摘要：The scope of the paper is to present the work and the poetics of Francesco Biamonti (1928 - 2001), a real man of the frontier, born and raised in San Biagio della Cima, on the far West of Ligury. Instead of dealing with the territory where the writer has lived all his life and set all his novels, the paper focuses on another threshold he has crossed with his work, that is the one between painting and writing, both of which he considered visual practices connected from a theoretical and technical point of view. The paper briefly deals with the education of Biamonti and, by examining some of his quotes, it would like to demonstrate that his writings aim at showing the landscape by an act of “donner à voir” whereby the space of action of the characters is visualised: such work is theoretically based on the reflections of philosophers and artists about perception (Merleau-Ponty and Cézanne above all) but also structurally inspired by the paintings the writer lived the most. This study is only a first step in the investigation of the traces (the memory) Biamonti’s work bares of the author’s readings on philosophy and art, especially painting.
其他摘要：The scope of the paper is to present the work and the poetics of Francesco Biamonti (1928 - 2001), a real man of the frontier, born and raised in San Biagio della Cima, on the far West of Ligury. Instead of dealing with the territory where the writer has lived all his life and set all his novels, the paper focuses on another threshold he has crossed with his work, that is the one between painting and writing, both of which he considered visual practices connected from a theoretical and technical point of view. The paper briefly deals with the education of Biamonti and, by examining some of his quotes, it would like to demonstrate that his writings aim at showing the landscape by an act of “donner à voir” whereby the space of action of the characters is visualised: such work is theoretically based on the reflections of philosophers and artists about perception (Merleau-Ponty and Cézanne above all) but also structurally inspired by the paintings the writer lived the most. This study is only a first step in the investigation of the traces (the memory) Biamonti’s work bares of the author’s readings on philosophy and art, especially painting.
