A correspondência ativa de Italo Svevo, publicada pela primeira vez em 1966, oferecese ao crítico como um emaranhado de problemas que podem ser pensados a partir de múltiplas abordagens: histórica, linguística, literária, entre outras. Ao reconhecermos no texto epistolar do escritor triestino uma série de temas desenvolvidos também em suas obras literárias, admitimos a hipótese de que as cartas exercessem para ele o papel de laboratório de escrita, no qual podia exercitar sua língua, seus procedimentos literários e ainda construir para si uma imagem de artista. Para demonstrar a validade de nossa hipótese, investigamos as personas epistolares construídas ao longo das correspondências do escritor e como elas contribuíram tanto para a criação de personagens literárias, quanto para a elaboração de uma cenografia autoral. Em seguida, fizemos uma análise comparativa entre algumas cartas de Italo Svevo à esposa e alguns trechos de seu romance A consciência de Zeno, verificando em que medida os temas eram reproduzidos ou transformados no interior da estrutura romanesca. Ao final desta dissertação, apresentamos a tradução anotada de algumas cartas do escritor como complemento às observações aqui desenvolvidas. / Italo Svevo\'s epistolary, first published in 1966, offers itself to the critic as a tangle of problems that can be interpreted using multiple approaches: historical, linguistic, literary etc. After recognizing in the letters of the Triestino writer a series of themes also developed in his literary works, we proposed the hypothesis that the letters became for him a writing laboratory. He could exercise his language, his literary procedures and still construct for an image of himself as an artist. In order to demonstrate the validity of our hypothesis, we investigated the epistolary personae constructed throughout the correspondence of the writer and how they contributed both to the creation of literary characters and to the elaboration of an authorial scenography. After that we did a comparative analysis between some of Italo Svevo\'s letters to his wife and some excerpts from his novel Zeno\'s Conscience, verifying to what extent the themes were reproduced or transformed within the novel structure. At the end of this dissertation, we present the annotated translation of some letters of the writer as a complement to the observations developed here.

Esta dissertação apresenta uma leitura da obra Palomar, 1983, pautada nas relações de similitude e assimetria com Lezioni americane: sei proposte per il prossimo millennio, 1988. A análise pretende demonstrar as relações entre narrativa e estética literária no último Calvino, assim como os procedimentos narrativos escolhidos para transformar concepções literárias em narrativas e vice-versa. Para tal, foi realizada a leitura das duas obras buscando os valores elencados por ele durante as conferências americanas na estrutura narrativa de Palomar. Num primeiro momento, será feita uma leitura panorâmica das duas obras. Em seguida, a partir dos conceitos calvinianos de exatidão, multiplicidade e visibilidade, serão analisadas as três áreas temáticas sobre as quais se estrutura Palomar. / This study presents a reading of the literary work entitled \"Palomar\", 1983, ruled by similitude and asymmetry relations with Lezioni americane: sei proposte per il prossimo millenio, 1988. The analysis intends to demonstrate the liaisons between narrative and literary aesthetic in the last Calvino, as well as the narrative proceedings which were chosen to turn literary conceptions into narratives and vice-versa. For this purpose, a reading of these two works will be done, aiming the search for values which were listed by him in American speeches in Palomar\'s narrative structure. At first glance, a panoramic reading of both works will be done. Thereafter, it will be analyzed three thematic areas in which Palomar is structured based on calvinian concepts of exactitude, multiplicity and visibility.

A correspondência ativa de Italo Svevo, publicada pela primeira vez em 1966, oferecese ao crítico como um emaranhado de problemas que podem ser pensados a partir de múltiplas abordagens: histórica, linguística, literária, entre outras. Ao reconhecermos no texto epistolar do escritor triestino uma série de temas desenvolvidos também em suas obras literárias, admitimos a hipótese de que as cartas exercessem para ele o papel de laboratório de escrita, no qual podia exercitar sua língua, seus procedimentos literários e ainda construir para si uma imagem de artista. Para demonstrar a validade de nossa hipótese, investigamos as personas epistolares construídas ao longo das correspondências do escritor e como elas contribuíram tanto para a criação de personagens literárias, quanto para a elaboração de uma cenografia autoral. Em seguida, fizemos uma análise comparativa entre algumas cartas de Italo Svevo à esposa e alguns trechos de seu romance A consciência de Zeno, verificando em que medida os temas eram reproduzidos ou transformados no interior da estrutura romanesca. Ao final desta dissertação, apresentamos a tradução anotada de algumas cartas do escritor como complemento às observações aqui desenvolvidas. / Italo Svevo\'s epistolary, first published in 1966, offers itself to the critic as a tangle of problems that can be interpreted using multiple approaches: historical, linguistic, literary etc. After recognizing in the letters of the Triestino writer a series of themes also developed in his literary works, we proposed the hypothesis that the letters became for him a writing laboratory. He could exercise his language, his literary procedures and still construct for an image of himself as an artist. In order to demonstrate the validity of our hypothesis, we investigated the epistolary personae constructed throughout the correspondence of the writer and how they contributed both to the creation of literary characters and to the elaboration of an authorial scenography. After that we did a comparative analysis between some of Italo Svevo\'s letters to his wife and some excerpts from his novel Zeno\'s Conscience, verifying to what extent the themes were reproduced or transformed within the novel structure. At the end of this dissertation, we present the annotated translation of some letters of the writer as a complement to the observations developed here.

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 65).

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.

Esta dissertação apresenta uma leitura da obra Palomar, 1983, pautada nas relações de similitude e assimetria com Lezioni americane: sei proposte per il prossimo millennio, 1988. A análise pretende demonstrar as relações entre narrativa e estética literária no último Calvino, assim como os procedimentos narrativos escolhidos para transformar concepções literárias em narrativas e vice-versa. Para tal, foi realizada a leitura das duas obras buscando os valores elencados por ele durante as conferências americanas na estrutura narrativa de Palomar. Num primeiro momento, será feita uma leitura panorâmica das duas obras. Em seguida, a partir dos conceitos calvinianos de exatidão, multiplicidade e visibilidade, serão analisadas as três áreas temáticas sobre as quais se estrutura Palomar. / This study presents a reading of the literary work entitled \"Palomar\", 1983, ruled by similitude and asymmetry relations with Lezioni americane: sei proposte per il prossimo millenio, 1988. The analysis intends to demonstrate the liaisons between narrative and literary aesthetic in the last Calvino, as well as the narrative proceedings which were chosen to turn literary conceptions into narratives and vice-versa. For this purpose, a reading of these two works will be done, aiming the search for values which were listed by him in American speeches in Palomar\'s narrative structure. At first glance, a panoramic reading of both works will be done. Thereafter, it will be analyzed three thematic areas in which Palomar is structured based on calvinian concepts of exactitude, multiplicity and visibility.

L’écriture et la lecture sont les deux espaces, visuel le premier et auditif le deuxième, qui représentent les coordonnées sur lesquelles Calvino construit son univers de signes : l’œil et l’oreille. Ce sont les deux fonctions, sensorielles et mentales, qui permettent la transmission d’un savoir, d’un message, même en l’absence de celui qui « parle ». C’est là la raison, pouvons-nous supposer, de l’importance que l’écrivain a accordée à la fonction de l’écoute, outre, évidemment, celle qu’il conférait à la vue. Dans notre analyse de la poétique de l’écoute dans l’œuvre d’Italo Calvino, nous avons essayé de montrer en quoi consiste la particularité de son oreille. Comme pour la vue, Calvino applique pour l’ouïe une méthode personnelle de connaissance : car c’est toujours le sujet, le « moi » avec tous ses organes de perception qui nous permet de nous rapprocher du monde extérieur et de sonder notre esprit. Calvino a dès lors construit un univers de sons très particulier étant donné que cet univers sonore vient de son monde à lui, de sa propre expérience et surtout de sa façon d’entrer en relation avec le monde : or cela n’est jamais définitif, et même toujours problématique. C’est là la manière propre à celui qui refuse les dogmes et les écoles, qui sait bien qu’une seule réponse ou une seule vérité est impossible, mais qui ne peut s’empêcher de continuer à sonder l’univers réel ou fictionnel [celui de la vie comme celui de la page], même si au terme de sa recherche, le résultat est toujours le cercle vide, l’espace blanc de la page. Cela explique aussi les différentes modalités que la fonction de l’écoute a eues dans le parcours personnel et littéraire de Calvino. / Reading and writing are the two spaces, the former visual and the latter auditory, representing the co-ordinates on which Italo Calvino constructed his universe of signs: the eye and the ear. They are the two sensory and mental functions permitting the transmission of knowledge, of a message, even in absence of the one “speaking”. We may assume that this is the reason why the writer has given such importance to the pretence of listening, obviously in addition to that attributed to sight. In our analysis of the poetics of listening in the work of Italo Calvino, we have attempted to show what made up the specificity of his ear. Just as for sight, Calvino applied a personal method of understanding to hearing: it is always the subject, the “I”, with all his organs of perception, who allows us to approach the external world and probe our own mind. Thus Calvino constructed a universe of very special sounds, as that sound-universe derived f! rom his personal world, from his personal experience, and above all from his way of relating to the external world: all this is never definitive and is also problematic as well. This is the specific method of one who rejects dogmas and schools, but cannot refrain from probing the real and fictional universe [both the one relating to life and that on the written page], even if at the end of the search, the result is always an empty circle, black space on a page. This also explains the various patterns that the listening function has taken on in the personal and literary journey of Italo Calvino.

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. / Through the Southern Italo-Romance and Salentinian dialects this thesis aims at using cladistics to the service of dialectology. One must understand the cladistics as a means of classification mainly linked to the phylogenetic and typological study of animal and plant species. Most of the research focuses on the study of various dialectal diasystems that emerge from the cladistic analysis applied to the Southern Italo-Romance field. From a sociolinguistic point of view after a first study which describes the level of diglossia and the degree of use of the dialect in the Salentinian area, this thesis travels through the history of the Southern Italo-Romance dialects as well as the history of the Romance Italian dialectology since the first attempts to classify the dialects. Two different corpuses have been used. The first one was obtained after the studying of the ILA and it helped the analysis of the Southern Italo-Romance field as a whole. The dialectal area taken into account include Campania, Basilicata, Apulia, Salento, Sardinia, Sicily and Calabria. In each of these regions we have chosen three points according to an equidistant structure. We have selected 20 witness words. As for the second corpus, it was achieved through a questionnaire the author herself made in the Salento area and it is composed of 35 variables and six geographical points. The latter has been created on the basis of some sociologic criteria that the cladistic method had us to include into the analysis. The results we obtained don't imply to question the previous classifications but it allows a more formative vision of the dialectal fields studied by underlining the diversity of its own structure.

This thesis stages a meeting between the work of French philosopher Gilles Deleuze and the short fiction of Italian writer Italo Calvino. This meeting has as its subject the question of the human and the non-human. What forces make up the human? What assemblages of elements make up language, literature, subjectivity? And what does it mean that these forces come from outside the human at the same time as they create the human? Calvino is often accused of being an unemotional writer, lacking in human warmth. With this I agree completely. Calvino does lack human warmth because he allows non-human forces to penetrate his writing, taking it beyond conventionalized and banal prefabricated emotion into a dimension of new intensities. Deleuze will provide us with a vocabulary of concepts with which to discuss these non-human forces and their potential for moving the human out of itself and into a new assemblage of thoughts, passions and actions.

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [202]-207).