Collana | Biblioteca di Rassegna iberistica
Miscellanea | Geométrica explosión
Capitolo | Las dos noches de Anastasio
Abstract
The representation of the gaucho in Estanislao del Campo is friendly and very different from the usual emblem raised by nationalism showing the gaucho as a character of gloomy and antisocial temper. Similarly, the musicologist Richard Taruskin mentions that the sympathetic and inclusive operatic composition style in Russia was defeated by a hostile version with the extraneous, which is represented by the aesthetics of Glinka. A comparative reading of del Campo’s Fausto with a previous text of the Argentine writer shows how the melodrama that had stimulated the creation of the famous poem at first was not Gounod's Faust but Giovanni Pacini’ Saffo. I try to explain that change.
Lingua: it
Keywords Estanislao del Campo • Giovanni Pacini • Gaucho literature
Copyright © 2016 Aníbal Enrique Cetrangolo. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/6969-068-6/RiB-1-21
Traducción
Cultura
Literatura
Didáctica
Discurso
Léxico y semántica
Sintaxis
Introducción
DC Field | Value |
---|---|
dc.identifier |
ECF_chapter_219 |
dc.contributor.author |
Cetrangolo Aníbal Enrique |
dc.title |
Las dos noches de Anastasio |
dc.type |
Capitolo |
dc.language.iso |
it |
dc.description.abstract |
The representation of the gaucho in Estanislao del Campo is friendly and very different from the usual emblem raised by nationalism showing the gaucho as a character of gloomy and antisocial temper. Similarly, the musicologist Richard Taruskin mentions that the sympathetic and inclusive operatic composition style in Russia was defeated by a hostile version with the extraneous, which is represented by the aesthetics of Glinka. A comparative reading of del Campo’s Fausto with a previous text of the Argentine writer shows how the melodrama that had stimulated the creation of the famous poem at first was not Gounod's Faust but Giovanni Pacini’ Saffo. I try to explain that change. |
dc.relation.ispartof |
Biblioteca di Rassegna iberistica |
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
dc.issued |
2016-04-01 |
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/libri/978-88-6969-080-8/las-dos-noches-de-anastasio/ |
dc.identifier.doi |
10.14277/6969-068-6/RiB-1-21 |
dc.identifier.issn |
2610-8844 |
dc.identifier.eissn |
2610-9360 |
dc.identifier.isbn |
978-88-6969-080-8 |
dc.identifier.eisbn |
978-88-6969-068-6 |
dc.rights |
Creative Commons Attribution 4.0 International Public License |
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
item.fulltext |
with fulltext |
item.grantfulltext |
open |
dc.peer-review |
no |
dc.subject |
Estanislao del Campo |
dc.subject |
Estanislao del Campo |
dc.subject |
Gaucho literature |
dc.subject |
Gaucho literature |
dc.subject |
Giovanni Pacini |
dc.subject |
Giovanni Pacini |
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