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Título: Il mito classico nell'opera di Cesare Pavese
Autores: Guardo Siino, Lina, 1936-
Fecha: 1992
Publicador: McGill University - MCGILL
Fuente:
Tipo: Electronic Thesis or Dissertation
Tema: Pavese, Cesare. Diavolo sulle colline.
Pavese, Cesare -- Knowledge -- Mythology, Greek.
Mythology, Greek, in literature.
Descripción: In the first chapter we intend to present, although in a restricted sense, some of the positions of the most recent critics, which will allow us to determine the meaning of our Author.
The next chapter is mainly dedicated to giving information which establishes the relationships between the most important mythological traditions and classical works. Such information will serve to find and establish the components of the Pavesian culture.
Cesare Pavese was born in Piemonte, Italy, in 1908, he lived in the historical period during which fascism and nazism triumphed and through all the horrors of the immediate after-war. Pavese's incapacity to be concretely active in the political field brings him to relive, in his writings, the ancient Italian cult of the Evocativo. This technique of his is a hermetic method of going through with his ethical social mission. To evoke a god in a moment of national crisis is a traditionally Italian ritual; while the invocation to a God or a Muse is also part of the literary tradition. The classicism of Pavese is now recognized by different critics. Their basis for this decision is his work Dialoghi con Leuco. However, our attention is more focused on the romance Il diavolo sulle colline which occupies the central part of the trilogy La Bella Estate.
This text Il diavolo sulle colline contains many meanings which requires different approaches--such as the cultural precedents of other authors, and even those of Pavese himself--to decipher. The many messages in this work can all be traced back to the concept of death and rebirth. Pavese uses themes which are beloved to Dante and the humanists, who were themselves inspired by the great Greek and Latin authors.
And thus, we are left wondering whether Il diavolo sulle colline was conceived according to the norms of the classical tragedy, which was based on the celebrations in honor of the god Dionisus (the Hellenic demon venerated by the Latins under the name of Bacchus, and affiliated with an old Italian divinity whose symbolic name was Liber Pater). Poli, a dominating figure in Il diavolo sulle colline could be the double of this god. Our discussion will therefore be founded on the testimony of mythographers.
From a methodological point of view, our analysis will not take into account the chronological sequences, but rather the themes which imply the operation of segmenting the text.
Idioma: it