Grazia Deledda


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Deledda, Grazia

 

Born Sept. 27, 1871, in Nuoro, Sardinia; died Aug. 15, 1936, in Rome. Italian writer.

Deledda was a member of the verist school. The main theme of her numerous novels and novellas is the life of the Sardinian peasants and farm laborers, which is controlled by fate in the form of overpowering passion, from which one can be saved only by religion (Elias Portolu, 1903). Her prose is characterized by delicate psychological probing and lyric descriptions of Sardinian nature. Deledda was awarded the Nobel Prize in 1926.

WORKS

Romanzi e novelle, vols. 1–4. Milan, 1955–59.
In Russian translation:
Odinochestvo. Moscow, 1912.
Pepel. Moscow, 1915.
Toskuiushchie dushi. Moscow, 1918.
Sardinskie rasskazy. Petrograd, 1919.
[Novelly]. In Ital’ianskie novelly, 1860–1914. Moscow-Leningrad, 1960. [Introductory article by B. G. Reizov.]
Svirel’ v lesu: Rasskazy. Moscow, 1967. [Article by I. Volodina.]

REFERENCE

Storia della letteratura italiana, vol. 8. Milan, 1968.
References in periodicals archive ?
La formazione autodidattica delle scrittrici tra Otto e Novecento: Neera, Ada Negri, Grazia Deledda, Sibilla Aleramo.
An account of the entire production of this silent film (a film which Duse later repudiated) can be read in Cenere di Grazia Deledda nelle figurazioni di Eleonora Duse by Antonio Cara (Nuoro: Istituto Superiore Regionale Etnografico, 1984).
My husband is like a boy, still so handsome," Grazia Deledda remarked describing her spouse, Palmiro Madesani, in the very first paragragh of her biography (Balducci 1).
Literary scholars will be most interested in Mazzoni's examination of Italian women authors, specifically Grazia Deledda, Neera, and Silbilla Aleramo.
The work of Nobel-prize winner Grazia Deledda (1871-1936) stages the opposition between sin and remorse, often through the representation of the syncretic rites of ancient Sardinian religious celebrations: processions and pilgrimages are among the most salient expressions of Deledda's moral and religious outlook.
Sardinian novelist Grazia Deledda (1871-1936) was one of the most prolific writers of her time.
com)-- The village of Galtelli, Sardinia, is launching an international prose contest dedicated to the great Sardinian writer Grazia Deledda, winner of the Nobel Prize for Literature in 1926, who set her masterpiece Canne al Vento, or Reeds in the Wind, right in Galtelli.
GALTELLI, Italy, March 19, 2015 /PRNewswire/ -- The village of Galtelli, Sardinia, is launching an international prose contest dedicated to the great Sardinian writer Grazia Deledda, winner of the Nobel Prize for Literature in 1926, who set her masterpiece Canne al Vento, or Reeds in the Wind, right in Galtelli.
Literature Name Year Selma Ottilia Lovisa Lagerlof 1909 Grazia Deledda 1926 Sigrid Undset 1928 Pearl Buck 1938 Gabriela Mistral 1945 Nelly Sachs 1966 Nadine Gordimer 1991 Toni Morrison 1993 Wislawa Szymborska 1996 Elfriede Jelinek 2004 Dorris Lessing 2007 Herta Muller 2009 Alice Munro 2013 Science Name Year Sub-field Marie Sklodowska Curie-- 1903 Physics Marie Sklodowska Curie-- 1911 Chemistry Irene Joliot-Curie 1935 Chemistry Gerty Theresa Radnitz Cori 1947 Physiology or Medicine Maria Goeppert Mayer 1963 Physics Dorothy Crowfoot Hodgkin 1964 Chemistry Rosalyn Sussman Yalow 1977 Physiology or Medicine Barbara McClintock 1983 Physiology or Medicine Rita Levi-Montalcini 1986 Physiology or Medicine Gertrude B.
Al contempo la scrittrice padovana, con le sue raccolte di racconti (La fortuna, 1913; Codino, 1918; La signorina Anna, 1932), viene collocata sull'autonoma linea di sviluppo e ricerca artistica rappresentata da grandi scrittrici a lei piu o meno contemporanee, le quali solo apparentemente sembrano indugiare su forme antiquate rispetto alla sperimentalita del "canone maschile," ma che in realta esplorano consapevolmente altri modi di scrittura, altri percorsi indirizzati verso il riconoscimento di una propria personale tradizione, un proprio autonomo linguaggio, come fecero Grazia Deledda, Matilde Serao, Ada Negri, Carola Prosperi, Maria Messina.
Modernity" serves Heyer-Caput's goals better, for it allows her "to underline that Grazia Deledda, not unlike Svevo or Pirandello and beyond the reductive 'isms' of Italian canonized cultural history, is an integral part of the critical debate on the cultural crisis of modernity" (8).
Naipaul, Nadine Gordimer, Ernest Hemingway, Grazia Deledda, Rabindranath Tagore, and Nelson Mandela.