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 ?
is based, Elio Vittorini's anti-Fascist Conversations in Sicily (1941), though the film later departs from its source in significant ways--one's attention is divided among the images of the hawker's body, truncated in the manner of Bresson; the men's strangely cadenced talk, delivered in the folk-stentorian mode of the directors' late Italian films ("Shouting, always shouting!" one critic complained); and a seawall alcove in frame right, where a boy prepares his fishing line.
In the closing chapters, she focuses on Carlo Emilio Gadda's and Elio Vittorini's postwar literary and journalistic reflections on Fascism's legacy to expose the pernicious effects of incendiary tropes that sacrifice individuals before the altar of the state.
His work for Gustav Regler's The Great Crusade (1940) and Elio Vittorini's In Sicily (1949) provides clear examples of action writing over "big writing," and both prefaces are the result of Hemingway's growing dissatisfaction with critics.
In Elio Vittorini's Conversazione in Sicilia (1937) a starving Sicilian farmer on the ferry to mainland Italy, forced to feed his family oranges no one wants to buy, laments: 'maledette arance--nessuno ne vuole--come se avessero il tossico' [damn oranges--no one wants them--as if they were toxic].
In Elio Vittorini's novel Conversation in Sicily set in fascist Italy, the protagonist discusses the food of his childhood with his mother at great length over a plate of grilled herrings.
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.
Very much in the same fashion of Elio Vittorini's journey of self-realization, Conversazione in Sicilia (1941), Rimanelli has left his natal home only to return to discover that his truest self is found amidst the memories that he had left behind; these memories constitute a postmodern re-examination juxtaposed to a stark understanding of the modern self: abandoned and alone.
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. Camera (color), Renato Berto, Jean-Paul Toraille, Marion Befve; editors, Huillet, Straub; sound (Dolby SR), Jean-Pierre Duret, Dimitri Haulet.
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.