Teses / dissertações sobre o tema "Alberto Savinio"

Le premier chapitre de la these, images de paris, examine les nombreux ecrits dans lesquels alberto savinio a evoque la ville qui a le plus influence sa formation artistique et litteraire. Le second chapitre, amis francais, joue un role particulier en raison justement des sujets qu'il aborde. La tendance a l'autobiographie fait bien souvent que la france de savinio se confond avec les personnes qu'il a connu; lais cette assimilation n'a pas valeur de document ou seulement dans un contexte limite; les "anis francais" de savinio sont en tout etat de cause des interlocuteurs avec lesquels l'ecrivain dialogue de son propre monde artistique et creatif. Avec le troisieme chapitre (avant-gardes) l'enquete, tout en preservant un certain caractere d'argumentation de type thematque, affronte aussi certains moments et parcours determines de la formation culturelle de savinio : son rapport avec les avant-gardes historiques et sa position face a telles evolutions de la pensee artistique contemporaine. Enfin, le quatrieme chapitre (ecrivains francais) s'attache a un aspect peu connu de l'oeuvre litteraire de savinio, a savoir son activite critique sur des oeuvres et des auteurs de la litterature francaise. La these est acconpangee d'un appendice qui presente des textes inedits et rares de l'ecrivain italien
The first chapter of this thesis, images of paris, examines the numerous texts in wich savinio evokes the city that most influenced his artistic and literary formation. The second chapter, french friends, lays out the importance of the arguments he is concerned with. The tendency towards autobiographical writings causes savinio to blend the france he knew with the people he met; however this assimilation has only a limited documentary face value : savinio's 'french friends' are by all means the counterparts with whom he discussed his own artistic and creative world. Although maintaining a thematic argumentation, in the third chapter (avant-gardes), the research outlines some specific moments and themes of davinio's cultural formation : his relationship with the historical avant-gardes, and his standing in relation to these evolutions of artistic thought. Finally, the fourth chapter (french writers) investigates a littleknown aspect in savinip's literary work : his critical writing dealing with works and authors in french literature. The appendix added tho the thesis collects unpublished and rare texts by the italian writer

This work reconstructs the cultural activity of Alberto Savinio between 1933 and 1943, investigating his production from a journalistic, literary and artistic point of view. Furthermore, it aims at reconstructing the nature of his relationship with the fascist regime between 1930s and 1940s.

La recherche porte sur la notion du théâtre telle qu'elle se développe chez Savinio à partir de son premier texte théâtral, écrit en langue française, "Les Chants de la mi-mort". On pourra pas se dispenser de remarquer les influences d'Appollinaire et, plus tard, l'importance de son maître à penser en matière théâtrale : Pirandello. Avec "Capitano Ulisse" et "Alcesti di Samuele Savinio" touche à l'expression, la plus importante, de son œuvre théâtrale au point que on peut considérer ces pièces unies dans un idéal dytique métaphysique. Dans ces pièces Savinio se mesure avec la reprise de la matière tragique : comme dans "Capitano Ulisse" le drame récrivait l'aventure mythique du héros homérique, également le personnage d'Alcesti revit dans l'histoire de Madame Goerz, femme juive au temps du nationnal-socialisme. Chez Savinio agit la volonté de démontrer l'impossibilité du tragique au XX ème siècle : la normalisation des héros les plus mythiques et la banalisation des faits, les plus tragiques, imposés par la scène, doivent être étudiés à partir de cette déclaration d'inaccessibilité. L'œuvre qui naîtra comme une transcription pour la scène des contes écrit par l'auteur même ("Il suo nome", "La famiglia Mastinu") va se caractériser pour une reprise des facteurs méta-théâtrales qui opéraient d'ailleurs dans ces pièces. Avec "Emma B. Vedova Giocasta", Savinio choit en faveur de la mesure réduite de l'acte unique qui porte à une condensation de la dramaturgie. Une seule pièce et un seul mouvement d'attente fébrile du personnage
This study focuses on the concept fo theatre, as developed by Alberto Savinio since his first theatrical play written in French ("Les Chants de la mi-mort"). The study will, first, highlight the influence of Apollinaire on the work of Savinio and, then, will stress the importance of Pirandello, who can be considered his master on the theatrical subject. "Capitanon Ulisse" and "Alcesti di Samuele" représent the higthest form of his theatrical expression to suche and extent that these two pièces can be considéred as interlinked in an ideal metaphysical diptych. In both plays, Savinio tackles the concept of regeneration of the tragedy : similarly to the story of "Capitano Ulisse", were the adventures of the Homeric hero are reinterpreted, the figure of Alcesti appears anew in the story of Mrs Goerz, an Jewish woman who lives during the period of national socialism. Savinio's work, which is the result of a collection of short stories ("Il suo nome", "La famiglia Mastinu") will be characterised by a revisitation of meta-theatrical factors, which were already present in previous pièces. In "Emma B, vedova Giocasta", Savinio chooses a lighter option : the one act play. This choix leads to a condensation of dramaturgy, since it is composed of one pièce and of one single feverish waiting movement of the main character

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.

Dans l’Italie de la première moitié du XXème siècle, le thème du sentiment d’appartenance nationale est central dans le débat politique et culturel : on passe des discussions post-unitaires au sujet de l’identité nationale, au patriotisme des interventionnistes, au nationalisme de l’après Ière guerre mondiale, à celui des fascistes. Parmi les intellectuels italiens de cette époque-là, beaucoup ont une double origine : leur famille est italienne et pourtant ils sont nés et ils ont grandi à l’étranger. Leur appartenance à la patrie n’est pas automatique. On s’est demandé dans quelle manière leur besoin d’identité se met en relation avec les tensions qui traversent le Pays, à quel niveau ils sont impliqués dans les événements politiques de ces années-là et s’il est possible de retrouver chez eux des analogies liées à leurs origines multiculturelles. En novembre 1927 on publique une interview d’Alberto Savinio dans le journal parisien « Comœdia ». Il critique l’art italienne et affirme être à Paris parce que l’ouverture mentale du peuple français favorise le développement artistique. En plein fascisme ces déclarations heurtent beaucoup d’intellectuels italiens, qui l’accusent de ne pas aimer sa patrie. On lui interdit de participer à la vie culturelle nationale pendant quelques années. Giuseppe Ungaretti prend sa défense, tout en ayant déclaré son fascisme et bien que ses relations avec Savinio ne soient pas très intimes. Ils se connaissent à Paris au début des années 1910, étant tous les deux en contact avec Soffici et son entourage, et surtout avec Apollinaire, qui est un point de repère fondamental : il est leur guide artistique, mais aussi quelqu’un qui partage leur statut de déracinés, en tant que français d’adoption. Son enrôlement dans l’armée française est donc très significatif à leurs yeux. Les contacts entre Savinio et Ungaretti se poursuivent tout au long du décennie, et ils collaborent aux projets des revues « La Vraie Italie » et « Commerce », dont l’objectif est de mieux faire connaître la réalité artistique italienne en France. À partir de 1925, les rapports entre les deux se tendent, aussi à cause d’un climat de méfiance général, mais l’affaire « Comœdia » nous montre que chez eux la conception supranationale de culture surmonte les problèmes personnels. Toutefois ils semblent souvent contredire cette idée, en soulignant à maintes reprises la supériorité de l’Italie par rapport aux autres Pays et en manifestant un nationalisme croissant, qui atteint le sommet par l’adhésion au fascisme. Ils participent à la Ière guerre mondiale afin d’affirmer leur appartenance à la nation italienne, mais c’est surtout à partir des années suivantes qu’ils manifestent leur patriotisme, en exaltant les combattants, en critiquant les accords de paix défavorables pour l’Italie, en affirmant l’idée d’une primauté intellectuelle de l’Italie. L’appui au fascisme en est la conséquence. Pendant le « Ventennio » Savinio et Ungaretti écrivent plusieurs articles dans des revues solidaires de Mussolini, où ils utilisent les topoi rhétoriques de ces années-là. C’est le point extrême de leur quête d’italianité : l’affirmation identitaire dépasse l’individualité et se situe dans la dimension collective de l’« État ». La IIème guerre mondiale, étant considérée une folie, détermine un changement d’avis à propos du régime. Ungaretti et Savinio partagent l’idée que le fascisme ait trahi ses principes. La grandeur de l’Italie devait agir dans un horizon universel et non pas enfermé. Ils pensent que pour une renaissance collective il faut se dépasser des égotismes nationaux et revenir à l’esprit chrétien de l’Europe. Le besoin d’une identité italienne passe donc au deuxième plan par rapport à la nécessité d’une identité européenne
During the first half of the 20th century in Italy, the theme of national belonging was at the center of the political and cultural debate: the post-unitary discussions on national identity, the patriotism of interventionists, post-World War I, and later fascist, nationalism. Among the Italian intellectuals of the time, many shared double origins: their families were Italian, and yet they were born and raised abroad. Their belonging to the homeland was not automatic. I have looked at the way in which their need for an identity relates to the tensions that were shaking the country, their involvement in the political events of those years, and wondered whether it is possible to isolate any similarities between them that might be connected to their multicultural origins.In November 1927, an interview to Alberto Savinio was published in the Parisian journal “Comœdia.” In it, he criticized Italian art and claimed that he lived in Paris because the mental openness of the French favored artistic development. At the height of Fascism, these declarations bothered a number of Italian intellectuals, who accused him of not loving his homeland. He was therefore excluded from national cultural life for a few years. Giuseppe Ungaretti stood up for him, despite both having declared his Fascism and not sharing a particularly close relationship with Savinio. They had met in Paris in the early 1910s, when they both gravitated around Soffici and his group, especially Apollinaire, who was a fundamental reference: he was their artistic guide, but also someone who shared their uprootedness, since he was French by adoption. His enrollment in the French army was therefore particularly significant for them. Savinio and Ungaretti kept in touch throughout the decade and collaborated to the projects of journals such as “La Vraie Italie” and “Commerce,” whose goal was to make Italian art better known in France. Starting in 1925, their relationship became strained, also due to a general climate of mistrust, but the “Comœdia” affair shows us that their supernational conception of culture surpasses personal issues. Nevertheless, they often seemed to contradict this idea, repeatedly emphasizing Italy’s superiority compared to other countries and displaying growing nationalism, which reached its apex when they adhered to Fascism. They took part in World War I as a way of claiming their belonging to the Italian nation, but it was starting from the following years that they began to show their patriotism by exalting the fighters, criticizing peace agreements that proved unfavorable to Italy, and affirming the idea of Italy’s intellectual primacy. Their support of Fascism was the natural consequence. During the “Ventennio,” Savinio and Ungaretti wrote several articles in journals that were supportive of Mussolini, where they employed many of the rhetorical topoi of those years. This is the extreme point in their search for Italianness: the affirmation of their identity went beyond the individual and found its place within the collective dimension of the “State.” World War II, which they considered madness, brought about a change of heart regarding the regime. Ungaretti and Savinio shared the idea that Fascism had betrayed its principles. Italy’s greatness needed to play within a universal context, rather than an enclosed one. They thought that in order to achieve a collective renaissance, it was necessary to surpass national egotism and come back to Europe’s Christian spirit. Therefore, the need for an Italian identity faded into the background compared to the necessity of a European identity

Ce travail vise à articuler une approche critique de l’œuvre littéraire d’Alberto Savinio en assumant comme point de départ sa revendication à une condition idéale d’ « orfanismo ». En dépit de l’importante présence, dans son œuvre, de références à la tradition littéraire de l’Antiquité, ce terme désigne la volonté de Savinio de s’affranchir de toute filiation littéraire et d’établir ainsi sa propre identité d’auteur. Nous avons vérifié cette notion au niveau des stratégies narratives (Angelica o la notte di maggio), de l’intertextualité (« La casa ispirata », « Angelica o la notte di maggio », « La nostra anima », Emma B. Vedova Giocasta), de la pratique linguistique et de sa représentation dans les textes ( « Hermaphrodito », « La nostra anima », "Scendere dalla collina", "Mia madre non mi capisce", « Tragedia dell’infanzia »)
This dissertation will provide a critical approach to the literary works of Alberto Savinio from the perspective of his assertion of an ideal « orfanismo ». In spite of the various references to the ancient literary tradition present in his works, this term refers to Savinio’s will to reject his literary fathers and to establish his own identity as an author. We have explored this notion by looking at strategies of narration ("Angelico o la notte di maggio"), of intertextuality ("La casa ispirata", "Angelico o la notte di maggio", "La nostra anima", "Emma B. Vedova Giocasta"), and linguistic strategies used in the texts ("Hermaphrodito", "La nostra anima", « Scendere dalla collina », « Mia madre non mi capisce », "Tragedia dell’infanzia")

Alberto Savinio (1891-1952), alias Andrea de Chirico, frère du célèbre peintre du mouvement métaphysique, est un nomade dans le monde de l'art : tour à tour peintre, musicien, écrivain, dramaturge, scénographe, traducteur mais aussi critique, il expérimente tout, abolit les frontières artistiques et linguistiques et fait du « jeu » son credo. Cet artiste polyédrique fait du théâtre un lieu ludique où toutes ces formes d’expression se retrouvent sur scène.Cette thèse pense son œuvre théâtrale comme un théâtre de l’entre-deux qui dépasse l’idée d’un théâtre total pour atteindre l’infini. Au cœur de cette brèche et par le prisme du langage, le dramaturge interroge le réel, questionne son temps et ouvre les champs des possibles.Le théâtre savinien est en effet le lieu où tout s'exprime : les mots, les morts et même les objets. Dans ce théâtre où « tout est parole », le dramaturge-scénographe exerce un jeu « pervers » sur les mots et les objets. Sa baguette de chef d’orchestre devient plume ou pinceau. Elle transforme le verbe et la matière en des choses visibles, plastiques, sonores ou parlantes et révèle au lecteur-spectateur le mystère et la poésie du monde. Alberto Savinio exhibe ainsi la théâtralité de la parole et comble la faille du discours. Les limites de la parole sont alors annihilées. La parole résonne hors-scène et sur les ondes.Dans ce théâtre trompe-l’œil, l’ennui n’a pas de place. Le lecteur-spectateur est toujours en alerte, jamais tranquille. Sa participation est active. Son intelligence et son esprit civique aussi. Or, l'étude de la réception de son œuvre théâtrale, en France et en Italie, sera l'occasion de s’interroger sur ces manquements de la part du public du vivant de l’auteur. La réhabilitation sera tardive mais sans limites.Cette thèse est un parcours dans l’œuvre théâtrale d’Alberto Savinio. Il s’agit de chercher les entrées et les sorties, de pénétrer au cœur de l’entre-deux, espace clos ou infini, où se cristallise l’activité polymorphe de l’artiste. À travers cette « Aventure colorée », le spectateur savinien explore et questionne l’envers du décor
Alberto Savinio (1891-1952), alias Andrea de Chirico, brother of the famous painter of the metaphysical movement, is a wanderer in the world of art : in turn painter, musician, writer, playwright, set designer, translator but also critic, he experiments everything, abolishes the artistic and linguistic boundaries and makes "play" his creed. This versatile artist turns the theatre into a playful place where all these forms of expression can be found on stage.This thesis considers his theatrical work as a theatre of the in-between that goes beyond the idea of a total theatre to reach infinity. At the heart of this breach and through the prism of language, the playwright questions reality, questions his time and opens up the fields of possibilities.Savinian theatre is indeed the place where everything is expressed: words, the dead and even objects. In this theatre where everything is spoken, the playwright and set designer plays a "perverse" game on words and objects. His conductor's baton becomes a pen or a brush. It turns the language and the matter into visible, plastic, sonorous or speaking objects and reveals to the reader-viewer the mystery and poetry of the world. Alberto Savinio thus exposes the theatricality of speech and fills the gap in the discourse. The limits of speech are therefore annihilated.The word resounds off-stage and on air. In this trompe-l'oeil theatre, there is no room for boredom. The reader-viewer is always on guard, never at rest. His participation is active. So are his intelligence and civic mind. Now, studying the reception of his theatrical work, in France and Italy, will be an opportunity to question these failings on the part of the audience during the author's lifetime. He will know a late but limitless rehabilitation.This thesis is a journey through the theatrical work of Alberto Savinio. The entries and exits must be discovered, to delve into the heart of this in-between, closed or endless space, where the artist's polymorphic activity crystallizes. Through this "coloured adventure", the Savinian spectator explores and questions the other side of the scenes

Ce travail porte sur la réception d’Apulée (IIe siècle de notre ère) dans la littérature italienne du XXe siècle, et plus précisément sur le cas d’Alberto Savinio (1891-1952). L’étude de la relation entre les deux auteurs a été abordée selon une perspective interdisciplinaire ayant pour but de faire interagir le point de vue des études italiennes avec celui de la philologie latine. Cette recherche concerne la manière dont Alberto Savinio a lu et « réécrit » les Métamorphoses d’Apulée, roman aussi connu sous le titre de L’Âne d’or. Elle tâche de comprendre, d’une part, les raisons qui ont poussé plusieurs fois l’auteur italien vers ce texte ancien, d’autre part, les résultats esthétiques et philosophiques de sa réélaboration, laquelle s’étend sur une période de vingt ans environ, dès le début des années vingt jusqu’à la fin des années quarante. Par ailleurs, nous avons saisi de la réception savinienne d’Apulée tout un ensemble de problématiques et d’outils conceptuels qui ont permis de réaliser un approfondissement de l’analyse du texte des Métamorphoses. L’aspect le plus évident des réécritures réalisées par Alberto Savinio est, du point de vue formel, la réélaboration de la complexité des structures de l’énonciation propres à son modèle, ainsi que l’héritage de certaines pratiques métalittéraires. Nous avons de ce fait étudié le fonctionnement de la métalepse dans ce texte latin et, à l’aide de ce concept, nous avons élucidé certains passages du roman particulièrement difficiles, afin d’en améliorer la compréhension et de faciliter l’établissement critique du texte
The object of this research concerns the reception of Apuleius’ Metamorphoses in the 20th century Italian literature and, more precisely, the relationship between Apuleius and the Italian writer Alberto Savinio (1891-1952). This topic has been considered from an interdisciplinary perspective, in order to integrate the point of view of Italian studies with that of Latin philology. On the one hand, this research explores the way in which Alberto Savinio has read and “rewritten” the text of Metamorphoses during a long period of his multifaceted literary career, from the middle of the nineteen-twenties until the end of the nineteen-forties. The aim of the analysis is to understand the reasons which led Savinio to reflect on important issues of his time, which concern, for instance, the problem of evil in its relationship with human nature, through his interpretation of Apuleius’ work, as well as the philosophical and aesthetical results of his elaboration.On the other hand, we have come to grips with Savinio’s reception of this ancient text together with a set of problematics and conceptual devices that permits a more thorough comprehension of the Apuleian work in itself. This research investigates the function of metalepsis – a concept first identified by Genette – in Metamorphoses’ novel, elucidating its pivotal role for the construction of meaning. Furthermore, it shows how this concept allows us to deal in a more attentive way with some issues of a text-critical nature, in particular concerning the prologue (with the problem of speaker’s identity) and the authorial sphragis at the end of the novel

Sans prétendre à l’exhaustivité, nous cherchons à reconstruire une histoire littéraire transnationale franco-italienne en reparcourant les trajectoires errantes de trois écrivains sur la période comprise entre la fin de siècle et les avant-gardes (fin des années 1860 - tout début des années 1950) : Luigi Gualdo (Milan 1844 – Paris 1898), Filippo Tommaso Marinetti (Alexandrie d’Égypte 1876 – Bellagio 1944) et Alberto Savinio (Athènes 1891 – Rome 1952). En raison des pratiques linguistiques et créatives partagées par ces auteurs qui convoquent l’italien et le français tant dans leur activité scripturale que dans leurs entreprises traductives et autotraductives, nous sommes amenés, au demeurant, à les associer à l’horizon plus large du « translinguisme littéraire ». En traçant le profil des trois cas prototypiques au prisme de trois axes majeurs (« mobilité transnationale », « nomadisme intellectuel » et « flânerie linguistique »), une perspective critique commune prend forme : nous parvenons à déterminer d’une part, dans quelle mesure leur errance affecte leur « image de soi » ainsi que leur pratique artistique, d’autre part, de quelle manière le partage d’une pratique translingue commune, ainsi que d’une condition d’hybridation intellectuelle, donnent aussi à voir une diversification des singularités. Dans la tentative d’associer une typologie de « multilinguisme individuel » à une deuxième taxinomie d’écrivains translingues plus large, nous nous penchons également sur l’activité autotraductive des trois auteurs lors de la troisième partie de notre recherche. En posant le cadre théorique de cet horizon disciplinaire, nous abordons une analyse linguistique, littéraire, traductologique et sociolittéraire du corpus choisi. Nous nous appuyons également sur une approche de critique génétique des documents d’archives afin de déterminer d’une part, le parcours herméneutique mis en place par l’auteur lors de la réécriture d’une œuvre dans une autre langue, et d’autre part les stratégies traductives adoptées au moment du transfert
Without claiming to be exhaustive, this thesis aims to reconstruct a transnational Franco-Italian literary history by revisiting the wandering trajectories of three writers in the period between the fin de siècle and the avant-gardes (late 1860s - early 1950s): Luigi Gualdo (Milan 1844 - Paris 1898), Filippo Tommaso Marinetti (Alexandria of Egypt 1876 - Bellagio 1944) and Alberto Savinio (Athens 1891 - Rome 1952). Owing to the linguistic and creative practices shared by these authors, who use Italian and French both in their writing and in their translations and self-translations, we are led to associate them with the broader concept of “Literary Translingualism”. By profiling the three prototypical cases in the light of three major axes (“transnational mobility”, “intellectual nomadism” and “linguistic flânerie”), a common critical perspective emerges. On the one hand, we manage to determine how their wandering affects their “self-image” as well as their artistic practice; on the other hand, we notice in what way the sharing of a common translingual practice, as well as a condition of intellectual hybridization, also reveal a diversification of singularities. In the attempt to link an “individual multilingualism” to a broader taxonomy of translingual writers, we also consider the self-translating activity of the Franco-Italian authors in the third part of our research. By establishing the theoretical framework of this disciplinary horizon, we undertake a linguistic, literary, translational, and socioliterary analysis of the chosen literary corpus. We also use a genetic criticism approach to archive documents to explore the hermeneutic course done by the author when rewriting a work in another language, and the translational strategies adopted at the time of the transfer

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

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.

Cette étude se propose de répondre à la question concernant l'existence, en Italie, d'une littérature surréaliste. En effet, il est indubitable que le surréalisme n’a jamais pris une forme définie en Italie, en se différenciant ainsi de la situation en France; cependant, des influences et la proximité de certains auteurs italiens à la poétique du surréalisme sont évidentes. Dans ma thèse, je démontre qu'à certains moments, il est même possible de parler d'un proto-surréalisme italien, qui anticipe l'explosion française. Nous avons étudié, en particulier, l'oeuvre de Alberto Savinio, Antonio Delfini e Tommaso Landolfi, mai aussi l'expérience artistique et littéraire de l'école métaphysique que joue un rôle important dans la définition des paradigmes théoriques du surréalisme tant pour la France que pour l'Italie. Chez chacun des auteurs qui nous avons étudiés, nous avons cerné et mis en exergue les points de contact et d'adhésion à la littérature surréaliste, notamment en ce qui concerne les travaux du théoricien français André Breton. Il est évident que, pour chacun de ces auteurs, le discours a suivi des lignes autonome et en fait, nous n'avions pas l'intention de théoriser l'appartenance hypothétique de ces écrivains à un groupe soudé et uni comme en France, mais nous avions l'intention d'évaluer l'impact possible de la poétique surréaliste sur les œuvres de ces auteurs. Malgré toutes les différences entre les cas, nous pensons pouvoir affirmer, à la fin de notre travail de recherche, qu'il y a eu, en Italie, un moment où un certain groupe d’auteurs a produit une littérature surréaliste ; ils n'ont peut-être pas repris pleinement les dictées théoriques brétoniennes, mais certainement ils les connaissaient et ils en ont exploité certains éléments
In this work, the issue about the existence of Surrealist Literature in Italy will be analysed. It is obvious that, differently from the French environment where it was born and developed following precise theoretical rules, Surrealism has never taken a clear shape in Italy. Having said that, some influences and a certain affinity to Surrealist poetics is evident in some authors. In this work, the possible existence of an Italian Proto-surrealism which anticipates the 'French explosion' is taken into consideration. In particular, the works of Alberto Savinio, Antonio Delfini and Tommaso Landolfi, have been studied together with the artistic and literary experience of the Metaphysical 'School' which plays an important role in the definition of theoretical standards of Surrealism both in France and in Italy. In every author taken into consideration, the contact points and the adherence to Surrealist Literature, specifically in relation with André Breton's theoretical works, have been highlighted. It is clear that, for every author, the study followed autonomous lines. There was no intention, indeed, to theorise a possible belonging of these writers to a close and harmonious groups as in France. There was, instead, the aim of considering the possible impact of Surrealist poetic on the works of these authors. At the end of the work, it might be stated that, despite the several differences, there was a moment in Italy in which a certain group of authors produced a Surrealist Literature. They did not completely follow Breton's theoretical treatise, but they surely knew it and explored some of its elements
In questo studio ci siamo proposti di rispondere alla questione concernente l'esistenza, in Italia, di una letteratura surrealista. É fuori di dubbio che il surrealismo in Italia non ha mai preso una forma definita, differenziandosi in questo rispetto alla Francia dove è nato e si è sviluppato seguendo delle regole teoriche precise; nonostante questo, alcune influenze e una certa vicinanza alla poetica surrealista è evidente in alcuni autori. In questa tesi si prova a dimostrare che, in certi momenti, è possibile parlare anche di un protosurrealismo italiano che anticipa l'esplosione francese. Si sono studiate, in particolare, le opere di Alberto Savinio, Antonio Delfini e Tommaso Landolfi, ma anche l'esperienza artistica e letteraria della scuola metafisica che gioca un ruolo importante nella definizione dei paradigmi teorici del surrealismo sia in Francia che in Italia. In ognuno degli autori che si sono studiati, abbiamo messo in luce i punti di contatto e l'adesione alla letteratura surrealista, in particolare in relazione ai lavori teorici di André Breton. È evidente che, per ognuno degli autori, il discorso ha seguito delle linee autonome e, in effetti, non si aveva l'intenzione di teorizzare un'appartenenza ipotetica di questi scrittori a un gruppo unito e affiatato come in Francia, ma di valutare il possibile impatto della poetica surrealista nelle opere di questi autori. Malgrado tutte le differenze, si pensa di poter affermare, alla fine del lavoro, che c'è stato, in Italia, un momento dove un certo gruppo di autori ha prodotto una letteratura surrealista. Essi non hanno ripreso pienamente il dettato teorico di Breton, ma certo conoscendolo e esplorando alcuni elementi

The bequest of a usufruct to one or more interim usufructuaries for a limited period after the decease of the first usufructuary is often utilised by estate planners to reduce the value of the ceasing limited interest and thus to effect a saving in respect of estate duty. The saving in respect of estate duty is effected due to the fact that - the value of the ceasing limited interest in the estate of the first usufructuary is calculated only over the duration of the period during which the interim usufructuary is entitled to the limited interest and not also over the life expectancy of the ultimate beneficiary, and - that, on the cessation of the interim usufruct due to the efflux of time. no estate duty is payable. The very first reference to this method appeared in an article published in The Taxpayer during 1965. Other authors like Meyerowitz, Silke and Stein and Davis, Beneke and Jooste also referred to this method without analysing it or investigating the legality thereof. All the aforementioned authors relied to a certain extent for their views on a judgment of acting judge Warner in Bassett v Commissioner for Inland Revenue (1 961 4 SA 769 (D)). This dissertation is therefore aimed at investigating the legality of the method and to focus on a few practical aspects regarding the application thereof as an estate planning instrument. An analysis of the wording of the charging clause (section II (a )(1) of the Estate Duty Act and the valuation clause (section 5(1) of the act) has led to the belief that, in considering the validity of the method, it is extremely important to bear in mind the principles applicable to the vesting of testamentary rights. In terms of the valuation clause of the Estate Duty Ad the value of a ceasing limited interest for estate duty purposes is determined by capitalising the annual value of the right of enjoyment of the properly in which the deceased held any such limited interest to the extent to which the person who, upon the cessation of the said interest of the deceased in consequence of the death of the deceased, becomes entitled to any right of enjoyment of such properly. In terms of the charging clause "the person to whom any advantage accrues by the death of the deceased" is liable for the payment of estate duty in respect of the cessation of a limited right. In order to calculate the value of a ceasing limited interest and to determine the liability for payment of estate duty in respect thereof it is necessary to determine (a) the extent to which a successor in title of a deceased in consequence of the death of the deceased has become entitled to any right of enjoyment, and (b) to which person any advantage has accrued by the death of the deceased. After analysing the wording of section 5(1)(b) and section 11(a)(1) the writer has come to the following conclusions: (a) In the case of an interim usufruct the right of enjoyment of the first usufructury has to be capitalised only over the period of currency of the interim usufruct and not also over the life expectancy of the owner of the nuda proprietas. (b) Subsection 5(l)(b) does not make provision for the valuation of an interim usufruct at the termination them due to the efflux of time. (c) Upon the decease of the first usufructuary an advantage as contemplated in section 11(a)(1) accrues to the interim usufructury but not to the owner of the nuda proprietas. (d) On the cessation of an interim usufruct due to the efflux of time there is no person to whom any advantage accrues by the death of a deceased as contemplated in subsection 11 (a)(1), and consequently the owner of the nuda proprietas does not at that stage incur any liability for estate duty. In view of the aforegoing considerations the writer has come to the conclusion that the utilisation of this method does not constitute a contravention the provisions of the Estate Duty Ad. The artificiality of the valuation method prescribed in terms of subsection 5(1)(b) lends itself to reducing the value of a limited interest by interposing a successor for a short period between the deceased and the ultimate beneficiary. It follows therefore that the utilisation of this method does not constitute tax evasion. Where the main consideration for the appointment of an intermediary usufructuary is not so much the possible benefit that may acme to the intermediary as the limitation of estate duty, the application of the method may constitute an avoidance of estate duty. The Estate Duty Act, however, does not contain any general anti-avoidance provision similar to section 103 of the lncome Tax Act. In utilising this method estate planners should therefore bear in mind the possibility that the fiscus may sooner or later introduce an amendment to the Estate Duty Act to close this loophole.
Thesis (LL.M. (Estate Law))--North-West University, Potchefstroom Campus, 2004.

Nel secondo capitolo di Entre lo uno y lo diverso Claudio Guillén definisce la «disposizione d’animo» del comparatista come «coscienza di certe tensioni fra il locale e l’universale», «fra il particolare e il generale». Una disposizione d’animo atta a comprendere una «serie di opposizioni generali» applicabili a situazioni differenti. L’autobiografia è un oggetto di studio decisamente sensibile alle opposizioni e alle tensioni che Guillén identifica nell’approccio comparativo alla letteratura: il suo complesso e indeciso statuto di genere impone una riformulazione costante dei rapporti tra singole forme e canoni poco affidabili; la sua particolare struttura narrativa permette di osservare da un punto di vista privilegiato i rapporti tra il fatto letterario e il mondo rappresentato. Queste due opposizioni, identificative del genere autobiografico e delle sue strutturali tensioni tra particolare e generale, assumono caratteristiche inedite nel Novecento quando il cambiamento sensibile dell’immaginario letterario altera in modo irreversibile la rappresentazione del sé in letteratura. Occuparci di autobiografie novecentesche ci permetterà da un lato di sondare i cambiamenti sensibili tra le forme del racconto di sé e il canone autobiografico che si afferma a fatica tra la fine del Settecento e l’Ottocento, dall’altro di misurare la facoltà mimetica del racconto autobiografico e il suo particolare rapporto tra documento e finzione proprio nel momento storico-letterario in cui questo rapporto sembra complicarsi notevolmente. È noto che il limite più complesso con cui chi voglia occuparsi di autobiografia si scontra sia quello del canone: quali testi sono conformi alla mia definizione di autobiografia? Come distinguere le loro caratteristiche da quelle del romanzo e degli altri generi memorialistici nel Novecento, quando l’inedito gradiente di finzionalità dei testi rende poco definibili i confini tra i generi? Sia lo studio di Franco D’Intino, L’autobiografia moderna. Storia, forme, problemi, che la mastodontica Encyclopedia of life writing curata da Margaretta Jolly indicano nell’autobiografismo multiplo un fenomeno letterario tipico del ventesimo secolo: mentre D’Intino fa riferimento soprattutto a quegli autori il cui racconto retrospettivo «si estende nel corso di più volumi separati e autonomi ordinati cronologicamente» , nelle pagine della voce enciclopedica è definito come produzione di molteplici autobiografie con differenti approcci al passato referenziale, in momenti della scrittura distanti nel tempo, con modalità scrittorie eterogenee . Le numerose prove autobiografiche creano necessariamente un sistema, un mosaico composito che l’autore tiene insieme attraverso rimandi intertestuali ed epitestuali, nel ritorno su personaggi, luoghi ed episodi narrati nelle prove precedenti e nel rendere le opere scritte in passato un vissuto del narrato autobiografico di quelle successive. Il sistema di testi costituito dalle eterogenee prove autobiografiche permette quindi di affidarsi a un canone dai margini meno arbitrari e labili, selezionato dallo stesso autore reale nei rimandi e nei ritorni sulle tappe autobiografiche precedenti. Gli autori in studio ci permetteranno di esaminare quattro sistemi autobiografici, relativi a quattro differenti letterature nazionali e in un arco temporale organico ed esteso, circoscrivibile negli ottant’anni che separano la data di pubblicazione di Morbideces (1908) e quella di À cor et à cri (1988). Le opere di Ramón Gómez de la Serna (1888-1963), Alberto Savinio (1891-1952), Michel Leiris (1901-1990) e Christopher Isherwood (1904-1986) presentano un comune e ossessivo impegno per l’autorappresentazione letteraria, gli autori scrivono numerose autobiografie, tornano più volte sul vissuto e sul narrato che in esse è rappresentato, mostrano problematicamente lo statuto novecentesco del genere autobiografico testimoniando del suo valore letterario ed esistenziale. L’interesse comune si estende inoltre a una più generale attitudine per la letteratura memorialistica: tutti i nostri autori producono prove eterogenee di biografie, diari e testi odeporici nei quali non è difficile ritrovare molte delle sperimentazioni che rintracceremo nei testi autobiografici. A questi due decisivi elementi comuni ai quattro autori e legati alla singolare produzione autobiografica di cui proveremo a occuparci si aggiungono relazioni differenti tra di essi a cui faremo riferimento nelle pagine dello studio quando i referenti rappresentati ci porteranno ai contesti storico-letterari e alle fisionomie intellettuali dei protagonisti autobiografici. L’approccio ‘problematico’ all’inedito statuto novecentesco del genere autobiografico si traduce per i nostri autori in una composita sperimentazione morfologica condotta attraverso i differenti momenti delle numerose prove autobiografiche. Se, come avremo modo di chiarire più avanti, il racconto di sé è strutturalmente fondato su un’ibrida natura di genere, su una mescidanza del carattere documentale dei referenti e di quello finzionale delle strutture narrative, e questa natura ibrida muta nel Novecento inclinandosi vertiginosamente verso i poli della fiction, le diverse tappe autobiografiche dei nostri autori esprimono nature di genere e gradazioni di documentalità e finzionalità composite. Se, come detto, la produzione multipla di autobiografie è un fenomeno letterario diffuso tra l’Ottocento e il Novecento, - D’Intino nomina autori come Carossa, Maurois, Canetti e Yeats - è dall’eterogenea campionatura di identità di genere dei nostri sistemi di testi che muove il presente lavoro. Se la natura del sottotitolo e la selezione dei nomi dei quattro autori ivi annunciati assume una prima fisionomia riconoscibile, sembra opportuno definire sinteticamente le ragioni del nostro titolo anche se, come si dimostrerà, la sua totale giustificazione si ritroverà nelle argomentazioni del discorso. Una parte degli studi sull’autobiografia ha dedicato attenzione ad autobiografie multiple simili a quelle composte dai nostri autori rifacendosi alla categoria definita da Lejeune come «spazio autobiografico»: l’architettura di testi diventa lo strumento per la ricostruzione della personalità dell’autore reale attraverso le diverse tappe autobiografiche. Se l’elemento fondamentale del sistema di relazioni tra i testi dello spazio è la costante biografica, questo studio proverà a muoversi da costanti testuali tese all’analisi dell’evoluzione della forma autobiografica nella produzione degli autori selezionati. Il paradigma autobiografico sarà quindi inteso come selezione di forme tra tutte quelle collegate al genere. Lo studio è diviso in quattro parti differenti. Nel primo capitolo tracceremo i limiti dei campi di forze entro cui il nostro discorso sarà articolato: faremo riferimento ad alcune delle questioni più spinose che hanno interessato gli studi sull’autobiografia nel tentativo di delimitare un suo definito statuto di genere e una sua storicizzazione attendibile; vaglieremo la validità di queste questioni nel Novecento quando il sostanziale cambiamento dell’immaginario letterario altera anche i connotati di «quella scrittura che si credeva di dominio autentico e incontrastabile del Soggetto» ; proveremo a definire le caratteristiche dei nostri paradigmi autobiografici fornendo una prima e sintetica rassegna dei corpora dei testi dei singoli autori. Nel secondo capitolo osserveremo le costanti morfologiche e retoriche dei testi in studio selezionandole tra quelle che più testimoniano dell’evoluzione delle forme dell’autobiografia nel Novecento: prenderemo in esame ad esempio i dispositivi di ricezione, dagli apparati prefativi e dalla loro ambigua delimitazione dell’identità di genere ai rapporti intertestuali ed epitestuali tra i testi dei corpora degli autori. Faremo riferimento ad alcuni degli strumenti più noti della narratologia per sondare i cambiamenti dei punti di vista dell’autobiografia, facendo leva sui nostri sistemi di testi in cui lo stesso autore reale produce numerosi autori impliciti che narrano da differenti modulazioni di modo e voce di diversi personaggi pur rappresentando, paradossalmente, tutti lo stesso referente: la vita dell’autore reale. Appureremo l’esautoramento di una struttura cronologica lineare sondando i differenti rapporti tra tempi della storia e del racconto che i nostri autori propongono nelle numerose tappe autobiografiche. Nel terzo capitolo l’analisi tematologica proverà a mostrare in che modo il cambiamento di statuto del genere autobiografico novecentesco ne condizioni profondamente anche i contenuti. I tre macromotivi vagliati attraverso l’esame delle costanti e delle varianti più significative che rintracceremo nei corpora e tra i corpora dei testi in studio, metteranno in rilievo un mutamento sostanziale nella rappresentazione delle fasi della vita e dei modelli di identità e di soggettività ad esse collegati. Partiremo dall’infanzia, dalle sue metafisiche e dai suoi feticci, passeremo, attraverso il motivo del Ritratto d’artista, per la giovinezza, per le sue formazioni disattese e per le sue vocazioni tese tra impegno e atarassia, arriveremo, col Motivo della Fine, ai presenti della scrittura e alle retrospezioni più nostalgiche e perturbanti, alla morte e al tentativo strenuo di esorcizzarla attraverso la scrittura. Nel quarto capitolo torneremo sulle premesse teoriche e critiche poste nel primo capitolo e le vaglieremo alla luce dei sondaggi condotti nel secondo e nel terzo capitolo. Ricomporremo i fili del discorso soffermandoci in particolare sulla nostra prospettiva euristica contestualizzandola alle riflessioni più recenti sul genere autobiografico.