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ITALO CALVINO L’Havana, Cuba 1923 Pisa 1985

ITALO CALVINO L’Havana, Cuba 1923 Pisa 1985. Calvino’s works Il sentiero dei nidi di ragno (1947). Ultimo viene il corvo (1949). Il visconte dimezzato (1952). L’entrata in guerra (1954). Fiabe italiane (1956). Il barone rampante (1957). I racconti (1958).

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ITALO CALVINO L’Havana, Cuba 1923 Pisa 1985

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  1. ITALO CALVINO L’Havana, Cuba 1923 Pisa 1985

  2. Calvino’s works • Il sentiero dei nidi di ragno (1947). • Ultimo viene il corvo (1949). • Il visconte dimezzato (1952). • L’entrata in guerra (1954). • Fiabe italiane (1956). • Il barone rampante (1957). • I racconti (1958). • Il cavaliere inesistente (1959). • I nostri antenati con prefazione (1960). • La giornata d’uno scrutatore (1963). • La speculazione edilizia (1963). • Marcovaldo ovvero le stagioni in città (1963). • Le cosmicomiche (1965). • Ti con zero (1967). • Gli amori difficili (1970). • Le città invisibili (1972). • Il castello dei destini incrociati (1973). • Se una notte d’inverno un viaggiatore (1979). • Palomar (1983). • Cosmicomiche vecchie e nuove (Milan: Garzanti, 1984). • Sotto il sole giaguaro (Milan: Garzanti, 1986). • La strada di San Giovanni (Milan; Mondadori, 1990). • Prima che tu dica ‘Pronto’ (Milano: Mondadori, 1993).

  3. L’avventura di un soldato (1949) di un bandito (1949) di una bagnante (1951) di un impiegato (1953) di un fotografo (1955) di un viaggiatore (1957) di un lettore (1958) di un miope (1958) di una moglie (1958) di due sposi (1958) di un poeta (1958) di uno sciatore (1959) di un automobilista (1967) • Ultimo viene il corvo (1949). • Il visconte dimezzato (1952). • L’entrata in guerra (1954). • Fiabe italiane (1956). • Il barone rampante (1957). • I racconti (1958). • Il cavaliere inesistente (1959).

  4. Se in un epoca della mia attività letteraria sono stato attratto dai folktales, dai fairytales, non è stato per fedeltà a una tradizione etnica (dato che le mie radici sono in un’Italia del tutto moderna e cosmopolita) né per nostalgia delle letture infantili (nella mia famiglia un bambino doveva leggere solo libri istruttivi e con qualche fondamento scientifico) ma per interesse stilistico e strutturale, per l’economia, il ritmo, la logica essenziale con cui sono raccontate. (…) la prima caratteristica del folktale è l’economia espressiva; le peripezie più straordiriarie sono raccontate tenendo conto solo dell’essenziale. ‘Rapidità/Quickness’ from Lezioni Americane/Six Memos from the Next Millenium

  5. 1. Absence - one member of the family is absent from the house. 2. Interdiction - the hero is informed of an interdiction. 3. Violation - the prohibition is violated. 4. Interrogation - the villain/aggressor tries to obtain information. 5. Information - the villain obtains information about his victim. 6. Deception - the villain tries to cheat his victim in order to obtain her wealth. 7. Submission/Complicity - the victim submits to the fraud and thus helps her enemy in spite of her. 8. a. Villainy - the villain does harm to one of the members of the family. (A) b.lack - one of the family members experiences a lack; or, one of the family members desires to possess something.(a) 9. Mediation - the news of the treachery or the misfortune is divulged, the hero is approached with a request or anorder; he prepares to leave. (B) 10. Decision to counter-act - the hero-searcher agrees or decides to act. (C) 11. Departure - the hero leaves home. 12. First function of the donor/Assignment of the test - thehero is submitted to a test, or interrogation, or an attack, etc., which prepares him for the receipt of an object or magical agent. (D) 13. Reaction of the hero - the hero reacts to the actions of the future donor. (E) 14. Provision or receipt of the magical agent - the magical agent is made available to the hero. (F) 15. Spatial translocation - the hero is transported, taken, or led to the place close to the object of search. (G) 16. Struggle - the hero and the aggressor/villain face each other in a fight. (H) 17. Marking - the hero receives a mark. (I) 18. Victory - The aggressor is vanquished. (J) 19. Liquidation of misfortune or lack - the initial misfortune or lack is liquidated (K) 20. Return - the hero returns. 21. Pursuit - the hero is pursued. (Pr.) 22. Rescue - the hero is rescued. (Rs.) 23. Incognito arrival - the hero arrives unrecognized in his house or in another country. (o) 24. Unfounded claims - a false hero makes false claims. (L) 25. Difficult task - the hero is proposed a difficult task (M). 26. Accomplishment/Success - the task is accomplished. (N) 27. Recognition - the hero is recognized.(Q) 28. Exposure - the false hero or the aggressor or the traitor is exposed. (Ex.) 29. Transfiguration - the hero receives a new appearance. (T) 30. Punishment - the false hero is punished. (U) 31. Wedding - the hero marries the princess, and is elevatedto the throne. (W)

  6. Vladmir Propp Morphology of the Folktale (1927) 1. Sphere of action of the aggressor/villain: villainy, fight involving the hero, pursuit; 2. Sphere of action of the donor (provider): the preparation for the transmission of the magical object; putting the magical object at the disposal of the hero; 3. Sphere of action of the magical aid: translocation of the hero, liquidation of misfortune/reparation of lack, rescue during the chase, the accomplishment of the difficult task, transfiguration of the hero; 4. Sphere of action of the princess and her father: of assignment of the difficult task, the imposition of a mark, exposure, recognition of the real hero, the punishment of the second villain, marriage; 5. Sphere of action of the dispatcher: sending the hero; 6. Sphere of action of the hero: leaving for the search, responses to the demands of the donor, wedding; 7. Sphere of action of the false hero: leaving for the search; the responses to the demands of the donor -- always negative, and a special function -- false claims.

  7. I was a late developer: at sixteen, despite my age, I was rather behind in a number of ways. Then, suddently, in the summer of 1940, I wrote a comedy in three acts, had a love affair, and learned to ride a bicycle. L’entrata in guerra (1949)

  8. my writing has always found itself facing two divergent paths that correspond to two different types of knowledge. One path goes into the mental space of bodiless rationality (...). The other path (...) through a space crammed with objects and attempts to create a verbal equivalent of that space by filling the page with words... (Exactitude 74) la mia scrittura si è trovata di fronte due strade divergenti che corrispondevano a due diversi tipi di conoscenza: una che si muove nello spazio mentale di una razionalità scorporata, dove si possono tracciare linee che congiungono punti, proiezioni, forme astratte, vettori di forze; laltra che si muove in uno spazio gremito doggetti e cerca lequivalente verbale di questo spazio riempendo la pagina di parole... (Esattezza) S, 691.

  9. Questo pathos della distanza, se è segno di elezione, è anche una causa d’infelicità, incapacità di adattarsi alla realtà immediata, a quelle bestie immonde che sono per Pin le donne come sua sorella, la Nera del carruggio (…) nella tensione tra la solitudine nella distanza e la comunità necessaria, ma disgustosamente vicina e infida, vive l’opera di Calvino. In entrambe le situazioni estreme l’uomo è mutilato, e si tratta di ricomporlo, ciò non può avvenire che nella favola. (Cesare Cases)

  10. Kathryn Hume: ‘Calvino seldom indulges us in the human angle, ignoring tragedy, heroism and romantic love.’ Martin McLaughlin: ‘love is one of his less successful themes.’ Miriam Friedman: ‘It is perhaps because of the originality of the experimental in Calvino’s writing that some of the more traditional elements of his fiction have been ignored’ but ‘one should not deny the presence and even prominence of the romantic and sexual elements in his fiction.’ K. Hume, Calvino’s Fictions, p. 1 M. McLaughlin, Italo Calvino, p. 17 M. Friedman, Love and Narrative Unity in Calvino, pp. 27-8

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