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Teatro dei miti in Pirandello e D'AnnunzioMeda, Anna Rosa 02 1900 (has links)
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente. / D'Annunzio and Pirandello both as men and as artists can only be
placed at the opposite ends of the cultural scene of their times. Yet,
it is in myth that their antithetical works finally converge. This
study, therefore, analyzes myth in three of D'Annunzio's tragedies where
the mythical dimension is more apparent (The dead city, Iorio/s daughter
and Fedra) and in the trilogy of myths by Pirandello, which brings his
work to its ultimate expression. For both authors the need for myth is
born of the painful awareness of modern man's crisis: relative values, a
divided personality and no sense of direction. In the timeless and
universal dimension of myth it is still possible to achieve totality.
The Junghian theory of the archetypes of the collective unconscious,
of which myths are cultural manifestations, has proved to be an
analytical tool of great importance. By giving access to the deepest
level of the texts beyond their cultural and historical layers, it
brings to light the otherwise elusive meaning of archetypal images and
motives, revealing the true nature of art to be not just the work of an
individual but also of collective man. The works, different as they
may be, when compared in this perspective have nevertheless yielded some
important common conclusions, not only on D'Annunzio and Pirandello as
writers but also on their role within the society they lived in and, by
extension, our own.
For both of them myth, even in a modern context, means essentially
the overcoming of the fragmentation, the relativity and the mediocrity
of contemporary life. However, in the process of recapturing this
mythical dimension, myth itself is bound to be modified. Because it
mirrors the modern psyche, it not only interprets its deepest present
needs, but also points to its future ones. The central position occupied
in their works by the subconscious, emerging from behind the powerful
image of the primordial Great Mother, points the way to future
psychological development and to the need to regain access to the
deepest levels of the human psyche so that its opposing forces,
subconscious and consciousness, can meet and be reconciled. / Classics & Modern European Languages / D. Litt. et Phil. (Italian)
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42 |
Stage and audience in contemporary theatre : Pirandello and WilderPulice, Rosetta. January 1982 (has links)
No description available.
|
43 |
Teatro dei miti in Pirandello e D'AnnunzioMeda, Anna Rosa 02 1900 (has links)
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente. / D'Annunzio and Pirandello both as men and as artists can only be
placed at the opposite ends of the cultural scene of their times. Yet,
it is in myth that their antithetical works finally converge. This
study, therefore, analyzes myth in three of D'Annunzio's tragedies where
the mythical dimension is more apparent (The dead city, Iorio/s daughter
and Fedra) and in the trilogy of myths by Pirandello, which brings his
work to its ultimate expression. For both authors the need for myth is
born of the painful awareness of modern man's crisis: relative values, a
divided personality and no sense of direction. In the timeless and
universal dimension of myth it is still possible to achieve totality.
The Junghian theory of the archetypes of the collective unconscious,
of which myths are cultural manifestations, has proved to be an
analytical tool of great importance. By giving access to the deepest
level of the texts beyond their cultural and historical layers, it
brings to light the otherwise elusive meaning of archetypal images and
motives, revealing the true nature of art to be not just the work of an
individual but also of collective man. The works, different as they
may be, when compared in this perspective have nevertheless yielded some
important common conclusions, not only on D'Annunzio and Pirandello as
writers but also on their role within the society they lived in and, by
extension, our own.
For both of them myth, even in a modern context, means essentially
the overcoming of the fragmentation, the relativity and the mediocrity
of contemporary life. However, in the process of recapturing this
mythical dimension, myth itself is bound to be modified. Because it
mirrors the modern psyche, it not only interprets its deepest present
needs, but also points to its future ones. The central position occupied
in their works by the subconscious, emerging from behind the powerful
image of the primordial Great Mother, points the way to future
psychological development and to the need to regain access to the
deepest levels of the human psyche so that its opposing forces,
subconscious and consciousness, can meet and be reconciled. / Classics and Modern European Languages / D. Litt. et Phil. (Italian)
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A dramaturgia do ultimo Pirandello : um teatro para Marta Abba / A dramaturgy for late Pirandello : a theater for Marta AbbaRibeiro, Martha de Mello 04 February 2008 (has links)
Orientador : Eric Mitchell Sabinson / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T20:40:07Z (GMT). No. of bitstreams: 1
Ribeiro_MarthadeMello_D.pdf: 2373647 bytes, checksum: 52db3b1a277cf06dfaa12a24d7e932be (MD5)
Previous issue date: 2008 / Resumo: Esta tese teve por objetivo analisar a dramaturgia dos últimos dez anos de vida de Luigi Pirandello (1926-1936), em especial os dramas escritos para a atriz Marta Abba, e atualizar o estado da pesquisa em Pirandello. O estudo partiu da constatação de que graças à atriz, as duas metades do imaginário feminino pirandelliano, a mãe santa e a prostituta, passam a conviver em uma mesma imagem de mulher, para chegar até a imagem da vamp virtuosa: uma criatura eroticamente fascinante, mas sexualmente inacessível. Percorrendo a argumentação crítica atual, constatou-se que a produção tardia do escritor é o resultado de um violento intercâmbio, de uma forte influência mútua entre estímulos biográficos e resultado artístico. Tendo isto em vista, buscou-se reconstruir, por meio da crônica e da crítica teatral da época, o estilo da performer Marta Abba, e sua definição como atriz pirandelliana. Tomando como base as propostas teóricas do assim denominado Teatro Novo, suas relações com o idealismo das primeiras vanguardas, e, principalmente, confrontando o epistolário Pirandello-Abba com a sua produção teatral, justifica-se a perspectiva autobiográfica presente no teatro de Pirandello do último período. Ao escrever para a atriz, o dramaturgo não poderia deixar de ter em mente a qualidade interpretativa de sua musa inspiradora, esta excepcional intérprete que foi a co-autora do novo perfil feminino desenvolvido pelo autor e, por outro lado, ao individualizar em Marta Abba as criaturas que ele já havia imaginado anteriormente, Pirandello se vê sob o signo de uma ¿predestinação¿: a atração física do Maestro por sua intérprete, ¿filha de sua arte¿, recupera um antigo fantasma, o tema tabu da escritura pirandelliana: o ¿fascínio paterno¿, incestuoso. Pirandello constrói assim um personagem feminino plural e ambíguo, em consonância com os maiores ícones do cinema dos anos trinta, Greta Garbo e Marlene Dietrich, capaz de absorver o estilo ¿camaleônico¿ e contraditório de interpretar de Marta Abba, ao mesmo tempo em que é capaz de traduzir e incorporar seu próprio tormento interior. / Abstract: This thesis presents an analysis of the plays of Luigi Pirandello in the final ten years of his life (1926-1936), especially the dramas written for actress Marta Abba, consistent with the state-of-art research on the playwright. Our starting point was the verification that, thanks to the actress, the two halves of Pirandellian feminine imagination - the holy mother and the prostitute ¿ came to cohabitate in the same female image, that of the virtuous vamp: an erotically enchanted creature, although sexually unattainable. Reviewing the current criticism, we verified that the writer's late production is the result of a violent interaction and mutual influence between biographic stimulus and artistic concerns.On this basis, we reconstruct, via the chronicle and theatrical criticism of the period, the performer Marta Abba's style and her definition as the Pirandellian actress par excellence. Having as foundation the theoretical propositions of the so-called New Theater, its relationships to the utopianism of the early avant-gardes, and opposing the correspondence between Pirandello and Abba with his own theatrical productions, we believe that the presence of anautobiographical perspective in the last period of Pirandello's theatre is justified. When writing for the actress, the playwright certainly had the interpretation of his inspiring muse in mind, the exceptionally talented Marta Abba as the co-author of the new feminine profile developed by the author. On the other hand, by individualizing in Marta Abba all the female creatures, the playwright sees himself under a sign of predestination: Marta's attractive power over the Master, "his art's daughter", recovers an old phantom, the taboo-theme of Pirandello writing: the incestuous, fatherly fascination. Thus, Pirandello creates an ambiguous feminine profile, related to the major movies icons of the '30s - Greta Garbo and Marlene Dietrich - pluralistic enough to assimilate theever-changing, contradictory style of the interpreter Marta Abba, translating and incorporating, at the same time, his own inner torment. / Doutorado / Literatura e Outras Produções Culturais / Doutor em Teoria e História Literária
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Stage and audience in contemporary theatre : Pirandello and WilderPulice, Rosetta. January 1982 (has links)
No description available.
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De chaînes en trames : histoire nationale et vie privée dans le roman naturaliste et véristeLaurin, Marie-Ève January 2008 (has links) (PDF)
La présente thèse, intitulée « De chaînes en trames: histoire nationale et vie privée dans le roman naturaliste et vériste », traite des liens d'ordre métaphorique et symbolique par lesquels la mise en scène de l'espace familial et du corps exprime la dynamique sociopolitique dans Les Rougon-Macquart (1871-1893) d'Émile Zola, I Vinti (1881-1889) de Giovanni Verga, I Viceré (1894) de Federico De Roberto et I vecchi e i giovani (1913) de Luigi Pirandello. À la jonction d'un certain nombre d'articles et d'essais critiques ayant interrogé, depuis le début des années 2000, l'écriture de la sphère domestique et de la
« mécanique » biologique humaine dans le roman français et italien du long XlXe siècle, l'analyse comparatiste effectuée aborde divers motifs et figures du privé et de l'intime à l'intérieur des oeuvres à l'examen. Elle embrasse, plus particulièrement, quatre avenues de recherche principales, soit: 1) la dynamique intergénérationnelle et les rituels sociaux se déployant dans l'enceinte du logis ouvrier, de la casa patrimoniale, de l'hôtel bourgeois ou du palazzo aristocratique; 2) le mode d'inscription narrative du « personnage-mémoire » et des actants féminins, qui, dans les fictions envisagées, laissent entrevoir le sens de la fiumana deI progresso [du « fleuve du progrès »]; 3) la description des édifices et des espaces privés, qui gardent la trace de l'évolution des clans et de la mouvance des « strates » sociales; 4) enfin, le caractère expressionniste des pathologies, des dégénérescences physiques et des décès qui, à l'intérieur des récits considérés, renvoient l'image des « convulsions » historiques nationales.
Privilégiant une approche avant tout sociohistorique et thématique, la réflexion critique entreprise s'appuie, notamment, sur les développements de Michelle Perrot, Marzio Barbagli et Michela De Giorgio sur la vie privée, la famille et la condition féminine en Europe et, notamment, en France et en Italie au XlXe siècle. Elle met également à profit des éléments de rhétorique et des concepts psychanalytiques lors même qu'elle adopte, ponctuellement, la méthode ethnocritique d'appréhension du texte romanesque, qui permet de déceler la marque de traditions populaires tels le carnaval et le charivari dans la structure dramatique des narrations à l'étude. Les conclusions dégagées en fin de parcours analytique s'accordent pour prouver que les intrigues du corpus, nourries de sujets historiques plus ou moins contemporains de l'époque de leur genèse -soit le Second Empire (1852-1870) en France de même que l'avant et l'après fondation du royaume d'Italie (1861) -, déploient un imaginaire littéraire associant intimement histoire sociopolitique et chronique familiale. Plusieurs facteurs sociaux majeurs, desquels on citera les révolutions française et darwinienne, l'ébranlement de l'idée de transcendance, la mutation des visées de l' histoire et l'essor de sciences humaines comme la sociologie et l'anthropologie, expliquent, en effet, que les auteurs à l'étude ait révélé, au travers de la dynamique des corps et de l'évolution des clans, la physionomie différenciée de leur époque. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Naturalisme, Vérisme, Émile Zola, Giovanni Verga, Federico De Roberto, Luigi Pirandello, Littérature, XIXe siècle, Vie privée, Histoire, Politique, Société, Corps, Représentation.
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The Retrospective Novel: The Romance of the SelfMecozzi, Lorenzo January 2022 (has links)
This doctoral dissertation, «The Retrospective Novel: The Romance of the Self,» focuses on the relationship between literary genres, ideology, and history. The novels I analyze are widely regarded as masterpieces of the last two centuries of Western literature. They include works by authors such as Melville, Conrad, Gide, Pirandello, Svevo, Roth, Faulkner, and Mann. All these novels present a biographical structure, in which the life of the protagonist is narrated retrospectively either by the hero himself (like in Pirandello’s Mattia Pascal) or by one of his friends (as in Thomas Mann’s Doctor Faustus).
The research aims to examine the relationship between the retrospectivity of these novels and the rise of modern bourgeois society. The goal is to define the retrospective novel as a genre that, by continuing the Romantic tradition, reacts to Western ideas of modernity and to the realist novel. The dissertation discusses the formal features of retrospective novels to investigate the relationship between the crisis of linear plots and the existence of tragic heroes. The analysis takes into consideration the tension between polyphony and monologism, the combination of essayism and narration, and the importance of a centralized moral point of view that questions the predominant moral discourse of society.
The discussion of these formal aspects of retrospective novels lets emerge the craving for epic anti-bourgeois heroes that characterizes retrospective novels. By employing a novel theoretical framework, the dissertation aims to reappraise capital texts of the Western canon and to reevaluate the underestimated influence of Romanticism on the development of the modern Western novel.
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"Um buraco no céu de papel": o moderno na dramaturgia de Luigi PirandelloNosella, Berilo Luigi Deiró 11 March 2007 (has links)
Made available in DSpace on 2016-04-28T19:59:01Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX.
The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama .
The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form) / Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX.
Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno .
A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)
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