Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/001
P. Guaragnella
Luigi Pirandello wrote in a review about d’Annunzio’s La città morta that “no one, today fortunately, speaks like the characters in this tragedy”. However, indirectly replying to him as to other detractors, d’Annunzio observed that those who criticised his work showed that they “did not understand what tragic art is”. In support of his poetics, d’Annunzio cited the Sophocles models of Agamennone and Antigone. But there is more. D’Annunzio founded a theatre of ‘high’ speech, which was counterpointed by the silences of the characters and an action that took place mainly in the ‘interiors’. This choice made it possible to propose a peculiar furnishing philosophy related to sepulchral aspects and an intense idea of death. Above all, it was the notion of time that was deeply traversed by d’Annunzio’s experience of the tragic, a sign that the discovery of the tombs of the Atrides – the central topic of the work – on the one hand cancelled the “errors of time“ suspended between a remote past and an inert present, but on the other hand it exhumed a world of terrible passions like incestuous drives. This was intended to be the profound meaning of the tragic theatre founded by d’Annunzio with La città morta.
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Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/006
Ilaria Crotti
The essay examines the peculiarities, both formal and of content, of Giovanni Episcopo (1891), considering its incipit – a mimetically connoted space, compared to those of d’Annunzio’s novels that frame him. Particular attention was paid to the debate that was dedicated to the genre of the novel, in its various formulations, also related to the writings of the self (confession, memory, autobiography). This happens in a season marked by restless research, measuring itself against theoretical and aesthetic horizons determined to reread in dialectical terms the lesson already imparted by French Naturalism.
{"title":"L’anomalia incipitaria del Giovanni Episcopo","authors":"Ilaria Crotti","doi":"10.30687/ada/2421-292x/2021/01/006","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2021/01/006","url":null,"abstract":"The essay examines the peculiarities, both formal and of content, of Giovanni Episcopo (1891), considering its incipit – a mimetically connoted space, compared to those of d’Annunzio’s novels that frame him. Particular attention was paid to the debate that was dedicated to the genre of the novel, in its various formulations, also related to the writings of the self (confession, memory, autobiography). This happens in a season marked by restless research, measuring itself against theoretical and aesthetic horizons determined to reread in dialectical terms the lesson already imparted by French Naturalism.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123208651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/004
L. Pasquini
The textual incipit of the second Abruzzo tragedy by Gabriele d’Annunzio, La fiaccola sotto il moggio (1905), defines its character in close relationship with three literary references: the Vangeli (of Luca, Matteo and Marco), the Coefore of Eschilo and La figlia di Iorio (1903; ed. 1904) by the poet himself. The analysis of the first portion of the dramaturgical text shows how, starting from the initial atmospheres, the author loves the game of antiphrastic references with those works, which constitute the filigree of the poetic construction through thematic and conceptual references. Above all, the inverse morality that animates Gigliola, the protagonist, emerges in relation with the evangelical premises contained in the title, as well as the subversion of the tragic order of the classical matrix which also inspires the text.
加布里埃尔·达南齐奥的第二部阿布鲁佐悲剧的文本开头，La fiaccola sotto il moggio(1905)，与三个文学参考密切相关:万吉利(卢卡，马特奥和马可)，埃斯基洛的Coefore和La figlia di Iorio (1903);1904年版)，作者是诗人本人。对戏剧文本第一部分的分析表明，作者是如何从最初的气氛开始，喜欢与这些作品进行反语指称的游戏，这些作品通过主题和概念上的指称构成了诗歌结构的精雕细琢。最重要的是，使主人公Gigliola充满活力的反道德，与标题中包含的福音主义前提有关，以及对经典矩阵悲剧秩序的颠覆，这也激发了文本。
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Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/009
A. Gialloreto
The aim of this paper is to investigate the first chapter of Forse che sì forse che no (1910). D’Annunzio’s last novel brings together the myths of the technical age, celebrated by Futurism, and the conflicting forces of forbidden desire, debilitating eros, madness and fascination with the past. The structure of the chapter, after the beginning dedicated to the challenge of speed and the taste for danger, finds its centre of gravity in the long sequence of the visit to Palazzo Gonzaga, a scene from which variations on the themes of the double, incest, the decline of humanistic civilisation and a dense network of intertextual references unfold. Particular prominence is given to the comparison with Vernon Lee’s writings dedicated to Mantua and the labyrinth.
本文的目的是调查的第一章的Forse che sì Forse che no(1910)。丹农齐奥的最后一部小说汇集了未来主义所推崇的技术时代的神话，以及被禁止的欲望、衰弱的爱欲、疯狂和对过去的迷恋等相互冲突的力量。这一章的结构，在开始致力于速度的挑战和对危险的品味之后，在访问冈萨加宫的长序列中找到了它的重心，从这个场景开始，双重主题的变化，乱伦，人文文明的衰落和密密的互文参考网络展开。特别突出的是与弗农·李致力于曼图亚和迷宫的著作进行比较。
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Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/002
E. Maiolini
The article informs about the variation in Francesca da Rimini’s explicit between the printed edition (1902) and the autographed manuscript written in the summer of 1901. The reasons of this variation are reconstructed thanks to the documents kept in the Biblioteca Nazionale Centrale of Rome, in the Archivio Eleonora Duse of the Istituto per il Teatro e il Melodramma of the Fondazione Giorgio Cini in Venice and in the Georges Hérelle collection of the Médiathèque Jacques-Chirac of Troyes.
{"title":"L’ultima variante di Francesca da Rimini","authors":"E. Maiolini","doi":"10.30687/ada/2421-292x/2021/01/002","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2021/01/002","url":null,"abstract":"The article informs about the variation in Francesca da Rimini’s explicit between the printed edition (1902) and the autographed manuscript written in the summer of 1901. The reasons of this variation are reconstructed thanks to the documents kept in the Biblioteca Nazionale Centrale of Rome, in the Archivio Eleonora Duse of the Istituto per il Teatro e il Melodramma of the Fondazione Giorgio Cini in Venice and in the Georges Hérelle collection of the Médiathèque Jacques-Chirac of Troyes.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"139 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132743181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/005
Paola Martinuzzi
This paper focuses on the incipit of d’Annunzio’s plays written in French and first staged on French theatres. It analyses on one hand the thematic and structural link between the first scene of the play and the dramatic development and, on the other, the correspondences with French theatrical poetics.
{"title":"Gli incipit nelle opere francesi di d’Annunzio","authors":"Paola Martinuzzi","doi":"10.30687/ada/2421-292x/2021/01/005","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2021/01/005","url":null,"abstract":"This paper focuses on the incipit of d’Annunzio’s plays written in French and first staged on French theatres. It analyses on one hand the thematic and structural link between the first scene of the play and the dramatic development and, on the other, the correspondences with French theatrical poetics.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116105642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/016
P. Puppa
D’Annunzio, G. (2018). Francesca da Rimini. A cura di D. Pirovano. Roma: Salerno editrice, 280 pp.
d .安南遮，G.(2018)。来自里米尼的弗朗西斯卡。作者:D. Pirovano。罗马:萨莱诺出版社，280页。
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Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/003
A. Sgroi
The pastoral drama La figlia di Iorio (1904) is a concentrate of musical and linguistic experiments. Incipit and explicit have a very important function in it. In fact, they characterise the ‘stacchi’ or ties that characterise this text with a complex and undulating architecture, similar to a symphony. In this essay, these very important moments in the economy of tragedy are analysed.
{"title":"Sulle onde del «canto dell’antico sangue»: incipit ed explicit di La figlia di Iorio","authors":"A. Sgroi","doi":"10.30687/ada/2421-292x/2021/01/003","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2021/01/003","url":null,"abstract":"The pastoral drama La figlia di Iorio (1904) is a concentrate of musical and linguistic experiments. Incipit and explicit have a very important function in it. In fact, they characterise the ‘stacchi’ or ties that characterise this text with a complex and undulating architecture, similar to a symphony. In this essay, these very important moments in the economy of tragedy are analysed.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127857326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/014
Roberta Favia
The Tursi Fund, kept at the Cini Foundation and the Marciana Library in Venice, largely unpublished, preserves an important and unexplored heritage referring to the ‘Venetian period’ of d’Annunzio and to the political and military commitment in aviation during the first world conflict. The essay presents an integral and chronologically reconstruction of the entire collection with particular attention to the letters sent by d’Annunzio to Virginio Avi, director of the Gazzetta di Venezia between 1916 and 1918.
Tursi基金保存在威尼斯的Cini基金会和Marciana图书馆，大部分未发表，保留了重要的未开发遗产，涉及达南齐奥的“威尼斯时期”以及第一次世界大战期间航空的政治和军事承诺。这篇文章呈现了一个完整的和按时间顺序重建的整个收藏，特别关注1916年至1918年间，达南齐奥寄给《威尼斯公报》(Gazzetta di Venezia)主管维吉尼亚·阿维(virginia Avi)的信件。
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Pub Date : 2021-10-21DOI: 10.30687/ada/2421-292x/2021/01/017
P. Gibellini
D’Annunzio, G. (2021). Studi su Gesù. Appunti, Taccuini, Parabole. A cura di A.P. Cappello. Prefazione di G.B. Guerri. Pescara: Ianieri, 280 pp.
d .安南遮，G.(2021)。耶稣研究。笔记，笔记本，寓言。作者:帽子。g.b.格雷里的序言。佩斯卡拉:Ianieri, 280页。
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