摘要：This paper is aimed at showing an unusual but significant application of the theory of adaptation, referring to the comparison between two works realized by Emilio Tadini during the early years of his artistic activity. Tadini restores the traditional formula of Paesaggio con figure ( Landscape with figures ): at first he applies it in writing a short story (1959) and then he translates it in painting (1960). During those same years, he defines his theory of «integral realism» («realismo integrale»), which would permit to represent the complexity of «happening», and he verifies its resistance coordinating the whole concept to representation forms and techniques thought for different media experimentation. Using as reference the contemporary debate about the theory of the avant-garde (Eco, Barilli, Dorfles) and the phenomenological philosophy (Paci, Merleau-Ponty), we try to weigh up the way Tadini set a theoretical hierarchy between these expressive forms: he realizes a programmatic course made up of a pars destruens , that shows the «defect» of narrative writing in front of an exceeding reality, which resist to any formalization, and of a pars construens , the reveals how the eidetic power and the «nuova figurazione» prospectivism allow to re-build an «open» but guaranteed critical interpretation.
其他摘要：This paper is aimed at showing an unusual but significant application of the theory of adaptation, referring to the comparison between two works realized by Emilio Tadini during the early years of his artistic activity. Tadini restores the traditional formula of Paesaggio con figure (Landscape with figures): at first he applies it in writing a short story (1959) and then he translates it in painting (1960). During those same years, he defines his theory of «integral realism» («realismo integrale»), which would permit to represent the complexity of «happening», and he verifies its resistance coordinating the whole concept to representation forms and techniques thought for different media experimentation. Using as reference the contemporary debate about the theory of the avant-garde (Eco, Barilli, Dorfles) and the phenomenological philosophy (Paci, Merleau-Ponty), we try to weigh up the way Tadini set a theoretical hierarchy between these expressive forms: he realizes a programmatic course made up of a pars destruens, that shows the «defect» of narrative writing in front of an exceeding reality, which resist to any formalization, and of a pars construens, the reveals how the eidetic power and the «nuova figurazione» prospectivism allow to re-build an «open» but guaranteed critical interpretation.
关键词：Tadini;Paesaggio con figure;realism;nuova figurazione;Merleau-Ponty;Emilio Tadini;Paesaggio con figure;relazionismo;nuova figurazione;fenomenologia
其他关键词：Tadini; Paesaggio con figure; realism; nuova figurazione; Merleau-Ponty
