Literatura académica sobre el tema "Le avventure di Pinocchio (Collodi)"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Le avventure di Pinocchio (Collodi)".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Le avventure di Pinocchio (Collodi)"
Tamborrino, Matteo. "Quando Pinocchio incontra Renzo & Lucia. Parodia della Bambina dai capelli turchini nella Fata di Anna Marchesini (in guisa di Gina Lollobrigida)". Schermi. Storie e culture del cinema e dei media in Italia 7, n.º 13 (31 de diciembre de 2023): 45–61. http://dx.doi.org/10.54103/2532-2486/21372.
Texto completoLukančenko, Brigita y Rasa Klioštoraitytė. "Translation of Character Names in Le avventure di Pinocchio by Carlo Collodi". Vertimo studijos, n.º 13 (28 de diciembre de 2020): 39–57. http://dx.doi.org/10.15388/vertstud.2020.3.
Texto completoBouchard, François. "Carlo Collodi, traducteur des contes de fées". Convergences francophones 2, n.º 1 (22 de junio de 2015): 27–36. http://dx.doi.org/10.29173/cf257.
Texto completoAvanzini, Alessandra. "Era uma vez: reflexões sobre uma obra prima da literatura para a infância italiana: Pinóquio". História da Educação 18, n.º 44 (diciembre de 2014): 187–96. http://dx.doi.org/10.1590/s2236-34592014000300011.
Texto completoCollodi (book author), Carlo, Gloria Italiano (book translator) y Anne Urbancic (review author). "Le Avventure di Pinocchio /The Adventures of Pinocchio the Puppet". Quaderni d'italianistica 28, n.º 2 (1 de junio de 2007): 200–202. http://dx.doi.org/10.33137/q.i..v28i2.8536.
Texto completoDarida, Veronika. "A filozófus és a „csodálatos bábu”. Megjegyzések Giorgio Agamben Pinokkió-kommentárjához". Kellék. Filozófiai folyóirat, n.º 70 (30 de diciembre de 2023): 163–74. http://dx.doi.org/10.61901/kellek.2023.70.10.
Texto completoGuerrera, Anna. "Le avventure di Pinocchio come del processo trasformativo". IPNOSI, n.º 2 (enero de 2022): 81–85. http://dx.doi.org/10.3280/ipn2021-002005.
Texto completoLucas, Ann Lawson, Carlo Collodi y Nicolas J. Perella. "Le Avventure di Pinocchio/The Adventures of Pinocchio: Story of a Puppet". Modern Language Review 83, n.º 3 (julio de 1988): 762. http://dx.doi.org/10.2307/3731379.
Texto completoGuerini, Andréia y Lucia Jolkesky. "A colocação de pronomes pessoais e possessivos nos diálogos das traduções de Pinocchio para o português do Brasil em 2002". Cadernos de Literatura em Tradução, n.º 12 (1 de noviembre de 2011): 33–46. http://dx.doi.org/10.11606/issn.2359-5388.i12p33-46.
Texto completoGoga, Nina. "La natura del gioco ne Le avventure di Pinocchio". Italica Wratislaviensia 8, n.º 2 (31 de diciembre de 2017): 103–21. http://dx.doi.org/10.15804/iw.2017.08.20.
Texto completoTesis sobre el tema "Le avventure di Pinocchio (Collodi)"
Picarelli, Perrotta Samuele. "IL PINOCCHIO DI GIULIO ANTAMORO. Ricostruzione filologica del primo adattamento cinematografico del romanzo di Collodi". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
Buscar texto completoFerreira, Nathalie. "Pinocchio, une métaphore de la manipulation : étude de quatre avatars cinématographiques et théâtraux pour une poétique du personnage". Paris 3, 2007. http://www.theses.fr/2007PA030134.
Texto completoWhy representing human being by artificial being? That is what do performing arts which stage Pinocchio, artificial being who metamorphoses himself into a human being. This puppet character raises the issue of manipulation in the initiation into mankind. This thesis delimits the problem by showing that Pinocchio is a hybrid being, both human and artificial. The analyses of the original character in Pinocchio’s Adventures of C. Collodi (part 1) and of four of its adaptations (by Disney, Spielberg, Bene and Cagnard: part 2) try to bring to light the existence of this hybridity, which appears seminal in order to express the human being in sciencefiction movies and in puppet theater. These adaptations raise the problem of manipulation in a different manner. Movies realize adaptations of Pinocchio who lose their artificiality to become human, while theater creates ones that are not transformed into human being, the character persevering in its artificiality. These two occurrences show that initiation into human being implies the discovery of the link between human and artificial. They ask the following question: can human beings manipulate the artificial or do they have to compose with it? The answer to this question is about poetics and not of moral or scientific order, because the conflict between artificial and human does not only concern reality. Reality meets dreams and fantasies. It follows that the character obeys a hybrid poetics (part 3) which mixes the rules of plastic art and those of the narrative. Pinocchio offers to the spectator the experience of a strange hybridity that gives him access to the invention of his singularity
Nunes, Simone Lopes de Almeida. "Seguindo Pinocchio: a ambientação, o feminino e a fuga na obra fílmica de Roberto Benigni como elementos de ressignificação da obra literária de Carlo Collodi". reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/21811.
Texto completoSubmitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-23T17:34:05Z No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5)
Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-26T12:35:00Z (GMT) No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5)
Made available in DSpace on 2017-01-26T12:35:00Z (GMT). No. of bitstreams: 1 2016_dis_slanunes.pdf: 4935862 bytes, checksum: 161fb1681ef24546ff6153a89936ccd8 (MD5) Previous issue date: 2016
Le avventure di Pinocchio is a work that closely interacts with the translation because since its launch, in 1883, has been translated to several languages and adapted to different artistic forms. The work is considered a fiction and children`s narrative of great representation of Italian literature of the late nineteenth century, however, few speak about the relevant realistic aspects, that keep a close relation with the fictional elements (CAMBI, 1985; GUERINI, 2009), significant of a historical, economical and social period of many difficulties that marked the Italian post-unification, what makes Pinocchio a symbol of national identity (ASOR ROSA, 1985). Our research aims to verify how those realistic aspects, and significant of a specific Italian historical moment, were resignified into the Italian filmic adaptation Pinocchio, from Roberto Benigni, launched in 2002. The concept of resignification goes back to the resemantization concept, theorized by Lotman (1970), who defends that the artistic text, as language, has the function to produce new meanings. In fact, theorists from filmic adaptation, like Bazin (1977) and Cattrysse (2014; 1992) recognize the importance of movies as a text that brings their own interpretations and views of the literary work and, therefore, deserves to be understood in its own copyright and marketing particularities. In this perspective, we support our study in the Polysystem Theory of filmic adaptations, from Cattrysse (2014) to comprehend the movie as a product itself. Thus, the elements that are meaningful in the literary work as: the embience, the female figure and the escape; when translated into the filmic narrative will be resignified according to the copyright, marketing and acceptance requirements: the ambience, that in Collodi portrays the social denounce of poverty and hunger, in Benigni, portrays a historical moment, but without highlighting the social denounce; the female figure is restricted to the presence of Fata, in the literary work, Benigni, however, uses the room in the filmic narrative to insert the woman in the most diverse everyday activities, through figuration; the escape element, that permeates all the literary work, will be analyzed in what we define as the great escape, when Pinocchio receives the coins from Mangiafoco until its hanging; Colodi portrays it in a tough and violent way, characteristics of children`s tales of once, yet Benigni resignifies it, using realistic elements, but not so violent, whereas the contemporary children`s narrative tries to soften it.
Le avventure di Pinocchio é uma obra que dialoga intimamente com a tradução, pois desde o seu lançamento, em 1883, vem sendo traduzida para as mais diversas línguas, e adaptada para diferentes formas artísticas. A obra é considerada uma narrativa infantil e fantástica de grande representatividade da literatura italiana do final do século XIX, porém, poucos falam dos relevantes aspectos realísticos, que mantêm uma estreita relação com os elementos fantásticos (CAMBI, 1985; GUERINI, 2009), significativos de um período histórico, econômico e social de muitas dificuldades que marcaram a pós-unificação italiana, o que faz de Pinocchio um símbolo de identidade nacional (ASOR ROSA, 1985). A nossa pesquisa pretende verificar como esses aspectos realísticos, e significativos de um específico momento histórico italiano, foram ressignificados na adaptação fílmica italiana Pinocchio, de Roberto Benigni, lançado em 2002. O conceito de ressignificação remonta ao de ressemantização de Lotman (1982), o qual defende que o texto artístico, enquanto linguagem, tem a função de produzir novos significados. De fato, teóricos da adaptação fílmica como Bazin (1977) e Cattrysse (2014; 1992) reconhecem a importância do filme como um texto que traz suas próprias leituras e visões da obra literária, e, portanto, merece ser compreendido nas suas respectivas particularidades autorais e mercadológicas. Nessa perspectiva, apoiamo-nos na teoria dos polissistemas cinematográfico, de Cattrysse (2014), para compreender o filme como um produto em si. Sendo assim, elementos que são significativos na obra literária como: a ambientação, a figura feminina e a fuga; ao serem traduzidos para a narrativa fílmica serão ressignificados de acordo com as exigências autorais, mercadológicas e de recepção: a ambientação que em Collodi retrata uma denúncia social de pobreza e fome, em Benigni, ambienta um momento histórico, mas sem relevar a denúncia social; a figura feminina é restrita à presença da Fata, na obra literária, Benigni, porém, usa os espaços da narrativa fílmica para inserir a mulher nas mais diversas atividades cotidianas, através da figuração; e o elemento fuga, que permeia toda a obra, será analisado no que definimos a grande fuga, quando Pinocchio recebe as moedas do Mangiafoco até o enforcamento do boneco. Collodi retrata-a de forma dura e violenta, características dos contos infantis de outrora, já Benigni ressignifica-a, utilizando elementos realísticos, mas não tão violentos, já que a narrativa infantil contemporânea procura suavizá-la.
Guglietta-Possamai, Daniela. "The twists and turns of a timeless puppet: Violence and the translation and adaptation of Carlo Collodi's "Le avventure di Pinocchio"". Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27783.
Texto completoPoitrenaud-Lamesi, Brigitte. "« Pinocchio, un enfant parallèle » : La question du père et du fils dans l’œuvre de Carlo Collodi (1826-1890)". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040233.
Texto completoCarlo Collodi (1826-1890) playwright, novelist, short story writer and storyteller was, at his death, known primarily as a talented journalist and author of popular books for children. Paradoxically, Collodi’s work, according to his most famous biographers, had been reduced to a single book: Le avventure di Pinocchio. Storia di un burattino (1883), an isolated masterpiece "written by chance" (in the words of P. Pancrazi). Recent philological research - in particular the work of Daniela Marcheschi - reinserts Pinocchio into a literary corpus that functioned as a creative writing workshop, in which the stylistic and thematic tools subordinate to the main work were developed. An intertextual study and an anthropological approach to the complete works of Collodi show that Pinocchio is the culmination of an existential search: Collodi’s design, adorned with the magic of fairy tales, is to explore the limits of the animate and the inanimate and raise the question of the integrity of the human being. Textual analysis shows that what the author attempted with Pinocchio is a project of reproduction or regeneration, a sort of engendering without the mother: the puppet he created is not initially a new being, but rather a duplicate of the old man rejuvenated. That is why "the parallel child " to which Collodi gives life stems not from the desire for traditional paternity, but from the impossible dream of refusing the mortal destiny of man
Bégué, Anne-Lise. "Géographie de l'enfance dans Alice's Adventures in Wonderland (1865) de Lewis Carroll, Le Avventure di Pinocchio (1883) de Carlo Collodi, Peter Pan (1911) de James Matthew Barrie, et Le Petit Prince (1943) d'Antoine de Saint-Exupéry". Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA3007.
Texto completoEntitled « Childhood's Geographies in Alice'sAdventures in Wonderland [1865] by Lewis Carroll, Le Avventure di Pinocchio [1883] by Carlo Collodi, Peter Pan [1911] by James Matthew Barrie and Le Petit Prince [1943] by Antoine de Saint-Exupéry », this thesis investigates the concepts of space, place, and the world of childhood, by focusing on the treatment of space. We approach these four works in children's literature, not from the perspective of the character, but rather from that of the relationship between the geography developed through the narration, and the enduring popularity of the works. Although childhood fancy seems to be at the principle of the creation of worlds, the ephemeral materialization in space can be named the force behind the elaboration of mythical places. By putting in relation such notions as the children's illusion, the space of the fantastic, the space of the marvelous, the spatialization of children's desire and the de-materialization of territory by memory and tale, the hypotheses formulated in this thesis find their place among the studies on fantasy literature, and put the spatialization of fancy at the core of the discussion
Giuliani, Lorella Anna y Merola Nicola tutor:. "Le avventure di Pinocchio. Storia di un burattino. Effetti di un libro ininterrotto". Thesis, 2012. http://hdl.handle.net/10955/106.
Texto completoRöthlisberger, Pierre. "Entre l'âme et le bois : une lecture totémique du Pinocchio de Collodi". Mémoire, 2008. http://www.archipel.uqam.ca/1182/1/M10486.pdf.
Texto completoPELUFFO, NICOLETTA RENATA. "Le avventure di Pinocchio: narratività transmediale e parodia". Doctoral thesis, 2019. http://hdl.handle.net/10808/28183.
Texto completoLibros sobre el tema "Le avventure di Pinocchio (Collodi)"
Le avventure di Pinocchio di Carlo Collodi: Alcuni contributi ermeneutici. Firenze: Pagnini, 2005.
Buscar texto completo1946-, Hernández Francisco, ed. Pinocho. México, D.F: Consejo Nacional para la Cultura y las Artes, 2012.
Buscar texto completoLe avventure di Pinocchio =: The adventures of Pinocchio : the puppet from the 1883 first edition / Carlo Collodi ; translation by Gloria Italiano. Caserta: Spring, 2007.
Buscar texto completoJ, Morrissey Thomas, ed. Pinocchio goes postmodern: Perils of a puppet in the United States. New York: Routledge, 2002.
Buscar texto completoPádraig, Ó Buachalla, Ó Buachalla Dónal y Chiostri Carlo, eds. Pinocchio: Le avventure di Pinocchio. An Droichead Nua: Goldsmith, 2001.
Buscar texto completoCollodi, Carlo. Le avventure di Pinocchio. Firenze: Edizioni Clichy, 2015.
Buscar texto completoCollodi, Carlo. Le avventure di Pinocchio. Roma: Theoria, 1992.
Buscar texto completoCollodi, Carlo. Le avventure di Pinocchio. Trieste: Battello stampatore, 1997.
Buscar texto completoCollodi, Carlo. Le avventure di Pinocchio. Firenze: Da Burde, 1991.
Buscar texto completoCollodi, Carlo. Le avventure di Pinocchio. Firenze: Edizioni Polistampa Firenze, 1996.
Buscar texto completoCapítulos de libros sobre el tema "Le avventure di Pinocchio (Collodi)"
Klescewski, Reinhard. "Collodi, Carlo: Le avventure di Pinocchio". En Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3204-1.
Texto completoBinazzi, Neri. "Pinocchio nel Vocabolario del fiorentino contemporaneo: motivi e lingua". En «La sua chiarezza séguita l’ardore», 103–24. Firenze: Società Editrice Fiorentina, 2023. http://dx.doi.org/10.35948/dilef/978-88-6032-711-6.11.
Texto completoPonti, Paola. "“La Terra promessa della fiaccona”. Stereotipi e rappresentazioni dell’italianità in „Occhi e nasi” di Carlo Collodi". En Sperimentare ed esprimere l’italianità. Aspetti letterari e culturali. Doświadczanie i wyrażanie włoskości. Aspekty literackie i kulturowe. Wydawnictwo Uniwersytetu Łódzkiego, 2021. http://dx.doi.org/10.18778/8220-478-0.09.
Texto completo"08. Un intreccio tra antica e moderna cross-medialità: Carlo Lorenzini (Collodi), Le avventure di Pinocchio. Storia di un burattino". En Letteratura e letterature cross-mediali, 34–48. Editore XY.IT, 2018. http://dx.doi.org/10.4000/books.xy.3502.
Texto completo