Il presente lavoro si propane di portare un contributo critico all'opera della Colombi, delineandone quegli aspetti salienti che caratterizzano la sua partecipazione alla scena letteraria come donna e come professionista. Le sue scelte poetiche, basate sull'ideale di un'intima, inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza vita-arte, contribuiscono ad acuire il confl itto con il repressivo e misogino ambiente ottocentesco. Si crea una continua tensione tra la tendenza all'adeguamento impasto dalla priorita di difendere la propria presenza e l'altrettanto forte spinta alla trasgressione come necessita di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso il padre, depositario dell 'ordine sociale, si riflette, coerentemente con le premesse poetiche, nelle polemiche condotte nei confronti dei padri della letteratura. Se queste ultime tendono a rimanere contenute a livello metatestuale, in genera le, il genuino ed autentico messaggio letterario viene soprattutto espresso attraverso il gusto antifrastico dell'ironia ea livello metaforico e simbolico. La messa in luce della repressione e della morte dei valori femminili, la creativita intellettuale e fisica, che costituiscono la vera essenza dell'individuo e della stessa esistenza umana, va di pari passo con la maturazione di un sofferto compromesso con le dure leggi imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori, un rinnovato equilibrio vita-arte che, nella sublimazione delle esperienze di morte, eleva l'espressione artistica a piano ultimo di salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita, si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria di potere. Connotato al maschile, esso viene evidenziato nei suoi effetti deleteri ed alienanti anche nella connivenza e mancanza di una reale autenticita delle stesse donne, in particolare le madri. Dall'analisi dell'opera della Colombi emerge l'immagine di una scrittrice che si distingue non solo per la sua originalita e complessita, ma anche per l'indubbia modernita sia di stile che di problematiche / The aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject / Department of Classics and Modern European Languages / D.Litt. et Phil. (Italian)

Originally presented as the author's thesis--Universität Osnabrück, 2005. / Includes bibliographical references.

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Orientador: Maria Betania Amoroso / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T11:43:10Z (GMT). No. of bitstreams: 1 Corilow_PriscilaMalfattiVieira_M.pdf: 812273 bytes, checksum: 96c4a204d00972f582c9d0d598271349 (MD5) Previous issue date: 2010 / Resumo: Italo Calvino publica Se una notte d'inverno un viaggiatore em 1979, após um considerável período de reflexão sobre as discussões relacionadas ao romance como gênero no cenário cultural europeu, em especial a partir das teorizações de Roland Barthes e das experimentações do grupo OULIPO (Ouvroir de Littératture Potentielle). Nessa obra, o caráter metaliterário se destaca à primeira vista. Os mecanismos envolvidos no ato de narrar e seus agentes, leitores e autores, são ostensivamente encenados nesse "hiperromance", como o denominou seu escritor. Em função das peculiaridades de sua construção, essa obra tem sido submetida a análises que buscam identificar o funcionamento da interação autor-obra-receptor, a "função autor" e a "função leitor", estabelecer teorias da leitura através do romance ou estudá-lo a partir de metodologias semiológicas e pós-estruturalistas. Esses trabalhos têm consolidado uma imagem exclusiva de Italo Calvino como escritor pósmoderno por excelência, dedicado prioritariamente à reflexão sobre os processos lógicolingüísticos e estruturais envolvidos na fatura do texto literário. Partindo de premissas diversas, apoiadas em um modus operandi reconhecível no trabalho de críticos italianos como Asor Rosa, Alfonso Berardinelli, Mario Barenghi, Gian Carlo Ferretti entre outros, procuramos seguir de perto o entrelaçamento entre a ficção e a reflexão crítica na obra citada, através da leitura e análise dos ensaios, notas, entrevistas, artigos jornalísticos do próprio escritor bem como da crítica italiana que recepcionou sua obra. Buscamos assim produzir uma análise do romance que fosse capaz de revelar outra dimensão do escritor: a do intelectual que, através da mediação da literatura, reflete sobre a pertinência do gênero romance em momentos diversos da cultura e da sociedade, principalmente italianas / Abstract: Italo Calvino published Se una notte d'inverno un viaggiatore in 1979, after he had gone throw for a reflexive period, when he think about issues related with the romance as a literary genre that at the same time had concerned the cultural sphere of Europeans in the decades of fifty and sixty, when this matter was broadly discussed. Those discussions became even more frequent after Roland Barthes theorizing and the OULIPO (Ouvroir de Littératture Potentielle) experimentation's. In Se una notte d'inverno un viaggiatore the metaliterary approach is a strength feature since the first contact. The mechanisms involved in the narration act and its agents, the reader and the author, are both ostensibly staged in this hyperromance, like its author called it. According to peculiarities of its construction, this work has been subjected to analysis that seek to identify the operation of the author-work-receptor interaction, the "author function" and the "reader function", besides to establish readingtheories through the romance or to study it from the semiological and poststructuralist methodology. This works had consolidated an exclusive image of Italo Calvino as a postmodern writer par excellence, whom had devoted primarily to understand the logicallinguistic and structural processes, which are involved in the making of the literary text. We seek to follow closely the interlacing between the fiction and the critical thought in the mentioned work, based on various assumptions that are supported by a modus operandi recognizable in the works of italian critics like Asor Rosa, Alfonso Berardinelli, Mario Barenghi, Gian Carlo Ferretti and others. This search was also made through the reading and analyzing of Calvino's essays, notes, interviews and journalistic articles and the italian critic which welcomed his work. Therefore, we attempted a romance's analysis that was capable of revealing another dimension of the writer: an intellectual, who through the mediation of the literature, thought about the romance genre relevance in various moments of culture and society, mainly the italian ones / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

In the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said's contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and Lakhous are thought to establish a counterpoint with dominant discourses about Italianness. With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses. A dialogical relation is established, within the study, between Ghermandi's Regina di fiori e di perle and Flaiano's Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In Scego's Rhoda and Oltre Babilonia and Ali Farah's Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous' Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all'islamica a viale Marconi analyse the binary ‘us-Italians' versus ‘thosemigrants' in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.