Lo statuto dell’oggetto nell’opera di Guillevic

La Tesi affronta lo studio dell’opera del poeta francese Guillevic (1907-1997), alla luce del diverso statuto con cui gli oggetti possono comparire all’interno dei suoi testi. La problematica dell’oggetto è collocata all’interno delle più ampie questioni teoriche della rappresentazione e dell’immagine in poesia. La prima parte del lavoro è consacrata al livello più nettamente referenziale ravvisabile nei testi del poeta; nella seconda parte dello studio, è presa in esame la spiccata tendenza dell’autore a oltrepassare il dato percettivo, non per accedere a una realtà fantastica o surreale, ma per mettere in atto una rappresentazione della realtà filtrata da schemi intellettuali, conoscenze scientifiche e strutture geometriche; la terza parte della Tesi considera infine un terzo livello di allontanamento dalla realtà percepita, vale a dire la trasformazione dell’oggetto in simbolo.

The Dissertation studies the works of the French poet Guillevic (1907-1997), in the light of the different status that objets can assume in his texts. The problem of the objet is considered within the wider theorical question of the representation in poetry. The Dissertation examines the whole production, the main collections as well as the numerous and less known "plaquettes" published with several artists. The first part of the study, based on the referential level, analyses the autobiographical and historical origin of some objects, as well as the cases of representation able to reproduce the simultaneous richness of sensations in the reader, or, generally speaking, to create the illusion of a presence of the object. The metaphors with a descriptive function are expecially studied.Ths first part is also dedicated to a general synthesis of the complex relation that Guillevic has with matter and mechanisms of perception. The second part of the Dissertation shows how the poet often goes beyond the real data, not in order to reach a surreal dimension, but filtering reality by means of intellectual models, scientific knowledge and geometrical structures. The tendency of the poet to consider the objects in their generality, and not in their individual dimension, is also analysed thanks to some grammatical considerations. The third and last part of the study concerns a third level of distance from the reality of perception, which is the transformation of the object into a symbol, charged with abstract and complex significations.