Made available in DSpace on 2014-11-10T11:09:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-10-05Bitstream added on 2014-11-10T11:57:55Z : No. of bitstreams: 1 000707223.pdf: 9530480 bytes, checksum: 9bdb6250d95193eab22ed582e023afba (MD5) / Esta investigação, de natureza híbrida, teve por objetivo principal a elaboração de um teste de proficiência na compreensão oral (CO) da Língua Italiana (LI), o TECOLI. Para tanto, em um primeiro momento, foi analisado o ensino da CO na LI a um grupo de formandos em Letras considerado como contexto típico. O estudo justifica-se, principalmente, por elaborar um teste de proficiência em CO que possa propiciar aos cursos de formação de professores de LI um instrumento de avaliação dessa habilidade linguística. Isto porque não encontrarmos, dentre os testes e provas de competência linguística consolidados para o italiano como LE criados por universidades internacionalmente reconhecidas, nenhum teste dirigido especificamente a docentes de italiano no exterior que queiram avaliar a compreensão oral de seus alunos. É sabido que a avaliação da LE não é amplamente contemplada pelas pesquisas que tratam do processo de ensino e aprendizagem de línguas. São ainda masi raras as pesquisas que tratem especificamente da avaliação de proficiência na CO, visto uqe o conhecimento e o entendimento desta habilidade, ainda hoje, são limitados. O nosso estudo pretende também contribuir para um projeto de pesquisa maior, o qual é intitulado Exame de proficiência para professores de LE (EPPLE): definição de construto, tarefas e parâmetros para avaliação em contextos brasileiros, que se ocupa, principalmente, da habilidade oral. As perguntas norteadoras desta pesquisa são: 1) Como se caracteriza o ensino da CO em um curso de formação de professores de Língua Italiana em uma universidade pública?; 2) como se comportam as várias versões do teste criado para este estudo? ; 3) qual a fidedignidade e validade... (Resumo completo, clicar acesso eletrônico abaixo) / This research, of a hybrid nature, aimed at developing a test of proficiency in listening comprehension (abbreviated as CO) of Italian as a foreing language (abbreviated as LI), the TECOLI. At first, we analyzed the teaching of CO in LI to a group of pre-service teachers, considered as a typical context. The study is justified mainly by the preparation of a test in listening comprehension that provides an instrument for courses to evaluate the linguistic ability of pré-service teachers of Italian as a foreign language. Such test finds no similar tool to evaluate CO among the consolidated tests and proficiency tests of italian as a foreign language created by internationally recognized universities, or well-known tests targeted at helping non-nataive teachers of Italian to evaluate their students. It is known that the evaluation of a foreign language is not widelv addressed by the research dealing with the processes of teaching and learning languages. Even more rare in the field are research studies that focus specifically on the phenomenon of evaluating proficiency in listening comprehension, since knowledge and understanding of this ability remains limited nowadays. Our study also aims at contributing to a larger research project entiled Proficiency examination for foreing language teachers (abbreviated as EPPLE): definition of tasks and parameters for language assessmentin Brazilian contexts, wich focuses mainly on oral skills of pre-service teachers. The questions that guide this research are: 1) How do we characterize the teaching of CO ina pre-service teacher course that prepares teachers of Italian as a foreign language at a state university in Brazil?; 2) How do the versions of the test created for this study function?; and 3) What is the reliability and validity of the final version of the instrument created? Aiming at... (Complete abstract click electronic access below)

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

ENG Esotericism and Occultism in the Italian Literature of the Early Twentieth Century The purpose of this research is to bring contribution to the branch of academic studies dedicated to Western Esotericism with aim to clarify the relationship between this literary field and culture in general. Numerous studies were made in this area of research, specifically tackling the influence of Esotericism on modern and contemporary literature. The goal was to show, in particular, the contribution Italian authors had to establishing of esoteric directions in literature, throughout a limited time-span (last decades of the 19th until the early 20th century). The research, based mainly upon concrete examples and documented resources, portrays the attempt of many writers and entire cultural trends in Italy, during the period considered, to adopt an original approach to expressing themselves, one which will in turn help them to overcome the literary boundaries of that time. This direction found fruitful ground and rooted itself in the esoteric culture, the occult sciences, in the lyrical dimension of dreams and of the unconscious. This study shows the relationship between esotericism and Italian science and culture scene between "fin de siècle and avant-garde", with emphasis on the undeniable influence the...

This study examines the literary texts of the Ligurian writer Giuseppe Conte published between 1972 and 2005. In Part One, the reasons are considered which justify this research on Giuseppe Conte. This author is discussed in the context of the literary movements of the second half of the 20th century in Italy, with special reference to his approach to literature, which proposes a modern rewriting of myth. Conte is in fact a co-founder of "Mitomodernismo". "Mitomodernismo" is a literary movement, established in 1994 and currently still active, which aims to revive modern society through a spiritual rebirth promoted by a recovery of basic human values, as these appear within the boundaries already suggested by myth since antiquity. The Mitomodernisti propose an alternative which could assist contemporaries to overcome the obstacles created by modern "maladies", particularly in the West, whether these be socio-cultural, ecological, or religious. Throughout Conte's entire æuvre one clearly perceives this strong desire for rebirth which for the author is concretised in "Fare Anima", that is, a way to reconnecting with the universe, of rising towards the "light". This tension towards rebirth could be compared metaphorically to the quest for the Graal, which involves suffering as a way to redemption. The artist's visionary work is comparable to the extrasensory journey undertaken by the shaman during his trance. For this reason, in Part One of this study the figure of the shaman will also be examined in a socio-cultural context, in order to transfer it better to the literary context. The whole of Part Two is dedicated to an analysis of Conte's æuvre - poetry, novels and also, but only indirectly, essays and articles - in the light of his fundamental themes, which metaphorically turn the writer into a "shaman". The analysis is based on some concepts put forward by the Swiss psycho-analyst Carl Gustav Jung, such as the function and symbolism of myth in literature from a psychoanalytical perspective. RIASSUNTO In questo studio vengono prese in esame le opere dello scrittore ligure Giuseppe Conte, pubblicate dal 1972 al 2005. Nella Parte Prima vengono considerate le ragioni che giustificano questa ricerca su Giuseppe Conte. L'autore viene discusso nel contesto dei movimenti letterari del secondo Novecento in Italia, ed in particolare il suo approccio alla letteratura che propone una riscrittura del mito in chiave moderna. Lo scrittore è infatti uno dei cofondatori del "Mitomodernismo". Il "Mitomodernismo" è un movimento letterario che vide la luce nel 1994 e che è ancora attivo alla data attuale. Esso si prefigge di risanare la società moderna mediante una rinascita spirituale promossa dalla ripresa dei valori umani di base, simili a quelli suggeriti dal mito fin dai tempi antichi. A tutto ciò i Mitomodernisti propongono un'alternativa che aiuti l'uomo contemporaneo a superare gli impedimenti creati da queste "malattie" moderne, particolarmente nell'ambito occidentale, siano queste socioculturali, ecologiche, religiose, o altre. Attraverso tutta l'opera di Conte si percepisce chiaramente questo desiderio di rinascita che per lo scrittore si concretizza nel "Fare Anima", vale a dire in un modo di ricollegarsi al cosmo, di innalzarsi verso la "luce". Questa tensione verso la rinascita può venire metaforicamente comparata alla ricerca del Graal attraverso la sofferenza che redime. L'opera visionaria dell'artista è paragonabile al viaggio extrasensoriale intrapreso dallo sciamano durante la sua trance. Per questo motivo nella Prima Parte di questo studio si esamina la figura dello sciamano anche in ambito socioculturale per poterla poi meglio trasferire in quello letterario. La Parte Seconda è completamente dedicata all'analisi dell'opera contiana - poesie, romanzi e, trasversalmente, i saggi e gli articoli alla luce dei suoi temi portanti, che dello scrittore fanno metaforicamente uno "sciamano". L'analisi viene condotta basandosi su alcuni concetti elaborati dallo psicoanalista svizzero Carl Gustav Jung, quali la funzione ed il simbolismo del mito in letteratura da una prospettiva psicoanalitica. / Classics & Mod Euro Lang / D. Lit. et Phil.

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 & Modern European Languages / D.Litt. et Phil. (Italian)

Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.

This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

My thesis considers wonder (meraviglia) as a path towards poetic knowledge as it appears in Dante’s Commedia and Ariosto’s Orlando furioso. In my textual analyses, I pursue manifestations of wonder as indicative of a specific moment of intellectual and philosophical inquiry that fills the gap between the dimension of the subject and that of the object, namely man and his world. Before embarking on close readings, in chapter one I disentangle the different components of wonder, tracing wonder’s earliest formulations back to Plato and Aristotle, and I re-define the fields of meraviglia’s neighbouring terms (stupore and ammirazione). My research aims to reassess the areas of wonder and of the marvellous, which literary critics have for too long confused, as active parts of the speculative discourses underlying both the Commedia and the Orlando furioso. As a result, in chapters two and three, I offer a picture of wonder which, in the Commedia, leads to experience of the divine dimension, bridging the human and the divine, but, in the Furioso, opens up a new interpretation of the earthly dimension, bridging the distances between men on earth and revealing the gnoseological bearing of its contradictions. This analysis demonstrates how differently the two authors relate to tradition: while Dante offers the first formulation of a redemptive Christian marvellous, linking pagan marvels to divine truth, Ariosto’s marvellous is to be seen as a climax to the liberation of wonder from medieval theological tenets, a process that gives birth to modern wonder. Through a diachronic and comparative investigation, I illuminate nuances of wonder that one could not discern by focussing on just one author or just one cultural period. The comparison between the two texts in light of wonder allows us to discover new paths within the poems, which show the connections between their marvellous features and their speculative drives.

Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.

O presente trabalho é uma reflexão acerca do gênero cômico cinematográfico denominado commedia all\'italiana. Para essa pesquisa, primeiramente, acompanhamos a evolução do cinema cômico italiano desde seus primórdios até o fenômeno estudado. Na formação do cinema cômico, aludimos não só à importância da contribuição da vertente teatral - através da commedia dell\'arte - como também dos atores cômicos do primeiro cinema, do período conhecido como telefoni bianchi, de figuras como Totò, Carlo Ludovico Bragaglia e Mario Mattoli, além da fase denominada neorrealismo rosa. Desse modo, através do percurso anterior à commedia all\'italiana, procuramos estabelecer sua inserção na tradição cômica da Itália. Também foram considerados aspectos importantes do contexto históricosocial à época do surgimento e consolidação desse gênero cômico popular do cinema italiano. Procuramos resgatar as origens e fontes da commedia all\'italiana, focalizando as diferentes fases que a compuseram e as principais filmografias que a evidenciaram. Ainda nesse momento, traçamos seus percursos e suas particularidades, percorremos a trajetória de seu surgimento e focalizamos algumas de suas características intrínsecas. Trouxemos a discussão de três momentos emblemáticos na história do gênero ao trabalharmos com três obras fílmicas significativas de diretores e fases diversas, apresentando alguns dos aspectos presentes na commedia all\'italiana e ressaltando questões que se mostraram pertinentes na construção de um senso crítico nas obras desse gênero / This dissertation explores the comic genre in Italian cinema known as commedia allitaliana. First, we accompanied the evolution of Italian comic cinema from its beginnings up to the phenomenon studied. In the formation of comic cinema, we alluded not only to the importance of the contribution of theatre - through the commedia dellarte - but also to the first silent comic actors in cinema from the period known as telefoni bianchi, including such figures as Totò, Carlo Ludovico Bragaglia and Mario Mattoli. We also traced the influence of the phase known as pink neorealism. In this way, through an analysis of comic genres before commedia allitaliana we aimed to insert it in the entire Italian comic tradition. We also considered the important historical and social contexts of the era in which this popular comic genre arose and consolidated itself. We attempted to rescue the origins and sources of commedia all\'italiana, focusing on the different phases that composed it and its principal films. We charted its emergence, traced its development and peculiarities and stressed some of its intrinsic characteristics. We highlighted three emblematic moments in the history of the genre through an analysis of three significant films from diverse phases and directors, showing some of the main aspects present in commedia all\'italiana and emphasizing the pertinent questions for a critical approach to works in the genre