Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Esta dissertação analisa dois livros sobre viagens: Atlas , do autor argentino Jorge Luis Borges, e As cidades invisíveis , do autor italiano Italo Calvino. O objetivo do presente estudo é estabelecer as possíveis relações entre memória e imagem na literatura, através do estudo comparativo dessas obras. Para cumprir tal objetivo, o referencial teórico deste trabalho é composto principalmente por teorias e críticas literárias, como as de Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre e Tiphaine Samoyault. Fora isso, há estudos sobre a memória, incluindo autoras como Aleida Assmann e Frances Yates, e a teoria da fotografia, com destaque sobretudo para os estudos de Philippe Dubois. Depois de uma leitura aproximada aos textos literários e da apreciação do referencial teórico, constata-se que as relações entre memória e imagem funcionam em três estádios interdependentes: imaginação, representação e recordação. A imaginação está vinculada à formação de imagens mentais pelo escritor, antes que este escreva. Já a representação, é o momento em que a imagem é registrada no papel, através das palavras escolhidas para evocá-las. Finalmente, há a recordação, que ocorre quando o registro da imagem pensada pelo autor pode servir como uma forma de resistir à passagem do tempo ou, pelo menos, garantir sua presença nele. / This paper analyzes two books about travels: Atlas , by the Argentine author Jorge Luis Borges, and Invisible Cities , by the Italian author Italo Calvino. The goal of this study is to establish the possible relations between memory and images in literature through the comparison of these works. To achieve this goal, the theoretical framework of this research is mainly composed of literary theory and criticism, by thinkers such as Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre and Tiphaine Samoyault. Other than that, there are studies on memory, by Aleida Assmann and Frances Yates, and photography theory, by Philippe Dubois. After a close reading of the literary texts and the appreciation of the theoretical references, it is noticeable that the relations between memory and image work in three stages: imagination, representation and recollection. Imagination has a link with the mental imagery that the writer creates before he writes. Then, representation happens when that image gets registered on paper, through the words chosen to evoke it. Finally, there is recollection, which occurs when the represented image, once thought by the author, serves as a way to resist the passage of time or at least ensure its presence in it.

In this essay I have read the novels Wide Sargasso Sea (Jean Rhys 1966), Desirada (Maryse Condé 1997) and Invisible Cities (Italo Calvino 1972) through Édouard Glissant’s notion of the primary scene in Philosophie de la relation. Poésie en étendue. I have examined how the primary scene can be seen as a political/an aesthetical strategy in the three novels. This was done in order to question the blunted tool of the notion of the identity, which is often considered in studies regarding ”postcolonial novels”. Invisible Cities is not belonging in this tradition, the method I used was ”The travelling theory” of Edward W. Saïd that proposes to let theories travel through different fields instead of trying to understand their ”original” meaning. I compared these novels in accordance to Glissants theory of questioning the notion of origins. The analysis compares how the novels depending on in wich tradition they have been read is being seen with different eyes. Novels interpreted as ”postcolonial novels” are usually read as a symptom of lack of origin. Whereas the protagonist tryes to understand the loss of identity. Glissants theory eases the analysis to reach other possible meanings of the novels, where they both meet and differs. My results indicate that The Wide Sargasso Sea and Desirada create a complex relation to time and space, where the primary scenes in these novels are steeped through different time levels. The two novels present a new way to understand time that rejects historicity, create new tools for thinking and evaluates new strategies to exist in the world, without origins in the classical meaning; Rhys through her imagery and Condé through her weave of times. The same goes for Invicible Cities, only though Venice the primal scene in the novel stays the center of interest, and even though borders of time and space are being questioned, the novel tends to make Venice the guzzling synthesis. / Édouard Glissant, Jean Rhys, Maryse Condé, Italo Calvino, Édward W. Saïd, Mary Lou Emery, Spivak.

L'objet de ce mémoire consiste à réfléchir à l'influence philosophique, stylistique et esthétique qu'exercent les mécanismes de la collection sur les pratiques textuelles d'Italo Calvino (1923-1985) : Les villes invisibles, Palomar et Collection de sable. Afin de décrire la collection comme pratique et de la définir comme mode de pensée, notre étude prendra appui sur les travaux des plus importants théoriciens de la collection que sont Jean Baudrillard, Walter Benjamin, Krzysztof Pomian, Roger Cardinal, John Elsner et Dominique Pety. Le premier chapitre permettra de démontrer qu'en valorisant l'unique et le singulier tout en étant nécessairement sériels et pluriels, les recueils de Calvino empruntent leur forme et leur thématique à la collection ; poétique de la sérialité, écriture de la liste, multiplication des dispositifs d'emboîtement et exigence de classement sont autant de signes de cette littérature du recensement qui seront étudiés. Ce premier chapitre sera aussi l'occasion de montrer que la collection, en tant que mode d'appropriation du savoir, constitue pour Italo Calvino une composante du champ épistémologique. À son image, les recueils de l'écrivain italien produisent un réseau d'échos qui multiplient les correspondances entre les textes qu'ils rassemblent ; la dernière partie de ce premier chapitre envisagera ce système comme un cabinet de curiosités hypertextuel. Le deuxième chapitre, quant à lui, abordera la dimension éthique de la collection qui s'ouvre chez Calvino sur les questions conjointes du souvenir, de la mémoire et de la « récollection ». Dans Les villes invisibles, Palomar et Collection de sable, en effet, l'écrivain met en branle une entreprise de mémoire individuelle et collective qui repose sur la collecte de traces mnésiques. Ce chapitre permettra d'éprouver avec l'auteur les limites de son projet et de se poser, avec lui, la question suivante : est-il vraiment possible de collectionner le sable? S'il peut effectivement être recueilli, il reste qu'une interrogation subsiste : le sable totalise-t-il vraiment la mémoire qu'il tente de préserver et, éventuellement, de ranimer? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Italo Calvino, Collection, Mémoire, Encyclopédie, Cabinet de curiosités, Les villes invisibles, Palomar, Collection de sable

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 271-277). Available also in a digital version from Dissertation Abstracts.

Au travers des dialectes italo-romans méridionaux et salentins, cette thèse met la cladistique au service de la dialectologie, la cladistique étant une méthode de classification principalement liée à l'étude phylogénétique et typologique des espèces vivantes. L'essentiel de la recherche porte sur l'étude des différents diasystèmes dialectaux qui se dégagent de l'analyse cladistique appliquée au domaine Italo-Roman Méridional. Après une première étude d'ordre sociolinguistique qui décrit le niveau de diglossie et le degré d'utilisation du dialecte dans l'espace salentin, cette thèse parcourt l'histoire des dialectes IRM et l'histoire de la dialectologie Italo-Romane, depuis les premiers essais de classification dialectale. Deux corpus différents ont été utilisés: dans un premier temps, un corpus obtenu à partir du dépouillement de l'ALI, et qui a servi à l'analyse du domaine IRM en général. L'espace dialectal pris en considération comprend la Campanie, la Basilicate, les Pouilles, le Salento, la Sardaigne, la Sicile et la Calabre. Dans chacune de ces régions nous avons sélectionné 3 points selon le principe d'équidistance. Les mots témoins relevés sont au nombre de 20. Le deuxième corpus, obtenu suite à un questionnaire réalisé dans la région du Salento par l'auteur même, se compose de 35 variables et six points d'enquête. Celui-ci a été construit en tenant compte de certains critères sociologiques que la méthode cladistique nous a permis d'intégrer dans notre analyse. Les résultats obtenus n'ont pas le but de bouleverser les classifications pré-existantes, mais de donner une vision plus structurante des aires dialectales étudiées en mettant en avant la diversité de leur structure interne.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-22Bitstream added on 2014-06-13T19:42:27Z : No. of bitstreams: 1 arauz_var_dr_arafcl.pdf: 518515 bytes, checksum: aad5577c808839d40806e7925738424e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo empreender uma análise sobre a construção dos mundos ficcionais da trilogia I nostri antenati, composta pelos romances Il visconte dimezzato (1952), Il barone rampante (1957) e Il cavaliere inesistente (1959) de Italo Calvino, considerando esses romances como um marco para as escolhas estéticas que acompanhariam esse autor por toda a sua produção ao longo do século XX. Essa leitura está apoiada em três pontos, ou seja, a atuação discursiva de cada um dos narradores; o diálogo estabelecido entre os romances e outros textos literários; e o lugar dessas três narrativas no contexto da produção de Calvino. As três personagens singulares que povoam esses mundos são: um visconde simetricamente dividido, o qual passa a viver entre opostos inclusive no seu trato com a linguagem; um jovem barão, que de cima das copas das árvores acompanha e participa dos destinos da humanidade e até mesmo das mudanças no campo da literatura no final do século XVIII; e um cavaleiro que, apesar de ser o melhor dentre os paladinos do exército francês não é nada além de uma armadura vazia, sustentada por um conjunto de regras e instituições presentes no imaginário das novelas de cavalaria. Assim, as narrativas se propõem a tratar dos antepassados do homem contemporâneo, questionando as posturas positivistas e racionalistas do período conhecido como modernidade, além de serem textos cujos narradores se percebem como elementos de mundos ficcionais singulares e refletem sobre o ato de narrar. Considera-se ainda fundamental o papel do leitor como co-construtor de sentido, responsável enquanto instância discursiva pela existência de uma série infinita de interpretações iniciada pela leitura. Finalmente, entende-se que esses três romances pertencem ao início de uma mudança na escritura de Calvino, que passa a oferecer uma discussão sobre o lugar do homem... / This work has the aim of making an analysis of the construction of the fictional worlds of I nostri antenati trilogy, comprised by Italo Calvino’s novels Il visconte dimezzato (1952), Il barone rampante (1957) and Il cavaliere inesistente (1959). It considers those novels as a landmark to the aesthetic choices that would follow the author along his work during the 20th century. This reading is supported by three points, which are the discourse of each narrator; the dialogue established between the novels and some other literary texts; and the position of these three novels in the context of Calvino’s works. The three singular characters who inhabit these worlds are a symmetrically divided viscount, who starts to live between oppositions, including his way of dealing with language; an young baron, who is on the top of the trees and who follows and participates in the destiny of mankind and even in the changes on literary issues at the end of the 18th century; and a knight who, though he is the best among French army paladins, is nothing beside an empty piece of armor, supported by a framework of rules and institutions that is related to the cavalry novels imaginary. Thus, these narratives propose to discuss the ancestors of contemporary men, by questioning the positivist and rationalist positions of the period known as modernity, moreover they are texts whose narrators see themselves as some singular fictional world components and they reflect about the narrative act itself. We also consider fundamental the rule of the reader as a meaning cobuilder, a discursive instance who is responsible for the existence of an infinite series of interpretations, started on the reading act. We finally understand these three novels as inserted in the beginning of the changing in Calvino’s writing, when he starts to discuss the place of mankind in the face of the challenges presented to it after... (Complete abstract click electronic access below)

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-13Bitstream added on 2014-06-13T20:23:02Z : No. of bitstreams: 1 micali_dlc_dr_arafcl_prot.pdf: 1442449 bytes, checksum: 36bbdf3e4a12914c99fd00b5b62da597 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho focaliza o romance pela análise de quatro obras, publicadas de meados do século passado ao início deste – O cavaleiro inexistente, de Italo Calvino (1959); O enteado, de Juan José Saer (1982); O feitiço da ilha do pavão, de João Ubaldo Ribeiro (1997); e Nove noites, de Bernardo Carvalho (2002). Dois desses livros são de autores estrangeiros, o que ressalta o caráter comparativo deste estudo que examina questões literárias que ultrapassam fronteiras nacionais e lingüísticas. Partindo da hipótese de que os quatro romances possibilitam um debate em torno da construção da ficcionalidade e da representação da realidade pela linguagem literária, investiga-se procedimentos de construção narrativa teorizados por Bakhtin – paródia, intertextualidade, polifonia, dialogismo e carnavalização –, e conduzidos pelo narrador com base na relação entre realidade e linguagem. Esta relação não se limita ao plano discursivo-lingüístico desse corpus literário, mas se apresenta inserida na história narrada em cada livro, i.e., no seu plano diegético (supralingüístico). Portanto, a espinha-dorsal deste estudo é a problemática expressa pelo binômio realidade-linguagem – que relativiza o próprio conceito de literatura –, mas outros recursos narrativos são também analisados, como a prosa poética, o humor, a sátira e a ironia. Ainda faz parte da pesquisa verificar a confluência entre realidade histórica e ficção literária, inclusive na forma de metaficção historiográfica, observando até onde chega a ficção nesses romances, a partir do elemento histórico. / The present work studies the novel by analyzing four books, published from the middle of the last century to the beginning of the current one – O cavaleiro inexistente, by Italo Calvino (1959); O enteado, by Juan José Saer (1982); O feitiço da ilha do pavão, by João Ubaldo Ribeiro (1997); and Nove noites, by Bernardo Carvalho (2002). Two of these novels are from foreign authors which highlights the comparative feature of this study examining literary questions which overcome national and linguistic frontiers. Starting with the hypothesis that the four novels allow a discussion on the construction of the fictionality and the representation of the reality by the literary language, it is researched procedures of narrative construction theorized by Bakhtin – parody, intertextuality, polyphony, dialogism, and carnivalization – and carried by the narrator through the relation between reality and language. This relation is not limited to the discursive-linguistic plan of this literary corpus, but presents itself inserted in the story narrated in each book, i.e., in its diegetic (supralinguistic) plan. Therefore, the backbone of this study is the problematic expressed by the binomial reality-language – which relativizes the very concept of literature –, but others narrative resources are also analyzed, such as the poetic prose, the humor, the satire and the irony. So the purpose of this study is to analyze the confluence between the historical reality and the literary fiction, even in the form of historiographic metafiction, observing the extensions of the fiction apart from the historical element.

Selon la législation italienne, est Italien le fils ou la fille d’un citoyen italien. Cette transmission de la cittadinanza par droit du sang remonte à l’aube de l’Unité italienne, dans les années 1860, et à un contexte d’émigration massive, en particulier vers l’Amérique Latine. En légiférant de la sorte, les parlementaires du tout jeune Royaume d’Italie souhaitaient maintenir un lien fort avec la population émigrée dans le monde entier, pour l’intégrer, sur le principe de la nazionalità, à la construction de la Nation italienne. Depuis, la loi n’a que très peu changé, tandis que l’Italie s’est transformée de pays d’émigration en pays d’immigration. Entre-temps, les émigrés italiens se sont intégrés à leurs pays d’accueil et leurs descendants, qui sont donc légalement aussi des citoyens italiens, sont encore considérés par les parlementaires italiens comme une véritable ressource pour l’Italie : ils joueraient ainsi le rôle d’ambassadeurs d’italianità, contribuant au prestige de l’Italie à travers la diffusion de la langue, de la culture, et des produits de consommation italiens. Mais est-ce bien le cas et la législation est-elle encore adaptée à la réalité contemporaine ? À partir d’un corpus inédit de données statistiques et d’entretiens enregistrés ou filmés avec des parlementaires italiens, des représentants d’institutions italiennes à l’étranger et des Italo-descendants lors d’une recherche de terrain réalisée en Italie, en Argentine et au Brésil, nous vérifions dans quelle mesure ces derniers constituent (ou non) une ressource pour l’Italie et maintiennent un lien avec le pays d’origine de leurs ancêtres. Pour cela, nous conjuguons méthode quantitative et méthode qualitative, et pour cette dernière, nous recourons à l’analyse de discours, traquant chez les Italo-descendants les indices d’italianità et la manière qu’ils ont de l’exprimer dans leur langage et leur gestuelle. Nous abordons différents thèmes (économiques, démographiques, linguistiques, culturels, civiques) qui nous permettent de montrer que ces Italo-descendants ne constituent pas des ambassadeurs d’italianità, mais des individus aux appartenances multiples et aux identités complexes, dont le lien avec l’Italie est, à quelques exceptions près, ténu. Plus qu’un élément fédérateur unissant les Italo-descendants à leurs prétendus compatriotes d’Italie, la cittadinanza est ainsi envisagée de manière tantôt pragmatique, comme un laisser-passer permettant de voyager librement ; tantôt de manière symbolique, comme un vecteur de distinction au sein des sociétés argentine et brésilienne. Loin de se confondre, la cittadinanza, la nazionalità et l’italianità tendent en réalité à se distinguer de plus en plus dans le nouveau contexte globalisé, et invitent à réfléchir à une autre manière de préserver, entretenir ou créer un lien entre les Italo-descendants et l'Italie. / According to the Italian legislation, to be Italian one must be the son or daughter of an Italian citizen. The transmission of the cittadinanza by right of blood dates back to the dawn of the Italian Unity, in the 1860s, and to a context of massive emigration, especially towards Latin America. By legislating in such a way, the parliamentarians of the young Italian Kingdom expected to keep a strong link with their migrants across the world, in order to integrate them, under the principle of nazionalità, to the construction of the Italian Nation. Ever since, the law has seen only minor changes, in tandem with the transformation of Italy from a country of emigration to one of immigration. Meanwhile, Italian migrants have integrated to their host countries and their descendants–who are accordingly Italian citizens–are still considered by the Italian legislators as a true resource for Italy: they would thus play the role of ambassadors of italianità, contributing to the prestige of Italy by diffusing the Italian language, culture, and products. But is this actually the case and is the legislation adapted to today’s reality?Using a novel corpus of quantitative data and interviews audio or video-taped with members of the Italian parliament, representatives of Italian institutions in foreign countries and Italian descendants during fieldwork undertaken in Italy, Argentina and Brazil, I investigate to what extent Italian descendants do (or do not) constitute a resource for Italy and whether they maintain a link with the country of origin of their ancestors. To that end, I conjugate quantitative and qualitative methods. For the latter, I use discourse analysis to track down the clues of italianità among Italian descendants as well as the ways in which they express it both language and gesture-wise. I cover different domains (economic, demographic, linguistic, cultural, civic) that permit to show that Italian descendants do not constitute ambassadors of italianità, but rather individuals with multiple and complex identities for whom the link with Italy is, with rare exceptions, tenuous.More than a unifying element joining together Italian descendants and their pretended compatriots in Italy, the cittadinanza is thus at times conceived in a pragmatic manner, as a free-pass allowing for unimpeded travelling; and at times in a symbolic way, as a driver of distinction within the Argentinian and Brazilian societies. Far from being the same thing, cittadinanza, nazionalità and italianità tend in reality to become increasingly divergent in the new context of globalization, which calls for a reflection on different ways of preserving, maintaining or creating a link between Italian descendants and Italy.

Orientador: Eduardo Sterzi de Carvalho Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T13:30:16Z (GMT). No. of bitstreams: 1 Paiva_JulianaZanettide_M.pdf: 24170742 bytes, checksum: 3d3f48b1a21422af2dcf63d63f7ccaa0 (MD5) Previous issue date: 2015 / Resumo: O objetivo do nosso estudo é refletir sobre as três personagens principais da obra Os nossos antepassados como figurações alegóricas do sujeito moderno. O percurso que escolhemos percorrer foi apresentar alguns elementos sobre Calvino e a relação entre real e ficional na sua trajetória a partir do ponto de vista da crítica italiana. Em seguida, como existem várias definições e entendimentos acerca do que se pode definir por modernidade, explicitamos em quais concepões nos apoiamos neste estudo. Quanto à discussão acerca das concepções de alegoria, foi mais frutífero para nosso estudo problematizar esse conceito com base nas elaborações de Walter Benjamin. Por acharmos que a obra calviniana em análise mantém uma relação tensa com o contexto social da época de sua escrita, buscamos situar tal contexto, notadamente a especificidade da modernidade italiana, destacando alguns acontecimentos históricos na época da escrita das três histórias, com destaque para o debate sobre o neorrealismo italiano. Em seguida, apresentamos algumas das análises realizadas sobre a obra em estudo e procedemos à nossa análise. A divisão de Medardo, entendida por nós como mutilação, é relacionada aos conceitos de indivíduo concreto, particular e forma-sujeito burguesa abstrata e universal. Para nós, a dinâmica da vida social moderna é também uma dinâmica da subjetividade, em que a forma social pretende exigir dos indivíduos o constante apagamento de seus rastros de individualidade em proveito de uma forma de subjetividade geral e abstrata. Entretanto, os indivíduos concretos não são máquinas que apagam sua história de vida em proveito do social, ou seja, existem tensões que para nós são advindas dessa mutilação entre as exigências do todo social universal e a vida particular. Cosme, por sua vez, é por nós interpretado tanto como uma alegoria do sujeito moderno da Razão Instrumental com sua tendência a submeter o mundo aos imperativos da Razão quanto como uma desilusão-aporia em relação a essa racionalidade: não se sabe se Cosme está desiludido porque não conseguiu fazer o mundo ser guiado pela Razão ou porque notou na racionalização do mundo também as raízes da irracionalidade. Agilulfo nos parece uma imagem alegórica do que se poderia chamar de armadura de caráter do sujeito moderno, de uma abstração de subjetividade, pois o cavaleiro expressa a negação da individualidade do ser humano, em proveito de uma forma-sujeito apta à vida moderna, um sujeito que tem ações e pensamentos em consonância com o ritmo moderno, com a aceitação da realidade vivida sem realizar atritos com ela / Abstract: The aim of our study is to reflect on the three main characters of the work Os Nossos Antepassados as allegorical figurations of the modern subject. The route we choose to follow was to present a brief overview of Calvino and the relationship between the real and the fictional in his trajectory from the point of view of the Italian criticism. After that, as there are several definitions and understandings of what can be defined as modernity, we made explicit in which conceptions we are supported in this study. For the discussion about allegory conceptions, it was more fruitful to discuss this concept based on Walter Benjamin¿s elaborations. As we think that Calvino¿s work, in analysis here, keeps a tense relation with the social context of his writing period, we seek to situate such context, notably the specificity of Italian modernity, highlighting some historical events at that period when those three stories were written, emphasizing the debate on the Italian neorealism. Then, we present some of the performed analyzes on the work in study and proceeded to our analysis. Medardo¿s division, understood by us as mutilation, it is related to the concepts of concrete individual, particular and abstract bourgeois and universal subject-form. For us, the dynamics of modern social life is also a dynamic of the subjectivity, where the social form intendeds to require the individuals the constant erasing of their traces of individuality in favor of a form of general and abstract subjectivity. However, the concrete individuals are not machines that erase their life story for the benefit of social, i.e., there are tensions that for us come from this mutilation between the demands of the whole universal social and the private life. Cosme, in turn, is interpreted by us both as an allegory of the modern subject of the Instrumental Reason with his tendency to submit the world to the imperatives of the Reason and as a disappointment-aporia for this rationality: it is not known if Cosme is disappointed because he could not make the world be guided by the Reason or because he also noticed in the world's rationalization the roots of irrationality. Agilulfo seems an allegorical picture of what might be called the modern subject character armor, a subjectivity abstraction as the cavalryman expresses the denial of the individuality of the human being, in favor of a subject-form capable to the modern life, a subject that has actions and thoughts in line with the modern rhythm, accepting the experienced reality without making friction with it / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

Il percorso intellettuale di Italo Mancini può essere considerato sotto l'aspetto del rapporto tra fede e ragione ma anche le tematiche della liberazione, della salvezza e della redenzione sono presenti nei i suoi testi fin dalle origini. L'obiettivo del presente lavoro è stato quello di ripercorrere il percorso intellettuale e culturale di Italo Mancini e mettere in luce come la questione del male, declinata all'interno delle tematiche della salvezza, della liberazione e della riconciliazione, possa essere una chiave di lettura efficace, ovverosia un “filo rosso” in grado di collegare e tenere unite un insieme di opere e di temi che a volte rischiano di sembrare eterogenei. La questione soteriologica messa in luce da Mancini ha valore dal punto di vista della storia della filosofia italiana del novecento ma, a mio avviso, ha ancor più valore dal punto di vista della filosofia teoretica in quanto cerca di prospettare nuove possibilità per il discorso razionale e religioso su Dio. / The intellectual journey of Italo Mancini may be considered under the aspect of the relationship between faith and reason, but also the themes of liberation , salvation and redemption are present in his texts from the very beginning . The objective of this work was to retrace the intellectual and cultural significance of Italo Mancini and shed light on how the question of evil , declined within the themes of salvation, liberation and reconciliation, can be an effective key to understanding the work of the italian philosopher, a "red thread" able to connect and hold together a collection of works and themes that seem mixed at times. The soteriological issue highlighted by Mancini is of grat value from the point of view of the history of Italian philosophy of the twentieth century but, in my opinion, has even more value from the point of view of theoretical philosophy as it tries to envisage new possibilities for religious and rational discourse about God.