Issued also as thesis, Columbia University. / Bibliography: p. [177]-200.

Diss.--Universität Bochum, 1995. / Bibiogr. p. 225-229.

Dissertation--Bonn--Rheinische Friedrich-Wilhelm-Universität, 1998. / Bibliogr. p. 359-381.

Texte remanié de: Dissertation--Heidelberg--Ruprecht-Karls-Universität, 1994. / Bibliogr. p. 303-331. Résumé en italien.

Univ. de Deusto, Diss. 1997--Bilbao, 1997.

Proefschrift--Letteren--Nijmegen, 1979. / Résumé en hollandais. Bibliogr. p. 266-288.

Philosophiquement le XXème siècle est de bien des façons un siècle existentialiste où l’existence est pensée comme transcendance du monde dans l’attente. Selon l’existentialisme l’homme est à la fois dans le monde et outre le monde car si la situation nous transcende dans sa factualité nous la transcendons par notre volonté. Pourtant pour l’existentialisme de l’échec rien – si ce n’est la mort – ne peut vraiment libérer l’homme de la situation de fait du monde historique: sa seule transcendance peut alors être seulement dans le sentiment d’une impossibilité de la transcendance et donc dans conscience de l’échec. On retrouve poétiquement cette situation d’échec dans le mythe d’Orphée où elle interroge métalogiquement le pouvoir de l’acte poétique. Au-delà de l’orphisme religieux le mythe d’Orphée nous propose alors la vision d’un chant qui est à la fois désenchantement nostalgique et enchantement épistémique et donc respectivement lamentation pour ce qui n’est plus et admiration pour ce qui est. Orphique est donc la mélancolie nostalgique qui en vain veut transcender le présent dans le passé mais qui toutefois en tant que phonie magique transcende le présent dans le futur. On peut alors pour le XXème siècle poétique parler d’existentialisme orphique et recenser certaines de ses manifestations les plus éminentes. Dans la poésie italienne le poème L’ultimo viaggio (1904) de Pascoli présente un syntagme – non esser più – qui porte à lui seul une problématique existentialiste – aussi bien dans son mode nostalgique négatif que dans son mode épistémique affirmatif – que l’on retrouve de manière tout aussi forte chez Ungaretti et Montale et Pasolini où l’aspiration à l’être vit indiscutablement dans la désolation du ne plus être. Ces quatre poètes sont alors affrontés selon une même méthode herméneutique qui actualise la microcritique d’un syntagme fortement circonstanciel – non esser più pour Pascoli, equivoco della luna pour Ungaretti, eternità d’istante pour Montale et grin di cristàl pour Pasolini – par la macrocritique du corpus poétique de chaque poète afin d’interroger – tout au long du XXème siècle – diverses modalités d’un même existentialisme orphique. / Philosophically the 20th century is in many ways an existentialist century where the existence is thought of as transcendence of the world in the expectation. According to existentialism man is at the same time in the world and beyond the world because if the situation transcends us in its factuality we transcend it by our will. Yet for the existentialism of failure nothing – except death – can really free man from the factual situation of the historic world: his sole transcendence can only be in the feeling of the impossibility of transcendence and thus in the consciousness of failure. Poetically we find this situation of failure in the myth of Orpheus where the power of the poetic act is questioned metalogically. Beyond the religious orphism the myth of Orpheus offers us the vision of a chant which is at the same time nostalgic disenchantment and epistemic enchantment and therefore respectively a lamentation for what is no more and admiration for what is. Thus orphic is the nostalgic melancholy which in vain wants to transcend the present in the past but nontheless as a magic word transcends the present in the future. So for the 20th poetic century we can speak of orphic existentialism and list some of its most eminent manifestations. In the Italian poetry the poem L’ultimo viaggio (1904) by Pascoli presents a phrase – non esser più – which carries of its own an existentialist problematic – both in its negative nostalgic way as in its affirmative epistemic way – that we find with equal force in Ungaretti and Montale and Pasolini where, without any doubts, the aspiration to the being lives in the desolation of the no longer being. These four poets are thus faced with the same hermeneutic method which actualizes the microcriticism of a strongly circumstantial phrase – non esser più for Pascoli, equivoco della luna for Ungaretti, eternità d’istante for Montale and grin di cristàl for Pasolini – via the macrocriticism of the poetic corpus of each poet in order to question – all along the 20th century – different modalities of one and the same orphic existentialism.

Ao retornar à Itália em 1942, após alguns anos no Brasil lecionando na Universidade de São Paulo, Ungaretti foi nomeado professor de literatura na Universidade de Roma. Apesar de alguns percalços posteriores relativos a tal nomeação, Ungaretti permaneceu na universidade até se aposentar, e alguns de seus alunos, assim como ocorreu no Brasil, acabaram por formar vínculos mais fortes com o poeta. Um desses alunos foi Leone Piccioni, filho de Attilio Piccioni, um dos fundadores do partido Democrazia Cristiana e mais tarde ministro e senador. Em 1945 Leone Piccioni, vindo da Universidade de Florença e portando uma carta de apresentação de Giuseppe De Robertis, encontrou-se com Ungaretti, quando então discutiram os possíveis temas da tesi di laurea de Piccioni. Foi a partir de então que Ungaretti e Piccioni começaram a trocar cartas. Ambos moravam em Roma e, embora se encontrassem com bastante frequência e sempre conversassem pelo telefone, Ungaretti sentia necessidade de escrever para Piccioni após ter refletido a respeito de alguma discussão. A correspondência teve início em julho de 1946 e terminou em maio de 1969 tendo Ungaretti morrido em junho de 1970. Essas cartas foram publicadas em um volume na Itália, Lallegria è il mio elemento, em 2013, e nos mostram um Ungaretti mais preocupado com a construção da sua carreira e da sua vida profissional. A análise dessas cartas nos traz novos elementos da vida de Ungaretti que contribuem para uma compreensão mais aprofundada do poeta e de sua obra. Assim, o objetivo deste trabalho é selecionar, traduzir e contextualizar cartas constantes de tal volume, apresentando quatro aspectos da construção da sua persona pública e profissional que se sobressaíram dessa análise: a chiara fama (ou notório saber), a busca pelo Nobel, o poeta injustiçado e o poeta festejado. / After returning to Italy in 1942, having spent a few years in Brazil teaching at University of São Paulo, Ungaretti was appointed professor of literature at University of Rome. Despite some later obstacles related to such appointment, Ungaretti remained at the University until his retirement, and some of his students, as in Brazil, ended up by creating stronger bonds with the poet. One of these students was Leone Piccioni, son of Attilio Piccioni, one of the founders of the party Democrazia Cristiana, and later minister and senator. In 1945 Leone Piccioni, coming from University of Florence and having a letter of introduction from Giuseppe De Robertis, met Ungaretti to discuss possible subjects of Piccionis tesi di laurea. It was from then on that Ungaretti and Piccioni started to write each other. Both lived in Rome and, though they often met and always talked on the phone, Ungaretti felt the need of writing to Piccioni after having considered some discussion they had. The correspondence started in July 1946 and ended in May 1969, having Ungaretti died in June 1970. These letters were published in Italy in a book called Lallegria è il mio elemento, in 2013, and show us an Ungaretti that is more concerned with the development of his career and professional life. The analysis of these letters gives us new elements of Ungarettis life that contribute to a deeper understanding of the poet and his work. Thus, the purpose of this work is to select, translate and provide the context of letters included in such book, presenting four aspects of the construction of his public and professional persona that stood out in this analysis: chiara fama (widely recognized erudition), search for the Nobel prize, the wronged poet and the celebrated poet.

Texte remanié de: Tesis doct.--Letras--Università degli studi di Urbino, 1968. / Notes bibliogr.

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