http://elea.unisa.it/xmlui/handle/10556/69 2026-04-14T16:30:59Z http://elea.unisa.it/xmlui/handle/10556/4251 "Tu sei la terra". Percorsi di lettura tra simbolismo e suggestioni antropologiche, immagini femminili, identità sospese e coscienza della crisi nell'opera letteraria di Cesare Pavese Di Domenico, Marilina Il lavoro di tesi muove da una tensione esplorativa volta ad analizzare il rapporto esistente tra l’immagine femminile e la terra e come esso venga filtrato e plasmato sulla pagina da uno scrittore d’eccezione come Cesare Pavese e da una suggestione letteraria, nata da una lettura di un saggio del 1910 di Sibilla Aleramo, che descrivendo la situazione difficile della donna in quegli anni, la definisce quale “energia incognita”, metafora che potrebbe trovare una sua dimensione anche in un orizzonte complesso ed estremamente caleidoscopico quale quello della scrittura pavesiana. La tesi si dipana così come una rete labirintica attraverso le scritture di Pavese tra poesie e prose, provando a delineare percorsi possibili e ponti di rimando che intrecciano una scrittura all’altra schiudendo i nuclei tematici centrali. .. [a cura dell'Autore]; The work on Pavese’s novels deals with the relationship between the image of women and the homeland, and also it analyzes a woman like as an “incognita energy”, as Sibilla Aleramo said in the 1910. It demonstrates the extraordinary capacity of Cesare Pavese to give to the femal character the ability to tell her stories also in first person and to interpret the difficult path of emancipation which realizes the passage of women’s role from the “object of desire” to the “desiring subject”. This work analyzes also the relationship between Cesare Pavese and Alba de Cèspedes, specially the novel named Nessuno torna indietro (1938) and Tra donne sole (1948) especially in relation to the issues related to the fascist regime. This thesis deals with the poetical matter, basing on the analysis of the importance of a word and its meaning, symbolical and mythological too: first, Lavorare stanca (1936), and afterwards “La Terra e la Morte” (1945). The analysis tries to give a possible interpretation of interlocutor whom poet it will appeal in his poetry; finally it seems to be a Poetry, precisely “The Art or a Woman- Poetry”. This work also tries to explain how the author has made a kind of “mimesis” between reality and writing, such as to render the complexity of human existence. [edited by Author] 2013 - 2014 2018-09-28T00:00:00Z http://elea.unisa.it/xmlui/handle/10556/4250 Il cinema arma di propaganda nel primo franchismo (1936-1945). Un confronto con il "modello" italiano Del Gaudio, Immacolata Collocato nell’ambito degli studi sul rapporto tra il Cinema e la Storia il lavoro di ricerca è incentrato sull’evoluzione della cinematografia spagnola nella prima stagione del franchismo, abbracciando un arco cronologico compreso tra lo scoppio della Guerra Civile e la fine della secondo conflitto mondiale. Obiettivo principale della dissertazione è, infatti, valutare se, al pari degli altri Stati autoritari dell’epoca, il regime istauratosi in Spagna in seguito al golpe militare del 1936 abbia utilizzato il cinema come strumento di propaganda per orientare l’opinione pubblica, legittimare il proprio potere, rielaborare l’identità nazionale e rivendicare l’importanza del ruolo che aspirava ad interpretare sulla scena internazionale. Prendendo le mosse dalla costruzione dell’apparato burocratico, operata dal nuovo governo innanzitutto attraverso l’articolazione di un sistema legislativo basato sull’integrazione tra meccanismi di promozione e norme protezionistiche da un lato e misure di coercizione dall’altro, sono state indagate le diverse manifestazioni dell’intervento statale nel settore, mettendone in relazione forme ed effetti con gli orientamenti ideologici e con gli assetti interni ed internazionali. Più nel dettaglio, l’accelerazione impressa alla politica cinematografica è sintetizzabile in quattro pratiche fondamentali: la creazione di una struttura economica autarchica; l’articolazione di un capillare apparato censorio; la persecuzione violenta dei dissidenti con epurazioni e condanne a morte; la diffusione attraverso le pellicole dell’immagine idealizzata delle origini e dei fondamenti del franchismo. La disamina dei diciotto numeri del Noticiario español, cinegiornale realizzato tra il 1938 e il 1941 grazie ad appoggi stranieri, ha messo in luce un primo timido tentativo di uso delle immagini in movimento per giustificare l’Alzamiento e promuovere anche all’estero i capisaldi della concezione nazionalista del nuovo Stato. Spostando l’attenzione sull’industria cinematografica del periodo e soffermandosi in particolare sulla produzione di lungometraggi a soggetto e sui generi di maggior successo, è possibile riscontrare altresì anche in questo campo un interventismo fortemente condizionante. Sebbene la produzione degli anni successivi alla fine della Guerra Civile appaia piuttosto eterogenea e talora apparentemente svincolata dai dettami della retorica ufficiale, dominata com’era dalla tendenza all’evasione e al puro intrattenimento, nelle pellicole di ambientazione storica e del cinema cosiddetto de cruzada (o di ispirazione patriottica) compaiono tutti i principali topoi della propaganda nazionalista, in una prima fase a trazione prevalentemente falangista. Il culmine di questo tentativo di uso politico del cinema è senza dubbio Raza, film realizzato con un importante sforzo produttivo statale nel 1941 e ispirato all’omonima opera letteraria scritta dallo stesso Francisco Franco. La stretta dipendenza tra i due testi, emersa dalla lettura parallela effettuata, dimostra quanto forte sia stato l’imprinting conferito dallo stesso Caudillo a una pellicola investita dell’ambizioso compito di rappresentare sugli schermi dei Paesi dell’Asse e dell’America Latina le aspirazioni imperialistiche della nuova Spagna. La sua presentazione alla Mostra del Cinema di Venezia e l’esistenza stessa di una seconda versione rimaneggiata nel 1950, intitolata Espíritu de una raza, l’unica conosciuta fino alla caduta del muro di Berlino quando fu ritrovata la pellicola originaria, provano l’estrema attenzione con cui il franchismo curò l’immagine che di se stesso ne emergeva, adattandola al mutato contesto internazionale. Il monopolio nell’informazione cinegiornalistica sancito con la creazione del NO-DO, notiziario ufficiale ed esclusivo proiettato obbligatoriamente nelle sale spagnole dal gennaio 1943 fino al 1975, e, poi, volontariamente fino al 1981, completa un quadro d’insieme piuttosto complesso e articolato che consente di inserire il regime spagnolo nel novero dei soggetti politici che nel Novecento si sono serviti del cinema come un’arma di propaganda, sia pure con tutti i limiti, le mancanze e i ritardi evidenziati nel corso dell’indagine. Proprio in questa prospettiva transnazionale, l’ultima parte del lavoro è stata dedicata a un confronto preliminare tra il sistema cinematografico franchista e l’omologo italiano: pur in contesti e con risultati differenti, le similitudini riscontrate nelle strategie e negli strumenti adoperati da entrambi i regimi inducono a ritenere che la politica applicata dal fascismo abbia rappresentato un “modello” di riferimento per il suo equivalente spagnolo. [a cura dell'Autore]; With reference to the studies concerning the relationship between Cinema and History, the research focuses on the development of Spanish Cinematography during the first Francoism, in the period from the beginning of the Civil War to the end of the Second World War. The main purpose is to evaluate if the regime generated by the military coup of 1936 exploited the cinema as a propagandistic instrument to influence public opinion, legitimate its authority, re-define national identity and reclaim an important international rule, as the other authoritarian states of the time. The different forms of the State intervention are analyzed moving from bureaucracy built by the new government through a legal system based on protectionist rules, financial incentives and repressive procedures. Their characteristics and implications are related to the ideology and national/international political context. More specifically, film policy was articulated in an autarchic economic structure, a widespread censure, the violent persecution of dissidents and the diffusion of an idealized representation of Francoism and its origin. The eighteen numbers of the Noticiario español, a newsreel produced between the 1938 and 1941 with foreign support, is the first attempt to justify the Alzamiento and promote nationalist ideas through the cinema abroad. We can see the State intervention also in the cinematographic industry, in the narrative films and in the most popular genres. After the end of Civil War the production is generally heterogeneous, distant from the official rhetoric and realized to entertain, but in the historical films and in the “cine de cruzada” there are all main topoi of nationalist propaganda, at the first influenced above all by Falange Española. The most significant movie of this kind of cinema is Raza, made with an important economic state effort in the 1941 and based on the homonymous literary text written by Francisco Franco. The comparison between the two works shows how they are similar and how strong the mark of the dictator is. Its distribution in the countries of Rome-Berlin Axis and in Latin America, the presentation to Venice Film Festival and the existence of a second version prove the connection between Cinema and diplomatic relationships. Indeed in 1950 the film was modified, the title was changed in Espíritu de una raza, the copies of first movie were destroyed: only after the fall of the Berlin Wall it has been possible to understand the differences between the two works thanks to the discovery of the previous film strip. It is evident that Francoist regime gave a special attention to its international image. The foundation of NO-DO, an official and exclusive newsreel necessarily shown on the Spanish screens from January 1943 to 1975, and voluntarily till 1981, completes a complex and articulated framework. So the Spanish regime can be considered one of the political subject that used cinema as a propagandistic weapon in the twentieth century, in spite of difficulties, delay and failings. In this transnational perspective, the last chapter of this thesis compare the Francoist cinematographic system to the Italian organization. Even if there were different contexts and results, the similar strategies and tools pointed out confirm that the fascist film policy represented a “model” that inspired Spanish government. [edited by Author] 2013 - 2014 2019-06-06T00:00:00Z http://elea.unisa.it/xmlui/handle/10556/2497 Fenomenologia dell'inconscio: il sogno come limen nella poetica di Luigi Pirandello Guercio, Giancarlo Il presente lavoro di ricerca intende riconsiderare alcune questioni filosofiche, estetiche e letterarie relative alla scrittura pirandelliana. La tessitura del discorso segue un itinerario imbastito su due livelli di ricerca: il primo procede verso l’analisi del «sogno» (a tal proposito sono stati esaminati saggi, novelle, romanzi e drammi, anche poco noti o inediti); il secondo, invece, indaga sulle convergenze artistiche e filosofiche dell’autore e della sua produzione con l’Espressionismo, collegandosi a un preciso filone di studi che a partire dagli anni Settanta ha privilegiato l’approccio fenomenologico alle opere dello scrittore agrigentino L’indagine è ampiamente sostenuta da opportuni riferimenti critici, letterari e scientifico-filosofici; operazione sicuramente ardua vista la sconfinata bibliografia critica sull’autore e sulla sua opera. L’obiettivo principale di questa ricerca è stato quello di analizzare la funzione che il «sogno» assume nella scrittura di Pirandello. Come si è cercato di dimostrare la materia onirica è usata dall’autore con «funzione allusiva»: il suo intento non è quello di descrivere ‘naturalisticamente’ i sogni dei suoi personaggi, ma di approdare ai luoghi del subliminale per rivelare i significati ‘ulteriori’ delle vere essenze umane. .. [a cura dell'Autore]; This abstract is about some of the philosophical, aesthetic and literary aspects of Luigi Pirandello’s style. I will follow two different paths: the analysis of the “dream” in Pirandello’s production (published and non published works), and the artistic and philosophical confluence of his production with expressionism. I have also considered such phenomenology from its sources to its following development. I have analysed several critical, literary, scientific and philosophical references, choosing among the immense amount of papers and treaties that have been written on Pirandello’s life and works. The nucleus of my dissertation is the role of the “dream” in Pirandello’s works. I will demonstrate that Pirandello uses the dream as a tool: his goal is not that of describing the dreams of his characters, but that of touching the subliminal areas of humanity in order to discover the “other” meanings of the very human soul. .. [edited by Author] 2013 - 2014 2017-02-09T00:00:00Z http://elea.unisa.it/xmlui/handle/10556/2495 La forza della scrittura in Giose Rimanelli, con uno studio critico del manoscritto (inedito) La macchina paranoica Martucci, Rosina My Doctoral Thesis is about Giose Rimanelli, a Molisan writer from Casacalenda, the force of his writing and the textual criticism of his manuscript (unpublished) The Paranoiac Machine. Giose Rimanelli “is one of the most interesting writers of emigration of the years after the Second World War”(Fontanella Luigi, The deserter word. Italian writers in America, Florence, Cadmo, 2003), a successful author, tenaciously attached to his homeland and, at the same time, cosmopolitan who points out his own experimental vocation by mixing the Italian language, the Molisan dialect and the English language. He communicates the universal themes using the language that is more suitable to his play in that moment, because his literary culture surpasses geographical borders. But who is Giose Rimanelli? Giose Rimanelli is not only a writer, but also a poet, a journalist, a painter, a musician, an essayist, a Professor and his books are now at Thomas Fisher Rare Book Library of the University of Toronto. He was Professor Emeritus of Italian Literature and Comparative Literatures (now on leave) at Sarah Lawrence, Yale, British Columbia, UCLA, SUNYA universities. Generations of students have been educated by Professor Rimanelli to the understanding and love of Italian language culture and literature. Rimanelli’s literary career extends over a period of more than fifty years of fruitful writing of narrative, poetry, and musical compositions integrated into his prose and poetic discourse, as well as literary criticism. Without doubt Giose Rimanelli has shown, as Camus demanded, “courage in life and talent in plays”. He was born at Casacalenda, a village in central Italy on November 28, 1926 of an Italian father, Vincenzo Rimanelli and a Canadian mother, Concettina Minicucci. Both of them were the son and the daughter of Molisan immigrants. Tony Dominick Minicucci, his maternal grandfather, was a witness of the massacre of eleven Italian immigrants in 1891 in New Orleans, the massacre passed to history as “New Orleans lynching”. Rimanelli’s mother was a fervent Roman Catholic and she desidered his son became a missionary. In 1935, a ten years old native of Molise entered a Catholic Franciscan seminary in Puglia, not very far from his native village with the intention to devote himself to religion and becoming a missionary. It’s there that the young Giose will have the possibility to acquire that fund of knowledge that will decide forever his future as a writer. He never became a missionary, but a writer and a voyager of the world and of the mind. In 1943 he entered the terrible adventure of a soldier of World War II. He was made prisoner and saved by the Allies Forces. Pigeon shooting, his first novel published in 1953, a few years after the war, represents the 2 personal history of Giose Rimanelli during the Second World War and the devastation of the Italian Civil War which played a huge role in his novels. His first novel was published in the U.S.A. in 1958 with the title of The Day of the Lion. When it first appeared, The Day of the Lion created a sensation because it was the only book that described the war from the point of view of the losing side. His second novel was Original sin published in 1954. The background is still Southern Italy and he uses the third person, instead of the first used in The Day of the Lion, and more intricate language patterns. Rimanelli describes an environment, a fatalistic world and the struggle of some characters to achieve something worthy of human dignity. His third novel, Ticket of third class, is a travel diary published in 1958 in Italy, which narrates Rimanelli’s first Canadian voyage. Ticket of third class is part of Canadian Literature by rights as well as Modern Canadian Stories, published in 1966, for which he wrote not only the introduction, but also he chose the selection of the best short-stories writing by established authors in the living English –Canadian tradition. Talent, memory and structure are important elements of these novels which indicate a maturity not only as a writer but also as a man. Rimanelli’ s literature takes transnational traits that are reflected not only in his thematic choices, but especially in the language utilized. His condition of ‘a sui generis immigrant and traveller’ allows him to build stories through which the writer espresses himself essentially through the languages of the ‘worlds’ he has experienced and lived in first person (Italian, English, Molisan dialect, Provençal, French,..). The use of more languages permits him to introduce atmospheres that would be unreachable through the exclusive use of the Italian language. Giose Rimanelli’s literature is characterized by transnational elements reflected not only in the thematic choices, but overall in the language (multilingualism or code-switching). Rimanelli speaks, in fact, by the use of languages whose worlds belong to him for birth or for acquisition. Along the never-ended travel of his life that goes on also after the expatriation to America, he will use the language as a homeland and a cradle of self. For the Molisan writer the words ‘home’ and ‘writing’ match (Fontanella Luigi, The deserter word. Italian writers in America). The languages reveal his personal history, from his juvenile studies (Latin, Greek, Hebraic, French with the old Provençal) to those ones spoken from his family emigrated first to Canada and after to the U.S.A.(English with French/Canadian and with the Molisan dialect) and those of the characters whom he meets in his everyday life and he revives in his plays. They are the languages of literatures which cross the border in ‘an unlimited cultural horizon’, which is the natural habitat taken by Rimanelli’s plays’(Bonaffini Luigi, Rimanelli and the dialectal poetry in America in Rimanelliana edited by Sebastiano Martelli), a continuous telling to find himself because the writer, as an expatriate deals with the theme of ‘travel’ as a means and research of his own identity. His is without doubt a language which is enriched by the migratory 3 experience and memories, a language changed by emotions and memory. A writer, Giose Rimanelli, transplanted himself first in Canada and after definitively in the U.S.A., who learnt to write and do literature through texts as The Paranoiac Machine, which are telltales of his life, of his job, of his thoughts, and a more astonishing thing, the writer is able to argue his own linguistic and literary choices and explain them to the common reader, of whom he has respect. Identifying with the reader, explaining him step by step the story, taking him by the hand to the comprehension of the birth of the written word, introducing him to the most different types of expression linked to reality or fantasy is a thing that a few succeed to do. It’s the autobiographic significance to feed a total writing which grasp the story crossed by the author in his long Sternian travel : from Molise, place-time of the father to the immersion in the ravaged Italy of the war and of the years after the Second World War, to the escape to America, in a different world where to begin to find and tell himself again in other languages and in other places. Rimanelli carries on the effort to give life to simple abstractions, to give vitality to the word and to the language. This is Giose Rimanelli’s force writing, the ambition of the absolute Beauty which permeates his primary and vital passion through an experimentalism that reached points of real innovation and that can be considered in the crossroads of the most open and courageous literary researches. [edited by Author] 2013 - 2014 2017-02-07T00:00:00Z