Leitura e interculturalidade no ensino de italiano como língua estrangeira no Centro de Línguas (Celin) da UFPR

O presente artigo analisa três livros de leitura, utilizados pelos alunos do nível III (A2) no Centro de Línguas e Interculturalidade (Celin) da Universidade Federal do Paraná (UFPR). A partir da análise, propõe-se uma prova oral e uma atividade complementar online para um dos livros. Os três livros analisados são: Un Giorno Diverso, Il Manoscritto di Giotto (ambos de leitura graduada) e Alberto Moravia (livro de literatura adaptada), todos da editora Edilingua, classificados como A2-B1 segundo o Quadro Comum Europeu de Referência para Línguas. Para realizar a análise, foi considerado o contexto de uso desses livros de leitura e também o material didático utilizado pelos alunos do curso de italiano no Celin. Foram investigados os campos semânticos, os aspectos interculturais e o conteúdo linguístico dos três livros de leitura e do livro didático. A partir das conclusões, foi escolhido o livro de literatura adaptada, Alberto Moravia, e foi elaborada uma prova oral e uma atividade complementar online para esse livro, ambas apoiadas na abordagem intercultural (KRAMSCH, 1993, 2017).

Ευκολόπιστη Ιερουσαλήμ; Ωδή στον Alberto Moravia; Αερόπολης Πολιτεία; Βρύα με χρώμα βιολετί;

Ποίηση

Gustaw Herling-Grudziński e la letteratura italiana del XX secolo

Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

A orgia

Sérgio Gabriel Muknicka [Trad.]; Alberto Moravia [Autor]

Natividade, de Alberto Moravia

A existência mundana e entediante de Matteo é revolvida pela novidade que sua esposa, Maria, anuncia: eles logo teriam um bebê. Por meio de um olhar altivo de um homem que encarna todos os vícios da burguesia italiana durante o regime fascista, Moravia coloca em cena uma espetacular aparição noturna de Maria, em uma ambígua coabitação entre o real e o mágico. Escritura realista ou paródia do acontecimento religioso, “La Natavità ” é um dos primeiros contos de Alberto Moravia, que carrega consigo a veia surrealista e satírica em voga na produção narrativa italiana dos anos 40.

A Brasília de Alberto Moravia

Provavelmente, o principal motivo que trouxe Alberto Moravia ao Brasil e que deu origem ao texto que ora traduzo, tenha sido a inauguração de Brasília, em abril de 1960. Concluída apenas 15 anos após o fim da Segunda Guerra Mundial, a nova capital carregava um forte simbolismo com sua aura de modernidade e futuro, atraindo a atenção dos europeus sedentos de esperança. O artigo sobre Brasília faz parte de uma série de seis relatos sobre o Brasil publicados pelo jornal milanês Corriere della Sera, em 1960. A leitura dos relatos revela que o autor não cultivava a retórica e o enaltecimento gratuito das pessoas e lugares que visitava. Seu texto é límpido, direto, questionador.

Symbolics of the novel “The Woman of Rome” by Alberto Moravia

This article analyzes the novel “The Woman of Rome” (1947) by the Italian author of the XX century Alberto Moravia. As in his other novels, Moravia features a one reflexing character, creating an authorial intention in the oeuvre. The article examines special symbolics in the novel. The events take place in the 1940’s, during the Fascism era in Italy: the heroine is a victim of indifference and cruelty of the society and her own weakness, inability to refuse material gains, defend her values and dreams. Emphasis is also made on interaction between the social classes. Unlike the heroes of other novels of Alberto Moravia, Adriana loses her place in the society, changing her behavioral patterns and undergoing reassessment of values. Each character interacting with her can be interpreted as a symbol, representative of a certain class they belong to. And each of them exploit and impact her in their own way. The text in question can be considered as neo-realistic or existential. The author also underlines common traits of the protagonists of Moravia’s novels. For example, Cesira the heroine of the novel “Two Women” (“La Ciociara”, 1957) belongs to petite bourgeoisie, she also experience the transformation of life attitudes, having become a witness of dehumanization of people and overall indifference towards the fate of the country; but unlike Adriana, who is a victim, she manifests in role of a witness. The scientific novelty consists in analysis of symbolics of the novel and correlation between fate of the heroine and fate of the country. The heroines in the works of Alberto Moravia symbolize Fascist era in Italy differently; only in case with Adriana she personifies the changes, reaching the moral decline and perverting her inner self under the influence of fascism. Analysis is conducted on peculiarities of narration in the novel: her story can be perceived as a confession, or as a conversation with an understanding friend. This softens the perception of tragic events in the novel, since in increases the level of trust of the audience to the heroine. Symbolics of the novel includes the images of Madonna and Danaë (Titian’s painting).

El Cine y la Villa Malaparte de Capri

La Pelle, novel or autobiographical story by Curzio Malaparte and La Pelle, film by Liliana Cavani. Written hypotext and visual hypertext in terminology of literary and interartistic theory. On the other hand there are Il disprezzo, novel by Alberto Moravia and Le Mépris, film by Jean-Luc Godard, in a similar condition. There is always an intermediate step: it is the script, written but already prefiguring moving images. We can consider it both hypotexts of the novel and hypertext of the film. In Liliana Cavani’s film, the Malaparte house is necessarily the same as in the novel, where it appears and is explicitly described. However in the case of Le Mépris it is a choice of Godard, since the reference to the house in the novel only prefigures that the house is in Capri and has nice views to Punta Campanella. As we will see some of the locations, when adapting to the configuration of the Malaparte, extract from the house specific original possibilities of the film and in some way they bring new approaches of greater plasticity to the scenes while, however, the dialogues between the characters remain almost intact. One example is the way in which a singular element such as the upper terrace of the house replaces the beach where Molteni, the screenwriter, finds his wife Emilia. The same terrace appears as well as the set of the Odyssey version that begins to be shoot precisely at the end of Le Mépris.