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Academic literature on the topic 'Giorgio caproni'

Author: Grafiati

Published: 10 March 2023

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Journal articles on the topic "Giorgio caproni"

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Leoncini, Gianluca. "Baudelaire par Giorgio Caproni." Italies, no. 24 (December 18, 2020): 117–27. http://dx.doi.org/10.4000/italies.8259.

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Barfoot, Gabrielle, and Luigi Surdich. "Giorgio Caproni: Un ritratto." World Literature Today 66, no. 1 (1992): 112. http://dx.doi.org/10.2307/40147922.

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Vincenzi, Giampaolo. "La ciudad de Giorgio." Cuadernos Literarios 1, no. 1 (December 3, 2003): 62–68. http://dx.doi.org/10.35626/cl.1.2003.230.

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En este artículo, Giampaolo Vicenzi establece la delicada con-fusión del poeta Giorgio Caproni con su querida Génova. El autor intentará explicar el porqué de un vínculo del poeta con la ciudad de Génova, cómo esta ha vivido no solo en los recuerdos y en la poesía de Caproni, convirtiéndose exactamente en uno de sus temas fuertes, sino también cómo esta ciudad se ha convertido, en la producción literaria del Liburnés, en mito e incluso en su propia poética.

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Peterle, Patricia. "A palavra esgarçada de Giorgio Caproni." Revista de Italianística, no. 27 (June 6, 2014): 16. http://dx.doi.org/10.11606/issn.2238-8281.v0i27p16-24.

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A existência como contradição, a perda, o não-lugar, a história como verdade colocada em cheque e a possibilidade de leitura pelos vestígios encontrados nas escavações (da realidade e da linguagem) são os temas centrais da poética de Giorgio Caproni

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Jemma, Rossana. "Entretien de Giorgio Caproni avec Ferdinando Camon." Po&sie 137-138, no. 3 (2011): 114. http://dx.doi.org/10.3917/poesi.137.0114.

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Bacigalupo, Massimo, Giuseppe Leonelli, Luigi Surdich, Giorgio Caproni, and Luca Zuliani. "Giorgio Caproni: Storia d'una poesia fra musica e retorica." Modern Language Review 95, no. 2 (April 2000): 531. http://dx.doi.org/10.2307/3736210.

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Cattaneo, Michel. "Carteggio 1947–1983 by Giorgio Caproni and Vittorio Sereni." Modern Language Review 117, no. 1 (2022): 133–34. http://dx.doi.org/10.1353/mlr.2022.0027.

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Vasconcellos Assini, Fabiana, Helena Bressan Carminati, and Agnes Ghisi. "Movimentos em Caproni." Macabéa - Revista Eletrônica do Netlli 11, no. 1 (March 30, 2022): 1–18. http://dx.doi.org/10.47295/mren.v11i1.16.

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Parte da experiência poética se dá na experimentação de movimentos da vida, do corpo, da cidade, bem como do poema, numa tentativa de ficcionar o real (RANCIÈRE, 2009, p. 58) e transformá-lo na partilha de algo sensível. Grandes vozes dessas mudanças podem ser identificadas no século XX, caracterizado por traumas que marcaram a história e que influenciaram diretamente no modo de vida e nas relações entre sujeitos. Dentre os muitos nomes que compõem a polifonia italiana do Novecento, Giorgio Caproni ganha destaque. Sua produção perpassa quase todo o século passado, e com ela o poeta torna-se porta-voz de temáticas comuns a seus contemporâneos. Dentre elas, a experiência da Segunda Guerra e suas nuances, em temas como o corpo e a memória. Desse modo, visamos apresentar essas três temáticas como movimentos da poética caproniana, colocando-a em diálogo com outros dois escritores italianos, Primo Levi, que compartilha com Caproni a experiência da Guerra e a relação com o corpo humano, e Umberto Fiori, que, por sua vez, se volta para a memória enquanto elemento poético. Para estabelecer tais diálogos e ressaltar tais caminhos, trabalharemos com poemas de diferentes obras, acompanhando as transformações de sua poética. DOI: https://doi.org/10.47295/mren.v11i1.16

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Assini, Fabiana Vasconcellos, Luiza Kaviski Faccio, and Patricia Peterle. "Caproni traduzido: um olhar sobre os paratextos." Revista de Italianística, no. 33 (October 31, 2017): 111. http://dx.doi.org/10.11606/issn.2238-8281.v0i33p111-120.

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A intenção deste artigo é refletir sobre a recepção do poeta italiano Giorgio Caproni (1912-1990) no Brasil a partir da primeira antologia publicada no país dedicada ao poeta, A coisa perdida: Agamben comenta Caproni, publicada em 2011 pela Editora da Universidade Federal de Santa Catarina. Busca-se a partir da obra, analisar os paratextos nela presentes, tentando compreender a imagem do poeta, ainda pouco conhecido se comparado a outros poetas italianos contemporâneos como Eugenio Montale (1896-1981). Refletir também acerca da importância dos elementos paratextuais para a motivação da aquisição e leitura de um livro. Elementos que, muitas vezes, passam despercebidos para o público, mas que podem se tornar peças fundamentais aos estudiosos da literatura, sobretudo da literatura traduzida.

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Heerink, Mark. "Ovidius’ ballingschap als elegische fictie." Lampas 52, no. 1 (March 1, 2019): 71–86. http://dx.doi.org/10.5117/lam2019.1.007.heer.

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Biglietto lasciato prima di non andar via Se non dovessi tornare, sappiate che non sono mai partito. Il mio viaggiare è stato tutto un restare qua, dove non fui mai. Een briefje alvorens niet weg te gaan Mocht ik niet terugkomen, Weet dan dat ik nooit vertrokken ben. Mijn gereis Was uitsluitend hier Blijven, waar ik nooit ben geweest.1 (Giorgio Caproni. 1975. Il franco cacciatore)

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Dissertations / Theses on the topic "Giorgio caproni"

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Nicolini, Francesco <1978&gt. "Testualità, retorica, brevità. Per una lettura di testi di Giorgio Caproni." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3928/1/nicolini_francesco_tesi.pdf.pdf.

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Nicolini, Francesco <1978&gt. "Testualità, retorica, brevità. Per una lettura di testi di Giorgio Caproni." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3928/.

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Angelini, Nicola. "The posthumous dimension of the poetry of Vittorio Sereni and Giorgio Caproni." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9093/.

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In 1936 Olga Franzoni, Caproni’s girlfriend, dies of septicaemia. In 1943 Sereni is taken prisoner, thus beginning a two-year period of captivity. The impact of these episodes on Caproni’s and Sereni’s poetry has been thoroughly analysed, and to conceive of them as watersheds in the individual path of either poet thus comes as natural. However, what critics have less organically delved into is the possibility of considering these episodes as pivotal in shaping a more definite turning point, representing the moment from which Caproni’s and Sereni’s poetry becomes, in many respects, ‘posthumous’. Building on Giulio Ferroni’s idea of ‘postumo’, this study seeks to propose a critical lens through which to examine the oeuvre of both Sereni and Caproni. Through recourse to categories such as ‘end’ and ‘after’, I will explore the thematic implications of the nexus between poetry and experience for both Sereni and Caproni.

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Pasqualotto, Lucia <1989&gt. "«Del racconto però mi è sempre rimasta la nostalgia»: Giorgio Caproni narratore." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6986.

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Il presente lavoro si concentra sull’attività narrativa di un grande poeta del Novecento, Giorgio Caproni, con uno sguardo rivolto anche alle prose critiche contenute nella raccolta La scatola nera. Nel primo capitolo viene ricostruito il percorso che ha portato Caproni dalla pubblicazione su rivista di alcuni racconti giovanili, all'ideazione di un romanzo dal titolo La dimissione (che rimarrà incompiuto), fino all'edizione del Labirinto (1984), unica raccolta di prose narrative pubblicata in vita dall’autore. Dal secondo capitolo in poi, la tesi si focalizza sull’analisi dettagliata dei tre racconti che compongono la raccolta: Giorni aperti, Il labirinto e Il gelo della mattina, restituendo contesto, datazione e richiami alla poesia, della quale ogni prosa anticipa o riprende immagini, suggestioni e temi caratteristici che accomunano il narratore al poeta. Ci si sofferma inoltre sull’analisi degli otto capitoli de La dimissione, necessaria per poter interpretare Il gelo della mattina, progettato da Caproni per essere la conclusione del romanzo. L’ultimo capitolo della tesi si propone di analizzare i Versi livornesi, sezione della raccolta Il seme del piangere (1959), evidenziando l’attitudine caproniana a raccontare in versi e considerando ogni componimento come parte di un vero e proprio romanzo. Infine si avanza un’ipotesi interpretativa riguardo la conclusione dei Versi livornesi, nata dal confronto tra prosa e poesia.

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Mariotto, Giulia <1991&gt. ""E intanto ho conosciuto l'Erebo". Commento al "Passaggio d'Enea" di Giorgio Caproni." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/7958.

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Commento a un'importante raccolta poetica di Giorgio Caproni dal titolo "Il passaggio d'Enea", pubblicata per la prima volta nella sua forma definitiva da Garzanti nel 1983. Il lavoro si compone di una rassegna bibliografica introduttiva e di un'analisi dei singoli testi, che vengono affrontati principalmente dal punto di vista metrico e interpretativo.

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Lindenberg, Judith. "Giorgio Caproni, poète-traducteur : le rôle de la traduction dans le processus créatif." Paris 3, 2006. http://www.theses.fr/2006PA030114.

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Giorgio Caproni (1912-1990) est désormais reconnu comme l’un des plus grands poètes italiens de son temps. Parallèlement à son œuvre poétique, il a exercé, comme nombre de ses contemporains, une activité de traducteur à partir des plus grands noms de la littérature française du vingtième siècle : Proust, Céline, Apollinaire, Char, pour ne citer qu’eux. À la croisée d’une démarche traductologique et littéraire, nous voyons comment, par le truchement d’autres auteurs, d’un autre genre (la prose), d’une autre langue (le français), l’acte traductif se constitue en laboratoire où se prépare le tournant de sa poésie à venir, selon la formule que le philosophe Giorgio Agamben a utilisé à son égard. C’est à travers la traduction de ces auteurs (autour des années soixante notamment) que s’élabore la poétique traductive de Caproni, caractérisée par la déconstruction du lien syntaxique. La ponctuation utilisée comme instrument rythmique et mélodique creuse le texte, donnant lieu à un jeu sur l’instance locutoire que l’on retrouve ensuite dans la poésie. En effet, le recueil Congedo del viaggiatore cerimonioso (1965) marque l’apparition d’un personnage et le début d’une nouvelle phase de l’œuvre. La série de personnages qui habite la seconde partie de l’œuvre de Giorgio Caproni témoigne d’une stratégie de théâtralisation de l’espace poétique forgée dans les traductions. Mais cette simulation théâtrale n’est qu’une des modalités utilisée par le poète pour exprimer la perte de confiance dans le pouvoir de la parole à exprimer le réel. Ce constat ouvre vers les thèmes de la dissolution du sujet et de l’absence de Dieu : thèmes à entendre moins du point de vue d’une pensée philosophique que du langage musical, vers lequel cette poésie tend et qui en fonde la modernité
Giorgio Caproni (1912-1990) is now recognized as one of the greatest Italian poets of his time. As a parallel to his poetic work, he also devoted himself, as did a number of his contemporaries, to the translation of some of the most important figures of twentieth century French literature: Proust, Céline, Apollinaire, Char, to name but a few. Following some of the analyses of the philosopher Giorgio Agamben, we see how, with the aid of authors from another genre (prose) and language (French), Caproni’s practice of translation, at the crossroads of a literary and translatological reasoning, constitutes a laboratory for experimenting with his poetry to come. It is through the translation of such authors as the above (particularly during the nineteen sixties) that Caproni’s translational poetics is elaborated, characterized by the deconstruction of syntactic links. Punctuation, used as a rhythmic and melodic instrument, furrows the text and gives rise to a play of enunciation that one subsequently finds in his poetry. Indeed, the collection Congedo del viaggiatore cerimonioso (1965) marks the appearance of a character and the beginning of a new phase of his work. The series of characters who populate the second part of Giorgio Caproni’s work testifies to a strategy, formed through his translations, of the theatricalization of the poetic space. But this theatrical simulation is only one of the modes used by the poet to express his loss of confidence in the power of the word to represent reality. This assessment opens out onto the themes of the dissolution of the subject and the absence of God: themes which are to be understood not so much from the point of view of philosophy as from that of the musical language towards which this poetry strives and which founds its modernity

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Fusen, Ulrich. "Akustische Dimensionen und musikalische Parallelen in der Lyrik der "Poeti-musicisti" Eugenio Montale und Giorgio Caproni : Sprachklang, Klangbezeichnungen, Klangmetaphorik und Klangsymbolik /." Genève : [Paris] : Droz ; [diff. H. Champion], 1995. http://catalogue.bnf.fr/ark:/12148/cb357882085.

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Chionne, Iris. "La variation thématique ou la symphonie des mots : l’oeuvre poétique de Giorgio Caprioni (1912-1990)." Paris 4, 2007. http://www.theses.fr/2007PA040212.

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L’oeuvre poétique de Giorgio Caproni (Livourne 1912 – Rome 1990), alors qu’elle connaît un succès grandissant en Italie témoigné par un nombre croissant d’ouvrages lui étant consacrés, demeure relativement méconnue en France. Aussi, notre travail se fixe-t-il l’objectif de présenter et d’analyser la totalité des recueils de Caproni selon une démarche diachronique dans une perspective aussi bien endo qu’exo-textuelle afin de déceler les constantes et les variantes, les influences et les particularités de cette poésie si riche et fertile en ressources et en solutions. La méthode stylistique adoptée, se fonde sur une analyse textuelle à la fois formelle et conceptuelle qui nous conduit à fragmenter le corpus poétique capronien en quatre grandes sections reliées entre elles par le motif de la musique. En effet, l’oeuvre de Giorgio Caproni contient en germes dès les premiers poèmes les idées et les inquiétudes – sortes de thèmes musicaux continuellement variés – qui seront développées et creusées au fil des compositions. Il s’agit de l’accord de la jeunesse insouciante auquel répond en contrepoint celui du brouillard ; l’accord de l’errance et de la solitude ; celui du mythe déclassé et du sentiment de culpabilité ; celui de l’absence et de la quête spirituelle
Although the poetic work of Giorgio Caproni (Leghorn 1912 – Rome 1990) is enjoying an indisputable growing success in Italy judging from the number of publications devoted to it, it is still relatively unknown in France. Therefore, in order to present and analyse the whole collection of poems Caproni published, our work is centred on a diachronic process in an twofold perspective, endotextual as well as exotextual. This allows us to reveal constants and variants, influences and particularities of this poetry, so fertile and rich in resources and solutions. The stylistic method used here is based on a textual analysis both formal and conceptual. This leads us to split up this poetic work in four main sections, linked togheter by the theme of music. In fact, from his first poems, Giorgio Caproni’s work contains the seeds of the ideas and problems he develops and explains all along his pieces of poetry, like variations on some musical themes. Those particular chords concern the light-heartedness of youth and, in counterpoint, the fog ; the wandering and the loneliness ; the downgraded myth and the sense of guilt ; the absence and the spiritual quest

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Le, Colleter Thomas. "« La matière ensorcelée » : poétiques et représentations de la musique au XXe siècle (Federico García Lorca, Pierre Jean Jouve, Giorgio Caproni)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040175.

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La thèse ici présentée ambitionne d’étudier l’impact de l’imaginaire musical sur l’écriture de trois poètes majeurs du XXe siècle : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) et Giorgio Caproni (1912-1990). Elle part d’un constat simple : ces trois poètes ont pour élément fédérateur non seulement une connaissance intime de la musique, mais, risquons le terme, une véritable obsession de celle-ci, qui prend bien souvent les aspects d’une fascination irrationnelle et enchanteresse face à ce que Jouve, dans une expression lourde de sens, appelle la « matière ensorcelée » – entendons par là le pouvoir désarmant du charme musical.Tous trois permettent ainsi l’élaboration, par la comparaison, d’une réflexion sur les positionnements esthétiques et idéologiques possibles de la poésie face à la musique en Europe, dans une période à la fois post-wagnérienne et post-mallarméenne. Ils sont l’occasion d’une méditation sur le rêve énoncé par Vladimir Jankélévitch dans Quelque part dans l’inachevé, appelant à « écrire non pas sur la musique, mais avec la musique », pour « demeurer complice de son mystère ».Pour répondre à ce questionnement, la thèse envisage d’abord la dimension identitaire de l’imprégnation musicale chez les auteurs, puis les modalités de son inscription dans leurs poétiques respectives, avant d’observer les évolutions à l’œuvre dans leur perception du référent musical au fil du temps. Ainsi sera mise en valeur la dimension imaginaire et fantasmatique de cet art qui n’aura cessé de les requérir leur vie durant
This thesis aims at studying the impact of musical imagination on the writing of three major poets of the XXth century : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) and Giorgio Caproni (1912-1990). It starts from a simple observation : not only do these poets have an intimate knowledge of music, but, let us risk the term, a real obsession for it, that often verges on an irrational and enchanting fascination for what Jouve, in a thoughtful expression, calls “the bewitched matter” – ie the disarming power of the musical charm.All three of them thus enable the elaboration, through comparison, of a reflection on the esthetical and ideological positionings of poetry in front of music in Europe, in a time both post-wagnerian and post-mallarmean. They make possible a meditation on the dream once stated by Vladimir Jankélévitch in Somewhere in the unfinished, calling for “writing not on music, but with music”, to “remain accomplice of its mystery”.To answer this questioning, the thesis first tackles the search for identity enabled by the authors’ musical impregnation; it then explores the way music comes within the scope of their respective poetics; it finally observes the evolutions in their perception of the musical referent as time goes by. Thus will be underlined the imaginary and fantastical dimension of this art which kept calling for them all their lives

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Flabbi, Lorenzo. "Il traduttore di poesia come imitatore." Paris 3, 2005. http://www.theses.fr/2005PA030148.

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Cette thèse est composée de deux parties : la première (" LES IDEES ") vise à une définition méthodologique pour une critique de la traduction qui tienne compte de la spécificité du texte littéraire dans le domaine de la traductologie. Ainsi la notion d'imitation devient cruciale pour la compréhension du mécanisme qui sous-tend l'acte traductif. La deuxième partie (" LES TEXTES ") est conçue comme un parcours à travers des textes aptes à illustrer différentes étapes du processus imitatif. Jules Laforgue et son imitation de La sera del dì di festa de Giacomo Leopardi, Robert Lowell et ses Imitations (avec un égard particulier pour ses réélaborations de Eugenio Montale), Giorgio Caproni et son Cahier de traductions, véritable atelier d'imitateur, sont les principaux interlocuteurs de ces chapitres fondés sur les réflexions linguistiques et les implications théoriques concernant cette véritable réécriture d'un texte qu'est la traduction de poésie
This thesis is in two parts: the object of the first one (“THE IDEAS”) is a methodological definition for a translation criticism considering the specificity of the literary text in the Translation Studies domain. In this way, the concept of imitation becomes crucial for the comprehension of the mechanics which underlies the translating act. The second part (“THE TEXTS”) is conceived as a journey through texts appropriate to illustrate the different stages of the imitative process. The main characters are Jules Laforgue and his imitation of La sera del dì di festa by Giacomo Leopardi, Robert Lowell and his Imitations, in particular the versions from Eugenio Montale's poems, Giorgio Caproni and his Quaderno di traduzioni, justly considered a real imitator's workshop. These chapters are based on the linguistic and the theoretical implications concerning the production of a truly new text which is the translation of poetry

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Books on the topic "Giorgio caproni"

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Caproni, Giorgio. Giorgio Caproni. Milano: Garzanti scuola, 1997.

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Dei, Adele. Giorgio Caproni. Milano: Mursia, 1992.

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1936-, Barbuto Antonio, ed. Giorgio Caproni. Caltanisetta: S. Sciascia, 1990.

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Piero, Fossati, ed. Giorgio Caproni maestro. Genova: Il melangolo, 2010.

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Giorgio Caproni narratore. Roma: Bulzoni, 2009.

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Giorgio, Caproni, Devoto Giorgio, and Verdino Stefano, eds. Per Giorgio Caproni. Genova: San Marco dei Giustiniani, 1997.

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Giorgio Caproni e Roma. Roma: Edilazio, 2015.

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Surdich, Luigi. Giorgio Caproni: Un ritratto. Genova: Costa & Nolan, 1990.

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Zublena, Paolo, and Davide Colussi. Giorgio Caproni: Lingua, stile, figure. Macerata: Quodlibet, 2014.

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Giorgio Caproni: L'inquietudine in versi. Firenze: Franco Cesati editore, 2016.

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Book chapters on the topic "Giorgio caproni"

1

Acetoso, Mattia. "Poetry and the Beast: Giorgio Caproni’s Simulations of Opera." In Echoes of Opera in Modern Italian Poetry, 215–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46091-4_7.

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"GIORGIO CAPRONI." In Those Who from Afar Look Like Flies, edited by Luigi Ballerini and Giuseppe Cavatorta, 1012–37. Toronto: University of Toronto Press, 2017. http://dx.doi.org/10.3138/9781442625143-032.

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"3. Giorgio Caproni: Translation, Vibrazioni, and Compensi." In Modern Italian Poets. Toronto: University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442665651-006.

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"Appearance, Apparition, Aspiration (Giorgio Caproni and Giuseppe Ungaretti)." In Into the Heart of European Poetry, 53–58. Routledge, 2017. http://dx.doi.org/10.4324/9780203788233-13.

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