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Traditionsbruch und Poetik des Vergnügens in der frühen Lyrik Aldo Palazzeschis

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Palazzeschi repeatedly underlined the bond between his comic talent and the avant-garde posture that led him to join the Futuristic movement. The common denominator between Palazzeschi and Futurism is the exaltation of humour, which is programmatically declared in Marinetti's manifesto Il Teatro di Varietà and in Palazzeschi's Il controdolore. The humoristic turning point in Palazzeschi's poetic career can be dated back to his discovery of Nietzsche's works in 1906. In Poemi (1909) the lyrical I explicitly refuses any identity with the poet and depicts itself as an acrobat. L'Incendiario (1910) celebrates the figure of the arsonist, sharpens the self-ironic representation of the poet and gives a parodic portrait of Palazzeschi's contemporary society. The comic tendency culminates in the poem E lasciatemi divertire!, where a poetics of amusement is explicitly formulated. On the linguistic and formal level, this implies the collapse of sense and the priority of phonetic, metric and rhythmic elements. Comic effects are achieved by repetitions, an ironic use of rhymes and a mixture of registers of speech. Just like the avant-garde rebellion, the humour derives from the conflict between the poet and society and thus reveals a tragic background.

Document Type: Research Article

Publication date: 2004-01-01

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