Sunday, January 31, 2010

Sbi Atm Accept Maestro

1889! Naturalism

E 'year the Universal Exhibition in Paris

E 'the year in which they are published:

Mastro Don Gesualdo, by Giovanni Verga

Pleasure by Gabriele D'Annunzio

Myricae Giovanni Pascoli (1889-1991)

exhibition held in Bologna in 1888

" Bologna is beautiful. Italians do not admire, as it deserves, the in its architecture, and trecentistica quattrocentistic, terra cotta,

with the gracefulness of the lodges, the Veroni , the mullioned windows, frames. What spell had to be painted all red and in cinquecen to! " ( G. Carducci,
Thanks. Exhibition Bologna, June 10, 1888 )
Carducci and Pascoli

In the Piazza di San Petronio Surge clear in the gloomy winter towered Bologna,

and white snow on the hill ride.

sweet is the hour that the sun is about to die salutes
towers and 'S temple, star Petronio, yours

towers, whose battlements tant'ala lambe of a century, and the solemn temple

the solitary peak.

The sky brightness in cold diamond shines, and Aer
as silver veil lies

on 'the hole, slight fading back to the piers that rose dark
clipeata the arm of my ancestors.

linger on the high summits looking at the sun with a smile
languid purple,

that the gray stone in the dark crimson brick
seems to awaken the souls of the ages, and a desire

sad pe ' the hard air of alarm
red cheese, fragrant with warm evenings, when women

square dancing in a friendly and co
'Kings defeated the consuls returned. This

the fleeting muse to ride to where trembles
a vain desire of the ancient beauty.

(G. Carducci,
Odi Barbare
)

Library Zanichelli, Bologna

FUNERAL OF CARDUCCI

Sunday, January 24, 2010

Cruise Spots Fort Worth

French and Italian verismo, Giovanni Verga

Italian realist writers in developing their theories of literature and writing their works, they take moves, albeit with significant differences from

Naturalism says that in France in the seventies of the nineteenth century. .

the word "natural" appears for the first time in a

know

GGIO of 1858 the critic positivist Hippoliyte Taine (1828-1893). On the other hand the same Taine in 1865 will make a contribution to the theory of the novel and the study of human temperament showing that people are always determined by three factors: the laws of race and heredity, social environment, the historical moment (in French: race, milieu , moment). For Taine the model writer scientist was Balzac, the author of that great picture of French society in the Age of Restoration, which is the human comedy

, stressing its accuracy anatomist and chemist analyzing human nature and its pathological exceptions.

addition to Balzac, proposed by Taine, the school's literary models were the naturalist realist novelists of the fifties and sixties: first Gustave Flaubert, the author of Madame Bovary

(1857), for his theory of impersonality (Flaubert wrote in 1857: "The artist must be

in his work like God in creation, invisible and omnipotent, so that you hear everywhere, but do not ever see . "), and secondly the brothers Jules and Edmond de Goncourt , for their care to build their novels on the basis of a detailed documentation and direct representation and social environments for their attention to the lower classes, to phenomena of human degradation and pathological cases. Exemplary in this direction is the novel Germini Lacerteux (1865), which shows the degradation of physical and psychological integrity of a camerirera hysterical. But the real leader of naturalism was Emile Zola (1840-1902).

The concepts underlying the narrative are zoliana exposed in the most organic volume in The novel experimental

1880. Zola maintains that the experimental method of science, applied initially to inanimate bodies (chemistry, physics), then to living bodies (physiology) must now be applied to the sphere of "spiritual" acts of intellectual and passionate ' man. Consequently, the literature and philosophy, whose object of investigation such acts, should become part of science, by adopting the experimental method (hence the phrase "experimental novel

). These ideas take shape in the fundamental work of Zola, The Rougon-Macquart, the natural and social history of a family under the Second Empire

. It is a cycle of twenty novels, published between 1871 and 1893, when referring to Human Comedy of Balzac, the writer gives an overview of the company's French Second Empire through the stories of members of a family. Behind the facade of the purposes of scientific and raw realism "social" is easy but Zola to see there is still a fundamentally romantic temperament, which reveals itself in episodes sometimes lyrical or idyllic. Zola is also in the style away from the dry scientific report of pure essential: his prose is often redundant, full-bodied, rich color and sound. In Italy the influence of course, begin after the release of ' Assommoir

[The ammazzatoio] el'entusiastica review in 1877 who made the same year, Luigi Capuana on the "Corriere della Sera

: some novelists Italian critics and begin to plan the birth in our country's "modern novel" inspired by the same principles of French Naturalism. This group of writers meet in Milan between the end of 1877 and spring of 1878 and gives life to the movement of realism

corresponding index to French Naturalism. The first account of realist Giovanni Verga,

Rosso Malpelo, released in the summer of 1878, the first realistic novel of Capuana

Jacinta is 1879. The next year will be released Life Field of Verga, in early 1881, will publish the first novel of the cycle of "Losers" I Malavoglia. The Italian verismo

culture fully accepts the positivist, but stresses with much less energy when the scientific and social commitment in the representation. Endorses the concept and the deterministic theory of the need to move from low levels of social ladder than to climb higher, but tends to reject any theory of organic science that makes art a maid.

The Italians are realists landowners in the South, linked to conservative or reactionary positions: do not live the city life and working like the French naturalists, which instead are often Democrats, radicals and filosocialisti. Hence the difference of the contents: the realists are primarily farmers and the countryside (in much smaller city and the workers patronized by the French naturalists) and inspire rather to the problems posed by the "Southern question." The realists were more stringent than three Sicilian

Giovanni Verga, Luigi Capuana

and Federico De Roberto

. Adhered to the realism, though with less theoretical consciousness, pure

Matilde Serao , which is above the reality of Naples, the Tuscans Renato Fucini and Marco Pratesi . Pure D'Annunzio had a brief season, realistic, and the first lesson of Verismo continued in the first Pirandello and
Deledda. Although one of the masterpieces of realism

was released in 1894 (it is

The Viceroy of

Roberto De ) The parable of Verismo - opened in 1878 with Rosso Malpelo Verga - can be closed down between 1889, when it was published The pleasure of D'Annunzio , and 1891, when Pascoli print Myricae . It began the season Decadent . JOHN VERGA

Reverie The story that presents the excitement of patriarchal values \u200b\u200bis divided into four blocks. The first two contain the author's answer to the question put by his friend aristocratic. The third is a preview of the characters that would later be present in Malavoglia. The latest is the statement of
'

ideal oyster

namely the heroic devotion of the poor to their condition and the celebration of courageous resignation to fate. In the world of aristocratic and refined young lady, whose author was fascinated early in his creative period, Verga contrasts the world of the poor and oppressed, with their simple and poor life, but more authentic because it is based on resignation heroic in their own destiny. Life of simple values, feelings and pains of authentic and non-conventional attitudes and false as the aristocratic society. In the world of the city. chaotic and turbulent, constantly changing, he opposes the archaic society Sicilian Obviously made up of rhythms are always the same, poverty and employment, immutable hierarchy, of individual selfishness, violence of nature, but this more true because it is able to accept fully the hardness of the struggle for life. The "restlessness of thought

Tramp" the author contrasts " feelings myths that follow simple quiet, unchanged from generation to generation . But how to express this world through the impersonality fee depending on the approach realistic? In the news Verga explains it well " must be old, close all the horizon between two plates under the microscope and watch the small cases that form the small hearts beat . In this way, adopting the point of view of those who live that reality, the distance that separates the bourgeois world from that of the poor, is overcome with the fantasy. The superiority of the class that does not allow for fully empathize with the characters represented, it is passed through and out. In conclusion, we can say that this story-wise, the manifesto of poetic realist Verga, is important because, in addition to introducing the fees and realist ideals which the canon of impersonality, the religion of the family and the 'ideal oyster breaks with all the themes in his earlier literary production. In the novel, In fact, in almost all the others in the collection camp life, the issues are overcome romantic love about aristocrats and affirm the fundamental issues that relate to the world of the Southern populace, then the world will be present in the novel I Malavoglia . Incipit

Once, as the train passed near-Aci Trezza, you break into the car door, esclamaste: "I would stay there a month down there '." We went back there and not a month passed, but forty-eight hours, the townspeople who opened wide eyes looking at your big trunks have believed that there would be remained a par of years. On the morning of the third day, tired of seeing the ever green and blue, and count the cars passing by, you were at the station and, trinkets impatient with the chain of your little bottle of scent, craning their necks to see a convoy unchecked ever. In those forty-eight hours we had everything we can to make-Aci Trezza: walk in the dust of the road and we climbed on the rocks, under the pretext of learning to row you did it under the glove of the bubbles that were stealing kisses, we went on a sea romantic night, throwing the networks just to get something to 'boatmen would seem worthy of Busch's rheumatism, and the dawn surprised us in the top of the stack - Small, pale dawn, I still have before my eyes, streaked by large violet, dark green of the sea, gathering like a caress on that bunch of little houses that almost slept huddled on the shore, while the top of the rock, the sky clear and deep, you print your net figure, with his lines learned that you put your seamstress, and the fine and elegant profile that put you there. - You had a gray dress that seems made to sing with the colors of dawn. - A pretty picture indeed! And he guessed that you knew you too by the way you modellaste in your shawl and smiled with great staring eyes and tired to the strange spectacle, and that other strange and even trovarvici you present. What happened in vosytra little head then, to face the rising sun? You said only naively: "I do not understand how one can live here all my life."

SOME DEFINITIONS attributed by critics to the style of Rod

impersonal '

E' disappearance, the 'eclipse' narrated by the narrator, who Verga is theorized in the preface to the story's Lover Weeden, in the form of a letter to the writer and journalist Salvatore Farina. Verga is proposed not to filter the facts through their "lens" and to shift the reader to the fact "naked and honest." The reader must therefore follow the events and the development of the passions of the characters as if they were not told, but were held before his eyes dramatically.

REGRESSION

In relation to 'impersonality , Verga also apply the technique of regression of the narrative point of view, that becomes the inner world represented: the facts should be related, in the words of popular narrative. So the traditional narrator, spokesman of the author (and so speaker with the style and language of an educated person), "regressing" in the role of a narrator uneducated, an unnamed narrator who has the perspective and the way the characters express themselves.

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THE SCAPIGLIATURA

The SCAPIGLIATURA arose in Italy after 1860 and ended roughly in 1875. Including, strictly speaking, a group of poets and writers living in Milan or Milan (Emilio Praga, Arrigo Boito, Iginio Tarchetti, John Camerana, Carlo Dossi), which later were combined some prose writers Piedmont (John Faldella, Enrico Calandra) and to which you can add the juvenile Verga

novels and some poems of Carducci. The term "boheme"
; as literary phenomenon was essentially an expression of bourgeois anarchism: the bohemian intellectuals who were in fact did not accept middle-class facilities, where they saw the denial of their ideals of art and the values \u200b\u200bthey believed. It was, however, a sterile position, as they were unable to propose solutions. The Scapigliatura was essentially a fact of Milan, because Milan was the most advanced cities in economic and social where the old world views and social relations were rapidly melting away. Here the contrast between the bourgeois intellectuals and dreamers were more harsh. solutions were also taken artistic anarchist: the bohemian sought a new art with which to say the new feelings they felt, adhering to the modern society that attracts them and at the same time, they refused. So approached the French damned poets (which takes into account the horrible objective, not Relationship of Romanticism, the horrible aspects of the reality of their time) and the French naturalists who wanted the representation of reality. This taking elements from foreign cultures (in truth a little time and then artistically sterile) is a good thing, since it corresponds to the need to de-provincialize Italian culture, bringing it into direct contact with the most significant cultural foreign, especially French . Another important character was the complementarity of the arts were no more isolated arts, like literature or music, but the artist had to know the range of artistic expressions and merge, in literature, painting experience, the music, in short, the expressive values \u200b\u200bof culture.

"The colors, smells, shapes are hidden, narrow eapporti with music, and the time will come when you will play and sing a bunch of real flowers, a tray of sweets, a statue, a building, as now a sheet romance or a melodrama spirit, open on the lectern. " (C. Dossi,

Blue Note) For their literary, bohemian not tolerate the foreclosures, the reality is sung in its aspects, "not only the sky but also the mud", the investigation is extended to the subconscious, the predominant themes of literature
noir, there is a general love for the life of dissipation and vice, is viewed with sympathy the suicide. We challenge the bourgeois values \u200b\u200bof religion, homeland and family. The language used is simple, spontaneous, full of grafts from the dialect, but intentions are not popular: the bourgeois values \u200b\u200bthat fight does not want to rely on the quality of the folk world.