![]() du Carrefour, 1929.ĭe Chirico, G.: Ebdomero. Torino: Einaudi, 1984.ĭe Chirico, G.: Hebdomeros. ![]() Bologna: CLUEB, 2007.Įco, U.: Semiotica e filosofia del linguaggio. Torino: Einaudi, 1972.Ĭhristin, A.-M.: «Hebdomeros», Théâtre de mémoire. du Carrefour, 25 luglio 1929, n 2.īreton, A.: Manifesto del surrealismo (1924). De Chirico absorbed the deep sense of Surrealism: a man has to walk along an initiating path, guided by his thoughts and memories, with no other end than self-understandingĪntle, M.: Cultures du Surréalisme. In order to accomplish the difficult task of interpretation, one has to compare Hebdomeros with other coeval surrealist novels: René Crevel’s Babylone (1927) Robert Desnos’s La Liberté ou l’amour! (1927) Georges Limbour’s L’Acteur du Lancashire (1923) Michel Leiris’s Le Point cardinal (1927) Breton’s Nadja (1928). Life is, in De Chirico’s and his alter ego Hebdomeros’s mind, an intricate skein of enigmas, waiting to be interpreted. Inside, the erudition deriving from experience and memory outside the contemporary life, with its solicitations and spontaneity. The hero himself, Hebdomeros, is a room with a window – a window which is the direct link with the external world. ![]() Imitating the metaphoric space of a library, the narration combines the two dimensions of interiors and exteriors. De Chirico’s novel Hebdomeros (1929) is deeply influenced by contemporary Surrealist theories.
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