A obra em prosa de Luigi Pirandello (1867-1936), sobretudo sua novelística, é permeada pela presença de um rico e variado mundo animal. O autor, como um agudo observador de sua época, reconhece a importância dos animais na cultura e no desenvolvimento da civilização. Espelhos naturais dos humanos, capazes de sofrer e entender esse sofrimento, agentes do acaso e da impassibilidade da natureza, os animais inserem-se perfeitamente na poética do autor. Em Pirandello, o animal é um personagem que age e se comporta como um personagem de Pirandello, mas, ao contrário do personagem humano, mostra a sua própria face, sem disfarces, sem meios termos e sem máscaras. Este estudo busca examinar e chamar a atenção para esse pouco estudado, mas importante aspecto da obra de Pirandello, relacionando-o com a poética do autor e a evolução de sua obra / The prose works of Luigi Pirandello (1867-1936), particularly his short stories, is permeated by the presence of a rich and varied animal world. The author, as a keen observer of his time, recognizes the importance of animals in the culture and development of civilization. Natural mirrors of the human being, capable of suffering and understanding this suffering, agents of natures chance and impassivity, animals fall perfectly into the poetics of the author. In Pirandello, the animal is a character who acts and behaves like a character from Pirandello, but, unlike the human character, it shows its own face, without disguises, compromises and masks. This study seeks to examine and draw attention to this understudied but important aspect of the work of Pirandello, relating it to the poetics of the author and the evolution of his work

Esta pesquisa apresenta um breve estudo sobre a vida e a obra da escritora renascentista italiana Gaspara Stampa e descreve a recepção de sua obra no Brasil, contribuindo para os futuros estudos sobre a autora em nosso país. / This research presents a short study about the life and work of the Italian Renaissance writer Gaspara Stampa and describes the reception of her work in Brazil, contributing to future studies of the author in our country

Esta pesquisa surgiu do anseio de ampliar a presença da poesia de Umberto Saba no Brasil. Decidimos, por isso, selecionar e traduzir alguns de seus poemas, usando como critério de escolha o estudo da obra poética do triestino a partir da abordagem mais frequente: a relação entre o sujeito lírico e a cidade de Trieste. Escolhemos esse recorte porque acreditamos que ele possibilita fornecer uma visão abrangente da obra do autor, haja vista que, a partir dessa relação, muitas outras questões importantes para a compreensão de sua poesia podem ser estudadas, em especial aquelas questões engendradas no que denominamos de poética da vida. Com a expressão poética da vida, buscamos evidenciar uma tendência perceptível na poesia de Saba: a abertura para o que ele denomina de calda vita (vida quente), a vida percebida em toda a sua variedade, incluindo os momentos de dor e sofrimento. Nesse percurso, estudamos a relação sujeito/cidade tendo como norte a interpenetração entre a interioridade do sujeito e a matéria do mundo e, a partir daí, estabelecemos a comparação entre alguns traços da poética de Saba e de Baudelaire, mas também de Pascoli, Leopardi e dos Crepusculares. Tratamos também da temática do olhar, do desejo, das pulsões e da memória, as quais perpassam a relação sujeito/cidade. Abordamos ainda os principais aspectos formais que caracterizam a poesia do triestino, como, entre outros, a narratividade e o prosaísmo, os quais estão ligados ao que a crítica denomina realismo de Saba (a representação de cenas, fatos e personagens do cotidiano). / This research arose out of the will of spreading the presence of Umberto Sabas poetry in Brazil. We decided, thus, to select and translate some of his poems, using as a choice criterion the study of the poetical work of the italian poet out of the most frequent approach: the relation between his poetic persona and the city of Trieste. We have chosen this framing because we believe it enables a more embracing view of the work of the writer, since, from that relation, we can study many other important questions that may guide us to the comprehension of his poetry, specially those questions engendered in what we name here poetic of the life. With the expression poetic of the life, we seek to make a trend in Sabas poetry more evident: the openness to what he calls calda vita (warm life), the life realized in all its variety, including those moments of suffer and pain. In such path, we study the relation subject/city having as a north the interrelationship between the inner subject and the world matter, and from then, we establish a comparison among some features of Sabas and Baudelaires poetry, but also Pascolis, Leopardis and the Crepusculares. We also talk about the theme of the visual sense, of the desire, drives and memory, which are intertwined in the relation self/city. We talk, moreover, about the main formal aspects that characterize the poetry of the Italian, as, among others, the narrativity and the prosaicism, which are connected to what the critics call Sabas realism (the representation of scenes, facts and daily characters.)

A presente pesquisa tem como finalidade apresentar uma leitura da obra poética de Giacomo Leopardi, com um olhar atinente à estilística. A fim de abrir horizontes, no sentido de novas pesquisas e perspectivas da poética leopardiana, escolheu-se fazer um cotejo entre poemas selecionados e as suas traduções em língua portuguesa do Brasil, paralelamente, de modo que a análise estilística, feita em etapas, contribua para mostrar o sentido presente no texto poético, sentido esse que pode estar alterado na versão traduzida. Quatro foram os poemas escolhidos: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representando um conceito que circula há tempo, mas que se acredita manter a sua importância, referente às fases do pessimismo leopardiano: individual, histórico, cósmico e heroico. / The present study is to present a reading of the poetry of Giacomo Leopardi, with a look regards on the stylistic. In order to open horizons to new research and perspectives of Leopardi´s poetry we chose to make a comparison between the selected poems and their translations into Portuguese of Brazil, in parallel, so that the stylistic analysis, done in stages contributes to show the sense in this poetic text, meaning that it can be altered in the translation. Four poems were chosen: Il passero solitario, Linfinito, Canto notturno di un pastore errante dellAsia e La ginestra, o il fiore del deserto, representing a concept that circulate for some time, but believed to remain important, on stages of Leopardi´s pessimism: individual, historical, cosmic and heroic.

Esta dissertação tem como objetivo apresentar uma tradução comentada e anotada para o português brasileiro da obra Il ventre di Napoli, da escritora e jornalista italiana Matilde Serao (1856-1927). O livro está dividido em três partes: Vinte anos atrás, escrito em 1884, Agora, escrito em 1903, e A alma de Nápoles, escrito entre 1903 e 1905. A introdução à tradução contém ainda uma análise da obra da autora bem como do período histórico em que esta foi escrita. / This thesis has the purpose of presenting a commented and annotated translation, into Brazilian Portuguese, of the novel Il ventre di Napoli, by the Italian author and journalist Matilde Serao (1856-1927). The book is divided into three parts: Vinte anos atrás [Twenty years ago], written in 1884, Agora [Today], written in 1903, and A alma de Nápoles [The soul of Naples], written between 1903 and 1905. The introduction to the translation also includes an analysis of both the work of the author, and the historical period when it was written.

A presente dissertação versa sobre a obra conhecida, na tradição italiana, por Il Milione, escrita em Gênova, em 1298, por Marco Polo e Rustichello da Pisa. Trata-se da famosa obra que compartilhou com o mundo os conhecimentos adquiridos pelo viajante veneziano em sua estada na corte de Kublai Khan, Grande Khan do Império Tártaro. No primeiro capítulo desse estudo são tratadas algumas questões estruturais da obra, tais como o narrador, a dupla autoria tema assumido como fundamental para os estudos da obra polo-rusticheliana apenas no século XX e a questão do gênero. Já no segundo capítulo, são exploradas as ligações da obra com o maravilhoso literário proposto por Tzvetan Todorov e com o maravilhoso medieval proposto por Jacques Le Goff. / The present essay proposes a reflection on the work known in the italian tradition as Il Milione, which was written in Genoa, in 1298, by Marco Polo and Rustichello da Pisa. The famous work shared with the world the knowledge acquired by the venetian explorer during his stay in the Kublai Khan\'s court, the Great Khan of the Tatar Empire. In the first chapter of this research, some structural elements of the work are analyzed, such as the narrator, the co-authoring (this theme was considered essential for the study of the polo-rustichelian work only in the 20th century) and the genre question. In the second chapter, the liaisons between the work, the Literary Wonderful proposed by Tzvetan Todorov and the Medieval Wonderful proposed by Jacques Le Goff are explored.

This thesis investigates the narrative models in Dante's Commedia with the aim of opening up the poem to alternatives to the dominant narrative embedded in the text, which it terms Dante's masterplot. This is the teleological trajectory which allows the poet to subjugate earlier works or earlier parts of the poem to the revisionist gaze of its endpoint. The thesis analyses the masterplot's workings in the text and its role in the interpretation of the poem, and documents its overwhelming success in influencing readings of the Commedia. It then explores three competing narrative models that resist and counter its monopoly, which are enacted by (i) paradoxes, (ii) alternative endings and parallel lives; and (iii) the future. Paradoxes are used to neutralise the teleological hierarchy and thus allow Dante to represent contradictory ideas and experiences in the temporal medium of language. Through counterfactuals and twin episodes, Dante establishes in his poem a number of storylines that detour from and run parallel to the main narrative; this allows him to make room for an affective space within the text, which suspends narrative necessity and moral normativity. The future tense poses a problem case for the masterplot in that it indefinitely postpones the endpoint on which teleology relies, and thus exposes the poem, and its author's, vulnerability to time and circumstance. By focusing on non-linear modes of storytelling, the thesis questions interpretations of the Commedia that favour one normative master-truth, and highlights instead the manifold poetic, theological and ethical tensions which, due to the masterplot's influence, are often overlooked. The thesis concludes with a proposal that, alongside the traditional notions of Dante's characteristic plurality of linguistic registers and styles, Dante's narrative pluralism can and should come to play a key role in contemporary and future readings of the Commedia.

Pier Paolo Pasolini is one of the most important but also most misunderstood Italian artists and intellectuals of last century, a cultural and artistic myth often understood and used in excessively sectorial or expedient ways. This dissertation defines and explores Pasolini's carefully constructed authorial apparatus, in the sense attributed to this term by Michael Foucault. It argues that Pasolini's authorial apparatus is a labyrinthine subjective construction, which functions within the gigantic interdisciplinary macro-structure of Pasolini's body of work, demanding from its audience a comprehensive reading. Pasolini's authorial apparatus is deconstructed in this dissertation while following the making of Pasolini's incredibly complex body of work, which, crossing medium and disciplinary boundaries, includes poetry, narrative, film, but also theater, essays and even painting.

Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. My analysis considers how masquerade in this way (travestimento) — or in its more radical form of cross-dressing (travestitismo) — paradoxically offers access to the more authentic aims of the protagonists. Although critics have written on deception in the Decameron, they have not dealt thoroughly with the trope of masquerade and have altogether ignored the concept of transvestism. Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World advances our understanding of gender and identity in Boccaccio’s work to show that his ideas may help us understand not only the Middle Ages, but also our own epoch.

Esta dissertação tem como objetivo apresentar uma tradução comentada e anotada para o português brasileiro da obra Il ventre di Napoli, da escritora e jornalista italiana Matilde Serao (1856-1927). O livro está dividido em três partes: Vinte anos atrás, escrito em 1884, Agora, escrito em 1903, e A alma de Nápoles, escrito entre 1903 e 1905. A introdução à tradução contém ainda uma análise da obra da autora bem como do período histórico em que esta foi escrita. / This thesis has the purpose of presenting a commented and annotated translation, into Brazilian Portuguese, of the novel Il ventre di Napoli, by the Italian author and journalist Matilde Serao (1856-1927). The book is divided into three parts: Vinte anos atrás [Twenty years ago], written in 1884, Agora [Today], written in 1903, and A alma de Nápoles [The soul of Naples], written between 1903 and 1905. The introduction to the translation also includes an analysis of both the work of the author, and the historical period when it was written.