Carlo Emilio Gadda


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Gadda, Carlo Emilio

 

Born Nov. 14, 1893, in Milan. Italian writer.

Gadda began his literary career at the end of the 1920’s. His talent unfolded after Italy’s liberation from fascism: the antifascist collection Stories From the Duchy Aflame (1953) and the satirical-grotesque novel Acquainted With Grief (final version, 1963). His most characteristic work is the novel That Awful Mess on Via Merulana (1948; final version, 1957), which depicts life in Rome under fascism. Uniquely interwoven in Gadda’s works are elements of verism and satire as well as a refined psychologism. The writer exposes the mores of bourgeois Italy. Elements of various dialects and slang are merged in Gadda’s complex language.

WORKS

La madonna dei filosofi. Florence, 1931.
Il castello di Udine. Florence, 1934.
Eros e Priapo. Milan, 1967.
La Meccanica. Milan, 1970.

REFERENCES

Fiorentino, L. Narratori del Novecento. Milan, 1960.
Seroni, A. “C. E. Gadda.” Paragone, 1969, no. 230.

G. D. BOGEMSKII

References in periodicals archive ?
Sebastiani G (1993) Catalogo delle edizioni di Carlo Emilio Gadda.
Abstract: Carlo Emilio Gadda entertained a dialogue with several poets of his time, either because he did not appreciate their influence (this is the case of Gabriele D'Annunzio), or because he promoted their poetry (this is the case especially of Eugenio Montale).
Giraffes in the garden of Italian literature; modernist embodiment in Italo Svevo, Federigo Tozzi and Carlo Emilio Gadda.
Includes Giovanni Arpino, Giuseppe Bonaviri, Vitaliano Brancati, Gesualdo Bufalino, Dino Buzzati, Italo Calvino, Carlo Cassola, Umberto Eco, Beppe Fenoglio, Carlo Emilio Gadda, Natalia Ginzburg, Raffaele La Capria, Tommaso Landolfi, Luigi Malerba, Alberto Moravia, Anna Maria Ortese, Goffredo Parise, Giuseppe Pontiggia, Vasco Pratolini, Francesca Sanvitale, Leonardo Sciascia, Carlo Sgorlon, Mario Soldati, Antonio Tabucchi, Mario Tobino, and Elio Vittorini.
Sin rechazar la importancia de la lectura iconografica de esta serie de pequenos cuadros expresionistas, nos parece interesante discutir sobre las efectivas posibilidades de fidelidad al traducir al italiano esta obra, cotejando, en este itinerario de busqueda de la traduccion posible, algunas traducciones modernas de los Suenos: la del escritor Carlo Emilio Gadda, traductor solo de El mundo por de dentro (1941) y las de la serie completa, firmadas por Gasparetti (1959) y Rapisarda (1988) (7).
Gaston, que estaba sentado en el gabinete, se coloco sus gafas y si: El zafarrancho aquel de via Merulana, de Carlo Emilio Gadda, el Joyce italiano que cita Italo Calvino en sus Seis propuestas para el proximo milenio, como ejemplo supremo de multiplicidad.
The initial thought behind this ambitious and broadly-based study of the pre-war novels of Celine (Voyage au bout de la nuit, Mort a credit), the diaries, essays, and fiction of Carlo Emilio Gadda, and the early English-language fiction of Samuel Beckett (up to and including Murphy) is primarily, its author explains, a polemical one.
Piensese, entre otros casos, en la traduccion que Carlo Emilio Gadda hace al italiano de El mundo por de dentro de Francisco de Quevedo, de donde reproducimos el siguiente fragmento:
Glossario di Carlo Emilio Gadda 'milanese': Da 'La meccanica' a 'L'Adalgisa'.
Cain's depiction of the casual brutality of everyday American life took on its own political overtones) or the remarkable novel by Carlo Emilio Gadda known in English as That Awful Mess on Via Merulana, a crime novel in a quasi-Joycean key, set amid the banality of Fascist Rome.
Being quite far from the denial of the Romantic dramatization of irregularity that characterizes the precedent novelists, Carlo Emilio Gadda, represents, in conclusion, a particular case in the trajectory of Godioli's book.
O expediente da dupla datacao (ano de Roma a partir da fundacao da cidade e ano da era crista) e decerto interessante e merece ser assinalado; no entanto, nao representa uma novidade, uma vez que Carlo Emilio Gadda, no seu conto San Giorgio in casa Brocchi, publicado em 1963 (em que as personagens de Cesar e Cicero conhecem uma original aproximacao com a Milao conservadora em que o autor viveu), utiliza o mesmo artificio.