Thesis etd-01132020-104257 |
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Thesis type
Tesi di laurea magistrale
Author
BANDINI, LAURA
URN
etd-01132020-104257
Thesis title
Personaggi senza emozioni: identificazione e figuralità nella scrittura bianca di Camus, Robbe-Grillet, Ellis
Department
FILOLOGIA, LETTERATURA E LINGUISTICA
Course of study
ITALIANISTICA
Supervisors
relatore Brugnolo, Stefano
correlatore Iotti, Gianni
correlatore Iotti, Gianni
Keywords
- figura
- figuralità
- identificazione
- Orlando
- personaggio
- personaggio senza emozioni
- ritorno del represso
- scrittura neutra
Graduation session start date
03/02/2020
Availability
Withheld
Release date
03/02/2060
Summary
A partire dall'opera dello scrittore francese A. Camus, sembra fare capolino nella letteratura contemporanea, la rappresentazione di personaggi che vengono ritratti <<senza emozioni>>, e cioè incapaci, almeno in apparenza, di reagire emotivamente rispetto alle circostanze in cui essi si trovano. Da Camus, passando per il Nouveau Roman, fino ad arrivare alla narrativa postmoderna di Ellis, questi personaggi e le loro storie vengono ritratti attraverso una scrittura, come la definisce R. Barthes, <<bianca>>, ovvero che quasi non si discosta dal linguaggio ordinario, e che pretende un certo tipo di neutralità. Ma la sola nozione di stile di scrittura non sembra essere sufficiente a valutare la qualità di un testo poetico, poiché ne trascurerebbe totalmente la dimensione figurale. Tuttavia, se il discorso sembra tornare per quei testi punteggiati da micro-figure, come la metafora, l’analogia, ecc. in questo elaborato, ho tentato di mostrare come, di fronte alle opere prese in analisi che sono, almeno in apparenza, sprovviste di queste figure, sembri necessario ampliare la visione che abbiamo di tali figure, e spostarsi dunque dalle micro-alle macro-figure. A tale proposito, F. Orlando scrive che: <<in certi casi lo spazio di testo in cui una figura ha sede sarà un paio di righe; ma in certi altri le migliaia di pagine che formano la totalità di un'opera sterminata>>. Dunque il testo potrà anche essere privo di metafore, analogie ecc., ma rimanere comunque tutto figurale, e dunque portatore di significati altri, e dunque in definitiva di un ritorno del represso. Per concludere, la mia analisi riflette inoltre sul modo in cui il processo identificativo sembra mettersi in moto di fronte a questi personaggi <<senza emozioni>>.
Starting with the work of the French writer A. Camus, the representation of characters who are portrayed <<without emotions>> seems to appear into contemporary literature, incapable, in appearance, of reacting emotionally to the circumstances sourranding them. From Camus, through Nouveau Roman, to Ellis postmodern fiction, these characters and their stories are portrayed through the <<white>> writing, as called by R. Barthes, that almost converges to the ordinary language, and demands a certain kind of neutrality. But the only notion of writing style is not enough to evaluate the quality of a poetic text, because it would totally neglect its figurative dimension. However, if the foregoing easly matches with the texts containing micro-figure (e.g. metaphors, analogies, etc ...) in this study i attempted to show the necessity, in front of texts that are apparently without these figures, to broaden the vision we have of these figures, and therefore to move from micro to macro-figures.
In this regard, F. Orlando writes that: <<in some cases the text space in which a figure has its seat will be a couple of lines; but in some others the thousands of pages that make up the totality of an exterminated work>>. So the text may also be devoid of metaphors, analogies, etc. , but still remain all figural, and therefore bearer of other meanings, and so of a return of the repressed. In conclusion, my analysis also reflects on how the identification process arises in front of these characters <<without emotions>>.
Starting with the work of the French writer A. Camus, the representation of characters who are portrayed <<without emotions>> seems to appear into contemporary literature, incapable, in appearance, of reacting emotionally to the circumstances sourranding them. From Camus, through Nouveau Roman, to Ellis postmodern fiction, these characters and their stories are portrayed through the <<white>> writing, as called by R. Barthes, that almost converges to the ordinary language, and demands a certain kind of neutrality. But the only notion of writing style is not enough to evaluate the quality of a poetic text, because it would totally neglect its figurative dimension. However, if the foregoing easly matches with the texts containing micro-figure (e.g. metaphors, analogies, etc ...) in this study i attempted to show the necessity, in front of texts that are apparently without these figures, to broaden the vision we have of these figures, and therefore to move from micro to macro-figures.
In this regard, F. Orlando writes that: <<in some cases the text space in which a figure has its seat will be a couple of lines; but in some others the thousands of pages that make up the totality of an exterminated work>>. So the text may also be devoid of metaphors, analogies, etc. , but still remain all figural, and therefore bearer of other meanings, and so of a return of the repressed. In conclusion, my analysis also reflects on how the identification process arises in front of these characters <<without emotions>>.
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