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"Ogni segno e pittura": Carlo Levi's...

Lerner, Giovanna Faleschini.

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"Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi).

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi)./
Author:	Lerner, Giovanna Faleschini.
Description:	240 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4041.
Contained By:	Dissertation Abstracts International66-11A.
Subject:	Literature, Romance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3194752
ISBN:	9780542398087

"Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi).
Lerner, Giovanna Faleschini.

"Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi). - 240 p.

Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4041.

Thesis (Ph.D.)--University of Pennsylvania, 2005.

This dissertation explores the relation of word and image in the work of the painter and writer Carlo Levi. Reading Levi's major narratives through the lens of his philosophical and critical essays, the author explores the ways in which the tension between verbal and iconic systems of representations, spatiality and temporality, raised by his visual use of language, becomes an instrument of literary and political subversion, and contributes to the definition of Levi's humanistic cultural program. The interchange of word and image in Levi's work bears directly on contemporary scholarly interest in the inter-relation between verbal discourse and visuality, increasingly revealed as the site of a complex interplay of ideological and aesthetic elements. Partly because of Levi's own emphasis on the necessity of a connection between art and life, this work recognizes itself as part of the ethical current of literary criticism that has recently gained momentum in American academic circles. The first part of the analysis focuses on Christ Stopped at Eboli and The Watch, wherein the ekphrastic quality of Levi's prose introduces a tension between the spatiality of painting and the temporal dynamism of narration. Levi's privileging of the visual over the verbal affirms the value of the marginal culture of the peasant South threatened by a hegemonic intellectual and political system, dominated by the values of the industrialized North. In later works, Levi expands his ekphrastic use of language to challenge the notion of time and history as progressive forces. An analysis of Francesco Rosi's cinematic adaptation of Christ Stopped at Eboli is proposed as an epilogue to Levi's search for a form of expression in which the distance between word and image is conquered. In Rosi's film, Levi's notion of painting as epistemological process becomes a metaphor for the director's filmmaking. Art proves to be an effective instrument of meta-cinematic reflection on the specificity of cinematic language, the role of images, the possibility of realism, and the ethics of representation---all questions that are central to Levi's meditations on art and language.

ISBN: 9780542398087Subjects--Topical Terms:

1019014
Literature, Romance.

"Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi).
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245 1 0 $a "Ogni segno e pittura": Carlo Levi's visual poetics (Italy, Francesco Rosi).
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500 $a Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4041.
500 $a Supervisor: Millicent Marcus.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2005.
520 $a This dissertation explores the relation of word and image in the work of the painter and writer Carlo Levi. Reading Levi's major narratives through the lens of his philosophical and critical essays, the author explores the ways in which the tension between verbal and iconic systems of representations, spatiality and temporality, raised by his visual use of language, becomes an instrument of literary and political subversion, and contributes to the definition of Levi's humanistic cultural program. The interchange of word and image in Levi's work bears directly on contemporary scholarly interest in the inter-relation between verbal discourse and visuality, increasingly revealed as the site of a complex interplay of ideological and aesthetic elements. Partly because of Levi's own emphasis on the necessity of a connection between art and life, this work recognizes itself as part of the ethical current of literary criticism that has recently gained momentum in American academic circles. The first part of the analysis focuses on Christ Stopped at Eboli and The Watch, wherein the ekphrastic quality of Levi's prose introduces a tension between the spatiality of painting and the temporal dynamism of narration. Levi's privileging of the visual over the verbal affirms the value of the marginal culture of the peasant South threatened by a hegemonic intellectual and political system, dominated by the values of the industrialized North. In later works, Levi expands his ekphrastic use of language to challenge the notion of time and history as progressive forces. An analysis of Francesco Rosi's cinematic adaptation of Christ Stopped at Eboli is proposed as an epilogue to Levi's search for a form of expression in which the distance between word and image is conquered. In Rosi's film, Levi's notion of painting as epistemological process becomes a metaphor for the director's filmmaking. Art proves to be an effective instrument of meta-cinematic reflection on the specificity of cinematic language, the role of images, the possibility of realism, and the ethics of representation---all questions that are central to Levi's meditations on art and language.
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