Pub Date : 2018-11-20DOI: 10.30687/ada/2421-292x/2018/05/013
L. Chapelle
The first time Gabriele d’Annunzio’s literary activity dealt with the classical antiquity dates back directly to 1879, when the author published his first poetic collection: Primo vere. It only includes four poetic translations from Horace Odes, but a new improved edition was republished in 1880 including twenty-three translations of nineteen Latin poems (from Catullus, Tibullus and most importantly from Horace) and of four Homeric hymns. A thorough analysis of the translations from ancient Greek allowed to discover the stylistic tendencies of the poet-translator and food for the though concerning the relationship between ancient Greek poetry and Dannunzian works.
{"title":"D’Annunzio ‘grecista’ in appendice a Primo vere","authors":"L. Chapelle","doi":"10.30687/ada/2421-292x/2018/05/013","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2018/05/013","url":null,"abstract":"The first time Gabriele d’Annunzio’s literary activity dealt with the classical antiquity dates back directly to 1879, when the author published his first poetic collection: Primo vere. It only includes four poetic translations from Horace Odes, but a new improved edition was republished in 1880 including twenty-three translations of nineteen Latin poems (from Catullus, Tibullus and most importantly from Horace) and of four Homeric hymns. A thorough analysis of the translations from ancient Greek allowed to discover the stylistic tendencies of the poet-translator and food for the though concerning the relationship between ancient Greek poetry and Dannunzian works.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128716112","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/009
A. Zollino
D’Annunzio, according to a Gadda’s remarkable declaration, constituted one of the pillars of his own formation. This paper focused on the controversial relationship between Gadda and d’Annunzio: after an initial infatuation, the more grounded Gadda takes on openly critical and parodic positions (in his works, but especially in some sarcastic epistolary communications with Gianfranco Contini). This attitude, however, is not constant over time and leaves place for unequivocal appreciation of the overall figure and specific areas of d’Annunzio’s production.
{"title":"«No, non il caval sauro, per noi»\u0000 Antifrasi e riferimenti dannunziani nell’opera di Carlo Emilio Gadda","authors":"A. Zollino","doi":"10.30687/ADA/2421-292X/2018/05/009","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/009","url":null,"abstract":"D’Annunzio, according to a Gadda’s remarkable declaration, constituted one of the pillars of his own formation. This paper focused on the controversial relationship between Gadda and d’Annunzio: after an initial infatuation, the more grounded Gadda takes on openly critical and parodic positions (in his works, but especially in some sarcastic epistolary communications with Gianfranco Contini). This attitude, however, is not constant over time and leaves place for unequivocal appreciation of the overall figure and specific areas of d’Annunzio’s production.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124335681","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/012
Mara Giacon
After a brief illustration of the problem of plagiarism between the late nineteenth and early twentieth centuries, the essay aims to reconstruct and analyse, with a wide-ranging text sampling, the positions of two of the leading exponents of ‘contra d’Annunzio’ in that period: Enrico Thovez and Gian Pietro Lucini. In addition to the specific contribution on the affaire des plagiats, in which d’Annunzio himself was involved, the essay aims to highlight the anti-plagiarism struggle conducted by the two polemists, as a relevant episode of Italian cultural history in the early twentieth century.
{"title":"Gabriele d’Annunzio «grande plagiario al cospetto di Dio»","authors":"Mara Giacon","doi":"10.30687/ADA/2421-292X/2018/05/012","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/012","url":null,"abstract":"After a brief illustration of the problem of plagiarism between the late nineteenth and early twentieth centuries, the essay aims to reconstruct and analyse, with a wide-ranging text sampling, the positions of two of the leading exponents of ‘contra d’Annunzio’ in that period: Enrico Thovez and Gian Pietro Lucini. In addition to the specific contribution on the affaire des plagiats, in which d’Annunzio himself was involved, the essay aims to highlight the anti-plagiarism struggle conducted by the two polemists, as a relevant episode of Italian cultural history in the early twentieth century.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121122532","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 : 2018-11-20DOI: 10.30687/ada/2421-292x/2018/05/005
M. Imbriani
In Benedetto Croce's autobiography, Contributo alla critica di me stesso, the name of Gabriele d’Annunzio seems to underline the cultural and moral difference between the philosopher and the writer. The present essay analyses this particular passage in Croce’s text as it develops within precise historical contingencies: the writing of the Contributo is dated between April and May 1915, that is, precisely at the time of Italy’s entry World War 1, while d’Annunzio animates and excites the so-called ‘maggio radioso’.
在Benedetto Croce的自传《Contributo alla critica di me stesso》中，Gabriele d’annunzio这个名字似乎强调了哲学家和作家之间的文化和道德差异。本文分析克罗齐文本中的这段特殊段落，因为它是在精确的历史偶然事件中发展起来的:《贡献》的写作日期是在1915年4月至5月之间，也就是说，正是在意大利参加第一次世界大战的时候，而d ' annunzio则活跃并激发了所谓的“maggio radioso”。
{"title":"Croce vs d’Annunzio nel Contributo alla critica di me stesso","authors":"M. Imbriani","doi":"10.30687/ada/2421-292x/2018/05/005","DOIUrl":"https://doi.org/10.30687/ada/2421-292x/2018/05/005","url":null,"abstract":"In Benedetto Croce's autobiography, Contributo alla critica di me stesso, the name of Gabriele d’Annunzio seems to underline the cultural and moral difference between the philosopher and the writer. The present essay analyses this particular passage in Croce’s text as it develops within precise historical contingencies: the writing of the Contributo is dated between April and May 1915, that is, precisely at the time of Italy’s entry World War 1, while d’Annunzio animates and excites the so-called ‘maggio radioso’.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"517 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123104011","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/006
P. Puppa
This essay analyses the critical hatred shown by Pirandello against d’Annunzio. And especially in the private letters sent to his beloved actress, the hostility maintains all his aversion, although in public the relationship has been transformed into collaboration, during the staging of the Figlia di Iorio in 1934. And yet, the Pirandellian work reveals withdrawals from the d’Annunzian one.
本文分析了皮兰德娄对达农齐奥所表现出的批判仇恨。尤其是在写给他心爱的女演员的私人信件中，敌意保持着他所有的厌恶，尽管在公开场合，他们的关系已经转变为合作，在1934年的Figlia di Iorio的舞台上。然而，皮兰德利的作品揭示了从达农兹的作品中提取出来的东西。
{"title":"Pirandello vs d’Annunzio","authors":"P. Puppa","doi":"10.30687/ADA/2421-292X/2018/05/006","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/006","url":null,"abstract":"This essay analyses the critical hatred shown by Pirandello against d’Annunzio. And especially in the private letters sent to his beloved actress, the hostility maintains all his aversion, although in public the relationship has been transformed into collaboration, during the staging of the Figlia di Iorio in 1934. And yet, the Pirandellian work reveals withdrawals from the d’Annunzian one.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125138775","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/004
G. Oliva
D’Annunzio and De Lollis (both born in 1863 and in the same region) present, in their cultural journey, moments of contact and collaboration, especially in the early years, and contrasts and oppositions, mainly due to different artistic choices and general attitude that led De Lollis to strongly criticise the Poet. From the initial common collaborations with Roman newspapers, we arrive at the moment in which De Lollis moves against d’Annunzio’s art, which was no longer based on solid ethical principles as in the Carduccian lesson but was seen as a superficial and soul-less art, in the triumph of rhetoric. The decisive difference was revealed at the time Italy entered the war, when De Lollis openly criticised d'Annunzio’s position as soon as he returned from France.
D 'Annunzio和De Lollis(都出生于1863年，在同一个地区)在他们的文化之旅中，呈现了接触和合作的时刻，特别是在早期，对比和对立，主要是由于不同的艺术选择和普遍态度，导致De Lollis强烈批评诗人。从最初与罗马报纸的共同合作开始，我们到达了德·洛利斯反对达南齐奥艺术的时刻，达南齐奥的艺术不再像卡杜西亚的课程那样基于坚实的道德原则，而是被视为一种肤浅的，没有灵魂的艺术，在修辞的胜利中。决定性的分歧在意大利参战时显露出来，德洛利斯从法国一回来就公开批评达南齐奥的立场。
{"title":"Di un amico avverso","authors":"G. Oliva","doi":"10.30687/ADA/2421-292X/2018/05/004","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/004","url":null,"abstract":"D’Annunzio and De Lollis (both born in 1863 and in the same region) present, in their cultural journey, moments of contact and collaboration, especially in the early years, and contrasts and oppositions, mainly due to different artistic choices and general attitude that led De Lollis to strongly criticise the Poet. From the initial common collaborations with Roman newspapers, we arrive at the moment in which De Lollis moves against d’Annunzio’s art, which was no longer based on solid ethical principles as in the Carduccian lesson but was seen as a superficial and soul-less art, in the triumph of rhetoric. The decisive difference was revealed at the time Italy entered the war, when De Lollis openly criticised d'Annunzio’s position as soon as he returned from France.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127490240","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/010
I. Crotti
Giovanni Comisso, after d’Annunzio passed away, proposed to place his artistic figure in the framework of the contemporary critical horizon, selecting a very peculiar formal line, distinguished by ‘clarity’, in order to measure himself and, together, to take the necessary distances from the teaching of the ‘Vate’. In the second part of this paper, a Comissian critical essay is published, which appeared in the early ’60s in Il Mondo of Pannunzio and has remained in the shadows so far; in it we summarise an exemplary historiographical and stylistic balance of the Italian narrative between the 19th and the beginning of the 20th century, re-reading in perspective and under another way d’Annunzio’s function.
{"title":"La linea stilistica della «chiarezza poetica»\u0000 Comisso vs d’Annunzio","authors":"I. Crotti","doi":"10.30687/ADA/2421-292X/2018/05/010","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/010","url":null,"abstract":"Giovanni Comisso, after d’Annunzio passed away, proposed to place his artistic figure in the framework of the contemporary critical horizon, selecting a very peculiar formal line, distinguished by ‘clarity’, in order to measure himself and, together, to take the necessary distances from the teaching of the ‘Vate’. In the second part of this paper, a Comissian critical essay is published, which appeared in the early ’60s in Il Mondo of Pannunzio and has remained in the shadows so far; in it we summarise an exemplary historiographical and stylistic balance of the Italian narrative between the 19th and the beginning of the 20th century, re-reading in perspective and under another way d’Annunzio’s function.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128373213","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 : 2018-11-20DOI: 10.30687/ADA/2421-292X/2018/05/008
Gavino Piga
D’Annunzio is often mentioned, in Savinio’s works, as a typical representative of a cultural trend rather than as an author in his own right. This is due to the fact that, according to Savinio, the aesthetistic poetry is incapable of an authentic artistic creation, because it finds its place naturally in the field of imitation. Therefore, d’Annunzio’s works are the results of an anonymous and regressive experience, which is the perfect antithesis of Savinio’s idea about art. But this subject is structurally connected with a global and very original view of the world that Savinio develops especially during and after the World War 2. This work investigates the complex ties between the Savinio’s ‘antidannunzianismo’ and the development of his global elaboration.
{"title":"D’Annunzio, nome comune\u0000 Note sulla critica saviniana agli estetismi","authors":"Gavino Piga","doi":"10.30687/ADA/2421-292X/2018/05/008","DOIUrl":"https://doi.org/10.30687/ADA/2421-292X/2018/05/008","url":null,"abstract":"D’Annunzio is often mentioned, in Savinio’s works, as a typical representative of a cultural trend rather than as an author in his own right. This is due to the fact that, according to Savinio, the aesthetistic poetry is incapable of an authentic artistic creation, because it finds its place naturally in the field of imitation. Therefore, d’Annunzio’s works are the results of an anonymous and regressive experience, which is the perfect antithesis of Savinio’s idea about art. But this subject is structurally connected with a global and very original view of the world that Savinio develops especially during and after the World War 2. This work investigates the complex ties between the Savinio’s ‘antidannunzianismo’ and the development of his global elaboration.","PeriodicalId":170358,"journal":{"name":"Archivio d’Annunzio","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131817597","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：