Este estudo busca oferecer uma leitura da obra Lamica geniale (A amiga genial, 2011- 2014), de Elena Ferrante, a partir da ambivalência que se destaca em sua composição, quer seja do ponto de vista formal, quer seja do ponto de vista temático. Para isso, procura seguir os preceitos que orientam a relação entre crítica literária e psicanálise. / This study seeks to offer an interpretation of Elena Ferrantes Lamica geniale (My brilliant friend, 2011-2014), starting from the idea of ambivalence that arises in its composition from both a formal and a thematic point of view. To do so, this work aims to follow the precepts that guide the relationship between literary criticism and psychoanalysis.

The leper is the ultimate symbol of the social outcast. Plagued by connotations of not just contagion but of sinfulness and moral depravity, lepers have long been stigmatized and excluded from society. The Hebrew Bible declared them to be unclean, and their influence was believed to be wholly corrupting, as if their physical deformities were an external sign of their defiled souls. In the Middle Ages, those diagnosed with leprosy were made to undergo a particularly severe ritual that closely resembled the office of the dead, making them effectively dead to the world. They were then isolated from the healthy population in leprosariums, and their movements and behaviors were strictly controlled. However, their exclusion can be seen as serving a larger purpose than just the protection of normal society from infection in that it can be used by those in power as a mechanism of social control. The imputation of danger to undesirable persons of a given community ensures that they will be duly feared and ostracized. It is within this context that Italo Calvino and Umberto Eco make use of the idea of the leper as a social outlier in their novels, Il visconte dimezzato and Il nome della rosa, as a way to critique certain processes of exclusion, namely the construction and stigmatization of a social “other” as a means of maintaining social order. This report draws on the historical and literary treatments of the leper to discuss the ways in which Calvino and Eco successfully employ the image of the leper to represent the machinery of exclusion and to shed light on the continued marginalization of outcast groups down to the present day. / text

For the past two decades, scholars have been reassessing the ways in which Western writers and intellectuals have traditionally misrepresented the non-white world for their own ideological purposes. Orientalism, Edward Said's ground-breaking study of the ways in which Europeans projected their own social problems onto the nations of the Near East in an attempt to take their minds off the same phenomena as they occurred closer to home, was largely responsible for this shift in emphasis. Fantasy America: The United States as Seen Through French and Italian Eyes is an exploration of a parallel occurrence that could easily be dubbed "Occidentalism." More specifically, it is a study of the ways in which French and Italian writers and filmmakers have sought to situate the New World within an Old World context. "Among the (More Advanced) Barbarians" (a.k.a. Chapter One) examines the continuities and discontinuities of French travel writing in America from the days of the Jesuits to the heyday of the existentialists. Certain motifs and idees fixes—the uniqueness of American racism; the "magic" of New York—are first identified and then examined. "A Meeting of the Mafias" (Chapter Two) is more cosmopolitan in scope, tracing the ways in which French, American, and Italian crime fiction have historically influenced each other, as well as the relationship of the policier to differing notions of the nation-state. "The Ruins of Rome" (Chapter Three) demonstrates how Italian intellectuals have looked to the United States for new World Solutions to Old World problems. This chapter encompasses two major sub-themes: the positive possibilities for Italy of "Fordismo" (the American industrial model) and American literature (which was believed to promote political, as well as cultural, liberty). "Lurching Towards the Millennium" picks up the threads of the first three chapters and places them in the contemporary context of globalization, a process which threatens to replace the hegemony of the nation state with the omnipresence of corporate power. The cultural model of Quebec is introduced at this point as a New World/Old World paradigm that embodies the chimerical contradictions of a globe on the brink of a new millennium.

Questa dissertazione e imperniata sulla parola masca, che denota un personaggio popolare e antichissimo di genere femminile, riscontrabile esclusivamente nel folclore e nella letterature della regione italiana del Piemonte. Si attribuisce a questo personaggio la facolta rarissima di esercitare tanto il bene che il mate, a seconda de¡ casi. / La tesi si basa su ricerche storiche e linguistiche che traggono i loro dati dai recessi piu remoti della civilta celtica in territorio piemontese, dove essa e prosperata dall'inizio del 4° secolo a.C. fino al 1° secolo della nostra era, epoca alta quale questa regione fu inglobata dall'impero romano. / Basandosi su dati storici e archeologici, la ricerca prende atto di un substrato celtico persistente e profondo nella cultura e nella tradizione piu antiche del Piemonte. In modo particolare si concentra l'attenzione sulla derivazione dei personaggio della masca da una figura religiosa dei Druidi, venerata fervidamente dai Celti, i quali attribuivano a questa divinita il dualismo tipico (bene-male) che si riscontra nel personaggio oggetto di questo studio. / In seguito si traccia il discrimine tra la masca e le streghe demoniache con cui la prima e spesso e del tutto erroneamente confusa ed associata. Una volta tracciata questa distinzione si possono riallacciare i legami tra la masca e il suo sacrale pristino ove ('equilibrio sotteso tra bene e mate e permanente e inestricabile dagli attributi fondamentali della dea celtica centrale, la Grande Madre. / Le ricerche etimologiche per appurare l'origine della parola masca non fanno che confermare la dualita e l'equilibrio tra il bene e il mate inevitabilmente compresente in questa parola e nel personaggio ch'essa denota. / Si passa in rassegna la tradizione orale e la letteratura del Piemonte (tanto in lingua piemontese che in lingua italiana) per, inventariare i diversi significati che possono assumere questa parola e questo personaggio. Si perviene a dimostrare che la dicotomia di valori e di poteri contrastanti insiti nella religione dei druidi rimane ad un dipresso la stessa nel personaggio delta masca. Ci si puo imbattere in questo dualismo di valori opposti e antitetici anche in altri personaggi del folclore piemontese, strettamente connessi alta masca, quali il mascon, i1 setmin o anche in personaggi mitologici, come la faja, il faunet e il servan. / La somma di queste prove letterarie, folcloriche, archeologiche e filologiche avalla l'attribuzione di un carattere unico, non demoniaco, al personaggio della masca, che riannoda strettamente la letteratura e la tradizione orale del Piemonte alta religione dei druidi e al passato celtico, fornendo altresi scorci preziosi su uno dei capitoli piu oscuri del passato delle etnie europee.

La scelta di studiare il Fiore delle Georgiche è motivata dallo spazio di approfondimento ancora aperto sull’attività di Quasimodo traduttore, soprattutto alla luce delle carte autografe custodite presso il Centro di ricerca sulla tradizione manoscritta di autori moderni e contemporanei dell’Università di Pavia. L’indagine rivela le motivazioni della decisione da parte del poeta siciliano di leggere il «Virgilio … mansuetus della Georgiche» e la presenza di cospicue affinità tematiche tra l’immaginario poetico quasimodiano e il poema latino, a partire dal grande tema della natura, cosmica e georgica insieme, e dalla presenza dei quattro elementi primordiali (aria, terra, fuoco, acqua) come parole-chiave dell’interpretazione del poeta. Altri motivi comuni sono: il mito dell’Eden, il binomio amore-morte e il mito di Orfeo. La versione di Quasimodo sul piano dei contenuti e dell’espressione rivela la tendenza ad attenuare i concetti maggiormente connotati dal punto di vista della cultura e del contesto storico augusteo. Il poeta traduttore crea un nuovo testo che, improntato ad accentuare la componente lirica rispetto a quella didascalica, trasmetta un messaggio universalmente valido e più vicino al lettore a lui contemporaneo. Lo studio delle carte autografe ha fugato qualunque dubbio sull’originalità dell’operazione quasimodiana e ha rivelato la serietà nell’approccio alla traduzione. / The decision to study the Fiore delle Georgiche derives from the research space still open over the activity of Quasimodo as a translator, above all in light of the autograph papers kept at the research center on manuscript tradition of modern and contemporary authors of Pavia’ University. The study reveals the reason for the decision of Quasimodo to read Virgilio as mansuetus poet of Georgics and the presence of many affinities of contents between the poetic imaginary of the Sicilian poet and the latin poem, starting from the great theme of nature, cosmic and georgic at the same time, and for the presence of the four primordial elements (air, earth, fire, water) as key words of the interpretation of the poet. Other common subjects are: the myth of Eden, the couple love-death and the myth of Orpheus. The version of Quasimodo from the point of view of contents and expression reveals the tendency to attenuate the concepts mainly characterized by culture and by the augusteus historical context. The translator poet creates a new text that, marked by a stronger lyrical component rather than didactic, sends a universally valid message and closer to his contemporary readers. The study of the autograph papers has dispelled any doubt over the novelty of the work by Quasimodo and has revealed the seriousness in the approach to the translation.

[Truncated abstract] The later medieval Western European economy was shaped by a marked increase in commerce and rapid urbanisation. The commercialisation of later medieval society is the background to this research, whose focus is the ways in which later medieval Italian and English literature registers and responds to the expanding marketplace and the rise of an urban mercantile class. What began as an investigation of the representation of merchants and business in a selection of this literature has become an attempt to address broader questions about the later medieval economy in relation to literary and artistic production. This study is therefore concerned not just with merchants and their activities in literature, but also the way economic developments are manifested in narrative. Issues such as the moral position and social function of the merchant are addressed, alongside bigger economic issues such as value and exchange in literature, and to some extent, the position of the writer and artist in a commercialised economy. The study is primarily literary, but it adopts a cross-disciplinary method, drawing on economic and social history, literary criticism, art history and sociology. It begins with an assessment of the broader socio-economic context, focusing on ecclesiastical and social responses to the growth of … This chapter discusses the thirteenth-century Floris and Blauncheflur (c. 1250), and the late fourteenth-century Sir Amadace, Sir Launfal, Octavian and Sir Gawain and the Green Knight in relation to the commercialised economy and with reference to late medieval thought concerning value, exchange and the role and function of merchants. Geoffrey Chaucer’s Canterbury Tales (c. 1380s) is the subject of the third and final chapter, “Narrative and Economics in Chaucer’s Canterbury Tales”. Chaucer treats commerce and merchants with a complexity very close to Boccaccio’s approach to commerce. Both writers are acutely aware of the corruption to which merchants are susceptible, and of the many accusations levelled at merchants and their activities, but they do not necessarily perpetuate them. Rather than discussing exclusively the tales that deal extensively with merchants and commerce, or that told by the Merchantpilgrim, this discussion of the Canterbury Tales focuses on the Knight’s Tale, the Man of Law’s Tale and the Shipman’s Tale and the way they relate to broader ideas about the exchange and the production of narrative in the Canterbury Tales as a whole.

En 1999, un roman intitulé L’œil de Carafa et signé Luther Blissett connaît un vif succès. L'ouvrage présente la particularité de comporter une mention dite de “copyleft”, autorisant sa reproduction libre et gratuite. Derrière le pseudonyme se dissimule un collectif ouvert et international, porté par de nombreux artistes et activistes médiatiques, qui s'illustre également par diverses actions et happenings. Un an plus tard, les auteurs du roman créent un nouveau projet littéraire, sous le pseudonyme Wu Ming (“anonyme” en chinois). Le collectif prône la libre diffusion de l'écrit et à travers ses publications de théorie littéraire, il suscite la polémique dans le monde des lettres italiennes. En rupture avec la figure de l'écrivain qui s'est imposée depuis une trentaine d'années, Wu Ming prend appui sur le développement des nouvelles technologies, et plus particulièrement sur l'essor d’Internet, pour imposer une nouvelle conception de la création littéraire et de la diffusion des œuvres.L'analyse ici proposée interroge le caractère novateur du positionnement éthique et littéraire de Luther Blissett et de Wu Ming, en examinant leurs productions à l'aune de trois modèles de référence : l'avant-gardisme, le postmodernisme et la littérature engagée. En confrontant les engagements des deux collectifs à leur fonctionnement concret et, in fine, à leurs œuvres, elle vise à déterminer si les projets Luther Blissett et Wu Ming sont annonciateurs d'un changement de paradigme en littérature, rendu possible notamment par les nouveaux moyens de communication, ou si au contraire ces auteurs, en dépit de leurs singularités, s'inscrivent dans des schémas littéraires déjà existants. / In 1999, the novel Q, authored by Luther Blisset, enjoyed considerable success. One of its special characteristics is that it bears a copyleft notice allowing free reproduction of the work. Indeed, an open, international group artists and media activists hides behind this peculiar nom de plume and has distinguished itself at various public actions and happenings. About a year later, the authors of the novel set out a new project under the pseudonym Wu Ming (a Chinese translation of “anonymous”) and advocated free circulation of written works. Their publications in literary theory have given rise to controversy in the Italian literary circles. Breaking with the figure of the author that has reigned supreme over the past three decades, Wu Ming is building on new technologies and more specifically on the Internet in order to enforce a new conception of both literary creation and the circulation of works.This dissertation investigates the novelty of the ethical and literary position of Luther Blissett and Wu Ming and looks into their productions in relation to avant-gardism, postmodernism and littérature engagée. In cross-examining the stakes and functioning of both projects with their actual creations, we aim to determine whether Luther Blissett and Wu Ming are heralding a change in literary paradigm or if, in spite of their singularities, these authors do not actually fit into existing patterns

Cette thèse se propose d'étudier le phénomène littéraire défini comme la «nouvelle vague sarde», et plus particulièrement les formes et les raisons du mélange linguistique sarde/italien, qui caractérisent les œuvres des écrivains sardes publiées entre 1995 et 2010. A travers une analyse diachronique et synchronique de la littérature de la Sardaigne nous voulons montrer qu'on ne peut pas parler d'une vraie nouveauté ni d'une tendance unitaire telle qu'on puisse parler d’une «vague». En effet, cette «renaissance littéraire sarde» correspond à l'exploit simultané de quelques auteurs, qui profitent d'un climat de forte vitalité, au niveau national, des langues régionales, mais, surtout, d'une nouvelle liberté expressive, inaugurée par les romans de Sergio Atzeni au milieu des années 1990. Même s'il existe des différences remarquables parmi les formes et les effets liés au mélange linguistique utilisé dans les romans pris en examen, cette caractéristique du panorama littéraire contemporain sarde met en évidence une attention spéciale, de la part des auteurs, pour la langue parlée sur l'île dans les époques racontées, qu'il s'agisse du sarde ou de l'italien régional sarde. De plus, le choix du mélange de sarde et d’italien souligne la valeur attribuée aux formes expressives typiques de la Sardaigne, dans le cadre d'une représentation des particularités et des problématiques internes, liées aux relations entre le progrès et la tradition. / This thesis aims to study the literary phenomenon called «Sardinia nouvelle vague» and more particularly the forms and reasons of linguistic mixture between Sardinian and Italian, which characterize the works of Sardinian writers published between 1995 and 2010. Through a diachronic and synchronic study of Sardinian literature we want to show that we are not talking about something new. In fact, the "Sardinian literary renaissance" is the exploit of some authors who take advantage of a climate of strong national vitality, of regional languages, but, above all, a new freedom of expression, inaugurated by the works of Sergio Atzeni in the mid 90s. Despite significant differences in the forms and effects of mixture of language used in novels examined, this feature of the contemporary Sardinian literary scene marks a special attention by the authors to the language spoken on the island in different eras portrayed, whether it's Sardinian, regional Sardinian or Italian. Moreover, the choice of the mix of Sardinian and Italian emphasizes the value attributed to the forms of expression typical of Sardinia as part of a representation of the peculiarities and internal issues, related to the relationship between progress and tradition.

L’objectif de cette thèse est d’analyser les écritures de personnes atteintes du cancer. La première partie de notre travail se focalise sur la description des caractéristiques des six ouvrages constituant notre corpus. Nous proposons de les nommer « autopathographies », c’est-à-dire de les définir comme des récits rétrospectifs en prose qu'une personne fait de sa propre maladie, dans lesquels il y a identité entre l’expérience de maladie de l’auteur (tel qu’il figure par son nom sur la couverture), celle du narrateur du récit et celle du malade dont on parle. Le rapport qui s’instaure entre la maladie et l’écriture est à la base de la structure interne de la deuxième et de la troisième partie de notre travail. Dans la deuxième partie, nous analysons le lien entre le cancer et l’écriture : nous démontrons le rôle du corps malade comme objet de l'écriture, mais aussi comme cause et source, dans la mesure où l’attention au corps et à son langage façonne les récits. Le langage choisi pour décrire le cancer est l’objet de l’analyse menée dans la troisième partie. En nous basant sur la segmentation faite dans la deuxième partie, nous identifions les métaphores mobilisées par les patients pour décrire la maladie et le parcours de soins. Notre travail démontre l’existence d’une écriture basée sur l’expérience directe de patients qui enrichit le langage pour « dire » le cancer et la représentation de cette maladie. En annexe se trouvent le fruit de nos entretiens inédits avec Giacomo Cardaci, Cristina Piga et Melania Rizzoli, auteurs de trois des autopathographies analysées. / The aim of our work is to investigate the narrative of people diagnosed with cancer. The first part of our study focusses on the description of the characteristics of the six works composing our corpus. We define them « autopathographies », meaning « retrospective prose narrative written by a real person concerning his or hers own illness experience »; in these narratives the experience of illness of the author (whose name designates a real person), the one of the narrator and of the one of principal character are identical. The relationship between cancer and writing is the basis of the structure of the second and of the third part of our research. The aim of the second part is to elucidate the link between cancer and writing; we prove that the diseased body is the topic, cause and source of the autopathographies, since the attention accorded to the diseased body models the story. In the third part of my PhD we focus on the language used to describe cancer. The analysis done in the second part is a starting point to identify the metaphors used by the patients to describe cancer and their experience of illness. Our work demonstrates the existence of a narrative based on the patients’ illness experiences and this narrative enriches the language used to “tell” cancer and its representation. Appendices: synopsis of the autopathographies and interviews of Giacomo Cardaci, Cristina Piga and Melania Rizzoli.

Ce travail de thèse s'articule autour d'une définition historique qui a été formulée par Cesare Pavese, lorsqu'il a défini les années 30 et 40 du XXe siècle comme les deux décennies de la traduction par excellence. Si les études menées jusqu'à aujourd'hui se sont penchées de manière approfondie presque seulement sur la traduction des romans et cela en choisissant comme langue source privilégiée l'anglais ou le français, nous avons concentré notre analyse sur la traduction, l'écriture et la critique poétiques réalisées dans la période s'étalant de l'entre-deux-guerres jusqu'à la fin des années 40. La poésie était en effet le lieu critique, traductif et créatif le plus fréquenté. Un véritable besoin de poésie animait les cénacles des intellectuels italiens à Florence comme à Milan, à Parme, à Rome et également à Turin. Les échanges entre les artistes, critiques, poètes et traducteurs se jouaient pour la plupart sur le terrain de la poésie, sans être, au moins jusqu'au milieu des années 30, particulièrement entravés par la censure fasciste. En effet l'Italie devait, même aux yeux du fascisme, connaître un Baudelaire, un Rimbaud et un Eliot parlant italien. La poésie prenait une place sans précédents dans la vie culturelle et littéraire de l'époque et devint aussi un champ d'action concret : écrire en vers bouleverse autant l'ordre syntactique de la langue que l'habitude à concevoir la réalité de manière univoque et sans opacités.La poésie, pour reprendre une pensée d'Henri Meschonnic, est « contre le maintien de l'ordre », et se propose comme une forme d'engagement profond qui implique les consciences et leur prise de position face à la réalité. Dans une perspective plus large, le discours poétique s'entrelace avec le discours politique, si par politique on présuppose tout effort visant à garantir le bien-être de l'homme et la création des conditions qui permettent la réalisation au degré le plus haut de la liberté de tout individu.L'objet d'intérêt de la traduction poétique fusionne inévitablement avec la poésie tout court, ne serait-ce que parce que toute poésie est en tout cas toujours une traduction. Faire et construire en poésie sont devenus ainsi les axes de cette étude qui essaye de rendre compte constamment des voix de plusieurs personnalités qui étaient à la fois poètes, traducteurs et critiques littéraires. La partie finale de ce travail se concentre ainsi sur la naissance d'un nouveau type d'intellectuel qui est poète, traducteur et critique, et qui, très souvent, est aussi un éditeur. Sa participation à la vie sociale, politique et éditoriale du pays devient de plus en plus significative et fera de la poésie le sujet de plusieurs collections éditoriales et de nombreuses autres publications.Nous avons essayé de montrer quel type d'engagement peut émaner de l'écriture des poèmes et de la pratique de la traduction poétique, en décrivant quel militantisme profond et passionné peut surgir de la 'fréquentation' de la poésie, qui se propose comme une constellation de sens constamment “constructible”, comme une présence jamais définitive. Cette mise en valeur de l'inachevé contribue à la mise en question de l'identité du sujet et à la poursuite de son salut, à la multiplication des hypothèses, et à l'ouverture des horizons. En se proposant avec son corps mouvant et émouvant, la poésie sera, pendant le fascisme, un levier d'indisciplinarité face à la règle, s'imposant comme un insoupçonnable instrument de contestation et de résistance. / This thesis focuses on a historical definition given by Cesare Pavese, when he defined the 30s and 40s of the twentieth century as the translation's period par excellence in Italy. The previous studies have looked extensively on the translation of novels and most of these researches choose English or French as principal language sources. This Phd thesis concentrates instead the analysis first of all on poetic translation and also on writing poetry as well as on poetic criticism ‘made' in the inter-war period until the late 40s. Poetry was incontestably the critical, translational and creative locus. Poetry was the main interest of the circles of Italian intellectuals in Florence and in Milan, in Parma, in Rome and in Turin also. Exchanges between artists, critics, poets and translators played mostly in the field of poetry, more or less without being particularly hampered by the fascist censorship, until the mid-30s. Poetry became a field of concrete action because it upsets language's syntactic order and this encourages a new conception and design of the reality, as well a way to fight every monolithic solution refusing opacity and incompleteness.Using an expression of Henri Meschonnic poetry is “against the maintenance of the order”, and presents itself as a form of deep commitment (in order words a form of “engagement”) that involves awareness and taking a stand against reality. In a poetic discourse the political element is closed involved. In fact we assume that “politics” is any attempt to fight for the welfare of man and every attempt to achieve the highest degree of freedom of every individual.The subject of criticism and translating poetry inevitably merge with poetry at all, and it is to consider that poetry is in any case always a translation. Poetry and its effects have become the axes of this study that tries to present consistently the voices of several people who were poets, translators and literary critics at the same time. The final part of this work concentrates on the birth of a new type of intellectual who is a poet, a translator, a critic and often also a publisher.We tried to show also what type of engagement may trigger the writing of poems and the practice of poetic translation, describing how deep and passionate activism may arise 'attending' poetry. Poetry is always proposed as a constellation of meaning constantly "building" as a presence never definitive. This enhancement of the unfinished contributes to the questioning of the subject's identity and to the pursuit of his salvation. Every poetic multiplication of hypotheses allows the opening of a lot of horizons. Offering her moving body poetry has been, even during Fascism, a lever of great indisciplinarity face to the rule settled by the dictatorship and it has been an unsuspected instrument of protest and resistance.