Archivio d’Annunzio | 2016 | N. 3
Anno 2016 – N. 3
A cura di Gioele Cristofari
Titolo articolo: Prefazione
Lingua: Italiano
Pag. 7-8
Etichette:
Titolo articolo: Musiche popolari e paesaggi abruzzesi nelle Novelle dannunziane
Through his Novelle d’Annunzio offers his readers important examples of popular musical traditions from his native land; it is a profane, paraliturgic and extraliturgic music. It is a music of oral tradition that, by its very nature, is always liable to be altered, and was listened to but also practised by the poet in his youth; he manipulated it, partly transformed it and then fixed it, according to an exotic interpretation, in the abstract time of a myth. At a time when, in Italy, ethno-phonic studies were virtually non-existent, d’Annunzio manages to safeguard an important musical heritage by crystallising it in his literary work. In the Novelle music is immersed in an architectural and natural landscape that is already rich in diffused sounds and both vocal and instrumental performance, with their specific techniques, are expertly outlined.
Lingua: ItalianoPag. 9-20
Etichette:
Titolo articolo: Spazio letterario/spazio stilistico. Il paesaggio di ‘carta’ dell’Innocente
We will examine the ‘paper’ dimension of the landscape of the novel that d’Annunzio derived from the letters to Barbara Leoni and from French sources (Flaubert, Zola, Maupassant). The Innocente is calibrated by a realistic inspiration, the poetical processes visible in the construction of the landscape, from the palette choices, to the syntax and the rhetorical devices.
Lingua: ItalianoPag. 21-49
Etichette:
Titolo articolo: Il paesaggio della Grecia nei Taccuini
D’Annunzio does not dream, but really sees, leading an impressionistic and syncopated storytelling in which he portrays scenes of true reality. Léon Bakst (author of the theatrical productions of the Martyre de Saint Sébastien, La Pisanelle and Phaedra) similarly proceeds, drawing in some works, Narcisse (1911), L’Après-midi d’un Faune (1912), Daphnis et Chloé (1912), Helene de Sparte (1912), those figurative motifs that the poet notes in his travels, such as the intense green of nature, the austere red rocks, the arid and wild lands.
Lingua: ItalianoPag. 51-66
Etichette:
Titolo articolo: Elementi di paesaggio sonoro nel Solus ad solam di Gabriele d’Annunzio
Especially known for its autobiographical content and not for its structure of diary and epistolary, Solus ad solam is a complex book with a philological problem inside. A new way to read it is trying to highlight acoustic and auditive elements, using the definition of ‘soundscape’ given by Schafer in 1977. Collecting and creating an acoustic vocabulary, comparing it to the one in Notturno’s text, it is possible to find a new way to interpret both of them. Regarding this perspective, sounds, voice and everything connected to the ‘ear’ establish also a predominance of power, control and absence explicated in the structure.
Lingua: ItalianoPag. 67-79
Etichette:
Titolo articolo: Su le soglie del lido. Spazio e paesaggio nella Nave, tra d’Annunzio e Montemezzi
In 1918 Italo Montemezzi set La nave to music, a close adaptation by Tito Ricordi of Gabriele d’Annunzio’s tragedy of the same name. The essay discusses the presence and role of landscape, together with its marginality, in the original play, in the ensuing libretto, in Montemezzi’s score and in the stage-set designs of significant historical stagings of the opera. It analyses the specific strategies the poet, the musician and the set designer enacted to stage a plot taking place at the eve of the foundation of Venice in the Adriatic Lagoon.
Lingua: ItalianoPag. 81-96
Etichette:
Titolo articolo: Ut pictura poesis. D’Annunzio, Fortuny e la scena totale
The theme of the work is d’Annunzio and Fortuny’s art. In the essay the different phases of the relationship between the two artists are reconstructed, until d’Annunzio’s theatrical productions that were realised in collaboration with the painter, especially Francesca da Rimini. The two artists work in the wake of Wagner’s innovations and want to create a ‘total’ theatre, taking care of the different aspects of the décor: scenography, lighting effects, costumes. In this regard, Fortuny’s contribution was decisive. In fact, they will not have a happy outcome, even though the affinity between these two protagonists remained firm in the late nineteenth-century culture.
Lingua: ItalianoPag. 97-110
Etichette:
Titolo articolo: D’Annunzio paesista. Quattro stagioni tra natura e arte
The article traces the relationship of d’Annunzio with the figurative arts and describes the role of natural landscape and art in his works, from his early art criticism activity, to his colorist poetry and to his short stories writing, until late Research Prose passing through his production in prose and verse. D’Annunzio’s career is divided into four times of his writing, founded on the dialectic between nature and art, and the prevalence of interior and exterior: the ‘open air’ of the early phase was followed by an interior season (that of Piacere), which was followed by a new solar season (Laudi) before returning to the prevalence of interior with the prose of Notturno.
Lingua: ItalianoPag. 111-125
Etichette:
Titolo articolo: D’Annunzio e il paesaggio. Saggio di bibliografia
This brief paper is focused on the relationship between Gabriele d’Annunzio and the Italian landscape. In every page of his novels and in thousand lines of his poetry, d’Annunzio used the landscape in order to stress the qualities of his characters. He wrote about rocky coastlines, silent woods, breath-taking hills, ancient ruins, beautiful gardens and so on: here the reader can find a selected bibliography on this theme.
Lingua: ItalianoPag. 127-140
Etichette:
Titolo articolo: Lezioni di storia
Historical figures, like Marco Bragadin, and literary creatures taken from ancient and modern repertory – Ulysses, Glauco, Getrud and Ophelia (from Hamlet), St. Ursula (from Carpaccio) and Margherite Gauthier (from Traviata) – meet in a talk show. They should talk to each other, but in fact they tend to a monologue haunted by their own painful experience. Obviously they are eliminated by the appreciation of the public, due to a low share. In the meanwhile, out of the room dropping bombs, which allude to an imminent war, are felt.
Lingua: ItalianoPag. 141-155
Etichette:
Titolo libro/articolo recensito: L’Innocente
A cura di: Maria Rosa Giacon
Edizioni: BUR, Milano – 2012-2015
Lingua: Italiano
Pag. 159-162
Recensore/i: Michela Rusi
Etichette:
Titolo libro/articolo recensito: Da Gabriele D’Annunzio a Eleonora Duse ovvero dal «Fuoco» alle «Laudi»
A cura di: Maria Rosa Giacon
Edizioni: Edizioni Ca’ Foscari, Venezia – 2016
Lingua: Italiano
Pag. 163-165
Recensore/i: Anco Marzio Mutterle
Etichette:
Titolo articolo: Rassegna di pubblicazioni per il centocinquantenario della nascita di Gabriele d’Annunzio
Lingua: Italiano
Pag. 167-170
Etichette:
