Interni moraviani. Immagini dell'abitare in romanzi e racconti di Alberto Moravia

2011 - 2012The main objective of the research was to elicit and evaluate the occurrences of text relating to the images/descriptions of interiors in stories and novels by Alberto Moravia in the recent critical edition edited by Casini-Serra for Bompiani. These titles counted: Racconti dispersi (1927-1940); Gli indifferenti (1929); La bella vita (1935); L’imbroglio (1937); La mascherata (1941); L’amante infelice (1943); Agostino (1946); La disubbidienza (1948); Racconti dispersi (1950-1959); Il conformista (1951); La ciociara (1957); La noia (1960). The research work has also been divided into four chapters preceded by a comprehensive introduction of the reference corpus (7 novels and 54 short stories). At the end of chapters, an important section is represented by the Moravian ‘lemmario’ in which they were lemmatized items related to the culture of living through 56 lexical units divided chronologically and each accompanied by its own number of occurrences (480). At the headwords are followed by the conclusions and bibliography.The criteria for selection of short stories and novels are indicative of the major joints of the poetics of the first Moravia until La disubbidienza which - almost programmatically - is closed and reopened in a new way the relationship with the reality of the universe-bourgeois family: the years training (with the central intervention in review of Villa Mercedes), Gli indifferenti and the collection of short stories of the thirties in which thematized the better the overall reality of the descriptions of interiors; trying to get out of the gloom of the bourgeois interior with the novel La mascherata, the satirical grotesque-masked, together with the important opportunity to assess represented by the five long stories of L’imbroglio and those of L’amante infelice in what are the signs of a new mode of perception of the spaces that are typical of Agostino, novel after the war and, together, the first novel of the second phase of writing Moravian. In the three, very different from each other, novels of the fifties, beyond any sampling of a writing phase, it proved also useful to investigate the onset of the theoretical paradigms of living Moravian, between “nature” and “history” as has been said happily, until the ‘novel-wise’ La noia, after the addition of a group of texts scattered in the same period. During the research work, have emerged areas or reasons micro-operative critical knowledge of contemporary suggestions that have crossed theory problems of the description of thematic criticism and literary anthropology. Thus the consistency of the theoretical question of the status of the interior anthropological and literary Moravian was attested as it founded the emergence in outlook survey transversal: the theme of the interior has been, time to time, compared to the system of the characters, for example, with the tools and stylistic language or, again, with reference to the lines of literary from ‘novel-tragedy’ to ‘novel-wise’. Such an approach has therefore connected industry studies to the central problems in the fiction of Alberto Moravia, such that it is due to discuss cross-disciplinary epistemic straddle between literature and the arts, in line with the areas of scientific research of the PhD research called «historical-geographical areas between disciplinary and interference». [edited by author]XI n.s

Misure critiche. N.s. A. 11, n. 1-2 (2012)

N.S. A. 11, n. 1-2 (2012) : Martelli S., Premessa, P. 5 ; Aufiero G., Rileggere il Medioevo nel XXI secolo: filologia, scienza e magia, P. 9 ; Gigliello P., Da una Medea all’altra: da Boccaccio a Christine de Pisan, P. 17 ; D’Arienzo D., “Com’una foglia ad ogni vento volta”. Matteo Maria Boiardo e l’impossibile armonia tra poesia e tempo presente, P. 25 ; Celentano S., Le “Metamorfosi” da Ovidio a Niccolo’ Degli Agostini, P. 44 ; Esposito S., Camillo Pellegrino, “Del concetto poetico” (Ms. 436, Biblioteca del Museo Campano di Capua), P. 71 ; Bellotta C., Il monachesimo basiliano in età moderna. Analisi di tre casi: San Giovanni a Piro, Pattano e Montesano sulla Marcellana, P. 86 ; Nigro P., Il Fondo manoscritto di Giuseppe Maria Galanti. Le carte galantiane sull’Abruzzo, P. 104 ; Terracciano R., L’epistolario di Michele Colombo nella Biblioteca Palatina di Parma, P. 125 ; Pierno L., Il rapporto tra le arti in Pasquale De Luca, P. 138 ; Mascia V., Carlo Michelstaedter e il senso della ‘segreta armonia’, P. 156 ; Ferrauto E., La cultura teatrale a Napoli nel decennio 1910-1920, P. 170 ; Guercio G., “Proprio così”: la rappresentazione dell’inconscio nell’inedito di Luigi Pirandello. Un’importante scoperta, P. 191 ; Faengyong W., La nascita del romanzo sentimentale in Italia: estratto da “Liala, compagna d’ali e d’insolenze”, il romanzo rosa in Italia, P. 201 ; Avagliano G., La Lucania contadina nel documentario etnografico, P. 212 ; Rainone A., Interni moraviani. Immagini dell’abitare in romanzi e racconti di Alberto Moravia, P. 233 ; Martucci R., La forza della scrittura in Giose Rimanelli: dalla produzione italo-canadese allo sperimentalismo de “La macchina paranoica” (inedito), P. 240 ; Ottieri A., La poesia di Toti Scialoja. Dai versetti nonsensici agli ‘esametri’ degli anni Novanta, P. 260 ; Gioia V. A., Un’introduzione alla guerra di Segrate, P. 285 ; Gallotta G., L’opera di Tabucchi: l’impegno, i personaggi, il romanzo italiano contemporaneo, P. 302 ; Pontis A., Esempi di didattica dell’italiano L2 attraverso il testo letterario e il testo fotografico, P. 310