Literatura académica sobre el tema "Scalvini Giovita"

Giovita Scalvini, (Brescia 1791- 1843), homme de lettres et patriote du Risorgimento italien, en 1806 commenca à écrire des vers, des ébauches de romans, des pensées à caractère moral et civil. En 1816, il se transféra à Milan pour collaborer à la Biblioteca italiana, mais il sympathisa avec les romantiques du Conciliatore et les événements politiques de son temps, il est donc arrêté à la suite des mouvements insurrectionnels. Il passe neuf mois en prison ; puis s’exile en Suisse, à Londres et à Paris. Enfin, en Belgique, il traduit la première traduction (partielle) en langue italienne du Faust de Goethe. Après l'amnistie de 1838, il rentre à Brescia où il meurt. Son œuvre critique (Considerazioni Morali sull’Ortis (1817), Dei Promessi Sposi (1831) le place parmi les principaux critiques italiens du début du XIXe siècle. Un témoignage sous forme imprimée est parvenu jusqu’à nous grâce à Niccolò Tommaseo, qui a accepté l’invitation du testament de Scalvini où celui-ci lui confiait ses propres écrits inédits et l’autorisait à choisir et à publier ce qui, à son avis, valait la peine d’être connu. Le but principal de cette thèse est de présenter trois manuscrits inédits et ses Mémoires, en cherchant à encadrer le contexte culturel où les écrits se sont formés ainsi que leur transmission. La partie générale terminée, on a reproduit les manuscrits ainsi que leurs notes de présentation, dans cet ordre : «Abbozzi di romanzi. II», apographe ; «Pensieri vari», apographe ; un manuscrit autographe relié, qui contient plusieurs citations tirées de différents auteurs de littérature italienne et latine ; enfin la transcription de ses Mémoires et la conclusion terminent cette recherche
Giovita Scalvini (Brescia 1791-1843), man of letters, and patriot of Risorgimento in 1806 began to write verses, drafts of novels, moral and civil thoughts. From 1816 he collaborated in Milan to the periodic Biblioteca italiana; but he soon sympathized with the romantics of Il Conciliatore. Involved in the political events of his time, he was arrested as part of insurrectional movements. After nine months in prison he went into exile in Switzerland, London and Paris. Finally in Belgium, he translated, for the first time in Italian, the first part of Goethe's Faust (1835). After the amnesty of 1838, he returned to Brescia where he died. His critical works (Dei Promessi Sposi, Lugano (1831), Considerazioni Morali sull'Ortis (1817), place him among the leading italian critics of the beginning of the19th century. There is therefore a huge gap between what Scalvini decided to publish and what remained in his drawers. A printed form of testimony has come down to us thanks to Niccolò Tommaseo, who accepted the invitation expressed in Scalvini's testament: he left his own unpublished writings and allowed him to choose and publish what, in his opinion, was worth to be known. The main purpose of this thesis is to present three unpublished manuscripts, and his Memories, trying to frame the cultural context where the works formed. The general part completed, the manuscripts as well as their presentation notes are reproduced in this order: "Abbozzi di romanzi. II", apographe, "Pensieri vari", apographe; a hardback autographed that contains several latin and italian litterary quotes. Finally, an annotated transcription of his Memories and the conclusion complete this research work

Giovita Scalvini, (Brescia1791-1843) man of letters, patriot of the Risorgimento, began in 1806 to write verses, drafts of novels, moral and civil thoughts. In 1816, in Milan, he collaborated to the Biblioteca italiana, but he soon sympathized with the romantics of Il Conciliatore. Involved in the political events of his time, he was arrested as part of insurrectional movements. After nine months in prison, he went into exile in Switzerland, in London and Paris. After the amnesty of 1838, he returned to Brescia where he died. His critical works, Considerazioni Morali sull'Ortis (1817); Dei Promessi Sposi (1831), place him among the main italian critics of the beginning of the 19th century. There is therefore a huge gap between what Scalvini decides to publish and what remains in his drawers: the main purpose of this thesis is to present three unpublished manuscripts, including two apographes, one autograph and his Memories, trying to frame the cultural context where the works formed.