Renato serra : l'homme et l'oeuvre
Institution:
Paris 4Disciplines:
Directors:
Abstract EN:
At the beginning of the 20th century, the traditional values were chal-lenged again, and it caused a severe crisis among the intellectuals, who felt excluded from the economical progress; serra feels it even more as he is personally tormented, and particularly sensitive, and it becomes the origin of an elaborate analysis and of a pathetic effort in order to take new resolutions. With his solid classical background, and being a faithful disciple of carducci, he defends the traditional culture against the anarchic inva-sion of the new ideas spread by the florentine group of "la voce", at least, as long as he has not discovered the ferments really able to deve-lop an authentic renewal. In spite of a deep provincialism and dilettan-tism, he keeps in touch with both italian and french novelties, and he renders a reliable account of the critics of his time. Instead of follo-wing croce like everyone else, he tries to make carducci's method more actual : it is a "know-how-to-read", that is to say a concrete and deep con-tact with the writer; it is also a technique which is half a reserved autobiography based upon the identity of the human soul and half a col-laboration intending to understand the work in all its dimensions and to promote it.
Abstract FR:
Au debut du 20 eme siecle, la remise en question des valeurs tradition-nelles engendre une crise severe chez les intellectuels exclus du pro-gres economique; chez r. Serra, elle est amplifiee par des tourments per-sonnels et une sensibilite particuliere et devient l'objet d'une ana-lyse fouillee et d'un effort pathetique de resolution. Dote d'une solide formation classique, disciple inconditionnel de carduc-ci, il defend la culture traditionnelle contre l'invasion anarchique des idees nouvelles propagees par le groupe florentin de "la voce", tout au moins, tant qu'il n'a pas repere les ferments reellements porteurs de renouveau authentique. Malgre un parti pris de provincialisme et de dilet-tantisme, il se tient au courant des parutions tant italiennes que fran-caises et se rend compte du remarquable essor de la critique a son e-poque. Au lieu de se ranger comme les autres sous la banniere de croce, il cherche a actualiser la methode de carducci : il s'agit d'un "savoirlire" visant un contact a la fois concret et profond avec l'auteur, d'u-ne technique qui oscille entre un autobiographisme contenu, base sur l'i-dentite de l'ame humaine et une collaboration, apte a comprendre l'oeu-vre dans toutes ses dimensions et a la promouvoir.