The objective of this thesis is the analysis of the media reception of chosen works of Italo Calvino in Czech and Italian periodicals. The first chapter discusses the literary criticism. The following chapter introduces the writer's life and moments determining his literary production. The mainstay of this work is divided into four chapters and is dedicated to the period literary crticism of the works chosen which were released in newspapers or literary periodicals both in Italy and the Czech Republic. The most significant reception showed the books The Path of the Spider's Nest, Invisible Cities, If on a Winter's Night a Traveler and Six Memos for the Next Millenium.

An exploration of the similarities and differences between two major works of the writer Italo Calvino, this thesis delves into the use of historical background and fable as allegory for 1945-1956 Italy.

Il lavoro è un’indagine sulla genesi e lo sviluppo della rivista «il menabò» (1959-1967), diretta da Elio Vittorini e Italo Calvino e pubblicata da Einaudi, a partire dai materiali epistolari inediti, conservati nel Fondo Giulio Einaudi Editore presso l’Archivio di Stato di Torino e nel Fondo Elio Vittorini presso il Centro Apice dell’Università degli Studi di Milano. L’analisi approfondita dei carteggi ha permesso di ricostruire la storia di una rivista, la quale ha ricoperto un ruolo centrale all’interno del panorama letterario e culturale italiano, ha contribuito a portare notorietà a giovani scrittori esordienti e ha promosso un dibattito critico che ancora oggi può dirsi attuale. / The thesis is an analysis of the genesis and the development of the magazine «il menabò» (1959-1967), directed by Elio Vittorini and Italo Calvino and published by Einaudi, starting from unedited epistolary materials, preserved in the Fondo Giulio Einaudi Editore in the Archivio di Stato in Turin and in the Fondo Elio Vittorini in the Centro Apice of Università degli Studi of Milan. The deep analysis of this correspondence allowed us to reconstruct the history of a magazine which played a key role in the Italian literary and cultural scene, contributed to give fame to newcomer young writers and promoted a critical debate still present nowadays.

Submitted by Juliane Luzia Camargo null (julianel.camargo@hotmail.com) on 2018-03-23T00:34:53Z No. of bitstreams: 1 Dissertação final.pdf: 14775152 bytes, checksum: c30c87c08b575a7422a970fdba621563 (MD5) / Approved for entry into archive by Laura Akie Saito Inafuko (linafuko@assis.unesp.br) on 2018-03-23T12:45:43Z (GMT) No. of bitstreams: 1 camargo_jl_me_assis.pdf: 14775152 bytes, checksum: c30c87c08b575a7422a970fdba621563 (MD5) / Made available in DSpace on 2018-03-23T12:45:43Z (GMT). No. of bitstreams: 1 camargo_jl_me_assis.pdf: 14775152 bytes, checksum: c30c87c08b575a7422a970fdba621563 (MD5) Previous issue date: 2018-01-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / La dissertazione è dedicata allo studio delle missive dello scrittore italiano Italo Calvino (1923-1985) contenute nel libro I libri degli altri (1991), a cura di Giovanni Tesio. Analizzate dalle loro caratteristiche, le lettere costituiscono un’importante testimonianza della letteratura italiana del XX secolo, specialmente tra gli anni 1947 e 1969. Considerata come un genere letterario, la corrispondenza – la prima manifestazione di sé – ci permette di penetrare nello spazio culturare, sociale e storico dello scrittore e ci assicura di osservare le azioni che sono inerenti alla sua personalità non solo come redattore e critico letterario, ma come individuo attivo nella politica del suo paese. La lettura delle lettere dello scrittore italiano rivela l’atmosfera delle sue attività critico-letterarie, così come i suoi pensieri acquisiti dalle sue esperienze personali e preofessionali dalla Seconda Guerra Mondiale. Il primo capitolo affronterà quindi il contesto storico che precede la prima lettera del libro datata 26 novembre 1947, e lo scenario descritto include la partecipazione dell'Italia alla Seconda Grande Guerra, le ripercussioni del disastro sulla politica, l'economia e nella vita della popolazione, oltre al movimento della Resistenza: la lotta armata dell'opposizione al fascismo. Il resoconto è importante per la comprensione delle future manifestazioni letterarie di Italo Calvino, soprattutto nel suo ruolo come critico nella editora Einaudi. Famosa per le sue discussioni letterarie e politiche, la casa editrice è stata una delle scene principali della discussione artistica e antifascista di questo periodo, considerata un grande laboratorio intellettuale e responsabile della promozione di un significativo sviluppo culturale in Italia nell'immediato dopoguerra. Il secondo capitolo si concentra sullo studio delle missive e l'inserimento di queste narrative intime nella letteratura. Per l'esplorazione del genere epistolare, comprendiamo l'importanza di considerare, tra le altre, le analisi del filosofo Michel Foucault (1926-1984) e dello esperto in autobiografie Philippe Lejeune (1938), che favoriscono uno sguardo più attento al ruolo stabilito dalle lettere sin dalle sue prime apparizioni. Il panorama e la produzione letteraria degli anni '40 e '60 sono ritratti nel terzo capitolo con il supporto della corrispondenza dello scrittore italiano e, di conseguenza, il contesto storico e sociale di quel tempo. Come parte del suo ufficio editoriale, Italo Calvino ha stabilito dialoghi attraverso lettere con i principali intellettuali del suo tempo, discutendo, correggendo manoscritti e commentando le novità nel campo letterario. Giulio Einaudi, Carlo Salinari, Elio Vittorini, Elémire Zolla e Natalia Ginzburg sono alcuni dei loro corrispondenti principali. / A dissertação é dedicada ao estudo das missivas do escritor italiano Italo Calvino (1923-1985) contidas no livro I libri degli altri (1991), de organização de Giovanni Tesio. Analisadas a partir de suas características próprias, as cartas configuram um importante testemunho sobre a literatura italiana do século XX, neste caso, especialmente, entre os anos de 1947 e 1969. Considerada como gênero literário, a correspondência – primeira manifestação das escritas de si – ao permitir adentrarmos o espaço cultural, social e histórico do missivista, nos garante observar ações que são inerentes à sua personalidade não só como editor e crítico literário, mas como indivíduo atuante na política de seu país. A leitura das cartas do escritor italiano revela o ambiente de suas atividades crítico-literárias, bem como seus pensamentos adquiridos a partir de suas vivências pessoais e profissionais a partir da Segunda Guerra Mundial. O primeiro capítulo, então, tratará do contexto histórico que precede à primeira carta do livro datada de 1947, e o cenário descrito inclui a participação da Itália na Segunda Grande Guerra, os reflexos do desastre na política, na economia e na vida da população, além do movimento de Resistência: a luta armada de oposição ao fascismo. O relato é importante para o entendimento das futuras manifestações literárias de Italo Calvino, em especial no seu ofício como crítico na editora Einaudi. Famosa por suas discussões literárias e políticas, a editora foi um dos principais palcos de discussão artística e antifascista deste período, tida como um grande laboratório intelectual e responsável pela promoção de um significativo desenvolvimento cultural na Itália no imediato pós-guerra. O segundo capítulo é centrado no estudo das missivas e a inserção destas narrativas íntimas na Literatura. Para a exploração do gênero epistolar, entendemos a importância de considerar, dentre outras, as análises do filósofo Michel Foucault (1926-1984) e do especialista em autobiografias Philippe Lejeune (1938), que favorecem um olhar mais atento sobre o papel estabelecido pelas cartas desde suas primeiras aparições. O panorama e o fazer literário das décadas de 1940 e 1960 são retratados no terceiro capítulo com o apoio das correspondências do escritor italiano e, por consequência, o contexto histórico e social da época. Como parte de seu ofício editorial, Italo Calvino estabeleceu diálogos por meio de cartas com os principais intelectuais de seu tempo, discutindo, corrigindo manuscritos e opinando sobre as novidades no campo literário. Giulio Einaudi, Carlo Salinari, Elio Vittorini, Elémire Zolla e Natalia Ginzburg são alguns de seus principais correspondentes. / The dissertation is dedicated to the study of the missives of the Italian writer Italo Calvino (1923-1985) contained in the book I libri degli altri (1991), organized by Giovanni Tesio. Analyzed by their own characteristics, the letters constitute an important testimony on Italian literature of the twentieth century, in this case, especially between the years of 1947 and 1969. Considered as a literary genre, correspondence - the first manifestation of the self-writing - allowing us to penetrate the cultural, social and historical space of the writer, assures us to observe actions that are inherent to his personality not only as an editor and literary critic, but as an active individual in the politics of his country. The reading of the letters of the Italian writer reveals the atmosphere of his critical-literary activities, as well as his thoughts acquired from his personal and professional experiences from the World War II. The first chapter will discuss the historical context that precedes the first letter of the book dating from 1947, and the scenario described includes Italy's participation in World War II, the repercussions of the disaster on politics, economy and the life of the population, in addition to the Resistance movement: the armed struggle of opposition to fascism. The account is important for the understanding of the future literary manifestations of Italo Calvino, especially in his occupation as a critic in the publisher Einaudi. Famous for its literary and political discussions, the publisher was one of the main ambiences of artistic and antifascist discussion of this period, considered as a great intellectual laboratory and responsible for promoting a significant cultural development in Italy in the immediate postwar period. The second chapter focuses on the study of missives and the insertion of these intimate narratives in Literature. For the exploration of the epistolary genre, we understand the importance of considering, among others, the analyzes of the philosopher Michel Foucault (1926-1984) and the specialist in autobiographies Philippe Lejeune (1938), that favor a closer look to the role established by the letters since their first appearances. The panorama and the literary making of the 1940s and 1960s are portrayed in the third chapter with the support of the Italian writer's correspondences and, consequently the historical and social context of the time. As part of his editorial occupation, Italo Calvino established dialogues through letters with the main intellectuals of his time, discussing, correcting manuscripts, and commenting on news in the literary field. Giulio Einaudi, Carlo Salinari, Elio Vittorini, Elémire Zolla and Natalia Ginzburg are some of his main correspondents.

Submitted by Kelli Mesquita Luciano null (kelliml_unesp@yahoo.com.br) on 2017-07-11T22:27:54Z No. of bitstreams: 1 Referências históricas e o realismo mágico- as confluências em Il barone rampante, de Italo Calvino e em El Siglo de las Luces, de Alejo Carpentier.pdf: 1649380 bytes, checksum: 3bf247e77cf811891e04e196821a012c (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-07-14T16:49:32Z (GMT) No. of bitstreams: 1 luciano_km_dr_arafcl.pdf: 1649380 bytes, checksum: 3bf247e77cf811891e04e196821a012c (MD5) / Made available in DSpace on 2017-07-14T16:49:32Z (GMT). No. of bitstreams: 1 luciano_km_dr_arafcl.pdf: 1649380 bytes, checksum: 3bf247e77cf811891e04e196821a012c (MD5) Previous issue date: 2017-05-26 / Esta tese objetiva a comparação dos romances Il barone rampante (1957), de Italo Calvino e El Siglo de las Luces (1962), de Alejo Carpentier, pois ambos apresentam confluências no que diz respeito a existência de referencias históricas, uma vez que os enredos transcorrem no século XVIII, em meio a Revolução Francesa e aos ideais iluministas. Além disso, as duas narrativas apresentam indicações de figuras da história oficial assim como a indicação de Instituições históricas. É fundamental destacar que nos dois romances, há acontecimentos insólitos que se referem ao realismo mágico, em Il barone rampante, o protagonista Cosimo vive um estilo de vida incomum sobre as árvores, onde estuda, tem atitudes altruístas e acredita nos ideias revolucionários, enquanto em El Siglo de las Luces, o protagonista é Víctor Hugues que foi inspirado em uma figura da história oficial, um francês que foi comerciante e responsável por disseminar a ideologia revolucionária na região das Antilhas. Sua chegada a Havana, movimenta ativamente a vida dos primos Esteban, Carlos e Sofía, que passam a nutrir interesses pela Revolução, fazem diversos estudos e leituras de autores filosóficos e são moldados pelo pensamento racionalista. No romance carpentiano, Esteban é curado da asma graças a rituais curandeiros fator que pode ser associado ao realismo maravilhoso. Em outros momentos, buscamos evidenciar alguns aspectos fabulistas em Il barone rampante e do barroquismo latino americano em El Siglo de las Luces. No final da tese, apontamos certas características que aproximam ainda mais Il barone rampante de El Siglo de las Luces, visto que são abordadas temáticas em comum nos dois romances, como, por exemplo, a busca pelo conhecimento, a solidão, a frustração, os avanços tecnológicos e a esperança em um mundo melhor por meio do incentivo à educação, ao conhecimento e através de movimentos revolucionários. Em outras palavras, há o tratamento de temas importantíssimos como esses, por meio de uma revisitação ao passado, no caso, à Revolução Francesa serve para levar o leitor à reflexão sobre os contextos que os autores viveram no século XX, a exemplo do fascismo e dos movimentos de resistência na Itália; da ditadura em Cuba bem como o triunfo da Revolução Cubana, ou seja, movimentos de resistência que necessitaram da união coletiva para que houvesse de fato mudanças benéficas para população, condição fundamental que permeia o modo de agir dos personagens das obras analisadas. Esses movimentos até os dias atuais são imprescindíveis para que haja transformações concretas na sociedade em torno da igualdade, do respeito e da aplicação dos direitos humanos para todos. / This thesis aims at the comparison of the novels Il barone rampante (1957), by Italo Calvino and El Siglo de las Luces (1962), by Alejo Carpentier, since both have confluences regarding the existence of historical references, since the entanglements both of which take place in the eighteenth century, amidst the French Revolution and the Enlightenment ideals. In addition, the two narratives present indications of figures of the official history as well as the indication of Historical Institutions. It is important to note that in the two novels, there are unusual events that refer to magical realism, in Il barone rampante, the protagonist Cosimo lives an unusual lifestyle on the trees, where he studies, has altruistic attitudes and believes in revolutionary ideas, while in El Siglo de las Luces, the protagonist is Víctor Hugues who was inspired by an official history figure, a french who was a merchant and responsible for spreading the revolutionary ideology in the Antilles region. His arrival in Havana actively moves the lives of the cousins Esteban, Carlos and Sofía, who begin to nurture interests for the Revolution, do various studies and readings of philosophical authors and are shaped by rationalist thinking. In the Carpentian novel, Esteban is cured of asthma thanks to ritual healers, factor that can be associated with magical realism. At other times, we tried to evidence some fabulous aspects in Il barone rampante and the Latin American baroque in El Siglo de las Luces. At the end of the thesis, we point out certain characteristics that approach even more the Il barone rampante to El Siglo de las Luces, since themes are discussed in common in both novels, such as the search for knowledge, loneliness, frustration, technological advances and hope for a better world by encouraging education, knowledge and revolutionary movements. In other words, there is the treatment of such important subjects as a revision of the past, in this case the French Revolution, serves to lead the reader to reflect on the contexts that the authors lived in the twentieth century, such as fascism and Resistance movements in Italy; of the dictatorship in Cuba, as well as the triumph of the Cuban Revolution, that is, resistance movements that necessitated a collective union so that there was indeed beneficial changes for the population, a fundamental condition that permeates the behavior of the characters in the analyzed literary works. These movements until nowadays are essentials for concrete transformations in society around equality, respect and the application of human rights for all.

L'écriture et la lecture sont les deux espaces, visuel le premier et auditif le deuxième, qui représentent les coordonnées sur lesquelles Calvino construit son univers de signes : l'œil et l'oreille. Ce sont les deux fonctions, sensorielles et mentales, qui permettent la transmission d'un savoir, d'un message, même en l'absence de celui qui " parle ". C'est là la raison, pouvons-nous supposer, de l'importance que l'écrivain a accordée à la fonction de l'écoute, outre, évidemment, celle qu'il conférait à la vue. Dans notre analyse de la poétique de l'écoute dans l'œuvre d'Italo Calvino, nous avons essayé de montrer en quoi consiste la particularité de son oreille. Comme pour la vue, Calvino applique pour l'ouïe une méthode personnelle de connaissance : car c'est toujours le sujet, le " moi " avec tous ses organes de perception qui nous permet de nous rapprocher du monde extérieur et de sonder notre esprit. Calvino a dès lors construit un univers de sons très particulier étant donné que cet univers sonore vient de son monde à lui, de sa propre expérience et surtout de sa façon d'entrer en relation avec le monde : or cela n'est jamais définitif, et même toujours problématique. C'est là la manière propre à celui qui refuse les dogmes et les écoles, qui sait bien qu'une seule réponse ou une seule vérité est impossible, mais qui ne peut s'empêcher de continuer à sonder l'univers réel ou fictionnel [celui de la vie comme celui de la page], même si au terme de sa recherche, le résultat est toujours le cercle vide, l'espace blanc de la page. Cela explique aussi les différentes modalités que la fonction de l'écoute a eues dans le parcours personnel et littéraire de Calvino.

In this essay I have read the novels Wide Sargasso Sea (Jean Rhys 1966), Desirada (Maryse Condé 1997) and Invisible Cities (Italo Calvino 1972) through Édouard Glissant’s notion of the primary scene in Philosophie de la relation. Poésie en étendue. I have examined how the primary scene can be seen as a political/an aesthetical strategy in the three novels. This was done in order to question the blunted tool of the notion of the identity, which is often considered in studies regarding ”postcolonial novels”. Invisible Cities is not belonging in this tradition, the method I used was ”The travelling theory” of Edward W. Saïd that proposes to let theories travel through different fields instead of trying to understand their ”original” meaning. I compared these novels in accordance to Glissants theory of questioning the notion of origins. The analysis compares how the novels depending on in wich tradition they have been read is being seen with different eyes. Novels interpreted as ”postcolonial novels” are usually read as a symptom of lack of origin. Whereas the protagonist tryes to understand the loss of identity. Glissants theory eases the analysis to reach other possible meanings of the novels, where they both meet and differs. My results indicate that The Wide Sargasso Sea and Desirada create a complex relation to time and space, where the primary scenes in these novels are steeped through different time levels. The two novels present a new way to understand time that rejects historicity, create new tools for thinking and evaluates new strategies to exist in the world, without origins in the classical meaning; Rhys through her imagery and Condé through her weave of times. The same goes for Invicible Cities, only though Venice the primal scene in the novel stays the center of interest, and even though borders of time and space are being questioned, the novel tends to make Venice the guzzling synthesis. / Édouard Glissant, Jean Rhys, Maryse Condé, Italo Calvino, Édward W. Saïd, Mary Lou Emery, Spivak.

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.

Le modèle formel de la variation sur thème, qui est célèbre surtout à cause de son emploi en tant que principe de composition musical – notamment pour les développements que y ont apporté des artistes comme Bach, Beethoven ou Schönberg -, toutefois n’épuise pas ses potentialités expressives exclusivement dans le cadre de cet art.Dans le roman, notamment, l’adoption du principe de composition nommé variation sur thème, qui implique la présentation du même thème (ou motif) par de perspectives différentes (que peuvent correspondre au point de vue des diverses personnages ou à la distance temporelle différente prise en rapport à la narration du même événement), semble se présenter comme un expédient idéalement fonctionnel à l’obtention de l’objectif cognitif le principal de cet art, qui concerne le dévoilement de la substantielle relativité de toutes les vérités apparentes. Alors que de romanciers tel que Milan Kundera ou Danilo Kiš, dans leurs œuvres, semblent avoir interprété le modèle des variations comme un principe fonctionnel à la réalisation d’une structure organique et unitaire, parfaitement concentrée autour du thème, dans d’autres romans contemporains, par exemple dans Si une nuit d’hiver un voyageur (1979) de Italo Calvino o dans Les variations Goldberg (1981) di Nancy Huston, les variations assument une disposition de type sériel.Dans ces derniers cas, la forme de la variation sur thème est utilisée, plutôt que comme un modèle de composition, comme un principe de désagrégation de la matière romanesque. / Theme and variation, a formal technique that is popular mainly through its applications within music, in particular thanks to contributions by artists such as Bach, Beethoven or Schönberg, nevertheless has expressive potentials that go beyond the boundaries of this art. In particular, it is in the novel that the use of variation as a composing principle, implying the presentation of a single central theme or motif by different perspectives (that may correspond to the point of view of different characters, or to different amounts of time elapsed from the actual happening of an event to its narration), seems to lend itself as the ideal device to achieve the main cognitive objective of this art, that is the unveiling of the substantial relativity of all things.While novelists such has Milan Kundera or Danilo Kiš seem to have developed, in their work, the theme and variation technique as a principle that is functional to an organic and uniform form of composition, ideally focused on a single theme, in other novels, such as If on a winter's night a traveler (1979) by Italo Calvino or Variations Goldberg (1981) by Nancy Huston, the variations are disposed so as to acquire a serial connotation. In those latter cases, the theme and variation technique is used as a functional principle for the disaggregation of the matter of the novel, rather than as a composition technique.

Analisi del parere di lettura come genere editoriale e come strumento utile alla storia dell'editoria, della letteratura e alla filologia. / This study explains the implications of the study of the Einaudi judgements about new manuscripts as instrument of the history of publishers, of literature and philology.