Between 1954 and 1963 Hildesheimer proposed four different versions of the theatrical fable Turandot, well known in Europe mainly thanks to the Carlo Gozzi’s play (1762) and the F. Schiller’s later rendition (1802). Hildesheimer distanced himself both from the Gozzi/Schiller tradition and from other nineteenth- twentieth-century versions, by focusing rather than on the main character – the Princess Turandot – on another figure, who was not present in the traditional versions: the fake Prince of Astrakhan. This new character is an adventurer/ artist, who is able to break the rules of the trial the story is centered around, unmasking the power games in the Peking Court. Throughout the following decade, Hildesheimer then turned the figure of the adventurer/artist/forger, provocatively recommitted, into an intellectual capable of social and political involvement.
- Introduzione. Wolfgang Hildesheimer: scrittura e coscienza
- Contributi
- Ricordi di Wolfgang Hildesheimer
- Hildesheimer oggi: tre sondaggi
- Hildesheimer e l’elemento ebraico
- Lieblose Turandot. Hildesheimer e la noia del potere
- Coscienza, anima, imperfezione. Il mito di Elena nella riscrittura di Hildesheimer
- Il trauma della colpa. Amnesia, afasia e psicosi in Nachtstück (1963) di Hildesheimer
- Volere o potere? Hildesheimer, Joyce e Anna Livia Plurabelle
- Officina di trascendenza: note di poetica e traduzione in Wolfgang Hildesheimer
- «Ich bin der Anschauung nach Surrealist und alles, was ich schreibe, ist surrealistisch»: le incursioni di Wolfgang Hildesheimer nella critica d’arte
- “Art and Life”. La biografia come maschera ed enigma nel Marbot di Hildesheimer
- Hildesheimer, l’ascolto e i paradossi del discorso musicale
- «Als ich noch Schriftsteller war». Ripensare Hildesheimer a partire dalla fine
- Il «Fondo Hildesheimer Wolfgang» presso la Veneranda Biblioteca Ambrosiana
- Saggi
- Wasserarcheologie nach der Zivilisation. Zukunftsdystopie und Science Fiction in Heinrich Bölls Erstlingsdrama «Ein Schluck Erde»
- Über Stefan Zweigs „dichterische“ Geschichtsvision und „dichterische“ Geschichtsschreibung
- Recensioni
- Abstracts