Las dos noches de Anastasio

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DC Field	Value
dc.identifier	ECF_chapter_219
dc.contributor.author	Cetrangolo Aníbal Enrique
dc.title	Las dos noches de Anastasio
dc.type	Chapter
dc.language.iso	it
dc.description.abstract	The representation of the gaucho in Estanislao del Campo is friendly and very different from the usual emblem raised by nationalism showing the gaucho as a character of gloomy and antisocial temper. Similarly, the musicologist Richard Taruskin mentions that the sympathetic and inclusive operatic composition style in Russia was defeated by a hostile version with the extraneous, which is represented by the aesthetics of Glinka. A comparative reading of del Campo’s Fausto with a previous text of the Argentine writer shows how the melodrama that had stimulated the creation of the famous poem at first was not Gounod's Faust but Giovanni Pacini’ Saffo. I try to explain that change.
dc.relation.ispartof	Library of Rassegna iberistica
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.issued	2016-04-01
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-080-8/las-dos-noches-de-anastasio/
dc.identifier.doi	10.14277/6969-068-6/RiB-1-21
dc.identifier.issn	2610-8844
dc.identifier.eissn	2610-9360
dc.identifier.isbn	978-88-6969-080-8
dc.identifier.eisbn	978-88-6969-068-6
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	no
dc.subject	Estanislao del Campo
dc.subject	Estanislao del Campo
dc.subject	Gaucho literature
dc.subject	Gaucho literature
dc.subject	Giovanni Pacini
dc.subject	Giovanni Pacini

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Las dos noches de Anastasio

Aníbal Enrique Cetrangolo Università Ca’ Foscari Venezia, Italia

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abstract

The representation of the gaucho in Estanislao del Campo is friendly and very different from the usual emblem raised by nationalism showing the gaucho as a character of gloomy and antisocial temper. Similarly, the musicologist Richard Taruskin mentions that the sympathetic and inclusive operatic composition style in Russia was defeated by a hostile version with the extraneous, which is represented by the aesthetics of Glinka. A comparative reading of del Campo’s Fausto with a previous text of the Argentine writer shows how the melodrama that had stimulated the creation of the famous poem at first was not Gounod's Faust but Giovanni Pacini’ Saffo. I try to explain that change.

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ISBN (PRINT)

978-88-6969-080-8

ISBN (EBOOK)

978-88-6969-068-6

Keywords: Estanislao del Campo • Gaucho literature • Giovanni Pacini

permalink: http://doi.org/10.14277/6969-068-6/RiB-1-21

Copyright: © 2016 Aníbal Enrique Cetrangolo. 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.

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