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Parola e immagine nel novecento ital...

Mirabile, Andrea.

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Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori)./
Author:	Mirabile, Andrea.
Description:	207 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3323.
Contained By:	Dissertation Abstracts International66-09A.
Subject:	Literature, Romance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3190288
ISBN:	9780542340147

Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori).
Mirabile, Andrea.

Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori). - 207 p.

Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3323.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2005.

The dissertation analyzes the work of the Italian art historian Roberto Longhi and his followers, in particular the writers Anna Banti, Pier Paolo Pasolini, Giovanni Testori, but also Alberto Arbasino, Giorgio Bassani, and Attilio Bertolucci. All these authors, among the most important in the Italian literary scene of the second half of the 20th century, regularly contributed to the literary and artistic journal Paragone, founded by Longhi in 1950. The journal was devoted to the study of the relationships between literature and painting: Roberto Longhi and his group were interested in ekphrasis, i.e. the verbal description of a visual or plastic work of art. Longhi believed that writing could reproduce a painting, a fresco or a statue thanks to a 'translation' of the impressions, emotions and sensations produced by the visual experience of the work of art. Through what the scholar calls "equivalenze verbai," criticism and literature try to reproduce visual arts, especially painting, through: (a) the employment of tropes that imitate the structure of the visual text (for instance, the stone-like figures of Ferrara's painters are described with alliterations and technical terms taken from mineralogy and goldsmithing); (b) the use of a language close to the period of the actual painting described (for instance, paintings and frescos from the 17th century are described using words and expressions found in Baroque art treatises). The originality of Longhi and his group is twofold. On the one hand, they practice a mobile kind of ekphrasis, unusual in the typically static ekphrastic writing. On the other, they recover (or revive) characteristics of the Baroque, like the transgression of boundaries between genres and the passion for metaphor, with a 20th century avant-garde sensibility. Longhi was interested in the Futuristic theories of sensorial simultaneity therefore the ekphrastic description of the work of art tries to show its semiotic multiplicity, which includes its visual structure, its historical contextualization and its iconographic meaning. Tradition and modernity, description and narration mingle in a sort of "neo-Baroque" rhetoric, spread yet not fully analyzed in the contemporary Italian literature.

ISBN: 9780542340147Subjects--Topical Terms:

1019014
Literature, Romance.

Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori).
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245 1 0 $a Parola e immagine nel novecento italiano: L'ekphrasis in Longhi, Banti, Pasolini e Testori (Italian text, Roberto Longhi, Anna Banti, Pier Paolo Pasolini, Giovanni Testori).
300 $a 207 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3323.
500 $a Director: Antonio Illiano.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2005.
520 $a The dissertation analyzes the work of the Italian art historian Roberto Longhi and his followers, in particular the writers Anna Banti, Pier Paolo Pasolini, Giovanni Testori, but also Alberto Arbasino, Giorgio Bassani, and Attilio Bertolucci. All these authors, among the most important in the Italian literary scene of the second half of the 20th century, regularly contributed to the literary and artistic journal Paragone, founded by Longhi in 1950. The journal was devoted to the study of the relationships between literature and painting: Roberto Longhi and his group were interested in ekphrasis, i.e. the verbal description of a visual or plastic work of art. Longhi believed that writing could reproduce a painting, a fresco or a statue thanks to a 'translation' of the impressions, emotions and sensations produced by the visual experience of the work of art. Through what the scholar calls "equivalenze verbai," criticism and literature try to reproduce visual arts, especially painting, through: (a) the employment of tropes that imitate the structure of the visual text (for instance, the stone-like figures of Ferrara's painters are described with alliterations and technical terms taken from mineralogy and goldsmithing); (b) the use of a language close to the period of the actual painting described (for instance, paintings and frescos from the 17th century are described using words and expressions found in Baroque art treatises). The originality of Longhi and his group is twofold. On the one hand, they practice a mobile kind of ekphrasis, unusual in the typically static ekphrastic writing. On the other, they recover (or revive) characteristics of the Baroque, like the transgression of boundaries between genres and the passion for metaphor, with a 20th century avant-garde sensibility. Longhi was interested in the Futuristic theories of sensorial simultaneity therefore the ekphrastic description of the work of art tries to show its semiotic multiplicity, which includes its visual structure, its historical contextualization and its iconographic meaning. Tradition and modernity, description and narration mingle in a sort of "neo-Baroque" rhetoric, spread yet not fully analyzed in the contemporary Italian literature.
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