Teses / dissertações sobre o tema "Pirandello, Luigi (1867-1936) – Esthétique"

L'intérêt initial de Pirandello pour la doctrine théosophique a été à maintes reprises souligné par la critique pirandellienne. En effet, il s'agit d'un intérêt qui laisse des traces évidentes, surtout dans la première partie de la production narrative de l'auteur, où à plusieurs reprises, des passages d'origine théosophique sont traduits et cités. Le travail proposé tente d'analyser l'incidence de la doctrine théosophique dans la formation de l'imaginaire de Luigi Pirandello, dans les années 1886 à 1909, en considérant la reprise par Pirandello de passages théosophiques comme le symptôme d'une réutilisation théorique plus large de la part de l'auteur, dans laquelle reconsidérer également les reprises exactes pour en comprendre pleinement la pertinence et la valeur. Le travail progresse donc en interrogeant les matrices de la réflexion esthétique de Pirandello, en particulier celles de Luigi Capuana et de Gabriel Séailles, pour les trouver non nécessairement satisfaisantes dans le but d'une compréhension exhaustive du substrat intellectuel dans lequel la construction théorique pirandellienne germe : la découverte d'une source inédite, citée dans L'humorisme, La poétique de Schiller (1902) de Victor Basch semble, en revanche, fournir des stimuli suffisants pour comprendre comment le concept de « au-delà » pirandellien s'articule avec les nombreux facteurs conceptuels contribuant à la formulation esthétique de l'auteur. Sur la base de la source romantique, retrouvée via Basch, Pirandello semble avoir élaboré un système esthétique dans lequel le concept romantique du moi occupe une place centrale : cette réévaluation du rôle du moi dans la pratique et la réflexion artistique de Pirandello semble fournir la base pour comprendre la réutilisation que l'auteur a également faite des positions théoriques de la théosophie.Comme essentiellement explicité dans le deuxième chapitre, le moi de l'auteur semble se poser, pour Pirandello, comme un moi de stature démiurgique capable de phagocyter le monde extérieur et de le ennoblir en le faisant passer dans la conscience de l'artiste : l'artiste se laisse définir comme celui qui, ayant vécu une « expérience amère de la vie », est capable de se détacher des illusions et d'accéder à une dimension véritable de l'être, dimension dans laquelle il se voit vivre pour la première fois. L'œuvre de « réflexion » semble coïncider avec ce que les théosophes, en particulier Franz Hartmann, appellent produit de l'auto-conscience. Sur la base de ces présupposés, l'analyse des nouvelles métaphysiques pirandelliennes se développe, comme explicité dans le troisième chapitre. Les nouvelles examinées n'ont pas encore été largement discutées par la critique, mais semblent toutes être plus ou moins impliquées dans des sémantiques de type théosophique et avoir une profonde dimension métalittéraire. Tous les textes cités semblent représenter un ou plusieurs aspects particuliers du processus de création artistique, ou mettre en scène des phénomènes ou des sujets théoriques tirés de la littérature théosophique : souvent les deux se produisent simultanément, de sorte que l'intrigue du texte individuel semble s'élever à la fois en tant que symbole et en tant qu'assomptions de type métalittéraire et de type métaphysique. La dernière partie du travail aborde l'étude, en termes théosophique-esthétiques, de la première édition d'Il fu Mattia Pascal (1904), cherchant à intégrer dans une interprétation générale justement esthétique-théosophique les passages significatifs où Pirandello, à l'intérieur du roman, cite, directement ou indirectement, la doctrine théosophique
The early interest of Pirandello in theosophical doctrine has been repeatedly highlighted by Pirandello criticism. Indeed, it is an interest that leaves clear traces, especially in the early part of the author's narrative production, where passages of theosophical origin are translated and cited on several occasions. The proposed work attempts to analyse the impact of theosophical doctrine on the formation of Luigi Pirandello's imagination, from the years 1886 to 1909, considering Pirandello's resumption of theosophical passages as symptomatic of a broader theoretical reuse by the author, in which even the exact reprisals are reconsidered to fully understand their relevance and value. The work therefore proceeds by examining the matrices of Pirandello's aesthetic reflection, particularly those of Luigi Capuana and Gabriel Séailles, to find them not necessarily satisfying for a comprehensive understanding of the intellectual humus in which Pirandello's theoretical construction germinates: the discovery of an unpublished source, cited in L'umorismo, La poétique de Schiller (1902) by Victor Basch, seems instead to provide sufficient stimuli to understand how the Pirandellian concept of «beyond» is organized together with the many conceptual factors contributing to the author's aesthetic formulation. Based on the romantic source found through Basch, Pirandello seems to have developed an aesthetic system in which the romantic concept of self assumes a central place: this revaluation of the role of the self in Pirandello's artistic practice and reflection seems to provide the basis for understanding the author's reuse of theosophical theoretical positions.As essentially explained in the second chapter, the author's self seems to position itself, for Pirandello, as a demiurgic self-capable of engulfing the external world and ennobling it by making it pass through the artist's consciousness: the artist is framed as one who, having undergone a «bitter experience of life», is able to detach himself from illusions and access a true dimension of being, a dimension in which he, for the first time, «sees himself living». The work of «reflection» seems to coincide with what the theosophists, particularly Franz Hartmann, call the product of self-awareness. On the basis of these assumptions, the analysis of Pirandello's metaphysical novellas develops - as explained in the third chapter. The novellas under examination have not yet been widely discussed by critics, but they all seem to be more or less colluded with theosophical semantics and have a deep metaliterary quality. All the texts cited seem to represent one or more particular aspects of the artistic creation process, or to stage phenomena or theoretical arguments drawn from the theosophical literature: often both occur simultaneously, so that the plot of the individual text seems to rise at the same time as a symbol and as assumptions of a metaliterary and metaphysical nature. The last part of the work addresses the study, in theosophical-aesthetic terms, of the first edition of Il fu Mattia Pascal (1904), seeking to integrate into a general aesthetic-theosophical interpretation the significant passages in which Pirandello, within the novel, directly or indirectly cites the theosophical doctrine

Cette thèse a pour objectif de mettre en évidence et d'analyser les thématiques pirandelliennes dans le théâtre de Jean Genet. Á cet effet, elle propose une redéfinition du pirandellisme, qui était sujet à de nombreuses controverses depuis sa première définition d'inspiration philosophique par le critique italien Adriano Tilgher en 1923. La nouvelle définition du pirandellisme proposée ici est construite à partir de cinq caractéristiques principales: le dualisme entre la vie et la forme, l'humorisme pirandellien, la suprématie de l'œuvre d'art sur la vie, l'impossibilité d'être un soi unifié et la métathéâtralité. Cette nouvelle modélisation dramaturgique du pirandellisme sert à analyser les pièces métathéâtrales de Pirandello et l'ensemble du théâtre de Genet dans le but d'appréhender l'historicité des textes, leur ancrage - et parfois absence d'ancrage - par rapport à leurs contextes de production et les liens qu'ils tissent entre eux. L'un des plans théoriques pris pour analyser l'influence de la dramaturgie et de l'esthétique de Pirandello sur le théâtre de Genet est de nature historique, portant précisément sur l'histoire du théâtre et des formes scéniques en Italie et en France au XXe siècle. Ce travail est étroitement lié à la question de l'auteur et à celle de l'influence. Outre le pirandellisme, la déconstruction du réalisme, le renoncement au mimétisme psychologique ou gestuel, aux effets d'illusion, la mise en espace d'un nouvel univers fictionnel et l'abondance des textes divers et didascalies qui dessinent et préconisent la mise en scène avec une précision méticuleuses sont autant de caractéristiques qui réunissent ces deux auteurs
This thesis highlights and analyzes the Pirandellian themes in Jean Genet's plays. It proposes a redefinition of Pirandellism, which was the subject of much controversy from the time of its first definition, of philosophical inspiration, by the Italian critic Adriano Tilgher, in 1923. The new definition put forward here is based on five main characteristics: dualism between life and form; Pirandellian humourism; the supremacy of the art work over life; the impossibility of being a unified self; and metatheatricality. This new dramaturgical modelling of Pirandellism serves to analyze Pirandello's metatheatrical plays and all of Genet's theatre, with a view to understanding the historicity of the texts, that is, their anchorage – and sometimes absence thereof – in relation to their contexts of production and the relationships they weave between them. One of the theoretical frames of reference taken to analyze the influence of Pirandello's dramatic art and aesthetics on Genet's theatre is historical and precisely relevant to the history of theatre and scenic forms in 20th century Italy and France. This work is closely linked to the question of the author and of influence. Apart from Pirandellism, the deconstruction of realism, the giving up of psychological or gestural imitation and of the effects of illusion, the spatial framing of a new fictional world, and the abundance of varied texts and forms of stage direction that outline and recommend staging with meticulous precision are all characteristics common to these two authors

Fortement signifiante quant a l'histoire du sujet-scripteur et lourde des effets ideologiques de l'apparition de chaque texte au sein du texte general, l'oeuvre romanesque de luigi pirandello se caracterise par le jeu en elle d'une combinatoire qui situe la force productrice du sens - au-dela des configurations des enonces - dans l'enonciation meme. La tension phatique s'accentue au fil des romans : l'ecriture devoile sa fonction primordiale de mise en scene du probleme d'iden- tite tandis que le lecteur, enferme dans le texte, devient le parte- naire necessaire et soumis du dialogue avec lui-meme par lequel l'auteur se tend vers l'espoir d'une semiose illimitee. L'ecriture se heurte neanmoins aux formes de spectacle (le theatre et le cinema) qui, au detour du siecle, inscrivent l'oeuvre d'art dans le marche sous le signe du travail et de l'argent, et revelent les insuffisances de l'ecrit dans ces conditions modifiees d'emission et surtout de recep- tion. La litterature ne peut restaurer son pouvoir qu'en faisant du verbe un instrument vengeur et de l'acces au theatre l'occasion d'offrir a l'imaginaire l'espace de sa mise en scene. Enfin, dans une ecriture mue par les urgences de la compensation et du defoulement, s'inscrivent les dechirements du vecu. Des procedures de detournement exhibent plus qu'elles ne cachent l'impossible accord entre la ten- sion erotique qui pousse vers l'autre et la ferveur d'ecriture qui fait du moi son propre objet de desir : seule l'actrice, en tant qu'elle se constitue en "corps" de l'ecriture, remedie a cette divi- sion du moi et fonde le pouvoir du poete, refusant la traumatisante naissance et la douleur d'etre homme, pirandello se construit ecrivain
Rich in significance as far as the story of the subject of writing is concerned and replete with the ideological effects entailed by the emergence of each text within the general text, the prose work of luigi pirandello is characterized by a combinatory system which places the process of signification beyond the configurations of the utterances and within enunciation itself. Novel after novel, the phatic tension becomes more strongly marked : the writing unveils its main function which is that of staging the identity problem, while the reader, prisoner of the text, becomes the indispensable and submissive partner of the writer who tries to reach an unlimited semiosis through a dialogue with himself. The writing, though, comes up against the various forms of spectacle (theatre and cinema) which, at the turn of the century, make of the work of art a marketable product and reveal the inadequacies of the written work in those modified conditions of emission and especially reception. Literature can only recover its power through making of the word a tool of revenge and of the theatre an opportunity for the imaginary to stage itself. Lastly, pirandello's writing, actuated by the urges of compensation and release, also reflects the wrenching conflicts of experience. Procedures of indirection reveal more than they hide the impossible harmony between the erotic tension which drives towards the other and the fervour of writing which makes of the ego its own object of desire : the actress alone, in so far as she becomes the "body" of the writing, remedies this splitting of the ego and founds the power of the poet. Refusing both the trauma of birth and the pain of being a man, pirandello thus comes into being as a writer

Men don't cry (creation). In a neighborhood of a large North American city, a loaf of rye bread brings back adolescent memories to a middle-aged man. Bill remembers his College friends, Nick, Jack and Alec. They will all pass through the same Diner, the same evening, 20 years later without recognizing each other. Those of them who will cross paths will die that same night. It's a story about chance. It's a free cinematographic adaptation of four short stories from three different authors: The Rye Bread by Ray Bradbury, Continuite des parcs and N'accusez personne by Julio Cortazar as well as Fat by Raymond Carver.
Illuminations: From Pirandello toward Kaos ( criticism). When the filmmakers the brothers Taviani decide to undertake their adaptation of Luigi Pirandello's four short stories for the screen, they choose Kaos for the title of their film. Through the study of two of the four adapted short stories, this thesis tries to demonstrate that the adaptation of a literary work or a written text to a filmic text necessarily passes through a chaos that separates the two very different languages. The interpretative work consists of passing through this same chaos using different writing and mise en scene techniques. The aim of this short study is to dissect the links that exist between the two very distinct entities, the written text and the filmic text, through a magisterial and concrete example.

Luigi Pirandello's two short stories La verita and Certi obblighi and the play derived from them Il berretto a sonagli seem to be, at least on the surface, about adultery. The three male protagonists' dilemmas come about as a result of their wives' sexual transgressions, which consequently impose certain "obligations" upon them. The themes of adultery and betrayal, however, are merely surface elements, used to explore the theatrical nature of identity and of all social experience. Specifically, the three works show how role-playing-within-roles safeguards the identity of the betrayed husbands, by protecting them from social humiliation.
Since all Pirandellian characters role-play, and as a consequence portray and assume multiple identities, this thesis examines the function and significance of this technique in both narrative and theatrical contexts. It attempts to show that while the device is a feature common to all three works, it is in the dramatic adaptation that role-playing in relation to identity acquires its more visible and effective treatment.

Pour une étude de la condition féminine et de l'image de la femme dans l'œuvre de Luigi Pirandello, un rappel historique de la condition féminine en Italie, et principalement en Sicile, et un rapide aperçu des mouvements féministes dans la première moitié du XXème siècle, nous ont paru nécessaires. Nous avons, ensuite, analysé comment Luigi Pirandello présente le personnage féminin. Nous avons mis en évidence une évolution de ce personnage : la femme destructrice et funeste se transforme progressivement en une femme sublime, idéalisée dans le mythe de la maternité. Nous avons dressé une typologie des caractères féminins dans l'œuvre narrative et théâtrale, en fonction de l'influence qu'ont pu avoir sur eux la misogynie typiquement méditerranéenne, la jalousie, le rôle néfaste joue par la belle-mère, la solitude pathétique de la femme seule, laide ou veuve par exemple. Nous nous sommes livrés enfin à une étude détaillée des personnages féminins dans les pièces du théâtre pirandellien tels qu'ils apparaissent par ordre chronologique. Tout d'abord, dans les pièces écrites avant 1925 : depuis les premiers succès jusqu'à l'apogée des Six personnages en quête d'auteur et d'Henri IV. Puis, dans une deuxième partie, nous avons déterminé comment la rencontre de l'actrice Marta Abba a pu profondément modifier la conception pirandellienne du caractère féminin
For the study of the condition and image of women in the work of Luigi Pirandello, an historical survey of the women's condition in Italy, and more precisely in Sicily, as well as a rapid study of the feminist movements in the early part of the XXth century, have seemed compulsory. A further analysis of how Pirandello introduced the female characters was made. An evolution of these characters emerged: the funest, destructive female progressively turns into a sublime woman, idealized in the maternity myth a typology of female characters in Pirandello’s narrative and theater works, has been made, regarding the influence which could have on them, the typically Mediterranean misogyny, jealousy, the often tragic misunderstanding between spouses, the harmful role played by the mother in law; the pathetic solitude of a sole woman, perhaps ugly or widowed. Finally a detailed survey, following the chronological order of appearance, of female characters in Pirandello’s theater pieces was made; first in the pieces written before 1925 : from the early successes to the apogeum of "Six personnages en quête d'auteur", and "Henry IV". And, in a second part, we have determined how had the encounter of the author with the actor Marta Abba deeply changed his conception of the female characters

The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).

Dans l'accés à la vérité, le corps n'est pas un lieu privilégié de connaissance, ni pour le sujet, ni pour les autres. Le corps est au contraire le lieu de l'équivoque du sens. Seule la volonté fournit le sens authentique : mais les signes naturels et les signes verbaux livrent le sujet à la distorsion du sens. Dieu est pour les autres la garantie de l'adéquation du langage au réel. En vérité, l'autorité, subsititut de la transcendance vraie, établit la transparence du langage parce qu'elle institute le réel par le langage. Le réel est fondé par le "texte" social. Le "texte" des autres aliène le sujet, et l'exclut de sa vérité. Le nom (avec l'histoire qu'il porte), les actes, sont autant de prises que les autres ont sur le sujet. Celui qui veut faire advenir la vérité dans le discours est réputé fou, par la production de soi (sociale : la logique ou la folie feinte - artistique : comme auteur ou comme spectateur) le sujet peur avoir une maitrise des signes. Le retour du réel des autres, même s'il est possible, à contre lui le temps, par lequel toute nouvelle expression de soi sera possible. Il est une possibilité que la vérité du sujet s'exprime, sans subir le "texte" aliénant des autres : dans la relation fusionnelle, dont le prototype est la relation à la mère. Dans la religion éthique que propose Lucio dans Lazare, cette relation fusionnelle semble pouvoir donner lieu à une intersubjectivité ouverte à tous
To know the truth, the human body is not a privileged point of knowledge, neither for the subject, nor for the others. On the contrary, the body is the point of the ambiguity of sense. Only will gives the authentic sense ; but the natural and the verbal signs give the subject to the distorsion of sense. God is for the others the guarantee of "adaquatio rei et intellectus". In fact, the authority, subsititute of true transcendence, establishes the transarentness of the language because it instaurates realty in the language. Reality is founded by the "text". This "text" alienates the subject, and removes him from his own truth. The name (with the story it brings), the actions, give the subject to the others. Th eone who wants to make truth appear is said to be mad. The return of the reality of the others, event if it is possible, has against itself the time, by which any expression of oneself is possible. The truth of the subject can express itself, without suffering the alienating "text" of the others in the fusional relation, the pattern of which is the relation to the mother. This type of relation can become an universal intersubjectiveness

This MA thesis is a comparative study of the novels of Luigi Pirandello (Agrigento 1867--Rome 1936) and Max Frisch (Zurich 1911--1991). Six texts are discussed: Pirandello's Il fu Mattia Pascal (1904), Quaderni di Serafino Gubbio operatore (1915), and Uno, nessuno e centomila (1925--6); and Frisch's Stiller (1954), Homo faber (1957), and Mein Name sei Gantenbein (1964). The comparison highlights the great similarities between Pirandello's and Frisch's treatment of the theme of identity as well as some important (and mainly structural) differences in their novelistic works. The analysis of the three pairs of novels shows the developments in narrative structure and the characteristic change of attitude towards the question of identity construction that took place from early-modernism to postmodernism.

PERES, Terezinha Marta de Paula. Luigi Pirandello: tensões e conflitos em Um, nenhum e cem mil. 2011. 132f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2011.
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The present research, entitled Luigi Pirandello, the tensions and conflicts in Um, nenhum e cem mil (1926), aims at discussing how the Italian writer Luigi Pirandello (1867 -1936) took part in the social tensions of his time, how his geographic moves occurred, moves which imply in relating the author to the historic process of his time as well as his intellectual formation and how his search for a place in the intellectual world happened. For carrying on this investigation, we counted on the help of Pierre Bourdieu in his The rules of the art (1996) and Dominique Maingueneau in O contexto da obra literária (1991) in order to understand the circumstances in which Pirandello did his work. We also intend to investigate the author’s interactive relationship with the society of his time in what concerns the customs, beliefs, traditions and, above all, his interaction with the traditional literature, his position as a reader, how much he absorbed influences from it, and to what extent he interpreted and recreated them in his literary work. For a clearer view of the author’s relations to tradition, we will discuss the concepts of “influence” and “desreading” under the theoretical support of Harold Bloom in his Anguish of influence (1991) as well as Sandra Nitrini’s Compared Literature (2010). As a conclusion of this research, we analyze Pirandello’s position from his Um, nenhum e cem mil (1926), how he overcame his predecessors and how he elaborated a new work where a brand-new literary style is clearly viewed. For such analysis, we counted on the theoretical support of Roland Barthes’s Zero degree in whiting (1993) and Harold Bloom’s A map of desleitura (1995) and Arcangelo Leone de Castris’s Storia di Pirandello (1978), among others. We herein discussed the paths through which Pirandello wandered, using for such the analytical, descriptive, interpretative and comparative methods in the pursuit of a better understanding of his building process of a new poetry, which confers to Luigi Pirandello a different voice in the twentieth-century western literature.
Esta pesquisa, intitulada Luigi Pirandello: Tensões e Conflitos em Um, nenhum e cem mil (1926), pretende discutir como o escritor italiano Luigi Pirandello (1867-1936) participou das tensões sociais de sua época, como se deram seus deslocamentos geográficos, que implicam em relacionar o autor ao processo histórico de seu tempo; sua formação intelectual e como aconteceu sua trajetória em busca de uma posição como escritor dentro do “campo literário”. Para realizar esta investigação, contamos com o apoio teórico de Pierre Bourdieu, em As regras da arte (1996), e Dominique Maingueneau, em O contexto da obra literária (1991), com o propósito de compreender em que circunstâncias o autor compôs sua obra. Pretendemos também verificar as relações de interação do autor com a sociedade de seu tempo, no tocante aos costumes, às crenças, às tradições e, principalmente, às relações de interação com obras tradicionais, no intuito de averiguar suas experiências como leitor, a absorção que fez dessas leituras e de que maneira as interpretou e as recriou em sua arte literária. Para um melhor entendimento sobre o processo de compreensão do autor, em relação à tradição, discutiremos os conceitos de “influência” e “desleitura”, sob o apoio teórico de Harold Bloom, em A angústia da influência (1991), bem como de Sandra Nitrini, em Literatura Comparada (2010). Como conclusão da pesquisa, analisamos o posicionamento de Luigi Pirandello como romancista, a partir de Um, nenhum e cem mil (1926), como superou seus precursores e como elaborou uma nova obra, na qual se identifica um estilo novo de fazer Literatura. Para essa análise, contamos com o apoio teórico de Roland Barthes, em O grau zero da escritura (1993), de Harold Bloom, em Um mapa da desleitura (1995), de Arcangelo Leone de Castris, em Storia di Pirandello (1978), entre outros, com a intenção de discutir os caminhos do escritor, através dos métodos analítico, descritivo, interpretativo e comparativo, para uma melhor compreensão da construção de uma nova poética, a qual confere a Luigi Pirandello uma voz diferente na Literatura Ocidental, no século XX e entre seus leitores atuais.

This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo

Les dettes contractées par la dramaturgie sartrienne à l'égard du théâtre de Pirandello, particulièrement visibles dans Les Séquestrés d'Altona, ont été signalées depuis longtemps. Notre confrontation entre le drame de Franz et celui de Enrico IV, qu'on a utilisé aussi pour mettre en evidence les positions tenues par Sartre et Pirandello à l'égard du problème de la folie, a réaffirmé et souligné cette influence pirandellienne sur le théâtre sartrien déjà bien documentée. Mais avec notre étude on a essayé surtout de prouver que la connaissance de Sartre ne se limitait pas au seul théâtre de l'auteur sicilien et que l'influence de Pirandello a touché aussi la narrative et la pensée philosophique de l'auteur français. On a montré avant tout que La Nausée est pleine de références soit à Uno, nessuno e centomila que à Quaderni di Serafino Gubbio operatore. Attiré par le monde du cinéma présenté dans ce dernier roman, Sartre semble en avoir repris et transféré dans La Nausée la structure, la stylisation de certains personnages, le climat, et plusieurs argumentations. Dans Quaderni di Serafino. . . On trouve aussi l'épisode de la maladie du baron Nuti qui à notre avis à fourni à Sartre l'idée pour sa nouvelle La Chambre: les similitudes entre ce deux textes au fait sont plutôt frappantes. Et puis dans La Nausée il y a un face à face de Roquentin avec le miroir et un discours sur les couleurs qui semblent presque une photocopie d'épisodes presents dans Uno, nessuno e centomila. Les conclusions que cet autre roman pirandellien exhibe à propos de notre corps et de notre identité personnelle, ainsi que sur notre contingence fondamentale, trouvent aussi une étonnante correspondence avec certaines affirmations présentes dans L'Être et le néant. De même que les mésaventures avec le regard des autres et son pouvoir objectivant du protagoniste pirandellien Moscarda semblent anticiper les points fondamentaux de la phénoménologie du regard contenue dans cet essai sartrien. La sensibilité exacerbée vis à vis du regard des autres que présente un autre personnage sartrien, Daniel, semble aussi avoir été modelé sur le comportement de Moscarda, dont Daniel reprend également, comme hypothèse, la solution finale: une immersion totale dans la nature. En plus, l'idée du mariage de Daniel avec une femme enceinte d'un autre homme pourrait dériver de l'histoire de Baldovino, protagoniste de Il piacere dell'onestà, drame pirandellien que Sartre connaissait surement très bien. Ce drame nous a servi pour mettre en evidence un autre point de contact entre l'œuvre de Sartre et celle de Pirandello: les constantes préoccupations d'ordre moral, omniprésentes dans les textes de ces deux auteurs de même que le thème du déracinement. Plus en general, nous pensons que Sartre s'est bien reconnu dans le fond existentialiste de la pensée de Pirandello, qu'il a absorbé et transmis dans ses textes, de façon qu'on peut certainement parler d'un "pirandellisme sartrien".

Le thème de la nature représente un aspect positif dans l'oeuvre de Pirandello et particulièrement dans les nouvelles, un thème moins connu, moins mis en évidence par les critiques. La nature qui domine la plupart des oeuvres de Pirandello est ouverte et ensoleillée. Elle s'oppose aux personnages repliés sur eux-mêmes, au caractère ferme, à la fatalité qui les oppresse, une fatalité sicilienne. L'auteur n'a pas fait exception. Il dit lui-même que sa vie, il ne l'a pas vécue, il l'a écrite. La nature, c'est alors l'évasion pour tous ses personnages qui lui ressemblent comme l'auteur, mais elle est aussi le rappel de son enfance à Agrigente où il naquit le 28 juin 1867. Et ce sont en partie les paysages de sa Sicile natale qui l'on retrouve dans son oeuvre, sans oublier la sécheresse naturelle ou provoquée par le soufre. Ses nouvelles portent l'empreinte de sa nostalgie de la nature et ses personnages en ressentiront aussi les effets. Pour eux, comme pour l'auteur, la nature devient le synonyme de l'évasion. Les personnages luttent pour la vie ou pour la protéger. Ce symbole de vie, c'est le brin d'herbe qui le représente avec la mano del malato povero, canta l'epistola ou "Requiem aeternam dona eis domine", où le renouveau, la vie c'est l'herbe verte du printemps. L'étude sur l'aspect symbolique des nouvelles, particulièrement en ce qui concerne le symbole de la vie aérienne, revèle un élément intéressant : l'immersion du personnage dans la nature, son désir de s'élever vers les éléments. A l'issue de ce travail de recherche, apparait une autre thèmatique de Pirandello, celle où il est différent, plus optimiste que pessimiste. La partie catalogue permet au lecteur d'avoir sous les yeux les divers aspects du paysage plus ensolleillé que sombre, car il s'agit presque toujours du ciel sicilien
Nature is a positive look in Pirandello's novels ; it's a less known subject too. The landscape of the novels is often open and sunny. It's different from the protagonists who are uncommunicative, oppressed by the mischance, a sicilian fatality, like the writer who says about it, he has writtent his life instead of living it. The landscape is an evasion for the protagonists and the author himself who feels a great ankering about it. He always remembers his Agrigente where he was born on June 28th of 1867. His novels are the proof of this nostalgia of the writer and his protagonists. So, Nature becomes the synonym of escape. More, the protagonists fight for life and the symbol of life is represented by the importance taken by the grass for them : la mano del malato povero, canta l'epistola, "Aeternam donaies domine". The first part of our research offers the different appearences of the landscape to the raeder, a weather sunnier than unhappy, because it's quite always quastion of sicilian sky in Pirandello's novels

La recherche entreprise est une étude des œuvres romanesques de Luigi Pirandello, étude dont le fil conducteur est le rapport inextricable d’ordre et de désordre. Prisonniers d’une forme, les personnages pirandelliens tentent de se libérer à travers un questionnement existentiel sans fin qui leur fait prendre conscience des limites de leur être, mais aussi de leur difficulté à communiquer. Confrontés au regard de l’ « Autre », ils apparaissent toujours porteurs d’un masque, ce qui leur dénie toute identité stable et définitive. Et il n’est pas étonnant, dans ces conditions, que chaque personnage soit tout à la fois « un, personne et cent mille ». D’où le relativisme de Pirandello et sa théorie de l’humorisme qui vise à montrer les choses dans leur profondeur et leur abyssale complexité. En effet, pour Pirandello la réalité est multiple et changeante en fonction des points de vue. De plus, elle est souvent le résultat d’une série de hasards qui la mettent à l’épreuve du chaos, ce qui induit, chez les personnages, doute, incertitude et mal-être. C’est pourquoi leur quête de vérité et d’authenticité sera toujours infinie, sans cesse renouvelée. Entre désir de fuite et retours en arrière, leur vie sera – quelle qu’en soit la forme – illusoire. Tout au plus une fiction
The research undertaken here is a study of Pirandello’s novels ; a study with the inextricable relationship between order and disorder as a main theme. Imprisoned in their form, Pirandello’s characters attempt to free themselves through an endless existential questioning which makes them aware of their limitations as beings, and their difficulties to communicate. Confronted to the eyes of “others”, they always appear with a mask on, which denies them any stable and clear-cut identity. As a consequence it is not surprising that each character is at once “one, nobody and a hundred thousand”. This explains Pirandello’s relativism and his theory of humour which aims at showing things in depth and in their abyssal complexity. Indeed, in Pirandello’s view, reality is multiple changing depending on the points of view; Moreover, it is often a series of chances which puts it to the test of chaos, which entails doubt, uncertainty and discomfort on the characters. That is why their quest of truth and authenticity will always be infinite, continually renewed between the will to escape and backwards looks to the past, their lives –whatever their forms – will be illusory- a fiction at the most

Orientador : Eric Mitchell Sabinson
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese teve por objetivo analisar a dramaturgia dos últimos dez anos de vida de Luigi Pirandello (1926-1936), em especial os dramas escritos para a atriz Marta Abba, e atualizar o estado da pesquisa em Pirandello. O estudo partiu da constatação de que graças à atriz, as duas metades do imaginário feminino pirandelliano, a mãe santa e a prostituta, passam a conviver em uma mesma imagem de mulher, para chegar até a imagem da vamp virtuosa: uma criatura eroticamente fascinante, mas sexualmente inacessível. Percorrendo a argumentação crítica atual, constatou-se que a produção tardia do escritor é o resultado de um violento intercâmbio, de uma forte influência mútua entre estímulos biográficos e resultado artístico. Tendo isto em vista, buscou-se reconstruir, por meio da crônica e da crítica teatral da época, o estilo da performer Marta Abba, e sua definição como atriz pirandelliana. Tomando como base as propostas teóricas do assim denominado Teatro Novo, suas relações com o idealismo das primeiras vanguardas, e, principalmente, confrontando o epistolário Pirandello-Abba com a sua produção teatral, justifica-se a perspectiva autobiográfica presente no teatro de Pirandello do último período. Ao escrever para a atriz, o dramaturgo não poderia deixar de ter em mente a qualidade interpretativa de sua musa inspiradora, esta excepcional intérprete que foi a co-autora do novo perfil feminino desenvolvido pelo autor e, por outro lado, ao individualizar em Marta Abba as criaturas que ele já havia imaginado anteriormente, Pirandello se vê sob o signo de uma ¿predestinação¿: a atração física do Maestro por sua intérprete, ¿filha de sua arte¿, recupera um antigo fantasma, o tema tabu da escritura pirandelliana: o ¿fascínio paterno¿, incestuoso. Pirandello constrói assim um personagem feminino plural e ambíguo, em consonância com os maiores ícones do cinema dos anos trinta, Greta Garbo e Marlene Dietrich, capaz de absorver o estilo ¿camaleônico¿ e contraditório de interpretar de Marta Abba, ao mesmo tempo em que é capaz de traduzir e incorporar seu próprio tormento interior.
Abstract: This thesis presents an analysis of the plays of Luigi Pirandello in the final ten years of his life (1926-1936), especially the dramas written for actress Marta Abba, consistent with the state-of-art research on the playwright. Our starting point was the verification that, thanks to the actress, the two halves of Pirandellian feminine imagination - the holy mother and the prostitute ¿ came to cohabitate in the same female image, that of the virtuous vamp: an erotically enchanted creature, although sexually unattainable. Reviewing the current criticism, we verified that the writer's late production is the result of a violent interaction and mutual influence between biographic stimulus and artistic concerns.On this basis, we reconstruct, via the chronicle and theatrical criticism of the period, the performer Marta Abba's style and her definition as the Pirandellian actress par excellence. Having as foundation the theoretical propositions of the so-called New Theater, its relationships to the utopianism of the early avant-gardes, and opposing the correspondence between Pirandello and Abba with his own theatrical productions, we believe that the presence of anautobiographical perspective in the last period of Pirandello's theatre is justified. When writing for the actress, the playwright certainly had the interpretation of his inspiring muse in mind, the exceptionally talented Marta Abba as the co-author of the new feminine profile developed by the author. On the other hand, by individualizing in Marta Abba all the female creatures, the playwright sees himself under a sign of predestination: Marta's attractive power over the Master, "his art's daughter", recovers an old phantom, the taboo-theme of Pirandello writing: the incestuous, fatherly fascination. Thus, Pirandello creates an ambiguous feminine profile, related to the major movies icons of the '30s - Greta Garbo and Marlene Dietrich - pluralistic enough to assimilate theever-changing, contradictory style of the interpreter Marta Abba, translating and incorporating, at the same time, his own inner torment.
Doutorado
Literatura e Outras Produções Culturais
Doutor em Teoria e História Literária

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Astratto: Basato su Il lago dei cigni, da Piotr IIyich Tchaikovsky nel 1877, il lungometraggio Cigno nero (2010), sulla regia di Darren Aronofsky, è la combinazione di un drama psicologico con la drammaturgia che, allo stesso tempo, fanno parte della vita della protagonista. Il lago dei cigni, racconto scritto dal tedesco Johan Karl August Musäus nel secolo XVIII, aquista vita e potenza nel film componendo una struttura che mescola soggetività e stranezza, provocando molteplice sentieri nello spetattore. Al rispetto degli studi letterari, il film è poco esplorato giacché il suo fuoco maggiore si trova nella presenza psicoanalistica esistente. Così, allontanando parzialmente l’aspetto psicologico, rendiamo conto della presenza di tracce letterari che s’incastrano con pertinenza, construendo una tramma complessa tra le atmosfere della realtà e dello psicologico. Con la conoscenza della letteratura dello scrittore italiano Luigi Pirandello (1867-1936), così detto uno dei maggiori drammaturghi della letteratura mondiale, useremo le opere Sei personaggi in cerca d’autore (1921) e Così è (se vi pare) (1917) per dicutere i punti che seguono: 1) il personaggio della drammaturgia pirandelliana e cinematografica volgendosi alla protagonista Nina; 2) il teatro pirandelliano mettendo a fuoco il dramma moderno e il concetto di teatro nel teatro’ e come si trova nel film e 3) Cigno nero come tragedia moderna, utilizzando le teorie di Aristotele, Arnold Hauser, Raymond Wiliams e Pirandello per gli esempi. Nel campo teorico, ci baseremo anche in Antonio Candido, Peter Szondi, Sergei Einsenstein tra gli altri che costruiranno uno studio conciso e oggetivo del corpus proposto
Baseado em O lago dos cisnes, de Piotr Ilyich Tchaikovsky em 1877, o longa metragem Cisne negro (2010), dirigido por Darren Aronofsky, é a combinação de um drama psicológico com a dramaturgia que atuam reciprocamente na vida da protagonista. O lago dos cisnes, conto escrito pelo alemão Johan Karl August Musäus no século XVIII, ganha vida e potencialidade no filme em uma estrutura que mescla subjetividade e estranhamento, produzindo no espectador os mais variados sentimentos. No que concerne aos estudos literários, o filme é pouco explorado visto que seu maior foco versa sobre a presença psicanalítica à ele empregada. Desse modo, isolando parcialmente a carga psicológica, percebemos a presença de traços literários que se encaixam pertinentemente, construindo uma trama complexa entre os planos da realidade e do psicológico. Tendo como base a literatura do escritor italiano Luigi Pirandello (1867-1936), considerado um dos maiores dramaturgos da literatura mundial, usaremos as obras Seis personagens à procura de um autor (1921) e Assim é (se lhes parece) (1917) para discutir os seguintes pontos: 1) a personagem dramatúrgica pirandelliana e cinematográfica voltando-se para a protagonista Nina; 2) o teatro pirandelliano focado no drama moderno e no conceito de ‘teatro no teatro’ e como se dão no filme e 3) Cisne negro como tragédia moderna valendo-se de pressupostos teóricos de Aristóteles, Arnold Hauser, Raymond Williams e Luigi Pirandello para exemplificações. No campo teórico, nos apoiaremos também em Antonio Candido, Peter Szondi, Sergei Einsenstein entre outros para a construção de um estudo conciso e objetivo do corpus proposto

Au début des années vingt, la France découvre le théâtre de Luigi Pirandello. Son traducteur, Benjamin Crémieux, se charge de la médiation de cette dramaturgie. Sa lecture critique de Pirandello contribue d'une manière décisive à sa réception. Également importante est la “lecture” régistique de Georges Pitoëff : sa création des Six personnages en quête d'auteur en 1923 ouvre une nouvelle saison du théâtre italien en France. Il s'agit pour l'auteur italien d'une rencontre qui marque aussi un tournant dans sa réflexion sur la pratique du théâtre. S'il avait toujours refusé d'accorder une valeur artistique à la mise en scène, cela était dû à son expérience d'auteur et au retard du théâtre italien dans ce domaine. La rencontre avec le monde du théâtre français, avec Pitoëff notamment, aide Pirandello à se rapprocher des théories de la régie et à devenir à son tour metteur en scène de 1925 à 1928 à la tête de son Teatro d'Arte. La gloire française de Pirandello s'estompe rapidement : depuis 1924, les relations politiques entre l'Italie et la France sont devenues plus difficiles, ce qui n'est pas sans conséquences sur les échanges culturels. Après 1925, le succès de Pirandello en France fera place à un sentiment de lassitude à son égard, nourri par des accusations de cérébralisme, relayées par la critique et la presse de l'époque. Son théâtre continue d'être représenté, mais ce ne sera qu'en 1934, après l'attribution du Prix Nobel, que Pirandello renouera avec le triomphe. Le succès de la mise en scène de Ce soir on improvise (dans l'adaptation de Pirandello, Crémieux et Pitoëff), en 1935, marque la dernière étape du parcours français du dramaturge, de son vivant
At the beginning of the 1920s, France discovered the theatre of Luigi Pirandello. His translator, Benjamin Crémieux, had taken on the task of promoting his work. Crémieux's critical readings of Pirandello would contribute decisively toward its acceptance. Equally important was the stage direction of Georges Pitoëff : his premiere of Six personnages en quête d'auteur in 1923 would open a new era of Italian theatre in France. For the Italian author, it was a juncture which would mark a turning point in his thinking with respect to the practice of theatre. If he had heretofore refused to recognize the artistic value of stage direction, it was due to his own experience as an author and to the backwardness of Italian theatre in this domain. His encounter with the realm of French theatre, and especially with Pitoëff, would help Pirandello to reconcile himself with the theories of stage direction and, in turn, to become director from 1925 to 1928 at the helm of his own Teatro d'Arte. Pirandello's fame in France soon faded: from 1924 on, Italy and France entered a difficult period in their political relations, not without adverse consequences for cultural exchange. After 1925, Pirandello's success in France would be replaced by a certain weariness, resulting from accusations of intellectualism fomented by the critics and press of the time. His theatre continued to be performed, but it would only be in 1934, after receiving the Nobel Prize, that Pirandello's early triumph would be renewed. The success of the performance of Ce soir on improvise (in the adaptation of Pirandello, Crémieux and Pitoëff), in 1935, marked the final stage of the playwright's French career

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This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX. The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama . The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form)
Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX. Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno . A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)

La philosophie du personnage conçoit l’identité à travers le miroir de l’identité. Au vu de l’histoire des idées de vision, de présence, de représentation et de mimêsis, nous pouvons élaborer une théâtralité de l’expérience au croisement de l’Un dionysiaque (la totalité de la fusion extatique) et du Deux apollinien (la perception de la scission représentée). « Être un autre » est l’expression qui résume le rôle central du théâtre en ce qui concerne l’origine de la subjectivité. En tant qu’unité paradoxale de βίος et de Ζωή, le personnage consiste en un fond où plusieurs formes de vie deviennent possibles ; cela le rend une figure apte à déclencher les procès de subjectivation. Le personnage renferme une idée de vie se développant dans le corps, l’espace et le temps, éléments qui sont singuliers et infinis à la fois
The philosophy of character looks at the identity through the mirror of the alterity. Considering the history of the ideas of vision, presence, representation and mimesis, it is possible to describe the expenence as a theatre. The world’s theatre concerns, at the same time, the Dionysian “one”, complete ecstatic fusion, and the Apollonian “two”, consciousness of the representation.“Being someone else” is an expression that aims to resume the central role of characters in the subjectivity’s formation. Since it is a paradoxical mix of βίος and Ζωή’, the character contains several possible lives. Therefore, it is an important element in processes of subjectivation: it shows an idea of life which develops in a body, in a certain space and time, but which also expands in infinity.The ontological characterisation of character, in Pirandello’s theatre, is related to the reflexion on the character that everybody has to wear in the world’s theatre. Because life doesn’t coincide onty wil.h onc form of individuation, there’s always a rupture between the Self-perception and Others perception. The rupture can be solved, in pirandellian conception, when the subject abandons his own identity, in order to fuse with the nature. This perspective is radicalized in Carmelo Bene’s theatre: his processes of de-subjectivation are essentially an oblivion of the individuation. The Teatro delle Albe gets across the desert of subject and object opened by CB, inheriting bis work on the chasm of the voice. Nevertheless, in the company poetics, there is the possibility to think the subjectivity according to new borders and new desires
La filosofia del personaggio pensa l’identità attraverso lo specchio dell’alterità. Alla luce della storia delle idee di visione, presenza, rappresentazione e mimesi, si delinea una teatralità dell’esperienza al limite fra l’uno dionisiaco, totalità della fusione estatica, e il due apollineo, percezione della scissione rappresentata. “Essere un altro” è un’espressione che intende riassumere il ruolo centrale del teatro nella genesi della soggettività. Intreccio paradossale di βίος e ζωή, il personaggio è un ricettacolo di vite possibili e si rivela, perciò, una figura decisiva nei processi di soggettivazione. Esso racchiude un’idea di vita che si sviluppa in un corpo, in uno spazio e in un tempo, che sono, al contempo, puntuali ed infiniti

Cette thèse a pour thème la représentation de la pensée politique italienne à travers la lecture de deux romans situés à la croisée du 19e et 20e siècle. L'objectif de notre recherche est de lire ces deux romans historiques à la lumière d'une pensée politique révolutionnaire celle de Nicolas Machiavel. Après avoir tenté de cerner les particularités du secrétaire florentin, exposé ses idées révolutionnaires et la spécificité de sa pensée, cette étude se poursuit avec un double objectif. Le premier est l'élaboration d'une approche analytique des deux romans : "I Viceré" de Federico De Roberto et "I vecchi e i giovani" de Luigi Pirandello, de même qu'un essai critique, basé sur la consultation de la spécificité et de la tendance narrative de chaque auteur, pour enfin venir à l'étude approfondie des différentes galeries des personnages. En effet, cette thèse propose une étude des personnages qui nous renvoie sans cesse aux sentences de Machiavel et souligne la présence irrévocable de l'esprit de ce dernier dans les deux romans respectifs. L'étude se précise par son aspect comparatif, l'objectif principal étant d'établir une correspondance entre d'une part, ces deux romans du 19e et 20e siècle et d'autre part, les préceptes politiques de Machiavel, principalement contenu dans son opuscule "Le Prince". Cette seconde démarche précise l'authenticité et la véracité de la théorie de Machiavel en corrélation avec une certaine réalité politique italienne qui malgré une constante évolution, reste soumise aux mêmes et éternelles lois du champ politique tel que l'aperçoit Machiavel
This thesis has for subject the representation of the Italian political through the reading of two novels situated between the 19th and 20th century. The Objective of our research is to read these historical novels in the light of a revolutionary political thought that of Nicola Machiavelli. Having tried to encircle the characteristics of the Florentine secretary, and so explain its revolutionary ideas and the specificity of its thought, this study continues with a double objective. The first one is the elaboration of an analytical approach of both novels : "I Viceré" Federico of De Roberto and "I vecchi e I giovani" o Luigi Pirandello, as well as a critical essay based on the consultation of the specificity and the narrative tendency of every author, to come finally to the detailed study of the various galleries of characters of both respective novels. Indeed, this thesis proposes a study of the characters which always sends us back to Macchiavelli's judgments and underlines the irrevocable presence of the spirit of this last one. The study becomes clearer by its comparative aspect, the main objective being to establish a correspondence between on one hand these two novels of the 19th and 20th century and on the other hand Machiavelli's political rules, mainly contained in his opuscule "The Prince". This second step clarifies the authenticity and the truthfulness of Machiavelli's theory in correlation with a certain Italian political reality which in spite of a constant evolution, remains subjected to the same and the eternal laws of the political arena such as Machiavelli perceives it

Ce travail cherche à faire le lien entre deux « pensées » littéraires, celles de deux écrivains italiens majeurs du début du XXe siècle, dont les ressemblances multiples mettent en valeur aussi les dissemblances. Il s'articuleautour d'un problème précis, à savoir celui du personnage romanesque, de sa crise, de sa remise en question, rejoignant ainsi une des problématiques cruciales du roman du XXe siècle dans la culture européenne. Ce type de personnage – exclu, exilé de la réalité – révèle la fragilité de l'accord entre l'être et le monde. Ainsi les auteurs étudiés – Pirandello et Svevo – posent la question de la construction, et à travers elle, de la déconstruction de ces « êtres de papier » que sont les personnages. Chez eux, en effet, les traits du personnage ne sont pas livrés d'emblée, mais ils sont construits par le déroulement du texte. Mais en même temps, leur aventure humaine les expose aux pires dangers, rendant incertaine leur identité, difficile, voire impossible leur rapport au monde. D’où un processus de dé-structuration et parfois d’anéantissement qui les frappe. C’est pourquoi (à l’exception des personnages féminins de Pirandello) ils trouvent refuge dans la maladie, la folie, les rêveries, voire dans la négation de la réalité
This work tries to make a connection between two literary “thoughts” of two major Italian writers of the 20th century whose similarities bring out the dissimilarities. It presents us with a precise subject; that of the novelistic character, his crisis and the soul searching he does. Then, this matter emphasizes one of the crucial issues of 20th century novel in European culture. This sort of character – excluded, having cut himself from reality – reveals the fragility of the agreement between human being and the world. Thus, the writers we study – Pirandello and Svevo – raise the question of the making and through it, that of the deconstruction of these “men of paper” who are the characters. Pirandello’s and Svevo’s character is not disclosed at once but is gradually structured in the novel. Nevertheless, their human adventure put them at risk, turning their identity uncertain, making their relationship with the world difficult or even unbearable. That results in a process of deconstruction and sometimes of destruction of which they become the victims. That’s why (apart from Pirandello’s femalecharacters) they take refuge in sickness, in madness, in delusion or even in the negation of reality

La thèse porte sur les liens entre les œuvres littéraires de Pirandello, Moravia et Sartre. Nous analysons la formation de Pirandello au XIXème siècle et l'évolution de son discours autour du rôle de la conscience, ses caractéristiques et sa relation avec le corps et le monde des objets, en s'ouvrant à la multiplication des altérités présentes. La folie est investie d'une position de privilège dans la possibilité de parvenir à une existence authentique. Moravia a repris les idées de Pirandello dans ses livres et il a développé une description de la vie intérieure de l'homme contemporain en relation avec la société où il vit et ses modifications. Sartre, lecteur de Pirandello lui aussi, a éclairci, tout comme Moravia, qu'il connaissait bien, l'importance des états de la conscience (tels que l'ennui, la nausée ou l'indifférence) qui sont à l'origine des sentiments et des projets moraux
My thesis concerns the links between the literary works of Pirandello, Moravia and Sartre. I analyze the formation of Pirandello in the 19th century and the evolution of his proposal around the role of consciousness, its characteristics and the relation with its own body and the world of objects and others. Madness appears to have a position of privilege in order to reach an authentic existence. Moravia took back Pirandello's theory in his books and he developed an internal life description on contemporary man in connection with his society. Sartre, who read Pirandello and was a Moravia's friend, developed the importance of different consciousness' states (such as boredom, nausea or indifference) that are at the origin of moral projects

D'Annunzio e Pirandello come uomini e come artisti si pongono agli antipodi della scena culturale del loro tempo, eppure e nel mito, inteso come categoria psichica oltre che artistica, che la loro antitetica opera trova un punto d'incontro. In questo studio si analizza, dunque, il mito nelle tre tragedie dannunziane in cui l'elemento mitico si manifesta nel modo piu palese (La citta morta, La figlia di Iorio e Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale di tutta la sua opera. Per entrambi la necessita di mito nasce dalla sofferta consapevolezza della crisi moderna: valori relativi, personalita atemporale scissa, e fuori nessun dello l'aspirazione alla totalita. sen so spazio di direzione. del mito e Nella ancora dimensione possibile La teoria junghiana degli archetipi dell'inconscio collettivo, di cui i miti sarebbero le manifestazioni culturali, si e rivelata un importante ausilio analitico che consente, tramite uno scavo in profondita oltre le scorze e le sovrastrutture culturali e storiche, di cogliere la sapiente orditura di immagini e motivi archetipici nelle opere, confermando l'idea dell'artista anche come uomo collettivo oltre che come individuo. In tale prospettiva il confronto tra le opere ha portato ad importanti conclusioni, che non solo chiariscono la loro opera di scrittori, ma anche la loro funzione all'interno della societa in cui sono vissuti e, per esteso, della nostra. Per entrambi recuperare il mito e ridargli una veste moderna, pur nei rispettivi distinti modi, significa essenzialmente cercare di superare il relativo, la frammentarieta e la mediocrita del mondo contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene modificato e, facendosi specchio della condizione psichica moderna, non solo ne interpreta le piu profonde istanze, ma giunge anche a precorrerne quelle future. La posizione centrale nelle opere dei due scrittori dell'inconscio, il grande rimosso dell'Io raziocinante moderno, emergente nella possente figura della Grande Madre primordiale, rivela la direzione della futura coscienza umana nella necessita di riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio, fertile e generatore, e quello uranico, spirituale e trascendente.
D'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)

La présente thèse, intitulée « De chaînes en trames: histoire nationale et vie privée dans le roman naturaliste et vériste », traite des liens d'ordre métaphorique et symbolique par lesquels la mise en scène de l'espace familial et du corps exprime la dynamique sociopolitique dans Les Rougon-Macquart (1871-1893) d'Émile Zola, I Vinti (1881-1889) de Giovanni Verga, I Viceré (1894) de Federico De Roberto et I vecchi e i giovani (1913) de Luigi Pirandello. À la jonction d'un certain nombre d'articles et d'essais critiques ayant interrogé, depuis le début des années 2000, l'écriture de la sphère domestique et de la « mécanique » biologique humaine dans le roman français et italien du long XlXe siècle, l'analyse comparatiste effectuée aborde divers motifs et figures du privé et de l'intime à l'intérieur des oeuvres à l'examen. Elle embrasse, plus particulièrement, quatre avenues de recherche principales, soit: 1) la dynamique intergénérationnelle et les rituels sociaux se déployant dans l'enceinte du logis ouvrier, de la casa patrimoniale, de l'hôtel bourgeois ou du palazzo aristocratique; 2) le mode d'inscription narrative du « personnage-mémoire » et des actants féminins, qui, dans les fictions envisagées, laissent entrevoir le sens de la fiumana deI progresso [du « fleuve du progrès »]; 3) la description des édifices et des espaces privés, qui gardent la trace de l'évolution des clans et de la mouvance des « strates » sociales; 4) enfin, le caractère expressionniste des pathologies, des dégénérescences physiques et des décès qui, à l'intérieur des récits considérés, renvoient l'image des « convulsions » historiques nationales. Privilégiant une approche avant tout sociohistorique et thématique, la réflexion critique entreprise s'appuie, notamment, sur les développements de Michelle Perrot, Marzio Barbagli et Michela De Giorgio sur la vie privée, la famille et la condition féminine en Europe et, notamment, en France et en Italie au XlXe siècle. Elle met également à profit des éléments de rhétorique et des concepts psychanalytiques lors même qu'elle adopte, ponctuellement, la méthode ethnocritique d'appréhension du texte romanesque, qui permet de déceler la marque de traditions populaires tels le carnaval et le charivari dans la structure dramatique des narrations à l'étude. Les conclusions dégagées en fin de parcours analytique s'accordent pour prouver que les intrigues du corpus, nourries de sujets historiques plus ou moins contemporains de l'époque de leur genèse -soit le Second Empire (1852-1870) en France de même que l'avant et l'après fondation du royaume d'Italie (1861) -, déploient un imaginaire littéraire associant intimement histoire sociopolitique et chronique familiale. Plusieurs facteurs sociaux majeurs, desquels on citera les révolutions française et darwinienne, l'ébranlement de l'idée de transcendance, la mutation des visées de l' histoire et l'essor de sciences humaines comme la sociologie et l'anthropologie, expliquent, en effet, que les auteurs à l'étude ait révélé, au travers de la dynamique des corps et de l'évolution des clans, la physionomie différenciée de leur époque. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Naturalisme, Vérisme, Émile Zola, Giovanni Verga, Federico De Roberto, Luigi Pirandello, Littérature, XIXe siècle, Vie privée, Histoire, Politique, Société, Corps, Représentation.