Academic literature on the topic 'Infinito (Leopardi, Giacomo)'

"“Questa siepe”. On Leopardi’s Infinity between Translation and Interpretation. This study aims to analyse the translation of Giacomo Leopardi’s Infinito in Romanian made by Eta Boeriu (1923-1984) and of some other modern translations of this poem in Romanian. The author demonstrates that the translation of Eta Boeriu is still the most refined one, so we will compare it especially with the variants of Lascăr Sebastian and Vasile Romanciuc. Using the concepts of Eugen Coșeriu’s translation theory (Coșeriu 2009), especially his references to meaning, designation and sense (Coșeriu 1991, 220-21), Damian focuses on the term “siepe” (“hedge”), on its role in creating the sense of limit and the infinity in the poetry and on its linguistic and cognitive synonyms in the different Romanian translations. Keywords: Leopardi, Coșeriu, translation theory, The Infinity, Eta Boeriu, Yves Bonnefoy"

O ensaio quer ser un exercício de leitura cognitiva do texto poético, i.e., das operações e representações mentais que atuamos lendo um texto poético. O foco é sobre o uso do demonstrativo italiano questo (este) na poesia L´Infinito de Giacomo Leopardi. "Questo", dêictico na linguagem comum, tem um status ambíguo entre anáfora e dêixis no texto poético. "Questo", junto com a metáfora "questo mare" nesse poema, é, ao mesmo tempo, anáfora = referimento ao dito e identificação de um referente novo. L´infinito é lido com o auxílio da teoria dos espaços mentais de Fauconnier e Turner, segundo a qual a metáfora é o resultado da fusão (blending) entre dois espaços mentais. Em L´Infinito é representada uma mise en abyme, uma ficção na ficção, um espaço no espaço. A criação de um novo espaço mental, identificado pela metáfora questo mare, tema desse poema, é assim modelo e metáfora da criação poética e do ato da transferência no mundo imaginário do texto atuado pelo leitor.

The interdisciplinary approach in history makes it possible to widen researchers’ perspectives. Italian literature is one medium in which we can reflect the relationship between geography, identity and imagination. John Agnew’s idea that ‘Place is a meaningful site that combines location, locale and sense of place’ conveys the main aspect of a ‘meaningful location’ and gives us a framework within which we can rethink space and place through Italian literature.1 In my research, I intend to examine the connections between identity and landscape, how experiences form the view of the environment through Giacomo Leopardi’s Infinity (1819) and Francis Petrarch’s letter of 26, April, 1336 in which he describes a vision about his ascent up Mount Ventoux. My main aim is to present how the impressiveness of nature becomes visible through the experiences of Leopardi and Petrarch, which is part of their existence. The mountain and the sea are key elements of these texts. The two places chosen and described by the poets have different significance: while Petrarch considered that the Mount Ventoux is the place of spiritual fulfilment, for Leopardi the hill of Recanati meant an isolated place where he could let his imagination roam free. All in all, this research offers new perspective to discover relationship between Italian literature and other disciplines in order to answer other, complex theoretical questions. I examined the topic from an interdisciplinary view to highlight the ways in which history, geography and literature can be linked.

This essay aims to stimulate reflection on the creativity characterising homo sapiens in the different realms in which it occurs. Over recent decades scholarly research into creativity has extended the original concept, restricted to geniuses, to a broader field that encompasses the qualities and abilities of every individual, in line with a democratisation of the creative act. However, the aim of this contribution is to illustrate the creativity of geniuses, referring to examples in various fields, according to Poincaré’s definition of connecting pre-existing elements into new combinations that are novel and useful. The objective of this study is to show that pre-existing elements can be found in works of art, literature, poetry, and music, as well as in scientific discoveries or inventions. Having demonstrated the existence of concrete and real analogies in the various – and apparently profoundly different – fields of human creativity, a second objective was to construct a convincing proof of a notion of a culture characterised by an essential unity, without any separation between humanities and sciences. I trust that the analysis of the creative acts that generated Picasso’s Les Demoiselles d’Avignon, Michelangelo’s Vaticano Pietà, Primo Levi’s The Periodic Table, Giacomo Leopardi’s L’infinito (The infinite) and Wisława Szymborska’s Liczba Pi (Pi), the beginning of Beethoven’s Fifth Symphony and Brahms’ Fourth Symphony the finale of Stravinsky’s Sacre du Printemps, the discovery of X-rays by Wilhelm Conrad Röntgen and of the therapeutic properties of lithium salts for psychiatric disorders by John Frederick Joseph Cade, the invention of incandescent light bulbs by Thomas Alva Edison and many other inventors and of the electronic television by Philo Taylor Farnsworth, may succeed in achieving the first objective and, by extension, the second also.