Dissertations / Theses on the topic 'Giorgio De Chirico'

A reflexão sobre a melancolia, na produção estética de Giorgio De Chirico, compõe o arcabouço da presente pesquisa. Neste estudo, são considerados sentimentos e ressentimentos que permeiam aspectos biográficos e estéticos ligados direta e/ou indiretamente às questões da melancolia na obra do artista Giorgio De Chirico. A constituição melancólica de sua produção seria sustentada pelas referências do artista? Isto é, a reconhecida influência de filósofos como, Nietzsche e Schopenhauer e de artistas como Arnold Böcklin e Max Klinger forneceria o embasamento à postura melancólica de De Chirico? O contexto vivido na Europa, no século XX (cercado por duas Guerras Mundiais) contribuiu para a adoção desta condição? As circunstâncias biográficas direcionariam o artista para a expressão da melancolia em seus trabalhos? E, por fim, De Chirico utilizaria o que poderia se chamar de uma estética da melancolia como um dos eixos de sua reflexão poética? A elucidação dessas perguntas pode residir nas fontes históricas que unem melancolia e arte desde os escritos dos filósofos gregos, passando pelas questões do Renascimento e chegando ao ideário moderno do qual De Chirico é fruto.
The melancholy reflection on the aesthetic production of Giorgio De Chirico makes up the framework of this research. In this study, the feelings and resentments that permeate biographical and aesthetic aspects related directly or indirectly to issues of melancholy in Giorgio De Chiricos works are considered. Would the melancholy constitution of his production be sustained by the references of the artist? That is, would the recognized influence of philosophers like Nietzsche and Schopenhauer and artists such as Arnold Böcklin and Max Klinger provide the basis for de Chirico\'s melancholy posture? Would the context experienced in Europe in the twentieth century (surrounded by two world wars) contribute to the adoption of this condition? Would the biographical circumstances steer the artist towards the expression of melancholy in his works? Finally, would De Chirico make use of what might be called an \"aesthetics of melancholy as one of the pillars of his poetic reflection? The elucidation of these questions may lie in the historical sources that combine art and melancholy from the writings of the Greek philosophers, through questions of the Renaissance and coming to modern ideas - of which De Chirico is a result.

La these traite de la peinture et l'ecriture de giorgio de chirico (1888-1978), inventeur de la peinture metaphysique, il est a la fois un artiste, un ecrivain, un theoricien et un critique d'art. Sa biographie revele la richesse de ses references culturelles et la diversite de ses activites. Ses decors et costumes nous aident a mieux comprendre sa peinture. Ayant connu les avant-gardes du xxeme siecle, son jugement fait autorite. Dans un repertoire raisonne ont ete rassembles deux-mille-huit-cent-dix-sept titres d'oeuvres, a partir d'ouvrages generaux et de catalogues d'exposition. Les problemes des faux, de la copie et de la datation des oeuvres y sont abordes. La these presente les ecrits de l'artiste dans leur globalite, prenant la suite des travaux de fagiolo dell'arco qui s'etait arrete a ceux de 1943. L'analyse se presente en trois parties : la premiere -1909 a 1941- definit la peinture metaphysique, la deuxieme -1942- aborde des themes plus techniques : la peinture du portrait, du nu, du paysage. . . La troisieme -1943 et 1978- presente un de chirico observateur et critique de la peinture de son temps et particulierement de la "peinture moderniste". Ces deux modes d'expressions sont indissociables, les ecrits eclairant la peinture et vice-versa.

In dieser Dissertation werden 13 wichtige Werke Giorgio de Chiricos (1888 Volos, Griechenland – 1978 Rom), Filippo de Pisis’ (1896 Ferrara – 1956 Mailand) und Giorgio Morandis (1890 Bologna – 1964 ebenda) eingehend beschrieben und analysiert. Als Ergebnis ergibt sich die zum Teil unerwartete Entdeckung, dass die „noch“ figurative, teilweise als rückgewandt angesehene Kunst der drei untersuchten Künstler eine moderne, immer noch aktuelle Frage nach der besonderen Qualität des Bildes stellt. Ihre Skepsis gegenüber einer festgelegten Art der Wahrnehmung entfaltet sich in einer produktiven Auseinandersetzung mit den Bildern und mit einer Gattung – das Stillleben - einer tradierten Kunsttradition und zeigt Kunst in ihrer Fähigkeit ein besonderes, anderes Sehen anzuregen. Dabei zeigt sich in der Analyse der Bilder die unzertrennliche Beziehung von Sichtbarkeit und Unsichtbarkeit als einen zentralen Moment in der künstleri-schen Produktion. Diese Thematik wird unter anderem in der Verbindung de Chiricos, de Pisis’ und Morandis zu den Schriften Arthur Schopenhauers, Friedrich Nietzsches und Giacomo Leopardis erörtert und speziell mit der Auflösung des klassischen Realitätsbegriffs konfrontiert. Die aus dieser Auflösung resultierende „Krise der Repräsentation“ hat auch die Kunst der Moderne veranlasst, sich kritisch mit dem „Realen“ auseinanderzusetzen und nach neuen Formen der Darstellung, aber auch der Betrachtung zu suchen. Wesentlich ist dabei der Gesichtspunkt, dass die bewusste Reflexion des Sehens und des Wahrnehmens selbst zum Bild werden. Dieser Aspekt wird mithilfe einer phänomenologischen Perspektive und Fragestellung weiter ausgeführt und diskutiert. Der Fokus und die Struktur dieser Dissertation liegen in der konkreten und direkten Auseinandersetzung mit den Werken der drei bildenden Künstler aus denen auch der begriffliche Horizont der Arbeit immanent erschlossen wird.
This study describes and analyses in detail a total of 13 important works by the Italian painters Giorgio de Chirico (1888 Volos, Greece – 1978 Rome), Filippo de Pisis (1896 Ferrara – 1956 Milan) and Giorgio Morandi (1890 Bologna – 1964 Bologna). Its findings include the partially unexpected discovery that the “yet-figurative” aesthetics of these works, which may be valued as backward and even reactionary raise a very modern and relevant question about the special quality of pictures. The works’ scepticism of a fixed kind of perception also emerges in their productive confrontation with canonical, more traditional pictures and in their affirmation of art’s ability to encourage a special, “other” way of seeing. The argument of this study is based on the investigation of the unavoidable relationship between visibility and invisibility as a central moment in de Chirico’s, de Pisis’ and Morandi’s artistic production, and proposes a dialogue with the theories of Arthur Schopenhauer, Friedrich Nietzsche and Giacomo Leopardi, whose influence on the tree painters was of great importance, especially in conjunction with the dissolution of classic concepts of reality. The crisis of representation resulting from this dissolution led in the visual arts to a critical confrontation with the concept of the “Real”. As a consequence of this confrontation news forms of representation and observation emerged. Essential to this transformation is that conscious reflexions about sight and perception became themselves the subjects and objects of pictures. This aspect is also considered from the perspective of phenomenology and its tools of enquiry. The dissertation’s focus and structure derive from the direct confrontation with the pictures, which also informs its conceptual horizon.

L'elaborato mira ad indagare la produzione artistica dei fratelli de Chirico nel mondo del teatro. Un'introduzione alle dinamiche del teatro immediatamente precedenti e contemporanee al lavoro di Giorgio de Chirico e di Alberto Savinio, precede le biografie essenziali dei due artisti; segue un'analisi delle commesse teatrali di Giorgio de Chirico e le collaborazioni sia come scenografo, che compositore di Savinio. Si aggiunge il commento di due opere di Alberto Savinio per le quali i due fratelli hanno collaborato unitamente e una sintesi dell'operato di entrambi per il mondo teatrale del secolo scorso.

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.

Orientador: Nelson Alfredo Aguilar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História

La obra de Giorgio de Chirico (1888-1978) abarca todo el siglo XX, su pintura retrata el periodo artístico que inician las vanguardias en París, continua el surrealismo, y cierra el pop-art de Andy Warhol. Esta investigación propone un recorrido arquitectónico por su imaginario metafísico, un lugar donde se reúnen enigmas modernos con mitos clásicos, chimeneas y fábricas con pórticos y ágoras, para poner de manifiesto la naturaleza de un futuro igual al pasado. Sus maniquís y autómatas escenifican el eterno retorno de Nietzsche en medio de plazas urbanas o inmersos en profundas habitaciones, desde donde alertan al espectador sobre el carácter permanente de la arquitectura y la ciudad, descifrando sus símbolos descubriremos el espíritu del mañana y la clase de vida que proyectamos para nuestros hijos y descendientes.

La presente investigación trabaja en la abstracción del concepto “metafísica del objeto cotidiano” procedente de la obra del pintor griego Giorgio de Chirico (Volos, 1888-1978), con el fin de probarlo como herramienta de análisis para el teatro de objetos. Al final se obtiene la definición de un concepto formado por tres principios y un proceso de dos pasos entendido como una dinámica de poetización del objeto cotidiano en la escena. Se pone de ejemplo el análisis de la metafísica escénica del “objeto-armario” en la obra En la pequeña casa del campo (1961), del director de teatro polaco Tadeusz Kantor (Wielopole,1915-1990). Esta definición se puede aplicar a cualquier proyecto escénico que trabaje con objetos cotidianos, como instrumento para la comprensión de procesos creativos.
This research works in to get the concept "metaphysics of everyday objects" from the work of the greek painter Giorgio de Chirico (Volos, 1888-1978), in order to test as an analysis tool for object theater. At the end, the definition of a concept consists of three principles and two-step process understood as a dynamic of poetization from everyday objects in the scene. I put as example, the metaphysical analysis of one everyday object in the work of the polish theater director Tadeusz Kantor (Wielopole,1915-1990): “the wardrobe” inside In the little mannor house (1961). This definition can be applied as a tool for understanding creative processes at any stage project that works with everyday objects.

Il lavoro di ricerca che ho sviluppato in questa tesi di laurea magistrale ha come obiettivo quello di analizzare e confrontare la rappresentazione del corpo umano nell’opera di tre importanti figure del panorama dell’arte contemporanea: Oskar Schlemmer, Giorgio De Chirico e Grisha Bruskin. I primi due artisti sono coevi (nati entrambi nel 1888) e, seppur operando in due aree geografiche e in due contesti diversi, si inseriscono in una riflessione più ampia, caratteristica delle prime decadi del ‘900, di ripensamento della figura umana, attuata, per Schlemmer, attraverso l’utilizzo del costume per le rappresentazioni teatrali e, per De Chirico, con l’inserimento di statue e manichini, soprattutto se si considerano le opere del periodo metafisico. Grisha Bruskin, invece, nasce nel 1945 a Mosca; sia dal punto di vista temporale, sia da quello culturale, dunque è lontano dai due artisti citati in precedenza, ma la rappresentazione che fa del corpo umano all’interno delle sue opere, soprattutto scultoree, ha dei chiari rimandi alla concezione della figura umana che si ritrova in Schlemmer e De Chirico.

Dans l’histoire littéraire italienne tout entière se succèdent des écrivains qui pour différentes raisons, ont dû se confronter à la langue française dans leur œuvre. Pour la génération née entre le XIXème et le XXème siècle, le bilinguisme est un des outils de la recherche identitaire de l’artiste déraciné, quête du Je littéraire et du Je national. Au sein de cette génération, l’écriture des frères de Chirico se révèle un champ d’investigation particulièrement riche des problématiques qui se nouent entre la France et l’Italie. Les enjeux du choix d’une langue pour un texte donné mais également de l’autotraduction – pour republication dans une autre langue mais également comme composante du processus d’élaboration d’un texte – seront abordés en détail notamment à travers l’étude des poèmes noyau d’Hebdomeros de de Chirico et de la Vita di Mercurio de Savinio. L’analyse de leur collaboration à «La Vraie Italie», nous a permis d’observer à la fois un aspect ultérieur de leur écriture bilingue et l’enjeu identitaire qui se lie au rapport entre France et Italie. Leur rapport constant avec la France, qui se manifeste à travers l’alternance de l’écriture en italien et en français est d’ailleurs le signe évident d’une identité enracinée avant tout dans la complexité culturelle de leur formation atypique. Une fois dépassé le problème du « Je biographique », leur œuvre essaye de refonder un « Je universel » qui nécessite pour s’exprimer une pluralité de langages
The entire history of Italian literature shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. The justification of my choice of authors to be studied are the actual works of the de Chirico brothers which have revealed them-selves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works [especially to create Hebdomeros – de Chirico – and Vita di Mercurio – Savinio - ]. Equally as important is the collaboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their relationship with Italy and with France which is tied to the problem of identity. Their constant relationship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages

All’inizio del XX secolo sono molti gli artisti e scrittori italiani che hanno vissuto e scritto tra Francia e Italia. L’interferenza e l’interazione tra queste due culture e letterature hanno, infatti, una lunga storia e si ripropongono in epoche diverse quale elemento ricorrente. L’intera storia letteraria italiana, da Marco Polo o Brunetto Latini ai contemporanei, è un susseguirsi di scrittori che, per ragioni differenti, si sono dovuti confrontare con la lingua francese in quanto espressione artistica della loro opera. Il presente lavoro intende analizzare in particolare l’esperienza e l’opera tra le due lingue dei fratelli de Chirico, per scoprire in che modo il rapporto con la lingua e la cultura francese ha influenzato e determinato la loro opera letteraria. Nel procedere all’analisi di un fenomeno che, nelle sue varie forme, ha caratterizzato la generazione nata a cavallo tra Ottocento e Novecento, richiameremo, inoltre, il contemporaneo esempio di D’Annunzio, Marinetti, Soffici, Papini ed Ungaretti, ma anche il precedente caso esemplare di Foscolo. A giustificare la scelta degli autori presi in esame è la scrittura stessa dei fratelli de Chirico che si rivela un ampio campo di indagine delle problematiche intertestuali del bilinguismo, di cui fa testo la notevole produzione poetica e letteraria. Di formazione e di cultura europea, l’opera dei due autori, paradigmatica del conflitto inerente all’essere tra due lingue, si rivela inoltre un nodo cruciale di investigazione delle problematiche identitarie che costituiscono il leit-motiv della cultura europea del ’900. Vissuta come ricerca identitaria dell’artista, déraciné perché nato all’estero, o dépaysé nella sua stessa nazione, l’esperienza del bilinguismo diviene difatti desiderio di rifondazione dell’Io intellettuale in un contesto culturale che trascende l’esperienza biografica per proiettarsi in una dimensione sovra storica e sovra intellettuale. Non è certo un caso che la vicenda della scrittura bilingue dei fratelli de Chirico istituisca una complessa trama di relazioni, testimoniata dall’intensa attività di scambio letterario e epistolare, con l’avventura tra due lingue di autori italiani come Ardengo Soffici e Giovanni Papini, che tentano con la fondazione della rivista «La Vraie Italie», scritta in francese ma pubblicata in Italia, di risolvere la difficile situazione identitaria della cultura italiana del primo Novecento. Nata nell’immediato dopoguerra (1918-1919), nonostante la breve vita e lo scacco dell’insuccesso, questa rivista occupa un ruolo di primo piano per comprendere la complessità dei rapporti tra Italia e Francia a livello politico e soprattutto ideologico-letterario da parte degli autori coinvolti nel progetto. È nella complessità di questa interrelazione, dove l’opera dei diversi autori non esprime solo istanze espressivo formali, ma si carica di valenze esistenziali che questa ricerca sceglie un doppio registro di lettura ed interpretazione della problematica del bilinguismo secondo un approccio non solo testuale ma anche ermeneutico interpretativo. Se si analizza la fase iniziale dell’opera poetica di de Chirico, che comprende il primo periodo parigino e il successivo periodo ferrarese, emerge con chiarezza quanto la scrittura poetica sia decisamente connessa all’opera pittorica da una fitta trama di relazioni che pare trovare la sua giustificazione nella preoccupazione dell’artista di mettere a punto, sia con la parola sia con il segno, la poetica metafisica. Parrebbe dunque che de Chirico voglia restituire fin dall’inizio in immagine pittorica e poetica quel paesaggio di “vita silente” che teorizzerà nel corso degli anni ’20 e che qui nel periodo iniziale trova modo di emergere, soprattutto per la scrittura poetica, nell’alternanza della lingua italiana e della lingua francese. Va inoltre rilevato il meccanismo della ripetizione quasi ossessiva di alcune parole chiave (come per esempio le città, le piazze, le statue, il treno e le finestre) che diventerà un carattere costante della sua scrittura. Attraverso l’analisi delle poesie francesi ed italiane che costituiscono il nucleo centrale di Hebdomeros abbiamo osservato un altro aspetto della sua scrittura bilingue. Le poesie sono, infatti, la fonte inesauribile cui attinge de Chirico per la sua scrittura in prosa, così che, riprese e rielaborate, esse costituiscono il nucleo originario del romanzo. Inoltre, l’analisi comparata delle poesie e di Hebdomeros ci ha permesso di osservare il lavoro di autotraduzione compiuto da de Chirico sul proprio romanzo. Nel passaggio da Hebdomeros a Ebdòmero l’autore apporta variazioni linguistiche o stilistiche determinate principalmente dalle caratteristiche sintattiche e grammaticali di ogni lingua. Da una parte, de Chirico procede ad una traduzione letterale e, dall’altra, ad una rielaborazione del testo originario, spesso un inedito o una bozza. La scrittura bilingue e in particolare il fenomeno dell’autotraduzione avvalora, come afferma Vegliante nella sua analisi di Giuseppe Ungaretti, anch’egli poeta bilingue, quello scandalo «de la traductibilité» che «réside justement dans cette curieuse asymptote vers un impossibile «même», néanmoins visible, donné à contempler par l’écriture». In quali modalità de Chirico superi questo scandalo linguistico è testimoniato dalla sua stessa scrittura che si trova costantemente in una dimensione di entrelangue. Se si analizza la fase iniziale dell’opera letteraria di Savinio che comprende il primo periodo parigino (Le drame et la musique e Les Chants de la mi mort) e Hermaphrodito, emerge una preferenza per la parola quale strumento della sperimentazione. In effetti, sia il francese che l’italiano sembrano essere ancora degli strumenti grezzi, da modellare. I primi scritti francesi ed italiani rivelano già i caratteri fondamentali della sua scrittura bilingue. La nostra analisi segue le tracce del progetto incompiuto della Vita di Mercurio, ossessione che vorrebbe concretizzarsi in un progetto di scrittura che non verrà mai portato a termine, nonostante vari tentativi: racconti, in francese e in italiano, e prove di sceneggiatura per il cinema. Proprio seguendo le numerose tracce del dio abbiamo cercato di ripercorrere le variazioni stilistiche e tematiche intorno ad uno stesso soggetto, osservando in che modo avviene l’alternanza tra le lingue. Infine, per cercare di consegnare un quadro completo dell’esperienza bilingue, abbiamo analizzato il lavoro di autotraduzione compiuto da Savinio su alcuni racconti di periodi differenti: Le nuove metamorfosi di Ovidio / Les vraies métamorphoses d’Ovide e Dei di lassù/Dieux de là-haut. Il loro studio ci ha permesso di osservare, da un ulteriore punto di vista, l’evoluzione della dimensione bilingue dell’autore e, contemporaneamente, della sua costante presenza all’interno dell’intera produzione letteraria. Altrettanto importante la collaborazione dei fratelli de Chirico alla rivista di Papini, «La Vraie Italie», che ci ha permesso di osservare non solo un ulteriore aspetto della loro scrittura bilingue, ma anche l’evoluzione del loro rapporto con l’Italia e la Francia che si lega al problema identitario. Il loro continuo rapporto con la Francia, che si manifesta attraverso l’alternanza della scrittura in italiano ed in francese, è un chiaro segno, infatti, di una identità radicata innanzitutto nella complessità culturale della loro formazione atipica. Superato il problema dell’“io biografico” le loro opere tentano di rifondare un “io universale” che necessita, per e-sprimersi, di una pluralità di linguaggi: da quello pittorico a quello lirico e letterario. BEING ONESELF AND SOMEONE ELSE IN A FOREIGN LANGUAGE. GIORGIO DE CHIRICO AND ALBERTO SAVINIO, THE EXPERIENCE OF LANGUAGE AND IDENTITY BETWEEN FRANCE AND ITALY. Many were the italian artists and writers who, at the beginning of the 20th century, lived and wrote in both France and Italy. In fact, the crossover and interaction between these two cultures and literatures have a long history and they re-appear across the years as a recurring theme. The entire history of Italian literature, from Marco Polo or Brunetto Latini to modern day writers, shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. In carrying out the analysis of this phenomenon which, in its’ many forms, characterised the generation born in the crossover between the 1800’s and 1900’s, we will also refer to the contemporary examples of D’Annunzio, Marinetti, Soffici, Papini and Ungaretti as well as the earlier example of Foscolo. The justification of my choice of authors to be studied are the actual works of the de Chirico brothers which have revealed themselves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works. European in it’s style and culture, the work of the two authors, which are a paradigm of the inherent conflict of being between two languages, also reveals itself to be a crucial point of investigation of the identity problems that constitute the leit-motiv of european culture in the 1900’s. Considered as an identity search by the déraciné (stateless) artist because he was born abroad, or dépaysé (displaced) in his own Country, the bilingual experience becomes the desire to recreate the intellectual ‘I’ (me) in a cultural context that transcends the biographical experience in order to project itself in a super-historical and super-intellectual dimension. It is certainly not by chance that the bilingual writings of the de Chirico brothers establish a complex web of relationships that are confirmed by the intense literary and epistolary exchanges with the dual-language adventures of italian authors such as Ardengo Soffici and Giovanni Papini that attempt, with the foundation of the magazine «La Vraie Italie» which was written in French and published in Italy, to resolve the difficult situation of the identity of italian culture in the early 1900’s. Created immediately after the 1918-1919 war and despite its’ short life and the blow of not being successful, this magazine served a very important purpose in outlining the complexities of the political and, above all, ideological and literary relationship between Italy and France for the authors involved in the project. It’s within the complexities of this relationship that the works of the different authors express not only instances of formal expression but also the loading of the works with existential values such that this research chooses a double register of literature and interpretation of the problems of being bilingual through not only a textual approach but also through hermeneutic interpretation. If we analyse the initial phase of de Chirico’s poetic works that encompass his early parisian period and the following Ferrara period, we can clearly see just how much his poetic writing is, without doubt, connected to the painted work of a tight web of relationships which seem to find their justification in the concern by the artist of highlighting, both with words and with signs, metaphysical poetry. It would seem, therefore, that, right from the start, de Chirico would like to give back, in pictorial and poetic images, that landscape of “silent life” that he would go on to theorise during the 1920’s; here, in his initial period, he finds a way to emerge, above all in his poetic writing, with the alternating of the italian and french languages. We should also note the almost obsessive mechanism of repetition of certain key words (for example the cities, the piazzas, the statues, the trains and the windows) which will become a constant characteristic of his writing. Through analysis of his french and italian poetry which constitute the central nucleus of Hebdomeros, we have observed another aspect of his bilingual writing. These poems are, in fact, the endless source from which de Chirico draws for his writings in prose, so much so that, re-written and re-worked, they constitute the original nucleus of the novel. Furthermore, the compared analysis of the poems and of Hebdomeros has allowed us to see the work of de Chirico’s own translation of his own novel. In the transition from Hebdomeros to Ebdòmero, the author introduces linguistic or stylistic variations that are determined principally from the characteristics of syntax and grammar of every language. On the one hand, de Chirico proceeds with a literal translation and, on the other hand, there is a re-elaboration of the original text which is often unpublished or in draft form only. In accordance with Vegliante in his analysis of Giuseppe Ungaretti, bilingual writing and, in particular, the phenomenon of self-translation gives credence to the scandal of «de la traductibilité» which «réside justement dans cette curieuse asymptote vers un impossibile «même», néanmoins visible, donné à contempler par l’écriture». The way in which de Chirico gets around this linguistic scandal is proven by his own writing which constantly finds itself in an entrelangue dimension. If we analyse the initial phase of Savinio’s literary works which include the early parisien period (Le drame et la musique e Les Chants de la mi mort) and Hermaphrodito, we encounter the appearance of a preference for words at the instrument of experimentation. In effect, both the French and the Italian still seem to be raw materials that need to be sculpted. The early French and Italian works already reveal the fundamental characteristics of his bilingual writing. Our analysis follows the traces of the incomplete project of the Vita di Mercurio (Life of Mercury), an obsession which would have liked to have become a written reality but which would never be completed despite numerous attempts: stories in French and Italian and screenplay pilots for cinema. Precisely by following the many traces of the god, we have tried to review the stylistic and thematic variations around a single subject, observing the way in which he alternates between the languages. In the end, in order to try and produce a complete picture of the bilingual experience, we have analysed the work of self-translation done by Savinio on some of his stories from different periods: Le nuove metamorfosi di Ovidio / Les vraies métamorphoses d’Ovide e Dei di lassù/Dieux de là-haut. Our study of these works has allowed us to observe, from yet another point of view, the evolution of the bilingual dimension of the author and, at the same time, his constant presence within an entire literary production. Equally as important is the collaboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their relationship with Italy and with France which is tied to the problem of identity. Their constant relationship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages: from the pictorial to the lyrical and literary.
The entire history of Italian literature shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. The justification of my choice of au-thors to be studied are the actual works of the de Chirico brothers which have revealed them-selves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works (especially to create Hebdomeros – de Chirico – and Vita di Mercurio – Savinio - ). Equally as important is the col-laboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their rela-tionship with Italy and with France which is tied to the problem of identity. Their constant rela-tionship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages.
Dans l’histoire littéraire italienne tout entière se succèdent des écrivains qui pour différentes rai-sons, ont dû se confronter à la langue française dans leur oeuvre. Pour la génération née entre le XIXème et le XXème siècle, le bilinguisme est un des outils de la recherche identitaire de l’artiste déraciné, quête du Je littéraire et du Je national. Au sein de cette génération, l’écriture des frères de Chirico se révèle un champ d’investigation particulièrement riche des problématiques qui se nouent entre la France et l’Italie. Les enjeux du choix d’une langue pour un texte donné mais éga-lement de l’autotraduction – pour republication dans une autre langue mais également comme composante du processus d’élaboration d’un texte – seront abordés en détail notamment à travers l’étude des poèmes noyau d’Hebdomeros de de Chirico et de la Vita di Mercurio de Savinio. L’analyse de leur collaboration à «La Vraie Italie», nous a permis d’observer à la fois un aspect ultérieur de leur écriture bilingue et l’enjeu identitaire qui se lie au rapport entre France et Italie. Leur rapport constant avec la France, qui se manifeste à travers l’alternance de l’écriture en italien et en français est d’ailleurs le signe évident d’une identité enracinée avant tout dans la complexité culturelle de leur formation atypique. Une fois dépassé le problème du « Je biographique », leur oeuvre essaye de refonder un « Je universel » qui nécessite pour s’exprimer une pluralité de langa-ges.

L'exposition "Fantastic art, Dada, Surrealism" en 1936 au Museum of Modern Art de New York, exposait dans sa section architecture le facteur Cheval, Antonio Gaudi, Hector Guimard, Kurt Schwitters et Emilio Terry, architecte d'origine cubaine. Le rôle de Salvador Dali dans ce choix apparaît essentiel. Il introduit l'architecture dans le surréalisme comme thème de réflexion en 1930, suivi par André Breton et Paul Eluard. Minotaure publie dès 1933 Gaudi, Guimard et le Facteur Cheval. L'architecture a-t-elle sa place dans l'imaginaire surréaliste ? Nadja témoigne de l'influence de Giorgio de Chirico dont nous analysons l'oeuvre de 1909 à 1919. Alberto Giacometti témoigne du rôle de l'espace et de l'architecture comme lieu de réappropriation du moi, de 1928 à 1934. Dali fait de l'architecture, le lieu de projection du désir. Ces trois exemples permettent de cerner la "période nationaliste" d'Emilio Terry, (1890-1969), annonciateur après la guerre du post-modernisme.

Ce doctorat est le fruit d'une recherche sur travaux. Dans le corpus d'articles publies par l'auteur au cours de ces quinze dernieres annees, ces pages sont celles qui peuvent composer une incursion dans l'histoire de l'art italien du vingtieme siecle (le novecento) vue sous l'angle du dilemme entre progres et tradition. Dans cet ouvrage, certains chapitres constituent un travail de recherche pure apportant des informations inedites susceptibles de rectifier des erreurs historiques (voir les pages sur fontana et le spatialisme). D'autres tentent d'introduire des modes de lecture nouveaux (voir les pages sur marinetti, de chirico, sironi, les rapports entre arts plastiques et fascisme) d'autres sont un travail de divulgation clarifiante (a usage pedagogique) sur des mouvements et des artistes dont les oeuvres ont ete balisees par les historiens et les estheticiens (voir les pages sur manzu, l'ecole romaine, corrente, l'arte povera). D'autres sont enfin le fruit de cet arpentage quotidien qu'est la critique militante et se situent plus du cote de la chronique necessaire aux historiens et chercheurs futurs (voir les pages sur rotella, dorazio, paladino, les choix matieristes"). Ces chapitres concernent des episodes determinants, mais aussi des interstices sans lesquels il serait difficile de saisir comment s'est construit l'edifice. S'agissant d'un champ d'etude soumis aux multiples contractions potentielles d'une histoire agie par le present, l'auteur etant en outre directement engage dans cette histoire en tant que critique militant, il est des lors evident qu'un certain nombre de jugements sont a lire comme etant des conjectures personnelles. Ecrire une histoire de l'art contemporain suppose une prise de risques, un manque de recul porpre a l'apprehension d'une histoire en train de se faire dans toute sa complexite
This doctorate risultes from a research on works. Among the bulk of articles the author published over the last fifteen years, this choice may be considered as an excursion into the italian twentieth century art (novecento), dialectically seen between progress and tradition. Some chapters display pure research work and supply utmost new information that may help to rectify historical errors (see, for instance, pages concerning fontana and spatialism); others try to introduce new ways of reading works of art (see pages pages about marinetti, de chirico, sironi and the relationship between art and fascism); others constitute a clarifing pedagogic publishing on mouvements and artists whose works have been "revisited" by the author (see pages on manzoni, scuola romana, arte povera, corrente); others, the fruit of daily frequentations of a militant critic, stand rather on the side of an indispensables chronical for the use of future historians and critics (see pages on rotella, dorazio, paladino and "meteric choices") these chapters rveal relevant facts but also supply explication of "clefts" without which understanding of "how the house was built" would be difficul to catch, the field of this research being subject to number of potential contradiction owing to this "history in progress" and the author being, more over, directely committed to this history as a militant critic. It becomes than evident that number of his assesments are to be read as personal opinions. Writing the history of contemporary art implies taking risks, because of a lack of historical distance and because of the complexity of history in the making

Théoricien du surréalisme, André Breton (1896-1966) place au cœur de sa pensée et de son écriture esthétiques l'intérêt pour ce qui est primitif. Dans ses écrits, notamment dans sa critique d'art, il mentionne fréquemment les œuvres dites « primitives » (primitifs italiens, arts premiers, arts naïfs et arts préhistoriques), l'image primitive, la mentalité primitive et l'état primitif de la société. La plupart de ses réflexions concernant le primitif développent une contestation des valeurs de la société de son temps, souvent incarnées par la pensée rationnelle et systématique. Sa référence constante au primitif revêt un caractère à la fois esthétique, politique et mythique. Structurée autour des trois aspects du primitivisme, cette thèse vise à retracer l'évolution entière du rôle du « primitif » et du « primitivisme » dans la pensée esthétique de Breton et précise également la spécificité de sa pensée durant entre-deux-guerres
Theoretician of Surrealism, André Breton (1896-1966) places his interest in primitive at the core of his thinkings and writings. In his writings, especially in his criticism of art, he frequently mentions the works of art called "primitive" (the Italian primitives, primitive arts, naive art and prehistoric art), the primitive image, the primitive mentality and the primitive condition of society. Most of his reflections on this term cast a protest of society's values of his time, often represented by rational and systematic thought. His persistent reference to the primitive is principally aesthetic, political and mythical. Structured around these three aspects of primitivism, this thesis aims to trace the entire evolution of the role of "primitive" and "primitivism" in Breton's aesthetic thinkings and also indicate the specificity of his thinkings during the inter-war

Protagoniste de la première heure du Fauvisme et du Cubisme, André Derain (1880-1954) est un véritable précurseur de son époque pour le regard innovateur qu'il porte à la poétique du primitif et du classique dans les années 1910. Son oeuvre révèle des affinités singulières avec celle de quelques-uns des artistes italiens les plus importants de cette période ; tous partagent l'expérience de vivre dans un contexte culturel et historique de transition, marqué par le déclin de l'avant-garde et le début du "retour à l'ordre" dans les arts plastiques. Dans cette recherche, on étudie d'abord l'approche culturelle deranienne de la connaissance de la tradition de l'art italien, pour retracer ensuite les données d'une possible influence de ce maître sur Amedeo Modigliani, Carlo Carra, Giorgio de Chirico. L'exemple de cet artiste se retrouve dans certains aspects de l'oeuvre de Giorgio Morandi, du Novecento et des Six de Turin. Cette proximité se nourrit des affinités formelles dans leurs oeuvres, mais aussi d'un parcours intellectuel et spirituel semblable, ainsi qu'il ressort de la pensée critique de ces artistes. L'investigation réalisée met à jour une dialectique des rapports, des parentés entre le peintre français et la culture artistique italienne ancienne et moderne, dans un contexte marqué par un vif échange culturel entre l'Italie et la France au début du XXe siècle.

Les rapports entre la réalité et les rêves sont à la base de la pensée et de l'art de Savinio et des surréalistes français : l'écrivain italien arrive à franchir les bornes de l'" au-deça " grâce aussi aux réflexions qu'ont entreprises les théoriciens du mouvement français. Breton et Savinio sont deux " enfants " subversifs qui aiment le présent bien qu'ils dialoguent avec le passé, deux désadaptés qui s'insurgent contre l'ordre constitué : leurs armes sont l'écriture et la littérature. D'où commence le refus de la littérature actuelle et précédente au nom d'un art nouveau et libre : un art révolutionnaire. Mais Savinio ne s'adapte à aucune étiquette : les convergences et les affinités sont possibles grâce à une sensibilité très moderne et vigilante. La position de Savinio et de de Chirico est moins radicale par rapport aux intentions des surréalistes, qui se servent d'une tradition littéraire et culturelle plus libertaire et d'une connaissance plus directe de la psychanalyse. La Métaphysique a posé les prémisses capitales pour les développements du surréalisme et pour sa greffe en terre italienne : ce n'est pas un hasard si Breton considère les deux frères de Chirico comme les bâtisseurs du surréalisme
The relationship between reality and dreams is the basis of art and thought of Savinio and the French surrealists: the Italian author is able to travel beyond the confines of this world reflecting theories of the French Movement. Breton and Savinio are two subversive “children” that love the present even if they converse with the past, two misfits who rise up against the constituted order: their arms are the writing and literature. It begins refusal of all the present and preceding literature in the name of a new and free art; a revolutionary art. But Savinio does not adapt to any label: convergences and affinities are possible thanks to the modern and highly alert sensibility. The position of Savinio and De Chirico is less radical regarding the programs of the surrealists, who take advantage of a literary and cultural tradition, more libertarian and one that has a more direct acquaintance of the psychoanalysis. The metaphysical art has placed conditions for the developments of surrealism and for its graft in Italian earth: Breton considers founders of surrealism the two siblings de Chirico

碩士
國立中央大學
藝術學研究所
89
Abstract Giorgio de Chirico had been embroiled in the surrealist celebrity in the history of art, and thus is identified as a surrealist. In this thesis, I attempt to present de Chirico as a pioneer of the surrealist movement, and have a go at revealing the “pre-surrealist” characteristics of metaphysical art. While the surrealists worshiped the theory of psychoanalysis and groped for the mystery of the unconsciousness of the self, de Chirico held Schopenhauer and Nietzsche in deep respect and set out on a journey for the knowledge from the divine. The pursuit for the metaphysical reality of the world and the concern for the psychology of the self would be the substantial discrimination between de Chirico and the surrealists. The interest of this thesis is with the relationship between de Chirico’s art and his appeal for the profound truth of the metaphysical reality. This thesis is divided into three chapters. In the first and second chapter, the problem of style is concerned, and in the last chapter, the relation between art and metaphysical reality is the focus of my attention. I try to bring to light in the first chapter the influence of German Romanticism and 19th century landscape painting lying under the conceptual structure of de Chirico, manifesting in his imagination of landscape space and the use of symbols and allegories. In the second chapter, I attempt to reveal the influence of cubism and Apollinaire in the “displacement of space and meaning” characteristic of the works of art of de Chirico during 1913-19. The innovation of displacement in the field of visual art is an approach to break the rules of the reason and paves the way for the revolution of surrealism hereafter. In the third chapter de Chirico’s claim of revealing the profound truth in art under the influence of German philosophers, especially Schopenhauer and Nietzsche, is concerned. In the conceptual structure of de Chirico lies a seeming paradox: the cognitivism that assigns the artists the task to uncover the profound truth lying behind the veil of ordinary things and the anti-rationalist claim that the absence of rationality is a necessary condition of divine revelation and that the origin and condition of artistic creativity is nothing but madness. For de Chirico, the clairvoyance and insanity form an organic whole of the artistic creativity. Insomuch as this conceptual structure is the basis of the artistic innovations of de Chirico, the analysis of his concept of the metaphysical reality and its relation to forms would be the groundwork of the understanding of the metaphysical art.

碩士
國立屏東師範學院
視覺藝術教育學系
92
A Study of Non-Logical Image Of Giorgio de Chirico’s Creations Abtract Giorgio de Chirico was an Italian artist who was internationally famous, dedicated himself to the creation of Metaphysical painting in the whole life. He realized that painting should reveal a multi-face appearance , not confined in the single-face visual space which was traditionally reasonable and logical. He was proficient in using the anti-order existing form of time and space and the anti-logical inference to create a mysterious world which is enigmatic and sad. It attracted the attention of art society. It caused the enlightenment to hyper-realistic painter. The main frame of this thesis focus about the research of the perfoming form、creation concept、working analysis、the revelation of non-logical image creation in the various periods. The art development of Giorgio de Chirico is divided into seven periods : art cultivation、exploration、space consciousness、geometric architecture、return classicism、dualism and classical consciousness , which described the style transformation of Metaphysical painting . Giorgio utilized the non-logical image to express the multi-changing style of form.This study includes four concepts：space consciousness、time consciousness、causality concept、portrait configuration. Giorgio’s root of creation concept was multiple and special. Except the living experience in Greece as young child and the solid theoretical and practical foundation acquired in the school stage, he was especially interested in traditionally classical painting. Both the classical artist before and after Renaissance, Venice painters and masterpiece of Flemish painters were his focus of imitation and research.The Baroque’s splendid and decorative style also appeared in his works in late years. He was attracted by the strange mood assembled by symbols in the Bocklin、Shopenhauer and Nietzsche’s philosophical thinking , he invented his own metaphysical painting style.Long term enriched by the classical painting, the classic mood had infused into his Metaphysical painting after 1920. He obtained precisely traditional classic technique, which nourished the noblest sentiment of art. In the last ten years, he pushed his Metaphysical painting to a mature and complete stage. He received the respectable status and title granted from many countries and left a brilliant and glorious page in the modern art history.

碩士
臺南藝術學院
藝術史與藝術評論研究所
89
Abstract This thesis, The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte, is based on the broad sense of perspective as “ways of seeing,” taking Chirico and Magritte’s paintings as examples, for investigating of “counter-point” and “counterpoint” as collage’s aesthetic texture. Today “collage” is so deeply involved in our daily life that it goes far beyond its original meaning of glue-attached-collage. By juxtaposing contradictions, the magic of collage enlightens almost all kinds of media. “The discontinuity of logic” and “metonymic representation” are its main characters. The poetic juxtaposition of things-not-in-the-same-context in Chirico’s pictures inspires many artists, and Magritte is one of them. Max Ernst even took Magritte’s pictures as “hand-painted collage.” In order to investigate the poetic function of those collages, we take Roman Jakobson’s famous poetics as our methodology. Jakobson inherits Ferdinand de Saussure’s linguistic theory of “two axis of signification,” claiming that “The poetic function projects the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence.” Inspired by Jakobsonian theory, Ernst Gombrich once mentioned the equivalence between mock portraiture and the real person; however, he did not go further. Therefore, here we take Chirico’s and Magritte’s pictures as examples to see more aspects of equivalent relations in collage. “Equivalence” actually contains parallels and contrasts in all aspects of art works. Sergei Eisenstein claims that “montage is conflict” to be achieved through the “counterpoint of sound and image.” Yet, the “counterpoint” which Eisenstein defines here is not what it means in musicology; rather, it focuses on its literal meaning. Therefore, here we rename it “counter-point.” The term “counterpoint” we use here presents plural aspects of things, just as it combines several lines of melody in the same piece of music. Moreover, this repetition and variation could go beyond the frame, intertext and dialogue with other works of art, either works by the same artist or those of the art history. Or it could even be so self-conscious as to be like “meta-painting.” We use some graphs to illustrate how the statements evolve. Finally, we demonstrate a 3-dimensional-and-3-colored co-ordinate system to make a visual interpretation of the principle of equivalence─in this model the primary color stands as the three axes, and the unique value of different position in this system represents as the unique proportion of color mixture, which reflects the degree to which each axis involves itself.