This thesis offers an interpretative framework of Italo Calvino’s later work (the cosmicomic stories, Le città invisibili, and Palomar), based on the notions of myth, desire, utopia and science. Its aim is to suggest a reading of these texts as a common literary project best described as being deeply influenced by mythological elements and structures, while clearly bearing the mark of enlightened thought. The study exposes both the intellectual implications of such a project, and the aesthetic mechanisms by which it takes its form. The research was informed by Calvino’s own relevant critical work, a network of secondary criticism approaching either the texts which were of interest to this particular work or the themes and notions that were to be explored, and a set of tertiary texts, which helped to consolidate pivotal notions. The latter include the work of thinkers who had a major influence on Calvino as it is known from his essays and his letters (like Charles Fourier or Giorgio de Santillana), but also other figures, such as Anton Chekhov or Albert Camus, who emerged as interesting comparative opportunities for our study. The analysis of the cosmicomic stories explores the relationship between myth-making and individual responsibility. It draws parallels between intellectual commitment and literary projection, and defines Calvino’s utopian project, including it in a reflection on knowledge, myth and the tyranny of abstract thought. Individual responsibility emerges as a prospective and a retrospective activity, which is explained alongside the idea of ‘poetics in the making’. Le città invisibili is studied as an illustration of Calvino’s precise poetics using the image of the city. The notions of the episode and the frame are the central concepts around which the inquiry is articulated. Discussing the ideas of desire and the search for the ideal, it is possible to draw solid links with the cosmological project of the cosmicomics and Calvino’s idea of utopia and myth. With an examination of characterisation in Palomar and a close analysis of the quest for meaning, this thesis also attempts a definition of Calvino’s aesthetics as the ‘aesthetics of earthly transcendence’. It moves on to a comparative study of Palomar and Le Mythe de Sisyphe by Albert Camus, in order to suggest an interpretation of the main character, as a man who lives and observes his life in the face of the absurd; the literary consequence being the immediate confrontation between writing and death, and the presence of silence threatening understanding and communication.

No description available.

Thesis (B.A.(Hons.)) -- Dept. of History, University of Adelaide, 1970.

Heidelberg, Staats- u. wirtschaftswiss. Diss. v. 28. Aug. 1939.

Thèse--Geneva.

Thesis (doctoral)--Albertus-Universität zu Königsberg, 1937. / Vita. Includes bibliographical references (p. 233-234).

The thesis links the writings of the Italian Italo Calvino and the Chinese Ma Yuan through the Taoist symbol of the Tao and the Borgesian concept of the Aleph, an imaginary point in space containing all points in space and time. Based on Zhuangzi’s parable of the Emperor Hun-tun (Chaos) who lost his original state of chaos when he had sensory openings poked into him, the vision of the Aleph/Tao represents the return to that chaotic state of undifferentiated knowledge one experiences when one closes all sensory perceptions. This unnameable vision allows one to transcend all apparent conceptual dichotomies as it lies in the realm of intuition rather than language. Calvino, like Borges, posits that the chaos of the universe cannot be represented through the sequential language system, but nevertheless demonstrates this ineffability through language. Ma Yuan celebrates the chaos of life by writing about a mythological Tibet, upholding the uniqueness of that culture as a subtle subversion to the Chinese political and territorial takeover. Chapter One and Two, respectively, discuss the “Overlapping Conceptual Spaces” in Calvino’s Invisible Cities and Ma Yuan’s ‘The Temptation of the Gangdisi’. Chapter Three looks in greater detail at the images of the Aleph and the Tao in the two main texts against the backdrop of Borgesian thought. In accordance with the concept of the Aleph/Tao whose definition is continuously unsettled by contradictory conjectures, the fourth chapter undoes the conclusions reached in the previous chapters. This chapter discusses Calvino’s Cosmicomics and Ma Yuan’s shorter Tibetan stories in the light of comic parody. That which was earlier posited as the ineffable in these stories is elaborated in a profusion of words. The Conclusion discusses from a Taoist point of view the predominantly male voice in the writings of the two authors. While both advocate the spiritual sameness of all phenomena in an undifferentiated knowledge of the world, they nevertheless write from the male perspective of the yang pursuing and wanting to possess the yin. / Arts, Faculty of / English, Department of / Graduate

No description available.

No description available.

Segundo o pensamento de Mario Praz, Umberto Eco, Anatol Rosenfeld e muitos outros, as estruturas da obra de arte refletem as estruturas epistemológicas de uma época, acompanhando a evolução das formas de organização sócio-históricas e revelando uma superestrutura de pensamento subjacente a tais formas de organização. No caso de Calvino e de Lins, embora haja inúmeras e enormes diferenças conceituais e estilísticas, é muito clara a passagem de uma visão de mundo (e consequentemente uma resultante forma estética) em que o presente (anos 40-50), embora complexo, é representável como continuidade histórica, a uma nova forma mentis em que a História do presente (anos 60-70), relativizada e desrealizada pelas mudanças técnicas, científicas, culturais, sócio-epistemológicas, é percebida como mosaico de eventos e discursos e, como tal, é representável esteticamente. Percebe-se que as estruturas convencionais (contos e romances), unitárias, íntegras até meados dos anos 60, dão lugar, a partir de 1965 (Calvino) e 1966 (Lins), a uma preferência pelas formas fragmentadas, modulares, recombináveis, hipertextuais, em que os módulos podem ser manipulados pelo leitor para multiplicar as narrativas. Nessa fase da literatura combinatória surgirão obras-primas como Le città invisibili ou Pentágono de Hahn. Essa forma modular combinatória dos anos sessenta evoluirá, nos anos setenta, para uma forma mais complexa: o hiper-romance, cuja estrutura será ainda fortemente amparada na matemática e na geometria. Mas o hiper-romance, além dos elementos combinatórios articuladores da arquitetura romanesca, traz em seu cerne outros elementos fundamentais: a metanarrativa, a busca de um sentido para a representação (do amor e da morte, dos conflitos) e como representação dessa busca; a configuração narrativa do conhecimento como multiplicidade de temas e discursos; a forma da representação como multiplicidade de narrativas realizadas, realizáveis e potenciais; a busca da unidade dos fragmentos na compreensão de uma única Unidade possível: a do mosaico como resposta possível ao labirinto. / According to many authors, especially Mario Praz, Umberto Eco and Anatol Rosenfeld, the structures of a work of art reflect the epistemological structures of a certain period in time, following the evolution of socio-historical organization and revealing a superstructure of thought that comes together with such ways of organization. As far as Calvino and Lins are concerned, notwithstanding the so many conceptual and stylistic differences, their texts of fiction show very clearly the passage from a point of view (and respective esthetic form) in which the present (1940s and 1950s), though complex, can be represented as a historical continuity, to a new point of view in which the History of the present (1960s and 1970s) is understood as relative and fragmented. It is clear that conventional, uniform, whole structures such as short stories and novels, had a unified structure until the mid-sixties, but after 1965 (Calvino) and 1966 (Lins), these structures give place to a fragmented hypertext structures divided into mobile parts that the reader can manipulate and recombine in order to multiply the stories. From this period are masterpieces such as Le città invisivili and Pentágono de Hahn. This combinatory fragmented form from the sixties will evolve, in the seventies, to a more complex form: the hypernovel. The structure of the hypernovel will be strongly based on mathematics and geometry, and it also emphasizes metanarrative, the search for a sense of representation (love and death, for example) and the representation of the search itself. It also seeks to represent knowledge as multiplicity of themes and discourses, combined in fictional stories written and potentially writable. Both authors consider the structure of the novel as important as the story itself, for the structure is their search for the only possible unity: a mosaic, as a possible answer to the labyrinth.