Use this URL to cite or link to this record in EThOS:
Title: Italian postwar experimentalism in the wake of English-language modernism
Author: Lalor, Doireann P.
ISNI:       0000 0004 2495 9128
Awarding Body: University of Oxford
Current Institution: University of Oxford
Date of Award: 2012
Availability of Full Text:
Access from EThOS:
Full text unavailable from EThOS. Please try the link below.
Access from Institution:
After World War II in Italy the cultural scene was in need of resuscitation. Artists searched for tools with which to revifify their works. Central to this, for many key figures in the fifties and sixties, was an engagement with English-language Modernism. This phenomenon has been widely recognised, but this thesis is its first sustained analysis. I draw together the receptions of three English-language Modernist authors – T. S. Eliot, Ezra Pound and James Joyce – who, as a triad, were instrumental in the radicalisation of the arts in Italy in the fifties and sixties. I show that their works were elevated as models of an experimental approach to language that was revisited by Italian artists – most notably by poets associated with the Neoavantgarde. The specific Modernist linguistic techniques which were adopted by the Italians that we will consider here are the mingling of languages and styles, the use of citations, and the perversion and manipulation of single words and idioms. The poets considered in most depth to exemplify this phenomenon are Edoardo Sanguineti, who was a major exponent of the Neoavantgarde, and Amelia Rosselli, who was more peripherally and problematically associated with the movement. Both poets desecrated the traditional language of poetry and energised their own poetry with recourse to Modernist techniques which they consciously and deliberately adopted from Eliot, Pound and Joyce. An unpicking of the mechanics of these techniques in Sanguineti's and Rosselli's poetry reveals that their texts necessitate an active mode of reading. This aligns with the intellectual ideas propounded by Walter Benjamin, Roland Barthes and Umberto Eco, all of whom grounded their theories on readership in analyses of the linguistic experiments of Modernism. Sanguineti's and Rosselli's poetry fulfil the characteristics of Eco's “open” work, Barthes' “polysemous” work, and bring about Benjamin's “shock-effect” in the reader. These radical linguistic techniques, appropriated from the Modernists, contribute to each poets' overall poetic projects – they enact Edoardo Sanguineti's anarchic and revolutionary impulses, and stage Amelia Rosselli's thematic conflicts.
Supervisor: Bush, Ronald; Tandello, Emmanuela Sponsor: AHRC ; National University of Ireland ; Foley-Bejar
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available
Keywords: English Language and Literature ; Languages (Medieval and Modern) and non-English literature ; Italian ; Italian,Romanian,Rhaeto-Romanic literature ; Literatures of Romance languages ; Amelia Rosselli ; Edoardo Sanguineti ; James Joyce ; Ezra Pound ; T.S. Eliot ; Modernism ; Neoavantgarde ; neoavanguardia