Thesis (Ph. D.)--UCLA, 2005. / Vita. Includes bibliographical references (leaves 220-231).

Habilitationsschrift--Kiel.

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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.

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.

The aim of this thesis is twofold: it explores Giacomo Leopardi's (1798-1837) interpretation of, and engagement with, Greek pessimistic thought and, through him, it investigates the complex and elusive phenomenon of Greek pessimistic thought itself. This thesis contends that Greek pessimistic thought – epitomised by but not limited to the famous wisdom of Silenus, the µὴ φῦναι topos – is an important element of Greek thought, a fundamental part of some of Greece's greatest literary works, and a vital element in the understanding of Greek culture in general. Yet this aspect of ancient thought has not yet received the attention it deserves, and in the history of its interpretation it has often been forgotten, denied, or purposefully obliterated. Furthermore, the pessimistic side of Greek thought plays a crucial role in both the modern history of the interpretation of antiquity and the intellectual history of Europe; I argue that this history is fundamentally incomplete without the appreciation of Leopardi's role in it. By his study of and engagement with ancient sources Leopardi contributed to the 19th century rediscovery of Greek pessimistic wisdom, alongside, though chronologically before, the likes of Arthur Schopenhauer, Friedrich Nietzsche, and Jacob Burckhardt. Having outlined some fundamental steps in the history of the reception of Greek pessimism, this thesis examines the cardinal components of Leopardi's reception of it: his use of Greek conceptions of humanity to undermine modernity's anthropocentric fallacy, his reinterpretation of the Homeric simile of the leaves and its pessimistic undertones, and his views on the idea that it would be best for man not to be born.

The work aims at investigating the presence of Plato in Giacomo Leopardi’s works, in order to understand the influence of the philosopher’s dialogues on the genesis of the “Operette morali”. While maintaining the focus on the “Operette”, however, the research also explores many other areas of Leopardi’s production, in order to offer the widest and most exhaustive overview of the different sources and filters through which Leopardi became acquainted with Plato’s doctrines, even before reading his dialogues comprehensively. The first section explores the reception of Plato in Italy before Leopardi, by examining the attempts at translating his works and the various interpretations of his dialogues proposed throughout the eighteenth century up to the first decade of the nineteenth century. If placed in this context, the failure of Leopardi’s project to translate all of Plato’s dialogues, as proposed by the publisher De Romanis, can no longer be interpreted just as the result of a private matter, but also as a stage in a historical path that has never been outlined in its entirety until now. The rest of the work, articulated in other three sections, is entirely dedicated to Giacomo Leopardi’s work.Firstly, the thesis focuses on Leopardi’s earliest production, mapping the occurrences of the name “Plato”, as well as all the quotes either related to the philosopher or taken from his dialogues, in Leopardi’s “Puerilia” (1809-1810), “Dissertazioni filosofiche” (1811-1812), “Dialogo filosofico” (1812), “Storia dell’Astronomia” (1813) and, finally, in his “Saggio sopra errori popolari degli antichi” (1815). Research shows that Leopardi had been reading Ficino’s edition of Plato’s complete works (Lugduni, 1590) (which was present in the family library) since writing the first drafts of his erudite writings; therefore, Leopardi’s direct knowledge of Plato’s texts, even if partial, must be backdated compared to what has been noted so far. Furthermore, extending the research on Leopardi’s knowledge of Plato not only to his first stay in Rome but also to the following years confirms that it’s not possible to have Leopardi’s Plato coincide with Ast’s Plato: there is evidence of the fact that Leopardi knew and had read or consulted several other editions of Plato’s dialogues and that therefore his knowledge of the philosopher was quite extensive, although conditioned by different interpretative perspectives. The research then focuses on the “Zibaldone” and on the “Operette” in order to reconstruct the profile of Leopardi’s Plato, as it emerges from the “scartafaccio”, as well as the methods of re-elaboration of the dialogues found within Leopardi’s moral book. The last two chapters of the thesis are dedicated to the latter objective. Starting from an analysis of the genesis of only two operettas, the “Elogio degli uccelli “ and the “Dialogo di Plotino e di Porfirio”, the aim is to demonstrate how the “Plato function” is expressed not only through form, as critics have long believed, but also in terms of philosophical elaboration. This study ultimately proves that Plato, acting both as a model and an anti-model for the “Operette morali”, had a profound effect on the genesis of this book which, according to Leopardi’s own declaration, was intended to be “entirely philosophical and metaphysical”.

Le français en tant que système linguistico-culturel et, de manière privilégiée, dans sa codification philosophico-littéraire en tant qu’ensemble de modules, de genres et de textes, a eu un rôle central dans la pensée et dans l’oeuvre de Leopardi et cela depuis ses premières années de formation philosophico-littéraire jusqu'à la fin de sa production. Il s’agit en effet de la seule langue moderne – c’est-à-dire l’unique ressource réellement disponible pour cet échangepassage interlinguistique de tra[ns]duction qui a agi de manière vraiment significative dans l'élaboration et la production de cet auteur. Il s’identifiait en effet dans les termes de l’autre langue. Ainsi, tout en conservant son effet double et ambivalent dans un rapport qui se révèle riche et raffiné sur le plan de la création, polémique et conflictuel sur le plan de l'activité théorique, marque en particulier dans les pages du Zibaldone mais aussi dans d'autres textes, la réflexion théorique autour des langues et de la traduction ainsi que de nombreuses notes lexicologiques et de linguistique contrastive et surtout de l'écriture épistolaire, d'essais et de poésie. Dans ce contexte, la première partie de cette thèse explore d’un point de vue de la traduction, l’utilisation du français par Leopardi dans ses différentes formes d’écriture où la création linguistique et la genèse du texte littéraire se constituent dans le terrain de l’entre-deux des langues analogues. Au contraire, la deuxième partie met l'accent sur le rapport entre les formes brèves, l’écriture poétique et la pratique de la réécriture d’une langue à l’autre, dans la traduction-remaniement de la fable poétique La Feuille de A.-V. Arnault, mise par le poète de Recanati à la fin son livre les Canti dans sa dernière organisation de 1835. / French - meant as a cultural and linguistic whole with a unique philosophical-literary coding structured in ensemble of forms, genres and texts – has a crucial role in the thought and in the works of Giacomo Leopardi, from the beginning of his philosophical and literary education to his very late writings. It is, indeed, the only modern language - i.e. the only available resource for the interlinguistic exchange in the translation-transaction - which acted significantly in the author’s elaboration and production, emerging as the other language par excellence. Its ambivalent role both in writing, where French is used in a fruitful and refined way, and in theory, where it is faced to a polemical and critical approach, is evident throughout the Zibaldone, in author’s theoretical considerations about languages and translation, in many notes about lexicology and contrastive linguistic as well as in literary forms varying from the assay to the poem or the letter. In this context, the first section of this thesis explores, from a translatological point of view, Leopardi’s use of French in those various forms of writings where the linguistic invention and the genesis of literary texts themselves set up in the field of the entre-deux between similar languages. The second section, instead, focuses on the relation among short forms, poetic writing and the practice of the re-writing from a language to another, in the translation-remake of A.V. Arnault’s La Feuille, the tale in form of a poem, that Leopardi put at the end of the Canti, in its very last structure published in 1835.

The aim of this thesis is to analyse Zibaldone di pensieri, the private diary of Italian poet, writer and philosopher Giacomo Leopardi. The first part of the thesis is dedicated to Leopardi's biography. We focus on his childhood, youth and on the events that had effect on his thinking. The crucial part of the thesis deals with the diary Zibaldone; with its structure, autobiographical features and with various ways in which we can look at this text. In the following part of the work we analyse some of the topics of Zibaldone. Observing the development of Leopardi's thinking, we deal with various phases of author's pessimism and with his perception of nature, reason, human destiny and ancient and modern world.

Univerzita Karlova Filozofická fakulta Ústav románských studií Románské literatury Abstract Mgr. Angela Alexandra DʹOrso IMMAGINAZIONE, LINGUA, CORPO: la geografia della voce nell'opera di Giacomo Leopardi IMAGINACE, JAZYK, TĚLO: místopis hlasu v díle Giacoma Leopardiho IMAGINATION, LANGUAGE, BODY: the path of the voice in Leopardi's literary work Školitelka: PhDr. Alice Flemrová, Ph.D. 2021 This thesis deals with orality in Giacomo Leopardi's literary work. The study focuses on the connection between Teoria del piacere and orality. Orality is an important subject in Leopardi's mindset; the author reproduces the effect of orality in writing by using a specific linguistic style, special phonetic elements and syntactic structure typically used in spoken language. Prose and poetry therefore contain examples of spoken language which help to explain the centrality of reflection about orality in Leopardi's poetics and philosophy. This reflection is also present in Canti as a poetic motif involving two elements: voice and silence. The study shows Leopardi's constant tension towards a primitive universe, whose orality is a trace. The research therefore intercepts Leopardi's sensitivity about nature, a dimension in which body is central and a more immediate and spontaneous contact with life exists. The category of...