|Tipo di tesi||Tesi di dottorato di ricerca|
|Titolo||Zavattini e i poveri. (Sono matti?)|
|Titolo in inglese||Zavattini and the poor people. (Are they crazy?)|
|Settore scientifico disciplinare||L-FIL-LET/11 - LETTERATURA ITALIANA CONTEMPORANEA|
|Corso di studi||SCIENZE UMANISTICHE|
|Data inizio appello||2018-03-22|
|Disponibilità||Accessibile via web (tutti i file della tesi sono accessibili)|
La ricerca prende il via dalla considerazione che nell’opera di Cesare Zavattini è presente una tematica trasversale ai molti campi e generi artistici da lui praticati, cioè il tema dei poveri. L’obiettivo del presente studio è mettere in evidenza l’origine e l’evoluzione di questo tema attraverso i primi tre romanzi, in un arco temporale che va dal 1931 al 1941.
This thesis working hypothesis is that in Cesare Zavattini’s there is a “theme”, crossing to the many fields and genres he touched in his immense artistic production: namely the poor people. The purpose of our research is to identify the origin and the first development of such a theme in the first three novels published by Zavattini between 1931 and 1936 Adopting a literary-historical method this study shows the first steps of Zavattini’s early formation and career: a time profoundly shaped by the research of an original writing style and of a the same bound the artist’s need to mirror his individual consciousness of the real in his work. Attention has been payed to the emerging moment of Zavattini as a writer in Parma, and a large room is devoted to the three great Milan’s publishers who where the mentors of Zavattini all along th Thirties. The implementation of textual analysis and the use of unpublished archival resources, is supported by the main theoretical references, in order to deconstruct an innovative writing like Zavattini’s one. The thesis does not ignore the beginning of Zavattini as screenwriter, which runs parallel to the literary one: the role played by Zavattini in this domain makes of this comparison a necessity. As in his novels, also in his storylines and screenplays Zavattini’s option is to put at the center the real human being in the context of the real misery which marks the year before, during and after World War 2.