Μοναχική ποίηση. Από τον Mallarme στον Ελύτη

. Taking a cue part on 'midi d'un faune Mallarmé and the work of some French poets of the twentieth century, the intervention illustrates the evolution of the relationship between me and nature in Elitis. The text of Mallarmé appears as the first episode of a programmatic removal of any constraint analogue between the self and space. Following this break, the forms can not explain the condition of the lyric, although the space and the shapes do not cease to contribute to its "mate-neurship". Taking cue from the ITS Mallarme's Après-midi d'un faune and from the work of a variety of twen-tieth-century French poets, this contribution Focuses on the evolution of the self-report nature tionship in Elitis's work. Mallarmé's poem can be seen as the first stage of a systematic disrup-tion of the self / space analogical relationship. Following this disruption, forms no longer illu-strate the condition of the lyrical I, Although Both space and forms REMAIN ITS crucial to material manifestation.

.Prendendo spunto dall’Après-midi d’un faune di Mallarmé e dal lavoro di alcuni poeti francesi del Novecento, l’intervento illustra l’evoluzione del rapporto tra io e natura in Elitis. Il testo di Mallarmé appare come il primo episodio di una rimozione programmatica di ogni vincolo ana-logico tra l’io e lo spazio. In seguito a questa rottura, le forme non possono più illustrare la condizione dell’io lirico, sebbene lo spazio e le forme non cessino di contribuire alla sua “mate-rialità”. Taking its cue from Mallarmé’s Après-midi d’un faune and from the work of a variety of twen-tieth-century French poets, this contribution focuses on the evolution of the self-nature rela-tionship in Elitis’s work. Mallarmé’s poem can be seen as the first stage of a systematic disrup-tion of the self/space analogical relationship. Following this disruption, forms no longer illu-strate the condition of the lyrical I, although both space and forms remain crucial to its material manifestation.