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La vision d'Athenes et de Constantinople dans les recits de voyage du XIXᵉ siecle / The Vision of Athens and Constantinople in XIXth century Travel WritingMussini, Chiara <1965> 12 June 2015 (has links)
Le sujet de cette recherche est la perception chez les voyageurs occidentaux et grecs du XIXᵉ siècle de zones de la Méditerranée depuis toujours point d’intersections culturelles : les villes d’Athènes et de Constantinople.
L’objectif de la recherche est de reconstruire la contribution des hommes de lettres, français et grecs, à la constitution de l’identité nationale selon le schéma mis en évidence par Benedict Anderson dans « Communautés Imaginées »
On a tenté en se référant au corpus d’identifier dans la littérature de voyage du XIXᵉ siècle, dans le sillage de « Orientalismo » de Edward Said, comment Philhellénisme et Exotisme orientalisant, tous deux d’empreinte romantique, ont contribué à inventer pour Athènes une identité occidentale et pour Istanbul une identité orientale, ignorant presque l’existence entre les deux villes d’une commune matrice byzantine–ottomane ou mieux, l’appartenance commune à l’ensemble géopolitique de la Région Intermédiaire identifiée par Dimitri Kitsikis. / This work focuses on how in the 19th century Western and Greek travellers would perceive two specific points of the Mediterranean which have always been two main cultural crossroads: Athens and Constantinople.
My research aims at profiling the contribution by Italian, French and Greek literati to the moulding of national identity, according to the model B.A. has brought up in “Imagined Communities”.
As for the corpus, following Edward Said’s “Orientalism”, I have selected works of 19th century travel literature belonging to Philhellenism and Oriental Exoticism. The purpose of my essay is to highlight how these two movements, both rooted in Romanticism, have contributed to create a western identity for Athens and an oriental one for Istanbul, without taking into account the fact the two cities shared common Byzantine – Ottoman roots or, better, that they both geo-politically belonged to the Intermediate Region as identified by Dimitri Kitsikis.
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Tecniche di montaggio tra letteratura e cinema: JoyceCamerani, Marco <1977> 18 June 2007 (has links)
No description available.
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"E il Verbo si fece carne": la figura di Gesù Cristo nell'immaginario moderno e contemporaneoLo Vecchio, Elisabetta <1976> 20 June 2007 (has links)
No description available.
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L'ultima lingua. Studio sulla poesia francese di R. M. RilkeMelotto, Raoul <1975> 14 June 2007 (has links)
No description available.
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Dai 'Werke' ai "Contes fantastiques": Loève-Veimars traduttore di HoffmannBiondi, Ilaria <1974> 14 June 2007 (has links)
No description available.
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Francesco Panigarola (1548 – 1594): la “Vita” esemplare di un predicatore nell’età della ControriformaGiunta, Fabio <1972> 15 May 2008 (has links)
No description available.
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Eterotopie narrative. La geografia del racconto nelle "Città invisibili" di Calvino, nella "Vie mode d’emploi, romans" di Perec e in "Mason & Dixon" di PynchonMattioni, Francesco <1974> 10 July 2008 (has links)
No description available.
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La légende d'Horace sur la scène en Italie, Espagne et France aux XVIe et XVIIe sièclesLombardero Menendez, Nuria <1977> January 2008 (has links)
No description available.
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Per un'etica della letteratura: la cornice il doppio legame nell'opera di J. M. CoetzeePizzinat, Eleonora <1980> 15 May 2009 (has links)
The elusive fiction of J. M. Coetzee is not a work in which you can read fixed ethical stances. I suggest testing the potentialities of a logic based on frames and double binds in Coetzee's novels. A double bind is a dilemma in communication which consists on tho conflicting messages, with the result that you canât successfully respond to neither. Jacques Derrida highlighted the strategic value of a way of thinking based on the double bind (but on frames as well), which enables to escape binary thinking and so it opens an ethical space, where you can make a choice out of a set of fixed rules and take responsibility for it. In Coetzeeâs fiction the author himself can be considered in a double bind, seeing that he is a white South African writer who feels that his âtaskâ canât be as simply as choosing to represent faithfully the violence and the racism of the apartheid or of choosing to give a voice to the oppressed. Good intentions alone do not ensure protection against entering unwittingly into complicity with the dominant discourse, and this is why is important to make the frame in which one is always situated clearly visible and explicit. The logic of the double bind becomes the way in which moral problem are staged in Coetzeeâs fiction as well: the opportunity to give a voice to the oppressed through the same language which co-opted to serve the cause of oppression, a relation with the otherness never completed, or the representability of evil in literature, of the secret and of the paradoxical implications of confession and forgiveness.
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"Narrativa di frontiera". Fenomenologia di una forma aperta.Giustini, Francesco <1981> 15 May 2009 (has links)
«Fiction of frontier». Phenomenology of an open form/voice.
Francesco Giustini’s PhD dissertation fits into a genre of research usually neglected by
the literary criticism which nevertheless is arousing much interest in recent years: the
relationship between Literature and Space. In this context, the specific issue of his work
consists in the category of the Frontier including its several implications for the XX
century fiction. The preliminary step, at the beginning of the first section of the
dissertation, is a semantic analysis: with precision, Giustini describes the meaning of the
word “frontier” here declined in a multiplicity of cultural, political and geographical
contexts, starting from the American frontier of the pioneers who headed for the West, to
the exotic frontiers of the world, with whose the imperialistic colonization has come into
contact; from the semi-uninhabited areas like deserts, highlands and virgin forests, to the
ethnic frontiers between Indian and white people in South America, since the internal
frontiers of the Countries like those ones between the District and the Capital City, the
Centre and the Outskirts.
In the next step, Giustini wants to focus on a real “ myth of the frontier”, able to nourish
cultural and literary imagination. Indeed, the literature has told and chosen the frontier
as the scenery for many stories; especially in the 20th Century it made the frontier a
problematic space in the light of events and changes that have transformed the perception
of space and our relationship with it.
Therefore, the dissertation proposes a critical category, it traces the hallmarks of a
specific literary phenomenon defined “ Fiction of the frontier” ,present in many literary
traditions during the 20th Century. The term “Fiction” (not “Literature” or “Poetics”) does
not define a genre but rather a “procedure”, focusing on a constant issue pointed out from
the texts examined in this work : the strong call to the act of narration and to its oral
traditions. The “Fiction of the Frontier” is perceived as an approach to the world, a way of
watching and feeling the objects, an emotion that is lived and told through the story- a
story where the narrator ,through his body and his voice, takes the rule of the witness.
The following parts, that have an analytic style, are constructed on the basis of this
theoretical and methodological reflection. The second section gives a wide range of
examples into we can find the figure and the myth of the frontier through the textual
analysis which range over several literary traditions. Starting from monographic chapters
(Garcia Marquez, Callado, McCarthy), to the comparative reading of couples of texts
(Calvino and Verga Llosa, Buzzati and Coetzee, Arguedas and Rulfo). The selection of
texts is introduced so as to underline a particular aspect or a form of the frontier at every
reading. This section is articulated into thematic voices which recall some actions that can
be taken into the ambiguous and liminal space of the frontier (to communicate, to wait, to
“trans-culturate”, to imagine, to live in, to not-live in). In this phenomenology, the frontier
comes to the light as a physical and concrete element or as a cultural, imaginary, linguistic,
ethnic and existential category.
In the end, the third section is centered on a more defined and elaborated analysis of two
authors, considered as fundamental for the comprehension of the “Fiction of the frontier”:
Joseph Conrad and João Guimarães Rosa. Even if they are very different, being part of
unlike literary traditions, these two authors show many connections which are pointed by
the comparative analysis. Maybe Conrad is the first author that understand the feeling of
the frontier , freeing himself from the adventure romance and from the exotic nineteenthcentury
tradition. João Guimarães Rosa, in his turn, is the great narrator of Brazilian and
South American frontier, he is the man of sertão and of endless spaces of the Centre of
Brazil. His production is strongly linked to that one belonged to the author of Heart of
Darkness.
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