Elio Vittorini

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Vittorini, Elio


Born July 27, 1908, in Syracuse, Sicily; died Feb. 12, 1966, in Milan. Italian writer.

Vittorini’s first collection of short stories, The Petite Bourgeoisie (1931), clearly expresses elements of antifascist political satire. In his best book, Conversation in Sicily (1941), an allegorical protest against the military adventures and demagoguery of fascism is interwoven with a description of the actual life and misery of the Sicilian peasantry. The novel Good and Bad People (1945; Russian translation, 1969) is devoted to the epic of the Resistance.

Vittorini’s postwar works, including The Women of Messina (1949) and Erika and Her Brothers (1956), describe the hard life and moral courage of the Italian poor. Diary Open to the Public (1957) is a collection of his publicistic articles from 1929 to 1956. Vittorini’s works and his activity as a journalist had an influence on the development of postwar realist prose in Italy.


Il Sempione strizza I’occhio al Frejus. Milan, 1947.
Erica e i suoi fratelli: La Garibaldina. Milan, 1956.
Il garofano rosso. [Verona] 1958-Conversazione in Sicilia. [Turin] 1966.
Cittá del mondo. Turin, 1969.
In Russian translation:
“Erika,” Inostrannaia literatura, 1960, no. 9.
“Moia voina.” In Ital’ianskaia novella XX veka. Moscow, 1969.


Potapova, Z. M. “Realisticheskie traditsii v ital’ianskoi literature 30-kh godov.” In Zarubezhnaia literatura v 30-e gody XX veka. Moscow, 1969.
Addamo, S. Vittorini e la narrativa siciliana contemporanea. Caltanisseta-Rome [1962].
Salinari, C. Preludio e fine del realismo in Italia. Naples, 1967.
Calvino, I. Vittorini: Progettazione e letteratura. Milan, 1968.
Heiney, D. Three Italian Novelists: Moravia, Pavese, Vittorini. Ann Arbor [1968].


References in periodicals archive ?
Issues of control and literary merit are also at the heart of Hemingway's prefaces for Gustav Regler and Elio Vittorini, two authors in need of a name to push their books.
Il volume di De Marco si conclude con l'analisi di un libro di Elio Vittorini quanto mai originale ed assai difficile da definire, pubblicato postumo con il titolo Le citta del mondo, anche se l'autore ne aveva in mente anche un altro: I diritti dell'uomo.
Again we entered a dark: Elio Vittorini, A Vittorini Omnibus: In
The language of I fatti is richer in dialect forms, so much so that Elio Vittorini, who published 100 pages of it in the literary magazine Menabo, added a Sicilian-Italian glossary to help the reader with comprehension.
Into this plot Tabucchi weaves several background themes: the plight of Gypsies, transvestites, and other outcasts in modern-day Portugal; the social geography of Oporto; and Firmino's extracurricular interests in Georg Lukacs, Elio Vittorini, and the Italian and American influences on 1950s Portuguese literature.
Nome e lagrime: linguaggio e ideologia di Elio Vittorini.
on 227) and mentions other admirers, among them Mario Praz, Cesare Pavese, Elio Vittorini, Alberto Moravia, Giorgio Bassani, and Antonio Delfini.
Since the new perspectives on poetic languages that emerged from the anthology of I novissimi and the journal Il Verri were not lost to the Italian literary circles of the time, in the chapter "The Neoavanguardia and the Theoretical Debate," Picchione sketches the positions of the editors of Il menabo, Elio Vittorini and Italo Calvino, towards the neoavanguardia.
1) In a penetrating and suggestive essay entitled "Industry and Literature," Elio Vittorini, after analyzing the effect on the human imagination of the newness of the things we live among, owing to the last industrial revolution, concluded: "The industrial world that by work of man has replaced the natural one is a world we do not yet possess.
It is, furthermore, a poem that held its own author in some awe, partly for its strangely fragmented but persistently surging "givenness," partly for the way its slowly maturing composition (1963-69) coincided with significant personal and other events (psychoanalytic sessions, his mother's death in 1964, the death of Elio Vittorini, the upheavals of May 1968), but also due to the unprecedented urge to probe and penetrate the deep, intricate, and often obscure felt pertinence of a text of unusual ampleness written far from any daintily estheticizing poetics.
2, del marzo-aprile 1934, riporta due scritti: "Le figlie del generale" di Enrico Terracini e "Il garofano fosso" di Elio Vittorini, che era iniziato a
Lucia Re, in her "Neorealist Narrative: Experience and Experiment," initially examines the use of the word neorealism in cinema before turning to the narratives of Elio Vittorini, Cesare Pavese, Italo Calvino, Beppe Fenoglio, Vasco Pratolini, Carlo Levi, and Renata Vigano.