Trap complex world of men in literature and then decipher it, examine it and understand it is a challenge that Ariosto did not spare himself, and from which came one of the most brilliant works that have ever been writing: the eternally contemporary and modern "Orlando Furioso," an extreme variety of colorful tapestry that has never, however, disorder and confusion, a "large canvas" to pack under the wings of the so-called technical dell'entrelacement (plot), and many exciting events and human lives and, as such, inextricably marked with motifs and color themes from pastels of emotion.
The great narrative ability of Ariosto, his irony and his disillusionment, the mastery of narrative techniques, the mediocritas (balance), and, above all, a passion for fantasy activity, they did bring the author of the sixteenth century a number of Ferrara Scholars such an exuberant personality of the Italian literature of the twentieth century that has loved and fully supported production techniques and Ariosto: Italo Calvino, the author has demonstrated his passion for the Furious He tells in a work of 1970 which offers a unique guide to the reading of Ariosto's Orlando Furioso, in which the verses of selected passages alternating a simple and passionate story where the author manages to remain faithful to the original work to be interpreted and accompanied him as an omniscient narrator and external.
Calvino's work is not to be considered only as the result of a great love of Ariosto, but is also an important operation used to send the reading (directed mainly to the younger generation) of such an important work is often not fully appreciated and understood. The key to resolution of the two issues mentioned can undoubtedly be a key feature on which you based the entire work: modernity.
L '"Orlando Furioso" is, in fact, the modern poem par excellence: the father of the soap opera and a first form of advertising. Ariosto, its author, it is so, the predecessor of the men of the twentieth century, a time when, often unknowingly, have projected the eternal shadows of the techniques and the genius of a man who lived more than four years earlier.
The year was 1963 when he appeared in Brazil in the first telenovela episodes daily. In Italy the first soap opera was broadcast in January 1982 on Channel 4 (then owned by Mondadori).
By definition, the telenovela is a serial narrative that aims to keep alive the attention of his audience and then a very rich use of twists, reversals, unexpected, warning signs, revelations sensational and decisive. It 'a development of events which, divided into installments, based on family feuds, betrayals, injustice, thwarted love, escapes, ambushes, disguises and illegitimate children, all events that involve a number of characters divided between Good and Evil. The typical feature of the soap opera is undoubtedly the fact that its plot can evolve indefinitely.
This definition can not easily reflect the Furious? The answer to this question was given by the same Ariosto and can be easily found in the reading of the work on lots of adventures adventure intertwined with other events, speaking of champions, the ladies and their thwarted love, for companionship, exercise and noble values, magic, virtue, follies and their effect on men.
to this compositional technique, as yet another "proof of love," Calvin was inspired to compose a beautiful novel, "The Castle of Crossed Destinies" (1973) tells of a castle in the middle of a forest as a refuge to those who are close by but at the same time deprives them of the word. To put an end to the silence, absolute ruler of the walls, the refugees tell their life by a pack of cards which have been arranged according to the rules of tarot cards on a single table where each story meets and intersects with others to form a ' only provision. Fidelity to Ariosto by Calvin, is not demonstrated only with the plot that binds the fates of those men found by chance in the enchanted castle, but it is clearly explained by two figures, with their respective stories that emerge between Characters: Orlando and Astolfo, crazy love story of Orlando and the history of the Moon Astolfo.
Let us now analyze the second aspect of the modernity of the Furious: The genius of Ariosto and his extraordinary technical and narrative skills have made, unconsciously, the author's father, an early form of advertising as an interruption of a narrative sequence in its climax. Skilled
is in fact the author continually in interrupting the action to introduce or continue to be other episodes, like its predecessors, only to be left open, in due course, included. In performing this task, the technique which has used the technique of Ariosto is defined as "defer", easily found in the verb endings of the songs. The expected interest narrative implies that the suspension results in a calcolatissima suspense that envelops the reader.
This suspense is comparable to the well-known by the public of telenovelas forced to live in expectation of the public agonizing end or the beginning of a new episode.
The only difference is name for that Ariosto was the technique of "defer" to the cinematic world of the twentieth century and become the genuine cliff-hanging.
The birth of the telenovela and advertising and are still, however, only two of the many issues it possible to consider the poem as one of the first and most important expressions of modernity.
Angela Walling
0 comments:
Post a Comment