Littérature scientifique sur le sujet « Chiaromonte »

Apresento algumas informações sobre a revista TempoPresente: informazione e discussione, dirigida por Ignazio Silone e Nicola Chiaromonte, no período de 1956 a 1968. O estudo da revista foi objeto de minha pesquisa de pós-doutorado e se deteve no levantamento e análise dos textos, em particular aqueles produzidos por Silone e Chiaromonte,para verificar em que modo os artigos garantiram o sucesso da revista entre seus leitores, um grupo especial de intelectuais, pelo período de doze anos.Ao final, acrescento a tradução de um dos textos de Nicola Chiaromonte, crítico desconhecido no Brasil, no qual se pode sentir a sensibilidade e profundidade com que ele analisava as questões da literatura e do seu tempo presente.

Nicola Chiaromonte era giornalista e saggista, erede delle idee di An- drea Caffi, amico di personalità come Albert Camus e Hanna Arendt e integrante del gruppo newyorkese della Politics di Dwight Macdonald. Ha scritto innumerevoli saggi sulla società del ventesimo secolo che ci possono aiutare a capire la crisi attuale dei valori e dell’arte. Questo testo si propone a discutere alcune delle idee del saggista presenti, specialmente, nel testo ‘Il tempo della malafede’, nel quale l’autore parla delle “menzogne utili” che si sovrappongono alle verità “inutili” nel nostro mondo “artefatto – interamente voluto e costruito dall’uomo”. Con questo saggio, Chiaromonte anticipa l’attuale concetto della “post-verità” (o post-truth, secondo l’Oxford Dictionary).

This essay reconstructs the involvement of Nicola Chiaromonte in the Spanish Civil War. For very short this experience was in fact an episode of great importance for his biography(life experience). Chiaromonte was an anti-fascist which was exiled in France. In August 1936 Chiaromente went to Madrid convinced that the defense of the Spanish republic coincides with the beginning of an international mobilization against Fascism. There he becomes a bomber with the air squadron organized by his friend the writer Andre Malraux. At the end of November he returned to France because he feels exhausted revolutionary hopes that had animated the popular resistance to the military coup, also because of the increasingly important role assumed by the Communist International in the republican camp.

The article focuses on selected aspects of Amacord’s film and tries to answer the question why the characters of Fellini’s film were unable to meet their shadow and complete the process of individuation (as defined by C.G. Jung), and whether the diagnosis made by the director with regard to his characters indicates an opportunity, so that the viewer could avoid such blindness. Searching for answers to these questions, I use the anthropological category of labyrinth and mask. I agree with the way of perceiving and defining the concept of fascism proposed by Nicola Chiaromonte.

Artykuł zatytułowany: „Specyfika1 posługi Słowa Bożego w sanktuarium w Częstochowie”. Tym artykułem Autor wpisuje się w temat sympozjum liturgicznego, które odbyło się w Ląd (Polska), o głoszeniu Słowa Bożego P. Polek, dzieli materię sprawozdania napięć punktów: Charakterystyka sanktuarium Chiaromonte w nauczaniu Jana Pawła II; Kierunek głoszenia Słowa Bożego; Wymiar teologiczny; wymiar patriótica i wreszcie przesłanie, które wypływa z tej służby Słowa. Autorka dostrzega tu wiele pozytywów, ale i pewne niedociągnięcia. Jeden z nich dotyka czasu, kiedy do odprawiania Mszy używano kilku czytań biblijnych (było tylko 8 wariantów z odczytów). Dziś, gdy „Collectio missarum de beata Maria Virgine” ukazało się także po polsku, Do dyspozycji mamy 46 wariantów, więc i to pomoże poszerzyć tematykę kaznodziejstwo.

Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

La thèse se propose de retracer la recherche philosophique et littéraire qui réunit Czesław Miłosz et Nicola Chiaromonte en tant que membres d'une formation intellectuelle particulière. Pour comprendre la nature de leur relation dans ce milieu intellectuel, on a évité les pièges biographiques et interprétatifs qui auraient réduit l'étude comparative des deux auteurs à une recherche stérile d'influences explicites sur le plan de la pensée et de l'œuvre. Au contraire, on a fait émerger toute la complexité de leur rencontre, déterminée par une conjoncture historico-politique et culturelle très particulière. La voix de Czesław Miłosz semble si proche de celle de Nicola Chiaromonte pas seulement à cause de la participation aux mêmes évènements et au même climat politique du XX siècle, mais aussi grâce à la commune attention portée à la nécessité de définir un fondement éthique pour la liberté de la pensée, du langage et de l'action humaine dans un contexte de massification généralisée qui a pris une ampleur néfaste dans les idéologies totalitaires. À partir d'horizons socioculturels différents, leurs recherches se sont ensuite orientées vers une tentative de redécouverte de la dimension tragique de l'histoire en opposition aux déterminismes du XX siècle qui ont réduit l'homme à une monade isolée, pliée aux exigences des nombreuses nécessités historiques. Comme observe Gino Bianco, les deux auteurs semblent développer en parallèle une aversion « pour l'historicisme fondée sur la conviction que malgré la fureur et l'horreur de l'Histoire, l'homme est un absolu et que cet absolu réside dans la conscience ». La recherche, qui révèle comment la pensée et l'écriture de Miłosz et de Chiaromonte sont en oscillation constante entre la dimension socio-politique et métaphysique, a pour originalité de se fonder en grande partie sur l'analyse textuelle. La réflexion sur la relation entre l'histoire et l'individu ne se situe pas à un niveau spéculatif et théorique ; au contraire, elle se réalise dans un processus d'écriture qui n'est pas détaché des trajectoires biographiques des deux auteurs. Tous deux essaient de comprendre l'égarement de l'homme moderne face à l'histoire en se reconnaissant avant tout parmi ces individus pris dans son étau. Les textes analysés révèlent la position occupée par les deux auteurs dans leurs analyses, à savoir celle de spectateurs critiques des phénomènes décrits. Dans les textes choisis, celui qui parle est aussi celui qui a vécu, qui se rappelle et donc qui témoigne. C'est dans l'impossibilité de séparer l'homme de son expérience et le penseur-écrivain de son jugement et ses évaluations, que le chercheur polonais W. Karpiński identifie le point de contact entre les deux auteurs, auxquels il attribue l'utilisation d'une forme littéraire particulière, celle des « esquisses de réalité » (szkice rzeczywistości). Karpiński conçoit leur écriture comme une forme de résistance aux manipulations et aux distorsions produites par les logocraties du XXe siècle, comme une réappropriation de la fonction signifiante du mot. C'est dans ce présupposé sémantique, dans l'aspiration à une coïncidence renouvelée entre le langage et la réalité que les deux auteurs aspirent à un renouvellement des fondements éthiques de l'homme moderne. On pourrait même parler d'existentialisme sémantique car leur écriture, malgré les différences stylistiques, est animée par la même urgence de répondre aux propagandes idéologiques en conduisant une réflexion métalinguistique<br>This thesis sets out to trace the philosophical and literary research that brought Czesław Miłosz and Nicola Chiaromonte together as members of a particular intellectual formation. To understand the nature of their relationship in this intellectual milieu, we have avoided the biographical and interpretative pitfalls that would have reduced the comparative study of the two authors to a sterile search for explicit influences in thought and work. On the contrary, we have brought out the full complexity of their encounter, determined by a very particular historical-political and cultural conjuncture. Czesław Miłosz's voice seems so close to Nicola Chiaromonte's not only because of participation in the same events and the same political climate of the twentieth century, but also thanks to the common attention paid to the need to define an ethical foundation for the freedom of thought, language and human action in a context of widespread massification that has taken on a nefarious magnitude in totalitarian ideologies.From different socio-cultural backgrounds, their research then turned towards an attempt to rediscover the tragic dimension of history, in opposition to the determinisms of the twentieth century that reduced man to an isolated monad, bent to the demands of numerous historical necessities. As Gino Bianco observes, both authors seem to develop a parallel aversion "to historicism based on the conviction that, despite the fury and horror of history, man is an absolute, and that this absolute resides in consciousness".The research, which reveals how Miłosz's and Chiaromonte's thought and writing are in constant oscillation between the socio-political and metaphysical dimensions, is original in that it is largely based on textual analysis. Reflection on the relationship between history and the individual is not at a speculative, theoretical level; on the contrary, it takes place in a writing process that is not detached from the biographical trajectories of the two authors. Both attempt to understand the bewilderment of modern man in the face of history, recognizing themselves first and foremost among those individuals caught in its stranglehold.The texts analyzed reveal the position occupied by both authors in their analyses, namely that of critical spectators of the phenomena described. In the chosen texts, the speaker is also the one who has lived, who remembers and therefore bears witness. It is in the impossibility of separating the man from his experience and the thinker-writer from his judgment and assessments, that Polish researcher W. Karpiński identifies the point of contact between the two authors, to whom he attributes the use of a particular literary form, that of "reality sketches" (szkice rzeczywistości). Karpiński sees their writing as a form of resistance to the manipulations and distortions produced by twentieth-century logocracies, as a reappropriation of the signifying function of the word. It is in this semantic presupposition, in the aspiration to a renewed coincidence between language and reality, that both authors aspire to a renewal of the ethical foundations of modern man. We could even speak of semantic existentialism, for their writing, despite stylistic differences, is driven by the same urgency to respond to ideological propaganda by conducting metalinguistic reflection

La tesi riguarda il carteggio tra la scrittrice, critica letteraria e attivista politica americana Mary McCarthy e il saggista e critico teatrale italiano Nicola Chiaromonte: uno scambio epistolare, il loro, tuttora rimasto inedito nonostante il crescente numero di pubblicazioni riguardanti i due autori. La corrispondenza mantenuta con gli amici più stretti è da considerarsi un elemento fondamentale per far luce sugli aspetti più intimi della vita e della creazione artistica di Mary McCarthy: in particolare, questo epistolario svela il lato più umano e personale dell’autrice (raramente mostrato in pubblico) e la devozione e il rispetto che provava verso colui che considerava come suo mentore, critico e amico. Gli stessi sentimenti traspaiono dalle parole di Nicola Chiaromonte, tanto austero e misurato nel suo lavoro quanto scherzoso e appassionato con gli amici più cari. La tesi si compone di due parti principali. La breve introduzione generale è seguita da una prima parte di carattere storico-narrativo, in cui le biografie di Mary McCarthy e di Nicola Chiaromonte si alternano fino ad arrivare al momento fondamentale del loro incontro, a partire dal quale le loro esperienze si intrecciano negli eventi che li videro coinvolti. La seconda parte della tesi è invece il carteggio vero e proprio: 115 tra lettere, telegrammi e biglietti, corredati di note critiche al fine di permetterne una maggiore comprensione.<br>The dissertation deals with the correspondence between the writer, literary critic and American political activist Mary McCarthy and the Italian essayist and theater critic Nicola Chiaromonte: an epistolary exchange, their, still unpublished despite the growing number of publications concerning the two authors. The correspondence maintained with close friends is to be considered a fundamental element to shed light on the most intimate aspects of Mary McCarthy's life and artistic creation: in particular, this correspondence reveals the author's more human and personal side (rarely shown in public) and the devotion and respect he felt towards the one he considered as her mentor, critic and friend. The same feelings are reflected in the words of Nicola Chiaromonte, so austere and measured in his work as playful and passionate with his closest friends. The thesis consists of two main parts. The brief general introduction is followed by a first part of historical-narrative nature, in which the biographies of Mary McCarthy and Nicola Chiaromonte alternate up to the fundamental moment of their meeting, starting from which their experiences are intertwined in the events who saw them involved. The second part of the thesis is instead the actual correspondence: 115 among letters, telegrams and tickets, supplied with critical notes in order to allow a better understanding.

La tesi riguarda il carteggio tra la scrittrice, critica letteraria e attivista politica americana Mary McCarthy e il saggista e critico teatrale italiano Nicola Chiaromonte: uno scambio epistolare, il loro, tuttora rimasto inedito nonostante il crescente numero di pubblicazioni riguardanti i due autori. La corrispondenza mantenuta con gli amici più stretti è da considerarsi un elemento fondamentale per far luce sugli aspetti più intimi della vita e della creazione artistica di Mary McCarthy: in particolare, questo epistolario svela il lato più umano e personale dell’autrice (raramente mostrato in pubblico) e la devozione e il rispetto che provava verso colui che considerava come suo mentore, critico e amico. Gli stessi sentimenti traspaiono dalle parole di Nicola Chiaromonte, tanto austero e misurato nel suo lavoro quanto scherzoso e appassionato con gli amici più cari. La tesi si compone di due parti principali. La breve introduzione generale è seguita da una prima parte di carattere storico-narrativo, in cui le biografie di Mary McCarthy e di Nicola Chiaromonte si alternano fino ad arrivare al momento fondamentale del loro incontro, a partire dal quale le loro esperienze si intrecciano negli eventi che li videro coinvolti. La seconda parte della tesi è invece il carteggio vero e proprio: 115 tra lettere, telegrammi e biglietti, corredati di note critiche al fine di permetterne una maggiore comprensione.<br>The dissertation deals with the correspondence between the writer, literary critic and American political activist Mary McCarthy and the Italian essayist and theater critic Nicola Chiaromonte: an epistolary exchange, their, still unpublished despite the growing number of publications concerning the two authors. The correspondence maintained with close friends is to be considered a fundamental element to shed light on the most intimate aspects of Mary McCarthy's life and artistic creation: in particular, this correspondence reveals the author's more human and personal side (rarely shown in public) and the devotion and respect he felt towards the one he considered as her mentor, critic and friend. The same feelings are reflected in the words of Nicola Chiaromonte, so austere and measured in his work as playful and passionate with his closest friends. The thesis consists of two main parts. The brief general introduction is followed by a first part of historical-narrative nature, in which the biographies of Mary McCarthy and Nicola Chiaromonte alternate up to the fundamental moment of their meeting, starting from which their experiences are intertwined in the events who saw them involved. The second part of the thesis is instead the actual correspondence: 115 among letters, telegrams and tickets, supplied with critical notes in order to allow a better understanding.

Isaiah British Berlin the philosopher and the historian of the idea, Italian Nicola Chiaromonte the essayist and the anti-fascist activist, Polish Wojciech Karpiński the writer and a literary critic, representatives of such fields as: philosophy, culture and literature. Temporary and of outlook geographical limits are dividing them, but everyone are seeking the value. Their work is inducing us to reflection about the value. the Freedom, the Truth and the Beauty are a key to the secret of the man. The art is revealing a deep meaning of the life and the existence. He/she is also portraying relations between the man and world, the culture and the second man. The production is essential so that values can exist in world, as well as so that the man builds himself as the value.