2005, ISBN: 9780520246867

University of California Press, 31.07, VIII, 498 Seiten / p. 12,7 x 3,3 x 20,3 cm, Broschiert / Paperback. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW u… Plus…

University of California Press, 31.07, VIII, 498 Seiten / p. 12,7 x 3,3 x 20,3 cm, Broschiert / Paperback. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - sehr guter Zustand / very good condition - An Essay on Pinocchio -- When I was a child, I spoke like a child, I thought like a child, I reasoned like a child: when I became a man, I gave up childish ways [t Corinthians 13. n]. -- ?Oh, I?m sick and tired of always being a puppet!? cried Pinocchio, rapping himself on the head. -- ?It?s about time that I too became a man? [chapter 25]. -- Astoundingly, psychology turns to the child in order to understand the adult, blaming adults for not enough of the child or for too many remnants of the child still left in adulthood -- [ James Hillman, ?Abandoning the Child? |. -- The brief tale that has made Carlo Lorenzini?s pseudonym and the name of his puppet household words was written betweenjuly 1881 andjanuary 1883, during which time it appeared serially and sporadically in the Giornaleper i bambini?one of Italy?s first periodicals for children. While it did not create a great critical stir among the literati in the first forty or fifty years following its publication as a volume in 1883, it did enjoy ever-increasing popularity as a book for children. The appeal of Collodi?s puppet has proven to be universal, but of especial interest is Giuseppe Prezzolini?s remark, in 1923, that ?Pinocchio is the testing ground for foreigners; whoever understands the beauty of Pinocchio, understands Italy.? That Pinocchio is the literary text that more than any other has been read by Italians in the twentieth century must make one wary about dismissing Prezzolini?s judgment as a mere boutade. It is also true, however, that no other work of Italian literature can be said to approach the popularity Pinocchio enjoys beyond Italy?s linguistic frontiers, where its only rivals?but only among cultivated readers and scholars? are The Divine Comedy and The Prince. -- Despite its popularity, Pinocchio is not understood as well as it deserves to be, at least in Prezzolini?s sense? that is, as an expression of the Italian character. For outside Italy Collodi?s tale is still taken almost exclusively as a story for children, who, though unlikely to miss the didactic message the author meant for them, are hardly capable of fully appreciating the tale?s underlying linguistic sophistication and narrative strategy, its various levels of irony and sociocultural innuendo, or its satirical thrusts against adult society. Nor do the numerous translations or rifacimenti indicate much awareness of these nonchildish features; such versions are so mono-lithically reductive that most non-Italian adults are unlikely to suspect the book?s subtleties and multifaceted context. -- But Prezzolini?s early remark is clearly intended to call our attention to the virtues of Pinocchio as a book for adults, a point upon which he expands fifty years later in an aphoristic pocket history of Italian literature. ISBN 9780520246867Italien 2005, [PU: University of California Press]<