in the lyric tradition. Chapter 4, "Metapoetics in Ovid and Dante's Commedia," focuses on the role Ovid's writings play in Dante's definition of his poetics. Looking at metanarrative moments in the "Commedia" (Inf. 24-25, Purg. 24, the poetic invocations in Purg. 1 and Par. 1), I illustrate how Dante repeatedly discusses poetics through the medium of Ovid, just as the Italian lyric poets did. Chapter 5, "Shifting Shapes of Ovidian Intertextuality: Ovid's Influence in Purgatorio and Paradiso," proposes to categorize Ovidian allusions in the "Commedia" by the kinds of elements Dante drew from his Ovidian sources. The primary method with which Dante incorporates Ovidian material in the "Commedia" is the rhetorical trope of the simile, which was also repeatedly used by the vernacular lyric poets. Focusing on the Purgatorio and Paradiso, the two canticles where the poet compares himself most often with certain characters from the "Metamorphoses," I illustrate how Dante adopts and transforms this vernacular lyric practice. Of these vernacular poets, Dante is certainly the Italian reader of Ovid who integrates Ovidian material in his poetry most frequently and with the most complexity: he combines the methods of the vernacular lyric poets with other classical or theological sources and conforms these methods to the poetics of the "Commedia." But this complexity, I ultimately argue, can only be fully understood in connection within the cultural context of the reception of Ovid: an Italian literary culture that from its very beginnings reflects on Ovid's texts.

O presente trabalho tem como objetivo destacar a importância da presença do personagem de cavalaria Orlando nas relações intertextuais que existem entre a obra de Italo Calvino e os clássicos da literatura italiana. Para tanto elaborou-se um histórico do personagem ao longo dessa tradição literária desde as canções de gesta até O Castelo dos Destinos Cruzados, tendo em vista o levantamento de características comuns entre as obras e os temas do amor e da loucura, que demonstram como tais variantes são retomadas ou modificadas ao longo do tempo, ou seja, a seleção dos elementos que apontam para uma reescritura da tradição literária cavaleiresca italiana. Mais especificamente foram analisados três poemas: La Chanson de Roland (1100), Orlando innamorato (1483) e Orlando furioso (1516), e duas narrativas escritas por Italo Calvino, La pazzia dOrlando, publicada no livro Orlando Furioso raccontato da Italo Calvino (1970), e História de Orlando louco de amor, em O castelo dos Destinos Cruzados (1973). / This study aims to show the importance of the presence of the cavalry character Orlando in an intertextual relation between Italo Calvinos literary work and the Italian literary classics. In order to reach this goal we elaborate the character history through out this literary tradition from the chanson de geste to The Castle of Crossed Destinies, regarding to mapping common features between the literary works and the literary topic of love and madness, that demonstrate how those variants are resumed or modify over time, in other words, the selection of elements that point to a rewriting of the Italian cavalry literary tradition. More specifically we analyzed three poems from the literary tradition: La Chanson de Roland (1100), Orlando innamorato (1483), Orlando furioso (1516), and two narratives written by Italo Calvino, La pazzia dOrlando, published in Orlando Furioso raccontato da Italo Calvino (1970), and Storia dellOrlando pazzo per amore, in the book The Castle of Crossed Destinies (1973).

Esta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística. / This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays.

This thesis deals with the Italian books preserved in the Eggenberg Library in the Český Krumlov Castle, particulary with the Italian book collection of the princess Maria Ernestina of Eggenberg, born Schwarzenberg, which is seen as the "mirror" of intellectual interests and lifestyle of the noblewoman of the baroque period and as an image of reception of Italian literature in the 17th century Czech lands from the side of literate and cosmopolitan aristocracy.

Estudar a obra novelística de Luigi Pirandello é um modo de entender não apenas as razões que o levaram a ser um dos mais importantes escritores italianos do século XX, mas também o papel de cada um de nós no mundo e na vida. As novelas, baseadas em pequenos acontecimentos cotidianos, formam um grande mosaico da existência humana: uma nota no jornal, um amor acabado ou ainda nem começado, um simples gesto ou o apito de um trem, são situações que despertam a imaginação do autor e nas quais muitas vezes nos reconhecemos. Dramaturgo e romancista de sucesso, Pirandello nunca deixou de escrever novelas: foram 251 ao longo de sua carreira. Para ele, a novela era o espaço íntimo, insubstituível, reservado para a discussão existencial empreendida pelos seus personagens em uma época tão inquieta como o início do século XX. As novelas, reunidas no projeto Novelle per un anno, são de vital importância para se compreender a evolução das preocupações do autor e representam a base de seu pensamento. As últimas novelas, principalmente, trazem novas chaves de interpretação ao conjunto da obra e mostram um escritor novo e muito mais inquietante, que muitas vezes a crítica não soube reconhecer. Traçar a trajetória do Pirandello novelista, ou novellaro, como ele se definia, relacionando-a com os outros aspectos de sua carreira literária, de seu pensamento e da época que ele tão bem retratou, é o objetivo deste trabalho. / To study Pirandellos short story is a means not only of understanding the reason why he became one of the most important Italian writers of the twentieth century but also the role we play in the world and life. His short stories, based on ordinary events, make the great mosaic of our lives a piece of news, a love that has broken up or not even started, a gesture, a train whistle; situations that drive his thoughts, where many times we recognize ourselves. Successful play writer and novelist, Pirandello never stopped writing short stories: 251 along all his work life. According to Pirandello, a short story was the intimate, unique place, intended for the existential debates of his characters in the hard times of the beginning of the twentieth century. The short stories, brought together in the project Novelle per un anno, are of great importance to understand the evolution of the authors worries and represent the basis of his thought. The last short stories mainly bring new tools for interpretation to Pirandellos work and show a new, much more disturbing writer, many times not acknowledged by critics. To follow the course of the short-story writer Pirandello or novellaro, as he used to call himself connected with other aspects of his literary life, thought, and the time he described so well, is the focus of this work.

A partir de uma seleção de contos das obras neo-realistas Racconti romani e Nuovi racconti romani, o presente trabalho propõe um estudo do projeto ideológico do escritor Alberto Moravia através da análise de personagens femininas submetidas ao estado de alienação. A fim de sublinhar uma das principais temáticas do escritor, voltada para questões referentes ao capitalismo e a burguesia, analisam-se alguns contos em que as personagens femininas vivem situações problemáticas. Além disto, procura-se ressaltar a importância que estas figuras exercem na narrativa moraviana ao intermediarem problemas existenciais que desencadeiam as sensações de falimento existencial, desamparo e angústia. / Based on a selection of short stories from the neo-realistic literary works Racconti romani and Nuovi racconti romani, this paper proposes a study of the Alberto Moravias ideological Project through the analysis of his female characters who are submitted to an alienation state. In order to sublimate one of the authors main thematic towards issues about capitalism and bourgeoisie, short stories in which female characters. Moreover, it has been aimed to highlight the importance these figures exert within Moravians narrative by intermediating existential problems which initiate feelings of existential failure, abandonment and distress.