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.

WORKS

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.

REFERENCES

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].

Z. M. POTAPOVA

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.
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.
13), Burns concentrates on the literary practices of three different authors: Elio Vittorini, Italo Calvino, and Pier Paolo Pasolini.
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.
Screenplay, Straub, based on the novel by Elio Vittorini.
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.
Like Vittorio De Sica's and Roberto Rossellini's work in film, the Italian neorealists, including writers Cesare Pavese and Elio Vittorini, brought to the page the regional dialects and local landscapes of a deeply divided country.
From 1959 to 1966 he edited, with Elio Vittorini, the left-wing magazine Il Menabo di letteratura.
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.
L'autore si limita a ricordare testate e grado di diffusione di riviste quali L'Avventuroso, Il Corriere dei Piccoli e L'Audace, per poi attribuire a Umberto Eco, Italo Calvino ed Elio Vittorini il ritorno di un interesse intellettuale verso l'arte del fumetto in Italia.
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.