Submitted by Jessica Soares Fradusco null (jessicasfradusco@gmail.com) on 2016-07-19T13:58:49Z No. of bitstreams: 1 Jessica_Dissertação_versão_final_REPOSITORIO.pdf: 581908 bytes, checksum: d45b2f504bfae73725b7b47acb3bec4f (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-20T16:40:18Z (GMT) No. of bitstreams: 1 fradusco_js_me_arafcl.pdf: 581908 bytes, checksum: d45b2f504bfae73725b7b47acb3bec4f (MD5) / Made available in DSpace on 2016-07-20T16:40:18Z (GMT). No. of bitstreams: 1 fradusco_js_me_arafcl.pdf: 581908 bytes, checksum: d45b2f504bfae73725b7b47acb3bec4f (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo desta pesquisa é analisar os contos “I fatali”, “Un osso di morto” “Le leggende del castello nero”, “La lettera U” e “Uno spirito in un lampone”, presentes na obra Racconti fantastici, de 1869, de Igino Ugo Tarchetti. Por meio das análises realizadas, serão demonstrados os temas centrais de cada conto, bem como de que modo o fantástico se manifesta nessas narrativas. Além dos temas centrais, serão expostos os procedimentos narrativos utilizados e a postura do narrador diante do objeto narrado, dentre outros elementos, como a atmosfera e a presença ou não de elementos sobrenaturais. Busca-se demonstrar a presença do modo literário fantástico e a forma como este se desenvolveu na Itália frente a sua difusão em países como Alemanha, França e Inglaterra, considerando que em solo italiano o movimento literário vigente era o Romanticismo, cujas características não eram compatíveis com aquelas presentes nos contos fantásticos de modo geral. Por fim, pretende-se demonstrar a forma como Igino Ugo Tarchetti contribuiu para o desenvolvimento da literatura fantástica na Itália. Com o intuito de alcançar o objetivo almejado, o trabalho está estruturado da seguinte forma: primeiramente, é apresentada a Introdução com a estruturação de cada um dos capítulos que serão desenvolvidos neste trabalho. Logo em seguida, será abordado o Contexto histórico-literário, subdividido em três outras partes: Romantismo Italiano versus Romantismo Europeu, demonstrando as diferenças existentes entre eles; Scapigliatura – exposição das características principais do movimento ao qual Tarchetti está vinculado – e, por fim, um breve resumo a respeito do escritor, cujo enfoque estará nas características de sua produção literária. Em sequência, serão expostas as Teorias do fantástico com a explanação a respeito dos pontos apresentados por Remo Ceserani e Tzvetan Todorov que serviram de suporte para as análises, as quais serão realizadas no quarto capítulo. Ao final, haverá as Considerações finais acerca da pesquisa, ressaltando as particularidades e influências de Tarchetti na elaboração dos contos que compõem o corpus deste trabalho. / The objective of this research is to analyze the short stories "I fatali", "Un osso di morto" "Le leggende del castello nero", "La lettera U" and "Uno Spirito in un lampone" present in Racconti fantastici work, 1869 of Igino Ugo Tarchetti. Through analyzes, the central themes of each story will be demonstrated, as well as how the fantastic is manifested in these narratives. In addition to the core subjects, will be the narrative procedures used exposed and the narrator's attitude towards the object narrated, among other elements such as the atmosphere and the presence or absence of supernatural elements. The aim is to demonstrate the presence of the fantastic literary mode and how it developed in Italy against their spread in countries like Germany, France and England, whereas in Italian soil the current literary movement was Romanticism, whose features were not compatible with those present in fantastic tales in general. Finally, we intend to demonstrate how Igino Ugo Tarchetti contributed to the development of fantastic literature in Italy. In order to achieve the desired goal, the work is structured as follows: first, presents the introduction to the structure of each chapter that will be developed in this work. Soon after, the historical and literary context, in three other parts will be addressed: Italian Romanticism versus European Romanticism, showing the differences between them; Scapigliatura - exposure of the main characteristics of the movement to which Tarchetti is linked - and finally, a brief summary about the writer, whose focus is on the characteristics of his literary production. In sequence, the fanciful theories with the explanation about the points presented by Remo Ceserani and Tzvetan Todorov that served as support for the analysis will be displayed, which will be held in the fourth chapter. At the end there will be the final considerations about the research, highlighting the characteristics and influences of Tarchetti in the preparation of the stories that make up the corpus of this work.

Pendant la seconde moitié du XIXe siècle, en Europe, le désir d’une lecture totale des corps, qu’ils soient sains ou malades, devient presque obsessionnel. Un désir qui, naissant en plein Positivisme, suppose une lecture selon des principes toujours plus ‘scientifiques’ et selon une méthode – la méthode expérimentale – qui garantisse rigueur et sérieux. Un désir qui trouve sa justification au moment même où la folie et son ample spectre phénoménologique de névroses, hystéries et épilepsies devient la « figure de proue » du XIXe siècle et est lue comme une maladie propre à la société moderne. L’intérêt qui a toujours entouré le discours sur l’esprit humain grandit alors démesurément, sort des systèmes théoriques des sciences médicales et « investit » les artistes et écrivains ainsi que leurs productions. C’est dans ce climat que s’insèrent de façon impétueuse et prépondérante la figure et l’œuvre de Cesare Lombroso (1835-1909). L’objectif de cette étude a été de mettre en lumière l’influence et la portée des théories de Cesare Lombroso et des sciences médicales en général sur la littérature italienne contemporaine et, en même temps, le rôle et la fonction de cette dernière sur celles-ci. Plus particulièrement, l’accent a été mis sur les ‘imbrications’ scientifico-littéraires opérées des deux côtés, mais aussi sur la fonction cognitive, outre qu’épistémologique, née de ces liens étroits allant presque jusqu’à l’osmose entre des disciplines aussi éloignées entre elles : la science à travers la figure de Cesare Lombroso d’un côté, et, la littérature à travers la figure de Carlo Dossi (1849-1910) et de quelques autres écrivains de la même période de l’autre côté. L’objectif a été également de comprendre si dans cet échange d’idées et de compétences, les disciplines en cause se sont entraidées ou si elles ont plutôt revêtu un rôle « ancillaire » les unes envers les autres / In Europe in the second half of the XIXth century, the wish to apprehend the human body and its multiple aspects, be it healthy or sick, became almost an obsession. With Positivism at its height, the perception and reading of the body required the use of a scientific approach – the experimental method – as a guarantee of accuracy and seriousness. This trend emerged at the very moment when madness (and its wide phenomenological spectrum of neurosis, hysterias and epilepsies) becomes a XIXth century emblem, and is perceived as a typical disease of the modern society. The already strong interest for the discourse on human mind thus intensifies and spreads out of the field of the theoretical systems of medical sciences to invest the world of artists, writers and their productions. As products of this intellectual background, the figure and the works of Cesare Lombroso (1835-1909) stand out and impose their presence. The purpose of this study is to highlight the influence and impact of medical sciences and of Cesare Lombroso’s theories on the XIXth century Italian literature and, conversely, the role and the function of literature on medical sciences. More particularly, this study focuses on the ‘commingling’ operating between sciences and literature, but also on the cognitive and epistemological functions arising from these close links that almost lead to osmosis, even though the two spheres seem distant from each other: sciences, through Cesare Lombroso on the one hand, and literature, through Carlo Dossi (1849-1910) and other writers of the same period on the other hand. The aim of this study is also to wonder whether, through this exchange of ideas and skills, science and literature feed each other or are finally limited to satellites roles

This dissertation examines the general traits of Decadentismo and Scapigliatura and the position of the art and literary critic Vittorio Pica and the writer Carlo Dossi in representing and promoting themes directly linked to these two literary trends. Pica’s essays on the leading European writers of the day are published in All’avanguardia (1890) and Letteratura d’eccezione (1898). These two books are responsible for the introduction of French Decadentism in Italy. Pica is also known for categorizing decadent authors under the literary phenomenon of “arte aristocratica.” This is the term that Pica resorts to when classifying the ‘ultra aristocratic’ tendencies of authors worthy of this prestigious stature. Carlo Dossi is one of the most appealing figures within the Scapigliatura. His position within the movement is examined in light of the narrative and linguistic divertissement displayed in his works, the interplay of the subjective narratorial voice of the “I” and the writer’s revolutionary role within the Italian literary canon. Special emphasis is given to Dossi’s dismantling of the traditional literary text, the literature of the fantastic, humor and the role of the reader. These themes are exemplified in his personal journal Note azzurre and in the novels, L’altrieri, Vita di Alberto Pisani and La desinenza in A. Although Dossi the writer and Pica the critic produced works that are entirely different in nature, the dissertation attempts to draw attention to a series of convergences and divergences between the two of them.

This dissertation examines the general traits of Decadentismo and Scapigliatura and the position of the art and literary critic Vittorio Pica and the writer Carlo Dossi in representing and promoting themes directly linked to these two literary trends. Pica’s essays on the leading European writers of the day are published in All’avanguardia (1890) and Letteratura d’eccezione (1898). These two books are responsible for the introduction of French Decadentism in Italy. Pica is also known for categorizing decadent authors under the literary phenomenon of “arte aristocratica.” This is the term that Pica resorts to when classifying the ‘ultra aristocratic’ tendencies of authors worthy of this prestigious stature. Carlo Dossi is one of the most appealing figures within the Scapigliatura. His position within the movement is examined in light of the narrative and linguistic divertissement displayed in his works, the interplay of the subjective narratorial voice of the “I” and the writer’s revolutionary role within the Italian literary canon. Special emphasis is given to Dossi’s dismantling of the traditional literary text, the literature of the fantastic, humor and the role of the reader. These themes are exemplified in his personal journal Note azzurre and in the novels, L’altrieri, Vita di Alberto Pisani and La desinenza in A. Although Dossi the writer and Pica the critic produced works that are entirely different in nature, the dissertation attempts to draw attention to a series of convergences and divergences between the two of them.

Mon travail de thèse porte sur la « Scapigliatura democratica », un mouvement littéraire italien qui se développa à Milan entre les années 60 et 80 du XIXe siècle. Par rapport au plus large mouvement de la « Scapigliatura », la « Scapigliatura democratica » se caractérise par le lien étroit entre littérature et politique qui est à la base de son projet culturel. Mon étude a pour objectif d’analyser ce phénomène de politisation dans la production narrative et journalistique des représentants les plus significatifs du mouvement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).Après un chapitre introductif sur l’état de l’art concernant ce sujet, la thèse s’articule en deux parties principales. Dans la première, nous avons cherché à donner une description du rapport entre « Scapigliatura » et politique de la fin des années 1850, au moment où le terme « Scapigliatura » paraît pour la première fois dans le fragment signé par Cletto Arrighi La scapigliatura, jusqu’à « La Farfalla » de Angelo Sommaruga, un des derniers journaux liées au mouvement ; en passant aussi par l’expérience cruciale du « Gazzettino Rosa » (1867-1873) de Achille Bizzoni et Felice Cavallotti. Afin d’éviter toute confusion terminologique avec les études critiques précédentes, nous avons privilégié les usages du mot « Scapigliatura » qui venaient de l’intérieur du mouvement, notamment des articles-manifestes à la première personne que l’on retrouve souvent dans les journaux « scapigliati » de l’époque. En ce sens, une des tâches principales de notre travail à été d’évaluer, selon l’auteur ou le journal concerné, l’évolution et le différent degré de politisation du terme.Dans la deuxième partie, en revanche, l’objectif a été d’étudier en parallèle la production littéraire et journalistique du mouvement, en essayant d’en montrer la contiguïté aussi bien au niveau formel qu’au niveau de contenus. L’hypothèse que nous avons voulu vérifier, en particulier, est qu’un même courant « pamphlétaire » (Angenot, La parole pamphlétaire, 1982) traverse l’ensemble de cette production, tous genres littéraires ou pragmatiques confondus. Il en découle que le trait distinctif de la « Scapigliatura democratica » réside moins dans sa configuration artistique ou littéraire que dans sa disposition rhétorique. A cet égard, nous avons montré que même la tendance littéraire du réalisme, majoritaire au sein du mouvement, se caractérise dans son application concrète par la forte influence de catégories éthiques et idéologiques qui sont extralittéraires. Dans le dernier chapitre de cette partie, nous avons mis à l’épreuve cette idée de littérature hybride en analysant quelques-unes parmi les batailles à la fois culturelles et politiques menées par le mouvement tout au long de son activité, comme celles concernant le militarisme, la morale bourgeoise ou la question sociale dans l’univers urbain.En conclusion, nous avons souligné l’importance de la réflexion politique dans la construction de l’identité du mouvement, ainsi que le rôle novateur d’intellectuel-agitateur que les écrivains-journalistes « scapigliati » eurent dans la crise politique et culturelle de l’Italie de premières années après l’Unité. Cela se fit notamment par la proposition d’une littérature de combat qui allait montrer toute sa puissance et sa capacité d’incidence sur la société à partir de la fin du XIXe siècle. / My thesis work focuses on the “Scapigliatura democratica”, an Italian literary movement that developed in Milan between the 60s and 80s of the 19th century. Compared to the broader Scapigliatura movement, the Scapigliatura democratica is characterized by the close link between literature and politics that underlies its cultural project. My research aimed to investigate this phenomenon of politicization in the narrative and journalistic production of the most significant representatives of the movement (Arrighi, Bizzoni, Tronconi, Valera, Cameroni).After an introductory chapter on the state of the art, the thesis is divided into two main parts. In the first, we sought to describe the relationship between “Scapigliatura” and politics, from the late 1850s, when the term “Scapigliatura” first appeared in Cletto Arrighi’s fragment La scapigliatura, to the journal called «La Farfalla» by Angelo Sommaruga, one of the last newspapers linked to the movement; and also passing through the crucial experience of «Gazzettino Rosa» (1867-1873) by Achille Bizzoni and Felice Cavallotti. In order to avoid any terminological confusion with previous critical studies, we favoured the use of the word “Scapigliatura” from within the movement, in particular the articles written in the first person that were often published in the “scapigliati” journals of the time. In this sense, one of the main tasks of our work has been to evaluate, according to the author or journal concerned, the evolution and the different degree of politicization of the term.In the second part, our goal has been to show the contiguity between literary production and the journalistic activity of the movement, both formally and in terms of content. The hypothesis we wanted to verify was, in particular, the presence of some features related to the pamphlet genre (Angenot, La parole pamphlétaire, 1982) in all this production. It follows that the distinctive feature of the “Scapigliatura democratica” lies less in its artistic or literary configuration than in its rhetorical disposition. In this respect, we shown that even the literary trend of realism, which is the majority within the movement, is characterized in its concrete application by the strong influence of extraliterary ethical and ideological categories. In the last chapter of this section, we tested this idea of hybrid literature by analyzing some of the battles, both cultural and political, waged by the movement throughout its activity, such as those concerning militarism, bourgeois morality or the social question.In conclusion, we underlined the importance of political reflection in building the identity of the movement, as well as the innovative role of intellectual-agitator that the “scapigliati” writer-journalists had in Italy’s political and cultural crisis in the first years after Unity. This was done in particular by the proposal of a combat literature, which would show all its power and its capacity to have an impact on society from the end of the 19th century onwards.

In the 1860s, the Italian Scapigliati (literally ‘the dishevelled ones’) promoted a systematic refusal of traditional literary and artistic values, coupled with a nonconformist and rebellious lifestyle. The Scapigliatura movement is still understudied, particularly outside Italy, but it plays a pivotal role in the transition from Italian Romanticism to Decadentism. One of the authors most frequently associated with Scapigliatura in terms of literary influence as well as eccentric Bohemianism is the French poet Charles Baudelaire, certainly amongst the most innovative and pioneering figures of nineteenth-century European poetry. Studies on the relationship between Baudelaire and Scapigliatura have commonly taken into account only the most explicit and superficial Baudelairian aspects of Scapigliatura’s poetry, such as the notion of aesthetic revolt against a conventional idea of beauty, which led the Scapigliati to introduce into their poetry morally shocking and unconventional subjects. Furthermore, these studies have not focused on drawing a detailed and systematic picture that portrays the connections not only between Baudelaire and the poets of Scapigliatura, but also among the Scapigliati themselves. As a result, the true extent of Baudelaire’s influence has not been acknowledged. This study strives to fill the gaps in the existing scholarship. My thesis posits that Baudelaire’s influence on the poetry of Scapigliatura, almost exclusively related to the first two editions of the verse collection Les Fleurs du Mal, is more profound and substantial than scholarship has heretofore recognised. The thesis consists of three chapters, each dedicated to one of the three most important poets of Scapigliatura, namely Arrigo Boito, Emilio Praga, and Giovanni Camerana. The investigation of Baudelaire’s influence on the Scapigliati is conducted both individually, searching for Baudelairian features in their work, and comparatively, contrasting differences and aiming to locate similarities. The main focus is on the major poetic works that are strictly related to the phases in these poets’ careers when they were associated with Scapigliatura: Boito’s Il libro dei versi and Re Orso; Praga’s Tavolozza and Penombre; and Camerana’s poems written between 1863 and 1869. My aim is to establish if there was what can be called a ‘Baudelairian school’ within Scapigliatura. Ultimately, I argue that the relationship between Baudelaire and the poetry of Scapigliatura is more complex than has previously been understood. I demonstrate a vast and wide-ranging influence – on a conceptual, lexical, and stylistic level – on the three poets discussed in this work, which can be traced back to the very beginning of their careers in the early 1860s. Far from being simply an element of aesthetic and moral rebellion in order to épater le bourgeois, the Baudelairism of Boito, Praga, and Camerana in their Scapigliatura years accomplished two ends: on the one hand, it preserved some of the more traditional aspects of Baudelaire’s poetry, which have been largely overlooked by Italian literary scholarship on Scapigliatura; on the other hand, it introduced a thematic and formal modernity into Italian poetry, paving the way for the Decadent movement as well as the twentieth-century avant-gardes.