Contents
Academic literature on the topic 'Cecchi, Emilio (1884-1966)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Cecchi, Emilio (1884-1966).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Cecchi, Emilio (1884-1966)"
Buzzetti, Rachele. "‘Il limite che mi conteneva nell’ordine’." Incontri. Rivista europea di studi italiani 37, no. 1 (June 27, 2023): 1–15. http://dx.doi.org/10.18352/inc11680.
Full textDissertations / Theses on the topic "Cecchi, Emilio (1884-1966)"
Orlando, Enrico Riccardo. "Emilio Cecchi : i «Tarli» (1921-1923)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040047.
Full textBetween 15th July 1921 and 30th November 1923, Emilio Cecchi published in the newspaper «La Tribuna» 111 articles signed with the pseudonym “Il tarlo”: they are the literary review entitled Libri nuovi e usati. Cecchi wrote about a lot of Italian and foreign books, many of whom are now firmly in the canon. Sometimes he recommended, for the first time in Italy, fondamental masterpieces: for example, on 2nd March 1923, he is the first italian critic who wrote about Ulysses by James Joyce. These short critical texts show Cecchi's interpretive acuity: with an always measured tone, he created a vivid survey of the Italian and foreign literary life after the end of the First World War. This thesis is the complete edition of the literary review, preceded by an introduction and accompanied by critical notes and a detailed index of names
Miracle, Bragantini Caterina. "Un composto di scrittura e di visione viva. La littérature de voyage d'Emilio Cecchi entre journalisme, photographie et politique." Electronic Thesis or Diss., Lyon, École normale supérieure, 2024. http://www.theses.fr/2024ENSL0012.
Full textThis thesis focuses on the travel work of the critic, journalist, and essayist Emilio Cecchi. Between 1930 and 1939 he visited several countries, writing about his experiences for the daily "Corriere della Sera". He then compiled his reports in four books: "Messico", "Et in Arcadia ego", "America amara" and "Appunti per un periplo dell'Africa". This research particularly focuses on an aspect of Cecchi's travels that had never been systematically studied before, namely the use of the photographic camera. In the author’s archive, inside the Archivio Contemporaneo "A. Bonsanti" at the Gabinetto Vieusseux in Florence are conserved almost eight hundred photographs taken during his travels in the United States, Mexico, Greece and Africa, which, according to the thesis, make up the "fore-text" or "visual notebooks" of the reports. This work therefore explores Cecchi's hodeporic work from an intertextual and intermedial perspective, aiming to read the four books as a complex organism, at the center of which is the gaze towards the elsewhere. The second aim of the thesis is to problematize the medial destination of the articles. During the Thirties, the “Corriere della Sera” was a Fascist newspaper; the representations of the foreign countries Cecchi visited were affected by Italy's relations with them, and by the racial stereotypes disseminated by the regime. The aim here is to identify the margin between the reporter's personal thoughts and his adoption of Fascist rhetoric and imagery
Zekri, Caroline. "Vincenzo Cardarelli (1887-1959) : du mythe de la prose d’art au mythe autobiographique." Paris 4, 2007. http://www.theses.fr/2007PA040221.
Full textVincenzo Cardarelli (1887-1959), poet, prose writer and founder of La Ronda review (1919-1923), remains primarily associated to the under taking of the classical restoration of the review, and therefore, to the “art prose” genre, where together with Emilio Cecchi (1884-1966), he would be an uncontested master. After an historical and theoretical analysis of the notion of “art prose”, where we propose a poetic definition rather than a generic one, an overall analysis of Cardarelli’s work, as in comparison with Emilio Cecchi’s and Riccardo Bacchelli’s work, enables us to differentiate from Cardarelli’s work what we called the “ art prose myth”. On the other hand, it also enables us to update the construction, both in prose as well as in poetics, of a truly “autobiographical myth”. By showing how this “isolated” voice (according to Montale’s expression) makes its way throughout its time, a mediation role assured by Cardarelli is revealed. At the same time, he defines himself as a precursor of hermeticism and as a single interpretor of the “autobiographical myth”, forged by La Voce writers, which he uses in order to offer a completely personal thinking process which reveals a resolutely modern practice of “self” writing
Mele, Ilenia. "Les cendres de Pascoli. Voix de la critique et modernité du poète de Barga." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA133.
Full textThe title of this thesis refers, explicitly, to the famous Pier Paolo Pasolini’s collection, The ashes of Gramsci. Pascoli’s influence on Pasolini explains only in part the title of the thesis. The ashes of Pascoli refers more specifically to the reception of the poet of San Mauro, together with a special attention to the effects on his work. According to this point of view, the continuity of Pascolian criticism has played a central role: from the end of the nineteenth century until the sixties of the twentieth century. It was at the end of this journey that it became clear to us that the different voices of criticism ended up interacting with each other, composing a network and giving a living image of Pascoli and his work to the reader. Gianfranco Contini and Pier Paolo Pasolini could not have marked a turning point in the reception of Pascoli’s work if he had not received the criticisms from Emilio Cecchi, Arturo Onofri or Renato Serra at the beginning of the 20th century. In their studies the image of Pascoli clearly emerges as poet of modernity, an aspect that Jean-Charles Vegliante still reaffirms today, highlighting as the poetry of Pascoli has continued to act on the national literature, for example on Montale of the Ossi, and beyond. And this in spite of the discredit that the Benedetto Croce's criticisms have cast on the work of the Pascoli to the point of considering him as the “ poeta delle maestrine”.The continuity of the criticism has also allowed us to grasp the importance of the historical context in the literary reception. Alongside the diachronic study, we have developed a work on two of the most emblematic poems of Pascoli – Italy (fifth chapter) and Gog and Magog (eighth chapter) – in order to understand the ideologies underlying the different approaches we have tried to reconstitute. This choice was not insignificant. These two poems, at the heart of the mythopoetic work of Pascoli, have divided critics. Nowadays Pascoli, whose poetic qualities make it possible to go back to Dante and Petrarch, represents one of the major Italian poets that it would be really significant to make him known in France