Esta dissertação propõe uma leitura dos contos que compõem a última fase da produção artística de Luigi Pirandello, acompanhada da tradução daqueles que consideramos mais relevantes no contexto de nosso estudo, alguns inéditos em língua portuguesa. Abordamos essas narrativas a partir do tratamento dado às tensões e contradições da subjetividade, que aqui tende à desintegração ou à dissipação na Natureza, e sua pertinência no contexto das estéticas modernas, tanto sob o prisma formal como temático. O trabalho está estruturado em quatro capítulos, versando sobre o tema geral a partir de obras distintas: C?è Qualcuno che Ride, Soffio, Un?Idea, La Casa della Agonia, além do romance Uno, Nessuno e Centomila, privilegiado enquanto ponto de convergência dos principais temas e procedimentos do escritor siciliano. Procuramos mostrar como o desejo utópico de regressão a um estado primitivo de consciência, que permeia esses textos como principal elemento de tensão, tende a escancarar definitivamente a realidade da falência das relações sociais, tema que o autor perseguiu por toda a sua obra. / This dissertation purposes an interpretation of the short stories that constitute the last stage of Luigi Pirandello?s artistic production, followed by the translation of the most important narratives inside the context of this work, some of them unpublished in Portuguese. Our approach is based on the treatment given to the tensions and contradictions of the subjectivity, that here tends to desintegration or waste in the Nature, and its relevancy for the modern aesthetics, both under formal and thematic prisms. The essay is formed by four chapters, discussing the general subject from different works: C?è Qualcuno che Ride, Soffio, Un?Idea and La Casa dell?Agonia, beside the novel Uno, Nessuno e Centomila, privileged as convergence point of the Sicilian writer?s main themes and procedures. We attempt to show how the utopic will of regression to a conciousness primitive condition, that permeates these texts as main tension component, tends to definitely confirm the reality of the social relationships loss, subject chased by the author all over his work.

Luigi Pirandello destacou-se no teatro pela inovação de seus textos. Além de compor peças, criou sua própria companhia teatral, na qual atuou como diretor. Sob críticas e aplausos, seu trabalho ganhou repercussão internacional, inclusive no teatro brasileiro. As peças de Pirandello ainda marcam presença no cenário contemporâneo das artes cênicas brasileira, destacando-se os trabalhos da companhia teatral Grupo TAPA. Existe a problemática da escassez de traduções de obras teatrais de Pirandello disponíveis no mercado editorial brasileiro e as traduções existentes dificilmente são apropriadas para realizar o trabalho de cena. Diante dessa situação, o Grupo TAPA realizou a tradução da peça O di uno o di nessuno para posteriormente apresentá-la nos palcos. Assim, esta pesquisa aborda as especificidades da tradução teatral, bem como efetua o cotejo entre o texto original, a tradução realizada pelo Grupo TAPA e a tradução literária de Davi Pessoa. / Luigi Pirandello has distinguished himself through the innovation in his theater scripts. In addition to writing plays, he created his own theater group where he was the director. Under criticism and applause, his work has reverberated internationally, including the Brazilian Theater. Pirandellos plays are still present in the contemporary scene of Brazilian performing arts, with the works of the theater company Grupo TAPA standing out. There is a problem concerning the scarcity of Pirandellos theater scripts that are translated and available at the Brazilian publishing market; in addition, such translated texts are seldom proper for scene work. Within such context, Grupo TAPA translated the play O di uno o di nessuno in order to present it afterwards. Thus this research will study the traits of the theatrical translation and then compare the original text, the Grupo TAPAs translation and the literary translation done by Davi Pessoa.

A obra em prosa de Luigi Pirandello (1867-1936), sobretudo sua novelística, é permeada pela presença de um rico e variado mundo animal. O autor, como um agudo observador de sua época, reconhece a importância dos animais na cultura e no desenvolvimento da civilização. Espelhos naturais dos humanos, capazes de sofrer e entender esse sofrimento, agentes do acaso e da impassibilidade da natureza, os animais inserem-se perfeitamente na poética do autor. Em Pirandello, o animal é um personagem que age e se comporta como um personagem de Pirandello, mas, ao contrário do personagem humano, mostra a sua própria face, sem disfarces, sem meios termos e sem máscaras. Este estudo busca examinar e chamar a atenção para esse pouco estudado, mas importante aspecto da obra de Pirandello, relacionando-o com a poética do autor e a evolução de sua obra / The prose works of Luigi Pirandello (1867-1936), particularly his short stories, is permeated by the presence of a rich and varied animal world. The author, as a keen observer of his time, recognizes the importance of animals in the culture and development of civilization. Natural mirrors of the human being, capable of suffering and understanding this suffering, agents of natures chance and impassivity, animals fall perfectly into the poetics of the author. In Pirandello, the animal is a character who acts and behaves like a character from Pirandello, but, unlike the human character, it shows its own face, without disguises, compromises and masks. This study seeks to examine and draw attention to this understudied but important aspect of the work of Pirandello, relating it to the poetics of the author and the evolution of his work

No description available.

This essay discusses the work of the Venetian composer Luigi Nono (29 January 1924 - 8 May 1990) in the context of Marxist aesthetics. Nono is the most explicitly political member of the Darmstadt generation. A card-carrying member of the Communist party whose titles and texts often directly refer to political personages and events, Nono bids the listener or critic to confront the problematic of political expression in instrumental music, a subject of inquiry at least as old as Plato (to whom Nono explicitly refers in Fragmente , his late string quartet that is the subject of examination here) and of crucial relevance since World War II, the cold war, and the rise of mass media. Yet the majority of literature devoted to his work has largely ignored the question of where his work and philosophical attitude locate themselves within the four major strands of Marxist aesthetics. The relationship between Nono's his work and his political perspective is either treated in an imprecise, undisciplined fashion, relying on cliches of existentialism, mysticism, or vaguely defined alternative modes of perception to stand in for the notion of opposition (Nono's fascination with Hölderlin is often invoked); or the element of ideology is ignored altogether, and the works are submitted to traditional post-serial analysis of compositional technique. Whereas both of these approaches do shed light on a challenging body of work, a brief examination of the four major models of a Marxist approach to art - the Marx/Engels, the Benjaminian, the Adorno,and the Bloch/Jameson - and the attempt to contextualize Nono's work within or against them situates this complex personality within the universe of the poltical talis qualis. A narratological take on Nono's late sting quartet Fragmente provides a demonstration of invoking literary theory to create a productive analogy between political readings of instrumental music and that of other artforms. Various analytic techniques employed by critical theory - techniques examining communication, culture, and political consciousness which themselves are drawn from linguistic and analytic philosophy, symbolic interactionism, structural linguistics, hermeneutics, semiology, poststructural psychoanalysis, and deconstruction - may not simply be borrowed by the musicologist. These strategies can be fruitfully transposed, in the mathematical sense, wherein a limited number of elements within the critical structure are exchanged provided that others are fixed. The essays explores one example of such an exchanged element: Nono's use of polyvalent quotations. Other elements are available to the musicologist via the classic Husserlian move of Einklammerung, the "phenomenological reduction." Jameson had no particular personal or professional association with Nono, and Jameson has no important writings on music. Nevertheless, Jameson was Nono's historical contemporary; Jameson was born only ten years after Nono; and Nono's work is much closer to the Bloch / Jameson model than that of Adorno, the passionate anti-bourgeois devotee of the Second Viennese School; or that of Benjamin, the passionate anti-bourgeois proponent of the "fragment," the thinker who plays the most superficially salient role in Nono's work. Jameson's 1981 book The Political Unconscious, written at the same time Nono wrote Fragmente, describes three non-dialectical analytical approaches, or "horizons," shared by the critic, the spectator, and the artist: the political, the social, and the historical. They form concentric circles. By situating Nono's work within Jameson's theory, Nono is revealed, far from the mystical/naive poet in the style of a Rothko or a Tarkovsky, as a wily, canny dramatist whose technique is conservative and neoromantic, if never regressive, always consciously bent against the postmodernity, properly speaking, of Cage.

Irony: metafiction in Luigi Malerba’s works. In this thesis I examine irony and metafiction in some novels by Italian writer Luigi Malerba (1927-2008). Metafiction characterizes all of Malerba’s works; this dissertation shows how Malerba’s works constantly draw attention to themselves and consequently encourage readers to pose questions about the existing relationship between fiction and reality. Similarly, irony fosters further investigation of language as sign system; through recurrent word games, Malerba removes the certainty of a univocal existing correspondence between signifier and signified. In the first chapter I discuss the very first works by the author: Le lettere di Ottavia, Il serpente, Salto mortale and Il protagonista. The entire chapter revolves around the construction of possible worlds and, therefore, of fictional worlds. Through this analysis the borders between fiction and reality appear to be quite weak; they are indeed proved to be an illusory construction of contemporary human beings who tend to think according to binary oppositions, such as reality and dream, reality and fiction. I proceed by examining Storie dell’anno mille, Il pataffio, I cani di Gerusalemme and Le maschere; these novels are imbued with history. The central theme of the entire chapter is history and fabulation and their relationship to each other. History is shown to be part of human discourse: historical events are made out of pure chronicles by a process called emplotment. The form that the historical narration takes on inevitably influences the meaning of the events narrated. In the third chapter I analyze Le pietre volanti, La superficie di Eliane and Il circolo di Granada. Here I demonstrate how Malerba uses detective novels in a non-canonical way, turning his own works into anti-detective novels. In these works, the investigation does not reach any rewarding ending; even at the conclusion of the story, the detective’s hypothesis cannot be completely ruled out and the reader is left with what Stefano Tani calls a “fiction of possibilities”. Fantasmi romani occupies the whole chapter four. In this final chapter I discuss why this work, the very last one before the author’s death, can be considered his literary testament. In this novel, Malerba’s readers can find all the peculiarities which have distinguished the author’s writing for more than four decades. Along with recognizing his style, readers will appreciate new developments in his narration. This work encourages readers to investigate the consuming relationship which can be established between a writer and his reader. In the end of this thesis, some considerations for further investigation are made; these considerations focus on Luigi Malerba’s writing for children, an area of study that has received little critical attention.

Thesis (master's)--Eberhard Karls Universität, Tubingen, 2009. / Includes bibliographical references (p. 112-137).

Irony: metafiction in Luigi Malerba’s works. In this thesis I examine irony and metafiction in some novels by Italian writer Luigi Malerba (1927-2008). Metafiction characterizes all of Malerba’s works; this dissertation shows how Malerba’s works constantly draw attention to themselves and consequently encourage readers to pose questions about the existing relationship between fiction and reality. Similarly, irony fosters further investigation of language as sign system; through recurrent word games, Malerba removes the certainty of a univocal existing correspondence between signifier and signified. In the first chapter I discuss the very first works by the author: Le lettere di Ottavia, Il serpente, Salto mortale and Il protagonista. The entire chapter revolves around the construction of possible worlds and, therefore, of fictional worlds. Through this analysis the borders between fiction and reality appear to be quite weak; they are indeed proved to be an illusory construction of contemporary human beings who tend to think according to binary oppositions, such as reality and dream, reality and fiction. I proceed by examining Storie dell’anno mille, Il pataffio, I cani di Gerusalemme and Le maschere; these novels are imbued with history. The central theme of the entire chapter is history and fabulation and their relationship to each other. History is shown to be part of human discourse: historical events are made out of pure chronicles by a process called emplotment. The form that the historical narration takes on inevitably influences the meaning of the events narrated. In the third chapter I analyze Le pietre volanti, La superficie di Eliane and Il circolo di Granada. Here I demonstrate how Malerba uses detective novels in a non-canonical way, turning his own works into anti-detective novels. In these works, the investigation does not reach any rewarding ending; even at the conclusion of the story, the detective’s hypothesis cannot be completely ruled out and the reader is left with what Stefano Tani calls a “fiction of possibilities”. Fantasmi romani occupies the whole chapter four. In this final chapter I discuss why this work, the very last one before the author’s death, can be considered his literary testament. In this novel, Malerba’s readers can find all the peculiarities which have distinguished the author’s writing for more than four decades. Along with recognizing his style, readers will appreciate new developments in his narration. This work encourages readers to investigate the consuming relationship which can be established between a writer and his reader. In the end of this thesis, some considerations for further investigation are made; these considerations focus on Luigi Malerba’s writing for children, an area of study that has received little critical attention.

Thesis (M.M.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.

Zugl.: Klagenfurt, Univ., Diss., 2008