Mature Lady Grope In Bus

Giovanni Verga

Introduction to Naturalism

Italian realist writers in developing their theories of literature and writing their works, building, albeit with considerable differences, as 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 of "writer scientist" was

Balzac, the author of that great French society under the age of the Restoration, which is The Human Comedy

, stressing its accuracy anatomist and chemist analyzing human nature and its pathological exceptions. In 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 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. "), second brothers J ules and Edmond de Goncourt , for their care to build their novels based on a thorough 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 that underlie the narrative is laid down in zoliana organic form in the volume 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" but it is easy to see in Zola will maintain an essentially 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 fields 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 the social ladder to climb to the highest rate, but tends to reject any organic theory of 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 are inspired, if anything 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, Matilde Serao well, 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 continued in the first lesson of realism and Pirandello Deledda.

Although one of the masterpieces of realism

was released in 1894 (it is

The Viceroy De Roberto), the parable of realism - opened in 1878 with

Rosso Malpelo Verga - can be closed down between 1889, when it was published Pleasure D'Annunzio, and 1891, when printing Pascoli Myricae . It began the season Decadent .
GIOVANNI VERGA


LIFE AND WORKS (College Sismondi)

The News "Reverie"
The News which 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 latter is the mention of the 'ideal oyster

namely the heroic attachment to the condition of the poor 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 company done so archaic Sicilian rhythms are always the same, poverty and employment, hierarchies immutable, self-interest of individuals, 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 than 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 perfect oyster breaks with all the themes in his earlier literary production. In the novel, in fact, like almost all others in the collection camp life, are overcome issues relating to romantic love and aristocrats claim key issues that relate to the world of the Southern populace, then the world will be present in the novel The 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 we'd left a pair 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 train that never stuck. 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 cliff - a dawn small and pale, which I have before my eyes, streaked by large violet, the sea of \u200b\u200bdark green, like a caress on the collection of little houses that little group that slept almost curled up on the shore, while the top of the cliff, 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 oddity of this trovarvici you too. 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, 's "eclipse" of the narrator of the tale, which is theorized by Verga in the preface to the story Weeden's lover 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

Compared impersonal, Verga also apply the technique of regression of the narrative point of view, that becomes the inner world represented: the facts must be reported in the words of popular narrative. So the traditional narrator, spokesman of the author (and thus speaking style and language an educated person), "reverses" the role of an uneducated narrator, an unnamed narrator who has the perspective and the way the characters express themselves.

Romano Luperini modern
Verga, Laterza

Verga It reopens the case that all 'beginning of the 70 mobilized literary critics on the left. Reopens after decades of oblivion, thanks to a book by Luper Romano, Rod modern (Yale University Press, 185 pages, € 19)

Now that raises a Luperini Verga master of modernity, the precursor of Pirandello and Tozzi, even anticipating the European avant-garde, the issue returns to the mat. 'The interest Verga - says Luper - coincided with a particularly dramatic moments of our history: the first and second world war, the' 68. In times of tension the authors' heavy 'return to' agenda, while the postmodern theorizing the lightness and focused light on authors and themes, as also from the theories of Calvin. Thus, today, after years of neglect due also to 'eclipse of the Marxist critique that led to the decline of the debate on realism, we can hope for a return to' actuality of Verga. The controversy

years was born 70 starting from 'output in' 65, Writers and people of

of Asor, which proposed, remember Luper, a "new scheme is very important for our generation." The position of Asor? "It was a provocative position: while the traditional Marxism had supported the neo-realism and populism, Asor argued that the great decadent are the bearers of truth much more than the petty-bourgeois interior of neo-realism of the Communist Party." What then, as now, separating the different perspectives is critical now that, starting with a crucial question: what relationship there 'is one' s work Verga and his reactionary ideology?

Asor reply was that " belief that the people itself contains positive values \u200b\u200bto counteract the corruption of society, Verga does not exist "and that therefore" the rejection of a 'progressive ideology is the source, do not limit the success Verga. " Ultimately, Asor (which has never ceased to engage in Verga) 'the aesthetic has its own laws, not be confused with those of politics, "and for this

individuals in their" dream of regression to the original sources of history "the merit of Malavoglia: " Great trip made to 'back to the beginning of the world ". For Luperini," the newest and most radical message " Verga is another: I Malavoglia run out in the religion of the family or in the poetry of a remote world and charmed (...) halving the lesson and not to recognize the new and perhaps more radical message. " In support of this thesis, makes a number of observations to consider Verga's masterpiece as a 'social study': 'C' is - say - a rich variety of cultural and historical data (from the debate on the issue of the South, to the 'Inquiry in Sicily "Franchetti and Sonnino, to cooperate actively in a magazine like Review Weekly) that demonstrates how Verga went reworking the novel sources and ethnological materials of industry '. Thus, by Luper, I Malavoglia are a "reconstruction of the intellectual world of Trezza and not so much to sink in 'self-forgetfulness in a mythical world." While acknowledging that there 'is a strong lyrical aspect, Luperini emphasizes the presence of material data of the company, "gossip and malice, trafficking el' wearing of a country." Focusing on the modernity of Verga, Luperini focuses the 'human' s participation Malavoglia author of the vanquished, the sensitivity for the reverse dark of the progress that is about to submerge all the awareness of a historical turning point that makes selfishness and alienation. "In
Mastro-don Gesualdo - Luperini states - those who follow the logic of modernity destroys itself, the stuff is a cancer that kills: Rod goes to contrappelo modernity, knowing that the eternal laws of the struggle to bring life there, to natural selection. So in him there 'is regret, or nostalgia for the archaic world-rural, but lucid and tragic awareness of a historical trauma that leads to the eradication and corruption. This is an issue of extreme relevance in a historical moment, like ours, where what counts is only the market. " (Review by Paul Di Stefano, Il Corriere della Sera of February 16 2005).