Journal | Archivio d’Annunzio
Journal Issue | 1 | 2014
Research Article | Il Fuoco: from Music to Silence, from Venice to Art
Il Fuoco: from Music to Silence, from Venice to Art
- Filippo Caburlotto email
Abstract
Usually known as d’Annunzio’s Venetian novel, Il fuoco (The flame of life) is a complex work in which the Italian city is more a symbolic item than a geographical setting. At the beginning, Venice has an artistic function and is seen as the cradle of Art, but then she disappears from the plot as soon as the main character (Stelio Effrena) becomes aware that he can create Art by himself. On the other hand, in the novel, Venice is the icon of music and music represents her artistic value, but the second part of the novel (The Empire of silence) can be interpreted as an overtake of Venice musical function. D’Annunzio had worked at Il fuoco for more than ten years, and at the end of 19th century his poetry was changing and moving to the Laudi. The new lyrical turn changed the symbolic meaning of the novel.
Published Oct. 30, 2014 | Language: it
Copyright © 2014 Filippo Caburlotto. 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/10.14277/2421-292X/452
Presentation
- Presentation
- Archivio d’Annunzio Redazione
- Oct. 30, 2014
Dannunzian Workshop
- D’Annunzio and the Opera: Libretto or Poetry?
- Adriana Guarnieri
- Oct. 30, 2014
-
«Impones plagiario pudorem»
D’Annunzio Novelist and the affaire des plagiats - Maria Rosa Giacon
- Oct. 30, 2014
-
«Il dilettante di sensazioni»
D’Annunzio’s Chromonymy: from the Novelle Della Pescara to the Notturno - Stefania Penasa
- Oct. 30, 2014
- Il Fuoco: from Music to Silence, from Venice to Art
- Filippo Caburlotto
- Oct. 30, 2014
-
Three Faces of Dante’s Francesca in the Prism of the Imaginific
Tre facce della Francesca dannunziana - Eva Colombo
- Oct. 30, 2014
- Simonetto: Gabriellino d’Annunzio Between Moretti and Marinetti
- Maria Teresa Imbriani
- Oct. 30, 2014
- D’Annunzio’s Letters to Re Riccardi
- Eugenio Salvatore
- Oct. 30, 2014
- D’Annunzio’s Memories of Abruzzo in the “Golden Prison”
- Giuseppe Papponetti
- Oct. 30, 2014
- D’Annunzio and Two Paintings by Astolfo De Maria at the Vittoriale
- Giuseppina Dal Canton
- Oct. 30, 2014
Dannunzian Civilisation
-
An Untranslated German Source by Angelo Conti
Rembrandt als Erzieher by Julius Langbehn - Enrico Bortolotto
- Oct. 30, 2014
- Il fanciullo: The Genesis of a Programmatic Text
- Francesca Suppa
- Oct. 30, 2014
- Interview with the Marquise
- Paolo Puppa
- Oct. 30, 2014
Schede e recensioni
- Gibellini, Pietro; Gambin, Enrica (a cura di) (2009). D’Annunzio, Gabriele: Il Piacere. Introduzione di Pietro Gibellini; note di Enrica Gambin. Milano: BUR
- Sara Campardo
- Oct. 30, 2014
- Gibellini, Pietro; Di Nino, Nicola (a cura di) (2010). D’Annunzio, Gabriele: Le vergini delle rocce. Introduzione di Pietro Gibellini; note di Nicola Di Nino. Milano: BUR
- Maddalena Rasera
- Oct. 30, 2014
- Gibellini, Pietro; Caburlotto, Filippo (a cura di) (2009). D’Annunzio, Gabriele: Il Fuoco. Introduzione di Pietro Gibellini; note di Filippo Caburlotto. Milano: BUR
- Beatrice Castellaro
- Oct. 30, 2014
- Gibellini, Pietro (a cura di) (2010). D’Annunzio, Gabriele: Cento e cento e cento e cento pagine del libro segreto di Gabriele d’Annunzio tentato di morire. Milano: BUR
- Beniamino Mirisola
- Oct. 30, 2014
- Di Carlo, Enrico (a cura di) (2007). D’Annunzio e Filippo De Titta: Carteggio (1880-1922) e altri documenti dannunziani. Lanciano: Carabba
- Rino Di Battista
- Oct. 30, 2014
- Cimini, Mario (a cura di) (2004). Carteggio D’Annunzio - Hérelle (1891-1931). Lanciano: Carabba
- Andrea Lombardinilo
- Oct. 30, 2014
- Menna, Mirko (a cura di) (2007). Al «candido fratello»…: Carteggio Gabriele D’Annunzio - Annibale Tenneroni (1895-1928). Lanciano: Carabba
- Angela Cimini
- Oct. 30, 2014
- Lombardinilo, Andrea (a cura di) (2005). D’Annunzio, Gabriele: Lettere a Natalia de Goloubeff (1908-1915). Lanciano: Carabba
- Alessandra Sigalotti
- Oct. 30, 2014
- Simeone, Aldo (a cura di) (2009). D’Annunzio, Gabriele; Puccini, Giacomo: Il carteggio recuperato. Lanciano: Carabba
- Michele Girardi
- Oct. 30, 2014
- Menna, Mirko; Castagnola, Raffaella (a cura di) (2011). Carteggio d’Annunzio - Bruers. Con un saggio di Leonardo Lattarulo. Lanciano: Carabba
- Paolo Orvieto
- Oct. 30, 2014
- Caburlotto, Filippo (a cura di) (2011). D’Annunzio, Gabriele: Inediti 1922-1936: Carteggio con Maria Lombardi e altri scritti. Prefazione di Pietro Gibellini. Firenze: Olschki
- Claudio Toscani
- Oct. 30, 2014
- Lombardinilo, Andrea (2008). L’ora della chimera: Segno simbolo linguaggio in d’Annunzio. Lanciano: Carabba
- Alessandra Sigalotti
- Oct. 30, 2014
- Mazza, Attilio; Bortolotti, Antonio (2010). Gli amuleti di d’Annunzio. Pescara: Ianieri
- Filippo Caburlotto
- Oct. 30, 2014
- Menna, Mirko (2009). Vite vissute di Gabriele d’Annunzio: Mitobiografie e divismo. Lanciano: Carabba
- Alessandra Sigalotti
- Oct. 30, 2014
- Curreri, Luciano (2011). Silenzi, solitudini, segreti: Altre metamorfosi dannunziane. Acireale; Roma: Bonanno
- Angela Cimini
- Oct. 30, 2014
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_article_91 |
|
dc.title |
Il Fuoco: from Music to Silence, from Venice to Art |
|
dc.contributor.author |
Caburlotto Filippo |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
|
dc.type |
Research Article |
|
dc.language.iso |
it |
|
dc.identifier.uri |
http://edizionicafoscari.it/en/edizioni4/riviste/archivio-dannunzio/2014/1/il-fuoco-dalla-musica-al-silenzio-da-venezia-allar/ |
|
dc.description.abstract |
Usually known as d’Annunzio’s Venetian novel, Il fuoco (The flame of life) is a complex work in which the Italian city is more a symbolic item than a geographical setting. At the beginning, Venice has an artistic function and is seen as the cradle of Art, but then she disappears from the plot as soon as the main character (Stelio Effrena) becomes aware that he can create Art by himself. On the other hand, in the novel, Venice is the icon of music and music represents her artistic value, but the second part of the novel (The Empire of silence) can be interpreted as an overtake of Venice musical function. D’Annunzio had worked at Il fuoco for more than ten years, and at the end of 19th century his poetry was changing and moving to the Laudi. The new lyrical turn changed the symbolic meaning of the novel. |
|
dc.relation.ispartof |
Archivio d’Annunzio |
|
dc.relation.ispartof |
Vol. 1 | October 2014 |
|
dc.issued |
2014-10-30 |
|
dc.identifier.issn |
|
|
dc.identifier.eissn |
2421-292X |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
dc.identifier.doi |
10.14277/2421-292X/452 |
|
dc.peer-review |
yes |
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