This work aims to rebuild the literary beginnings of Gadda from a philological and critical point of view, by comparing published and unpublished projects. Cronological limits of the survey are the years 1924 - when the writer, back from Argentina, can finally devote himself to writing, and attend the courses of the Accademia Scientifico-Letteraria - and 1934 - when the publication of his second book, Il castello di Udine, is preceded by a review written by Gianfranco Contini, in which the category of pastiche is used for the first time. The analysis of the author's first production has been conducted with a cronologic and thematic approach. The span considered has been divided into two blocks - 1924-1929 (Part I) and 1930-1934 (Part II) - highlighted by both relevant biographic events and clear breaks in the artistic path. The first part is organized into three sections: the academic studies, the encounter with the narrative dimension, and the descriptive proses. In the second part instead the works realized on a commision basis for magazines and newspapers have been separated by those of narrative genre.
Gadda prima di Contini. Dai primi scritti al
2019
Abstract
This work aims to rebuild the literary beginnings of Gadda from a philological and critical point of view, by comparing published and unpublished projects. Cronological limits of the survey are the years 1924 - when the writer, back from Argentina, can finally devote himself to writing, and attend the courses of the Accademia Scientifico-Letteraria - and 1934 - when the publication of his second book, Il castello di Udine, is preceded by a review written by Gianfranco Contini, in which the category of pastiche is used for the first time. The analysis of the author's first production has been conducted with a cronologic and thematic approach. The span considered has been divided into two blocks - 1924-1929 (Part I) and 1930-1934 (Part II) - highlighted by both relevant biographic events and clear breaks in the artistic path. The first part is organized into three sections: the academic studies, the encounter with the narrative dimension, and the descriptive proses. In the second part instead the works realized on a commision basis for magazines and newspapers have been separated by those of narrative genre.| File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.14242/130758
urn:nbn:it:unibo-24976