Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Le sentiment de l'Histoire dans l'oeuvre de Pier Paolo Pasolini : une poétique en prise avec le temps. Pier Paolo Pasolini a entretenu des rapports complexes et chaotiques avec l'Histoire. C'est à partir d'un texte intitulé Le sentiment de l'histoire dont il est l'auteur que notre travail de recherche est né. C'est ce rapport qu'il s'agira de comprendre, car, nous semble-t-il, c'est de ce corps à corps avec l'histoire que se love la production artistique du cinéaste. En découpant le corpus pasolinien en trois grands axes, nous verrons d'abord comment son sentiment de l'histoire est vécu sous le mode d'un retour à un temps pré-historique ; puis comment l'antique vient hanter le contemporain et enfin comment " il dopo storia " ce temps dénoncé par Pier Paolo Pasolini dès la moitié des années soixante a effacé tous les spectres du passé, provoquant ainsi l'homologation la plus atroce : celle des corps et des chairs, modifiant par là même notre rapport à la réalité. Pasolini serait alors l'ange de l'histoire (Angelus Novus) si bien décrit par Walter Benjamin, annonçant avec une exactitude glaçante ce que le XXIème siècle est devenu. Un ange qui agit à la fois pour son temps et contre son temps afin de permettre l'émergence des spectres de l'histoire pour reprendre le vocabulaire de Walter Benjamin. Ces figures fantomatiques, ces lucioles pasolinniennes survivent dans notre présent et permettent ainsi de construire un agir politique en faveur de notre temps : voilà sans doute l'héritage que nous a laissé Pasolini.

Traduir el dialecte i les llengües minoritàries implica sempre realitzar una empresa acrobàtica. Encara més quan el text original presenta una mescla multicolor de codis lingüístics, i cadascun d'ells és portador d'una diferent realitat geogràfica i social. Aquest és el cas de les novel·les de Pasolini, Gadda y Camilleri, el personal estil dels quals dóna veu a la complexa qüestió de la llengua italiana i mostra les diferents funcions que el dialecte pot exercir en un text literari. L'estudi descriptiu de les traduccions catalanes de Ragazzi di vita, Il pastiacciaccio i Il birraio di Preston és el centre de la nostra recerca, que vol fer llum sobre les estratègies adoptades pels traductors, analitzar les seves conseqüències a nivell macrotextual i, finalment, entrellaçar-les amb qüestions relatives al sistema literari català, des del món editorial fins a la complexa situació sociolingüística que el caracteritza. / Traducir el dialecto y las lenguas marginales implica siempre realizar una empresa acrobática. Aún más cuando el texto original presenta una mezcla variopinta de códigos lingüísticos, y cada uno de ellos es portador de una diferente realidad geográfica y social. Es éste el caso de las novelas de Pasolini, Gadda y Camilleri, cuyo estilo tan personal da voz a la compleja cuestión de la lengua italiana y muestra las diferentes funciones que el dialecto puede desempeñar en un texto literario. El estudio descriptivo de las traducciones catalanas de Ragazzi di vita, Il pastiacciaccio e Il birraio di Preston es el centro de nuestra investigación, que quiere arrojar luz sobre las estrategias adoptadas por los traductores, analizar sus consecuencias a nivel macrotextual y, finalmente, entrelazarlas con cuestiones relativas al sistema literario catalán, desde el mundo editorial hasta la compleja situación sociolingüística que lo caracteriza. / Translating a dialect or marginal languages is always a kind of acrobatic task. Even more so when the original text presents a multicoloured mixture of linguistic codes, each of which is representative of a different geographical and social reality. This is the case of the novels by Pasolini, Gadda and Camilleri, whose personal style voices the complex matter of the Italian language and shows the various functions that a dialect can fulfil within a literary text. The focus of our research is the descriptive study of the Catalan translations of the novels Ragazzi di vita, Il pasticciaccio and Il birraio di Preston. With this study we aim to shed some light on the strategies adopted by the translators and analyse their consequences at a macrotextual level. Moreover, we intend to link such consequences to specific matters related to the Catalan literary system, ranging from the publishing world to the intricate sociolinguistic situation characterizing it.

Η παρούσα εργασία κινείται σε δύο θεματικούς άξονες που συγκλίνουν σε έναν κοινό παρονομαστή: στον μύθο του Οιδίποδα. Στο πρώτο μέρος αναλύεται ο τρόπος με τον οποίο ο μύθος αυτός και το παράγωγό του οιδιπόδειο σύμπλεγμα αποτέλεσαν την αφορμή και το πρωτογενές υλικό στην σύσταση της ψυχαναλυτικής θεωρίας της λογοτεχνίας, παρουσιάζοντας διεξοδικά τις απόψεις των κυριότερων θεωρητικών της, αλλά και αναλύοντας ένα πολύτιμο φροϋδικό δοκίμιο που εφαρμόζει τους καρπούς της στον ήρωα – αρχέτυπο του ελισαβετιανού θεάτρου, στον Άμλετ του William Shakespeare. Στο δεύτερο μέρος, αφού παρουσιαστεί ο πρωτογενής μύθος και ερευνηθούν οι καταβολές του, επιχειρείται μία βαθύτερη προσέγγιση στην πρόσληψή του στην νεότερη δραματουργία και τον κινηματογράφο, αναλύοντας την Καταχθόνια Μηχανή του Γάλλου Jean Cocteau και το κινηματογραφικό έργο Οιδίπους Τύραννος του Ιταλού Pier Paolo Pasolini, έργα που έχουν προφανή συνάφεια με τις φροϋδικές προεκτάσεις του οιδιπόδειου μύθου. / The present thesis moves in two themes with a common parameter: Oedipus myth. The first part refers to the way in which this myth and its product, Oedipus’ complex, have been the motive and the primal material for the construction of the psychoanalytic theory of literature, extensively presenting the views of its most important theoreticians, but also analyzing a precious Freudian essay which puts in practice its outcomes on the archetype-hero of the Elizabethan theater, Shakespeare’s Hamlet. In the second part, after presenting the primal myth and investigating its origins, we will penetrate into its perception in recent dramaturgy and in the cinema analyzing ‘The sinister machine’ of the French Jean Cocteau and the film Oedipus Tyrant by the Italian Pier Paolo Pasolini, which both have an obvious relevance with the Freudian extensions of the Oedipus myth.

[pt] Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada. / [en] In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.

This master's thesis is an investigation into Xavier Dolan's depictions of queer and non-normative characters. Through close analyses of the director's first five films, this study identifies Dolan's recurring stylistics and narrative techniques, and how they relate to his cinematic representation of individuals who do not conform to society's norms. The question of how queer subjectivity is presented to the spectator of the films guides the study, which outlines different kinds of subjective images and ways of expressing the inner worlds of the protagonists. As one of the first extensive academic studies of Dolan in English, the thesis carries out a dialogue with the few existing scholarly sources on the filmmaker, while also employing theories put forward by Deleuze, Pasolini, Bonitzer and Foucault, among others. Whereas previous writings on Dolan have focused almost entirely on national aspects of his work – interpreting the films as typically Québécois – this study considers the filmmaker from an international perspective. Although being an auteur study, the thesis highlights current issues of queer self-representation and the voices of the marginalized, proposing that Dolan's work offers non-normative alternatives to heteronormative narrative structures, patriarchal storytelling conventions and traditional family constellations.

El presente trabajo de investigación estudia la influencia que tiene el mundo italiano en la producción lírica del poeta chileno Raúl Zurita. Debido a la ingente cantidad de material bibliográfico y a los numerosos núcleos temáticos, la presente tesis se divide en tres partes. En la primera se presenta un panorama general de los acontecimientos vitales del poeta chileno que han influenciado su literatura. Con el fin de crear un marco metodológico que nos sirva como contexto lingüístico y literario, nos dedicamos a examinar de manera específica las facetas de la lingüística y de la teoría de la literatura aplicadas a la obra zuritiana, proponiendo una aproximación diferente a la que expone la crítica actual. Seguidamente, se proponen unos tópicos literarios comunes entre la poesía zuritiana y los elementos del mundo italiano, para averiguar cuál es su grado de participación en la poética del autor. En la segunda parte de la tesis nos dedicamos a estudiar la presencia de Dante Alighieri en la poesía del autor chileno. Se presenta además una nueva propuesta de lectura para interpretar el rol de Raúl Zurita dentro de su obra, tomando en consideración los estudios previos de los exégetas dantescos. Para concluir, proponemos un análisis de los primeros, inéditos, VII cantos de la Divina Commedia traducidos por Raúl Zurita, que el lector puede encontrar en un apéndice al final del epígrafe. La tercera y última parte de la tesis está dedicada a otros artistas italianos que han tenido un papel fundamental en la lírica y la reflexión zuritiana. En primer lugar, nos centramos en Miguel Ángel para examinar cómo el autor chileno desarrolla un nuevo lenguaje poético gracias a las obras del artista aretino. Seguidamente pasamos a analizar la influencia de Giacomo Leopardi, Pier Paolo Pasolini y finalmente Cesare Pavese. El propósito último de este trabajo es demostrar, en primer lugar, quiénes son los personajes italianos que forman parte de la lírica zuritiana. Una vez sentada esta base, queremos dar al lector las herramientas para probar que Dante, Miguel Ángel, y los creadores de la modernidad no se pueden explicar ni delimitar con la definición “cita”, sino que forman parte activa de la creación de una poética del compromiso. Al final de la tesis, se hallarán dos apéndices: la entrevista que Raúl Zurita nos concedió en marzo 2017 y un corpus inédito de 50 poemas traducidos del español al italiano.

This dissertation examines food tropes in Italian films of the Economic Miracle, investigating moments of continuity with prewar gastronomic traditions, as well as denoting drastic breaks with the familiar. The kitchen is a place of traditional culinary practices and ingredients, and from which sensations of hominess and conviviality are continually generated; yet, the kitchen is where the changes to the postwar foodscape are most visible. In my analysis of films released from 1954 to 1973, the kitchen is treated as a site of both recognizability and unrecognizability: the feeling that someone does not belong among the people, objects, and rituals part of that changing arena; alternatively, they might not be recognized themselves. In the readings that follow, these directors, actors, and writers grapple with such unrecognizability by way of the stomach: the organ with which to digest food and, moreover, to process the changes that that gastronomy represents. This dissertation is divided into four chapters, or, rather, two halves: first, continuity and desire, and later, rupture and violent rejection. These halves represent continuities and breaks, respectively, as this project follows the transformation of Italy’s “rosy” cinema into dark, nihilist auteurism. At the center of the first half are two stars: Totò (Chapter Two) and Sophia Loren (Chapter Three). In the work of Totò, the visceral hunger that he experiences matches that of the very recent past, and in particular, that of the South. When food became readily available, however, a new hunger emerged: a hunger for what was, as Totò upheld the dietary routines to which he was long accustomed. Meanwhile, Sophia Loren embodies the multivalence of hunger. As Cesira in La ciociara (1960), Loren portrayed a mother struggling against la carestia of occupied Italy; hunger is once again a physical sensation. But through later roles, as well as the authorship of her own cookbook, not only is the stomach satisfied, but there is now a sexual dimension to hunger. Loren softened both the hunger pangs and the blows of the changing sociopolitical arena, leaving her viewers to desire simultaneously her body and the food she prepares, ultimately inviting us to eat with her. Chapter Four, meanwhile, uses the cinema and narrative theories of Pier Paolo Pasolini to explore the connections between continuity, rupture, and “revolution.” Revolution is, in the Marxist sense, the proletariat contending with exploitative forces, as seen through Stracci in La ricotta (1963). It is also the turning of a wheel, emblematic of a progression in a cycle back to naturality and austerity. Despite violent eating and existential crises, the characters of Luna (Uccellacci e uccellini, 1966) and Emilia (Teorema, 1968) reveal a continued relationship with the earth, within which seeds – signs of new life – are planted. This project also suggests a turn towards the tenets of 1940s neorealism, particularly the notions of survival and rebirth. In Marco Ferreri’s La grande abbuffata (1973), the subject of Chapter Five, four wealthy protagonists gather for the ultimate “gastronomic seminar”: a weekend during which they are suicided by overconsumption, choosing to abandon a world so deeply unrecognizable from the traditions and virtues of decades past. Yet, in bequeathing the world to Andréa, there is a reawakening. Andréa is left to perpetuate not only the rich traditions and rituals of previous generations, but also a world of anxieties, unsure of what the future holds.

No description available.

This thesis is crafted as an explorative theoretical essay, which aims to disclose the continuities and shifts in constructions of Italian post-war identity through the lenses of Marxist theory and postcolonial film analysis. The research will attempt to locate three paradigmatic cases of post-war Italian cinema and their authors in relation to the historical context, as well as coeval political and theoretical developments in the country. In order to produce a cartography of the Italian social landscape and its spaces of marginality and exclusion, the reader will be guided through this analysis by following the adventures of a paradigmatic character type, whom I will call “the wanderer”, a figure whose itinerant quality reflects the marginality of a social position and attitude that can be summed up by as the “art of getting by” (l’arte di arrangiarsi). As I will show, this position and attitude play a central role in defining a particular identity in relation to established social norms. To trace the transformation of this character, then, is also to trace transformations in the nation’s self-understanding in relation to class, race, gender, and the external world. My interpretation is built on two main theoretical premises. The first one is Gayatri Spivak’s contention that the importance of aesthetics, and aesthetic education, lies in their capacity to mediate between idealism and empiricism, or ethics and social reality. The second premise follows Fredric Jameson’s hypothesis about the creative quality of realism as an aesthetic paradigm, assuming that its primary aim and function is not a representative one, but one of active re-creation of the social reality anew. For me, these two premises are linked by the primary role they assign to aesthetic representation – as connected with imagination – in creating new grounds for social change.