The evolution of "Turandot" in the transition from East to West: a descriptive study to analyze the change in "Turandot's story | ||||
| مجلة كلية الآداب - جامعة القاهرة | ||||
| Volume 2023, Issue 1, January 2023 | ||||
| DOI: 10.21608/jarts.2022.130053.1234 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Mennatallah Magdy Abdelsalam Abdelazim | ||||
| Department of Italian Language and Literature Faculty of Arts, Cairo University | ||||
| Abstract | ||||
| The present study is an introduction, which constitutes a small outline of my master's thesis, which examines the development of the story of Turandot. The novelty of this study consists in offering, from a descriptive perspective, different images of the character of Turandot to emphasize the points of encounter and clash in the transition from the Eastern to the Western world. The image of the strong and domineering woman, such as Turandot, occupies various locations in literature, not only Italian literature but also world literature. Puccini's Turandot is known as one of the composer's most famous melodramas, but it is the final product of several adaptations. This study therefore aims to briefly trace the evolution of Turandot's story over the centuries to discover the genesis of the Italian version. The work intends to follow the evolution of Turandot starting from the fairy tale by Nezami Ganjavi (1141-1209), to the tragicomedy by Carlo Gozzi (1720-1806) and the melodrama by Giacomo Puccini (1858-1924). In other words, it is necessary to point out the transition of the story of Turandot from the Eastern to the Western world. It is therefore necessary to shed light on the orientalist François Pétis de la Croix (1653-1713), a bridge between these two distant worlds. Secondly, I go on to analyze the characters in the works in question to fully understand the intrinsic poetics of each author. Finally, the different representational forms between tragicomedy and melodrama cannot go unnoticed. | ||||
|
Statistics Article View: 9 |
||||
