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