Thèse (M.A.)--Université Laval, 2007. / Bibliogr.: f. [113]-119. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Zugl.: Tübingen, Univ., Diss., 2005

Orientador: Maria Betânia Amoroso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T01:28:28Z (GMT). No. of bitstreams: 1 Corilow_PriscilaMalfattiVieira_D.pdf: 1336590 bytes, checksum: 7e46b6e821569982c57d67268a847864 (MD5) Previous issue date: 2015 / Resumo: O centro desse trabalho é um percurso crítico através de algumas das obras de Pier Paolo Pasolini, em especial, as compreendidas entre a segunda metade da década de 1960 e a primeira metade da de 1970. Foram lidos atentamente: a sequência da flor de papel, quatro poemas que integram a coletânea Trasumanar e Organizzar, o roteiro não filmado Porno-Teo-Kolossal, os escritos intitulados Divina mimesis, alguns artigos da coluna mantida no periódico Tempo, intitulada Il caos, assim como vários dos ensaios de Scritti Corsari, o romance Petrolio e os filmes Medea e Salò o le 120 giorni di Sodoma. Dialogando com a percepção de Georges Didi-Huberman em Survivance des lucioles, de que há certa relação de continuidade entre a obra de Pier Paolo Pasolini e a de Giorgio Agamben, procuro também dar corpo ao meu entendimento de que há uma confluência entre o pensamento de ambos, através do cruzamento das leituras dos escritos de Pasolini com algumas das obras de Agamben, em especial La comunità che viene e Altissima povertà e Signatura rerum. As linhas principais que norteiam esse percurso ¿ que ocorre em diálogo com algumas das leituras de Georges Didi-Huberman sobre o cinema e os escritos de Pasolini ¿ são certa percepção não linear do tempo, presente tanto no pensamento de Pasolini quanto no de Agamben e certo "caráter apocalíptico" do pensamento de ambos, apontado por Didi-Huberman. Estabelece-se como importante elemento nessa pesquisa o diálogo entre Elsa Morante e Pasolini, ao redor de Il mondo salvato dai ragazzini, livro de poemas de Morante considerado pelo escritor como um "manifesto político". Esse diálogo nos oferece elementos singulares para essa iniciativa interpretativa / Abstract: This work is based on a critical effort of understanding, it was done through some Pier Paolo Pasolini`s peace of artistic work, especially that one comprehended between the second decade of 1960 and the first decade of the 70¿s. I have not had the pretense of doing an exhaustive analysis of none of them, however they were read carefully: La sequenza del fiore di carta, four poems, which composes a collectanea Trasumanar e Organizzar, the non-filmed script of Porno-Teo-Kolossal, the writings entitled Divina mimesis, some articles of Il Caos column, that was maintained in the periodical Tempo, some of Scritti Corsari, the romance Petrolio and also the movies Medea and Salò, 120 giorni di Sodoma. In dialog with the perception of continuity between Pier Paolo Pasolini¿s work and Giorgio Agamben¿s work, which was sustained by Georgs Didi Huberman in Survivance des lucioles, I look for supporting my comprehension, that there is a confluence between them both work. It was done by crossing my readings with the writings of Pasolini and Agamben, particularly in La comunità che viene, Altissima povertà and Signatura rerum. The line that guide me ¿ which occurs in dialogue with some headings of Didi Huberman about cinema and Pasolini's writings ¿ are the non linear perception of time, that characterizes Agamben's "apocalyptic character" and can be found in the thoughts of both, as Didi Huberman has pointed. An element that has established its importance for this research is the dialog between Elsa Morante and Pasolini, it was considered by him as the "political manifest" of the writer in Il mondo salvato dai ragazzini, that offered us singular elements for this interpretative initiative / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This dissertation examines food tropes in Italian films of the Economic Miracle, investigating moments of continuity with prewar gastronomic traditions, as well as denoting drastic breaks with the familiar. The kitchen is a place of traditional culinary practices and ingredients, and from which sensations of hominess and conviviality are continually generated; yet, the kitchen is where the changes to the postwar foodscape are most visible. In my analysis of films released from 1954 to 1973, the kitchen is treated as a site of both recognizability and unrecognizability: the feeling that someone does not belong among the people, objects, and rituals part of that changing arena; alternatively, they might not be recognized themselves. In the readings that follow, these directors, actors, and writers grapple with such unrecognizability by way of the stomach: the organ with which to digest food and, moreover, to process the changes that that gastronomy represents. This dissertation is divided into four chapters, or, rather, two halves: first, continuity and desire, and later, rupture and violent rejection. These halves represent continuities and breaks, respectively, as this project follows the transformation of Italy’s “rosy” cinema into dark, nihilist auteurism. At the center of the first half are two stars: Totò (Chapter Two) and Sophia Loren (Chapter Three). In the work of Totò, the visceral hunger that he experiences matches that of the very recent past, and in particular, that of the South. When food became readily available, however, a new hunger emerged: a hunger for what was, as Totò upheld the dietary routines to which he was long accustomed. Meanwhile, Sophia Loren embodies the multivalence of hunger. As Cesira in La ciociara (1960), Loren portrayed a mother struggling against la carestia of occupied Italy; hunger is once again a physical sensation. But through later roles, as well as the authorship of her own cookbook, not only is the stomach satisfied, but there is now a sexual dimension to hunger. Loren softened both the hunger pangs and the blows of the changing sociopolitical arena, leaving her viewers to desire simultaneously her body and the food she prepares, ultimately inviting us to eat with her. Chapter Four, meanwhile, uses the cinema and narrative theories of Pier Paolo Pasolini to explore the connections between continuity, rupture, and “revolution.” Revolution is, in the Marxist sense, the proletariat contending with exploitative forces, as seen through Stracci in La ricotta (1963). It is also the turning of a wheel, emblematic of a progression in a cycle back to naturality and austerity. Despite violent eating and existential crises, the characters of Luna (Uccellacci e uccellini, 1966) and Emilia (Teorema, 1968) reveal a continued relationship with the earth, within which seeds – signs of new life – are planted. This project also suggests a turn towards the tenets of 1940s neorealism, particularly the notions of survival and rebirth. In Marco Ferreri’s La grande abbuffata (1973), the subject of Chapter Five, four wealthy protagonists gather for the ultimate “gastronomic seminar”: a weekend during which they are suicided by overconsumption, choosing to abandon a world so deeply unrecognizable from the traditions and virtues of decades past. Yet, in bequeathing the world to Andréa, there is a reawakening. Andréa is left to perpetuate not only the rich traditions and rituals of previous generations, but also a world of anxieties, unsure of what the future holds.

The category of life is considered central to the heterogeneous field known as Italian thought or Italian theory. Its centrality helps explain the outsized role that Italian thinkers like Giorgio Agamben, Rosi Braidotti, Roberto Esposito, and Toni Negri play in international conceptualizations of biopolitics. Scholars have attempted to trace the roots of this emphasis on life back to thinkers such as Vico and Croce, Italian Marxist traditions such as workerism, “imports” like Heideggerian ontology and Foucauldian critique, and even Italy’s geography. These histories fail to interrogate the paradox that Italian thought usually deals with life in abstract terms, rather than with real, embodied lives. Styles of Existence, Italy 1961–1982 offers an alternative genealogy of Italian thought that focuses on the role that philology played in transforming conceptions of life and self in postwar Italy. It argues that the poet and filmmaker Pier Paolo Pasolini and art critic and feminist Carla Lonzi show us what living looks like by applying the tools and concepts of interpretation and criticism they acquired as artists and critics to their own lives. It makes the case for their inclusion in the unofficial canon of Italian thought, and for acknowledging the debts that later philosophical treatments of life owe to Pasolini and Lonzi’s existential attempts to overcome the distance between theory and praxis. Pasolini and Lonzi, both well-known for their polemical contributions to debates about politics, gender, and sexuality in Italy’s long 1968, are discussed here together for the first time. Styles of Existence lays out the theoretical tenets, preferred methodologies, and historical arcs of their life philologies, tracing them across an array of sources including diaries, screenplays, television talk shows, and newspaper columns. Both authors’ projects are examined from a comparatist perspective, which means that they are situated in Pasolini and Lonzi’s cultural and discursive contexts as Marxist and feminist intellectuals, respectively, and in relation to contemporaneous domestic and international trends and debates. Responding to a request by Pasolini that his works be read philologically, chapter one proposes a philological rereading of his corpus that takes into account his love for space and dedication to the irrational. Proposing the notion of “lunar hermeneutics” as a conceptual frame, it demonstrates that Pasolini incorporates tools from philology and stylistic criticism in his social critique and filmmaking in response to changing global and national political landscapes in the late 1950s and early 1960s, and especially the developments of the space race. Chapter two elaborates the features of Pasolini’s project of “Marxist linguistics” in the mid-1960s as a political answer to rapid industrialization and globalization, demonstrating that Pasolini expands the scope of lunar hermeneutics with contributions from semiotics and insights from his work as a filmmaker. Close readings of Pasolini’s aesthetic writings in Empirismo eretico (1972) and his film Uccellacci e uccellini (1966) illustrate the importance of cinema to his revised theory of language and understanding of self. Chapter three examines Pasolini’s collection of political writings, Scritti corsari (1975), as an example of Auerbachian-inspired Weltliteratur, showing that the work is designed as a philological exercise dedicated to the critical preservation of human forms of life threatened with extinction. Turning to Lonzi, chapter four provides the first theoretical and historical account of autocoscienza or self-consciousness making, the feminist, relational practice that Lonzi developed with other members of the group Rivolta femminile in the early 1970s. Lonzi formulates autocoscienza as a subversive mediation of critical and postcolonial theory as well as of modern art, and envisions an “unforeseen subject” who refuses to comply with the misogyny and inequalities inherent to prevailing models of liberational subjectivity. Chapter five reassesses Lonzi’s rejection of Hegelian and psychoanalytic theories of recognition, and her engagement with Alexander Kojève’s anthropomorphizing rendition of Hegel, to argue that autocoscienza provides its own affirmative feminist theory and practice of recognition focused on listening and responsiveness among equals. Chapter six considers the diary’s central role in Lonzi’s philological project of self by linking it to autocoscienza and her theory of clitorality. It argues that the sexed dimension of autocoscienza is what makes viable a transition from theory to praxis, and from emphasis on the collective to the self. By focusing on the diary, it restores the contributions of “Sara,” another Rivolta member, and the influence of hagiographical writings on Lonzi’s conception of female freedom. Finally, chapter seven unearths Lonzi’s obsessive “dialogue” with Pasolini in her “feminist diary” Taci, anzi parla [Hush, No Speak] (1978) as a case study in the practice of autocoscienza. Lonzi’s disagreements with Pasolini about culture, sexuality, and women’s rights, and their largely overlapping views on freedom and expression, are situated in the context of Italian debates about abortion in the mid-1970s. This chapter argues that Lonzi’s relation to Pasolini transforms her understanding of self and helps her refine and recalibrate the goals of autocoscienza. In conceiving of the self and selfhood in philological rather than philosophical terms, Pasolini and Lonzi challenge theories of the subject predominant in critical theory and offer precursors to contemporary concepts like Agamben’s homo sacer. Their aesthetics of existence require a reconsideration of the scope of philology in the twentieth century, the parameters of political theory, the legacy and historiography of Italy’s long ’68, and our understanding of what it means to live a meaningful human life. The detailed recovery of Lonzi’s intensive engagement with Pasolini and his work, finally, points to an unlikely source of influence on radical Italian feminism.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / Il est ici proposé d'aborder le scénario de film selon une esthétique subjectiviste inspirée des travaux de Nelson Goodman et de Gérard Genette. En introduisant le texte scénaristique dans le champ plus vaste des théories de l'art, il sera ainsi possible d'échapper à l'habituelle tendance dichotomique qui caractérise sa critique et qui, tantôt le réduit au statut de simple « outil » du film, tantôt élève son autonomie textuelle au rang de véritable genre littéraire. Selon la perspective ici adoptée, le scénario sera plutôt considéré comme « objet esthétique ». Étant une forme textuelle investie du « désir » de passer à une autre forme d'expression, le scénario s'inscrit nécessairement dans le devenir esthétique d'une œuvre. Pris isolément comme objet d'« attention aspectuelle », se pourrait-il alors que les effets esthétiques qu'il détermine soient similaires à ceux engendrés par ces autres œuvres saisies dans leur devenir, les œuvres d'art dites « inachevées » ? Cette réflexion sur le nonfinito de l'écriture du film sera notamment balisée par la théorie du scénario de Pier Paolo Pasolini, mais aussi par l'étude de son œuvre scénaristique.

In Italy, the period directly following World War II was marked by confusion and turbulence as the people struggled to reconstruct both the ideological and physical infrastructure of the nation. While much study has been dedicated to the evolution of femininity and the figure of the woman in this particular period, comparatively little has been written on the refashioning of masculinity in the texts produced in the period between 1940 and 1955. After the fall of the Fascist Regime, Italian masculinity undergoes a drastic transformation as the generation of young men born and raised under the tutelage of Mussolini’s reign attempt to separate themselves from the now-tainted codes of conduct governing male behavior. This report analyzes the renegotiation of Italian masculinity in G. Silvano Spinetti’s non-fictional account Difesa di una generazione (scritti e appunti), Italo Calvino’s Il sentiero dei nidi di ragno, Beppe Fenoglio’s short story “Gli inizi del partigiano Raoul” and Pier Paolo Pasolini’s Ragazzi di vita. These works, written and published in the postwar period, manipulate the vi marginality and privation experienced by the Italian population during the war and postwar period into a liminal state brimming with revolutionary potentiality. The protagonists of these texts (both fictional and non-fictional), isolated from the larger social context and deprived of individual identity, property and privilege, circumvent their polluted patriarchal lines in favor of an alternative ideological patriarchy. While Spinetti, Calvino and Fenoglio’s works advance their liminal narratives as a means of creating an emblematic Italian man capable of rejoining the generative discourse, Pasolini’s text renounces such a progressive view. In Ragazzi di vita, the only possibility for a masculine identity free of Fascism resides in a maintaining a perennial liminality. / text

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-11Bitstream added on 2014-06-13T18:39:52Z : No. of bitstreams: 1 andrade_acnb_me_sjrp_parcial.pdf: 95719 bytes, checksum: 3df7d500d44864c24a4be68472305a13 (MD5) Bitstreams deleted on 2015-06-03T11:42:38Z: andrade_acnb_me_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:05Z : No. of bitstreams: 1 000624271_20150811.pdf: 85704 bytes, checksum: df4eabdb828bcf26916aef6b650ceaea (MD5) Bitstreams deleted on 2015-08-13T15:38:50Z: 000624271_20150811.pdf,. Added 1 bitstream(s) on 2015-08-13T15:39:24Z : No. of bitstreams: 1 000624271.pdf: 913925 bytes, checksum: 67fbd808733c11535daa2794cda1953a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho faz uma análise do diálogo intersemiótico estabelecido entre a obra literária Il Decameron (1348-1353), de Giovanni Boccaccio (1313-1375), e o filme homônimo, de Pier Paolo Pasolini (1922-1975), tendo como principal objetivo elucidar a transcriação artística operada por Pasolini, sobretudo no que diz respeito às construções metalingüísticas presentes no texto literário, que são cinematograficamente retomadas pelo cineasta. No texto sincrético, a metalinguagem está intrinsecamente ligada à poeticidade, seguindo os pressupostos teóricos do próprio Pasolini, expostos em Empirismo Eretico (2000). Os conceitos presentes nesse livro, como o famoso cinema de poesia ou a linguagem da realidade, norteiam a nossa escolha de outros teóricos, os quais nos auxiliam na tarefa de comprovar que tanto Boccaccio quanto Pasolini realizam operações metalingüísticas, sendo que as molduras narrativas por eles criadas explicitam a auto-reflexão acerca do fazer artístico, funcionando, desse modo, como marcas autorais. Assim, as duas versões de Decameron não se comunicam apenas pelo tema, mas pelo modo como as narrativas são estruturadas, pois Pasolini constrói a sua obra por meio de soluções cinematográficas que remetem à construção do discurso realizada por Boccaccio / The present work does an analysis of the intersemiotic intercourse established between the literary work Il Decameron (1348-1353), of Giovanni Boccaccio (1313-1375), and the namesake movie, of Pier Paolo Pasolini (1922-1975), regarding as the main objective to find out the artistic transcreation operated by Pasolini, above all, in what touches the metalinguistic constructions present in the literary text that are cinematographically retraced by the film maker. In the syncretic text, the metalanguage is intrinsically bound to the poetical, following Pasolini’s own theoretical conceptions exposed in Empirismo Eretico (2000). The concepts in this book, like the famous cinema of poetry or the language of reality, guide the selection of other theorists, who help in the quest to prove that both Boccaccio as well as Pasolini make metalinguistic operations, as the narrative frames created by him expound the introspection of the artistic labour, working, this way, as authorial marks. Thus, the Decameron’s two versions do not communicate only through the theme, but through the way their narratives are structured because Pasolini’s work is built hereby cinematographic solutions which allude to Boccaccio’s discourse construction