Questa tesi mette a fuoco la ricezione del modello linguistico e stilistico di mimesis dantesca in Pasolini. Costituisce parte di un più ampio discorso sulla rappresentazione culturale che a partire da alcune sue opere teoretiche e creative particolarmente significative intende problematizzare il ruolo di critici letterari come Contini ed Auerbach nella formazione dell’idea pasoliniana di 'realismo' considerando l’intricata relazione tra i due concetti (‘mimesis’ e ‘realismo’). Questa ricerca è incentrata su due principali periodi della vita dell’autore: una fase di ‘realismo dantesco’ che ha inizio nei primi anni ’40 e culmina nel 1965 con La Divina Mimesis, ed una fase di ‘postrealismo dantesco’, che descrive la crisi del realismo dantesco negli ultimi dieci anni della carriera pasoliniana. In primo luogo, analizzo l’influenza che ebbe Contini nell’avvicinamento dell’autore ad una poetica di oggettività e sperimentalismo linguistico negli anni ’40. In secondo luogo, esploro la risposta dell’autore al plurilinguismo di Dante nel contesto del dibattito ideologico sulla nuova ‘questione della lingua’, sul Neorealismo e sul Neosperimentalismo negli anni ’50. Infine, esamino quella fase pasoliniana di ‘postrealismo dantesco’, nella quale l’autore mette in discussione la poetica della mimesis ritrovando piuttosto nell’allegoria e nella visione gli strumenti retorici per rappresentare la realtà. This thesis focuses on the reception of the linguistic and stylistic model of Dante’s ‘mimesis’ in Pasolini. It forms part of a growing discourse concerning cultural representations which seeks to problematise the role of literary critics such as Contini and Auerbach in the formation of Pasolini’s idea of ‘realism’ and assist the exposition of the intricate relationship between the two concepts (‘mimesis’ and ‘realism’) in some of his significant theoretical and creative works. The research is centred on two principal, relevant periods of the author’s career. a phase of ‘Dantesque realism’, starting in early 40s and culminating in 1965 with La Divina Mimesis, and a phase of ‘Dantesque postrealism’, describing the crisis of realism in the last ten years of Pasolini’s work. I firstly analyse Contini’s influence in the author’s approach to a poetics of objectivity and linguistic experimentalism in the 40s. I secondly explore Pasolini’s theoretical response to Dante’s plurilingualism in the context of the ideological debate on the new questione della lingua, Neorealism and ‘Neosperimentalismo’ in the 50s. Finally, I examine Pasolini’s stage of “Dantesque postrealism”, in which the author debates the poetics of mimesis and rather employs allegory and vision as best rhetorical tools to represent reality.

Die Arbeit hat die Inhalte der Verbalflexion im Französischunterricht an Deutschsprachige und ihre Progression zum Gegenstand. Es wird ein von unbeabsichtigten Lücken freies und zugleich auf ein Minimum beschränktes System von temporalen und modalen Kategorien, Verbklassen und Regeln zur Bildung der zusammengesetzten Tempora und Modi sowie zur Angleichung des Participe passé vorgeschlagen. Die Notwendigkeit, die sprachlichen Lehrinhalte zu reduzieren, ohne die Äußerungsmöglichkeiten der Schüler auf bestimmte Themen, Situationen oder Absichten zu beschränken, wird belegt durch Lücken, z.T. überhöhte, z.T. in anderer Hinsicht korrekturbedürftige Pensen in Grammatiken für den Französischunterricht, in Lehrplänen und Lehrwerken. Der zweite Teil der Arbeit enthält präzise Empfehlungen für die chronologische Anordnung und Gruppierung der Lehrinhalte, da den Lehrplan- und Lehrwerkautoren bisher auch für die Planung der Progression verläßliche Grundlagen fehlten. Insgesamt soll die Arbeit einen nicht zeitgebundenen Beitrag zur Planung des Französischunterrichts und zugleich eine Dokumentation des Forschungsstandes darstellen, der in Schulgrammatiken, Lehrplänen und Lehrwerken der letzten 30 Jahre erreicht wurde.

Thesis--Bonn. / Includes bibliographical references (p. 8-24).

Thesis--Faculté des lettres de l'Université de Bâle. / Includes bibliographical references and index.

Thesis--Strassburg. / Cover title. Vita. Includes bibliographical references (p. 63-64).

The poems of the Old French Cycle des Narbonnais are highly concerned with touch, paying close attention to who touches whom first in greetings, who is authorised to perform certain symbolic touches and, reading violence as a radical version of touch, whose touch is victorious in battle. Modern sociologists suggest that touching follows lines of social prestige; however, by employing a performative approach to identity, overlaid with a psychoanalytic interpretation of the subject’s relationship with the Other, I argue that regulated patterns of touch in the poems iterate and maintain heroic identity. Of course, an identity forged in this way is problematic, for touch both creates and erases the difference upon which performative identity depends, and I argue that violence erupts as a result of this paradox. By thus linking touch, violence and identity, I ask questions about the nature of violence itself, making this a relevant study in a world that is getting out of touch, yet is riven by violent conflict. I demonstrate that within the community of knights with which the poems concern themselves, there is a shared language of touch that creates bonds between those men, excluding those who are ineligible: women, peasants, children and Saracens. The ritualised public touch of the dubbing ceremony marks the knight’s entry into this community, and announces his willingness to kill its enemies. Now his prowess, honour and self-worth – his heroic identity – will be figured through his ability to destroy outsiders whilst remaining inviolate. His violent touching of the Other is a means to safeguard his own body against the Other’s traumatic touch, yet it also necessitates proximity with an enemy that troublingly mirrors his own values and achievements. As anxiety provoked by disintegrating subjective boundaries worsens, violence escalates and knights battle mercilessly, until as one poem describes, ‘de lor sanc cort li ruz contre val’ (‘the river of their blood ran down the valley’, Les Narbonnais, l. 3952).

Thesis--Faculté des lettres de l'Université de Bâle. / Includes bibliographical references and index.

Inaug.-diss.--Leipzig. / Lebenslauf. "Erscheint als Heft 9 im Selbstverlag des Romanischen Seminars." "Bibliographie": p. [5]-14.

Inaug.-diss.--Leipzig. / Lebenslauf. "Diese arbeit erscheint gleichzeitig als heft 18 der 'Leipziger romanistischen studien'."

Inaug.-Diss.--Berlin. / Vita.