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Narrative and Myth: Cesare Pavese's Late Works by Lianca Carlesi B.A

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Narrative and Myth: Cesare Pavese's Late Works by Lianca Carlesi B.A Narrative and Myth: Cesare Pavese's Late Works By Lianca Carlesi B.A Università degli Studi di Firenze, 2006 M.A., Università di Bologna, 2009 Thesis submitted in partial fulfillment of the requirements for Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University PROVIDENCE, RHODE ISLAND MAY 2017 © Copyright 2017 by Lianca Carlesi This dissertation by Lianca Carlesi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ ________________________________________________ Suzanne Stewart-Steinberg, Advisor Recommended to the Graduate Council Date_______________ ________________________________________________ David Kertzer, Reader Date_______________ ________________________________________________ Massimo Riva, Reader Approved by the Graduate Council Date_______________ ________________________________________________ Andrew G. Campbell, Dean of the Graduate School iii CURRICULUM VITAE Lianca Carlesi graduated cum laude in Italianistica from the Università degli Studi di Firenze (Italy) and she also holds an M.A. degree (Laurea Specialistica) in Italian Linguistics and Literary Cultures from the Università di Bologna (Italy). During her undergraduate and graduate studies in Italy she has taught English in private and public institutions. During her doctoral studies at Brown University she has taught beginning and intermediate Italian language courses and she was a TA for an Italian culture class on Modern Italy. She has presented her research at numerous professional conferences and her essay, “La ‘nuova maniera’ di Cesare Pavese: La casa in collina tra mito e storia” was published in La Fusta in 2016. iv ACKNOWLEDGEMENTS The genesis of my interest in Pavese dates back to my high school years, when I first read La casa in collina. Needless to say, it was a love at first sight that culminated in my “tema di maturità.” My first thanks thus go to my high school teacher of Italian Literature, Francesco Venuti, who with his passion and enthusiasm is responsible for having nurtured a generation of humanists. I would like to thank my advisor—Professor Suzanne Stewart-Steinberg—for having helped me focus my passion into research and analysis that finally led to the writing of my dissertation. I am particularly grateful to her for challenging me to be more critical and attentive, and for teaching me how to approach complex texts and authors. I would also like to express my gratitude to the other committee members—Professors Massimo Riva and David Kertzer—who contributed feedback and suggestions that helped me improve my work. My doctorate years at Brown have been stimulating and challenging, and I thank all the professors whose courses and seminars have been such important milestones in my professional and intellectual formation. I thank Professor Martinez for guiding me through the reading of the Commedia: his passion and knowledge have left a mark on me. For her availability, for being such an understanding and caring person, I thank Professor Caroline Castiglione. Her seminars were so much fun that I even considered becoming an Early Modernist. She has helped me so much through the years, in her roles as Professor, Director of Graduate Studies, and, finally, Chair of the Italian Studies Department. She is an amazing mentor, and a model I will look up to in both my life and professional career. Along the same lines, I extend my gratitude to Professor Cristina Abbona for her support and guidance. Learning how to teach from her has not only been v a foundational step in my formation, but also fun and inspiring. I owe to her everything I know about teaching, and I hope I will be able to continue to grow from everything I have learned from her. Special thanks also to Mona Delgado. I like to think of her as the ‘mamma del dipartimento,’ because she is always ready to run the extra mile, and to help selflessly. Finally, I am grateful for my colleagues who have contributed to creating a very exiting learning environment. With some of them in particular—Filomena Fantarella, Wuming Chang, Anna Santucci—I had shared important moments and steps in these years. One last, huge, ‘thank you’ for Nicole Gercke, who has been the first reader of my project, and undoubtedly one of the most attentive. Her feedback was invaluable, as much as her support and encouragement. I am grateful for all of my students, who, through the years, have livened my days and given me a nice break from dissertation writing. To a certain extent, they have taught me so much, allowing me to see my language and culture with different eyes. I am also thankful for those far away friends who, regardless the distance that separates us and the years we have not spent together, are still interested in my achievements and still support me and every time welcome me as if time has not passed. Finally, a special thanks goes to my family. To my parents, Maria Gilio and Giancarlo Carlesi, and to my sister, Erika Carlesi, for always being my groupies throughout the years. Their unconditional support and wisdom have been an anchor to me, and I know that—despite the ocean that divides us—they have shared with me every single joy, success, and disappointment of this incredible experience. The same is true for the other Family, who is ‘in hearth’ as much as ‘in-law.’ Carol and Victor Laxton have been examples of resilience and determination, and they have taught me how to persevere and trust life. Stephanie Campagna, Alejandro and Eduardo vi Laxton always treated me as a sister and spending time with them has always been a nice diversion from school. The last paragraph is dedicated to my husband, Andrés Laxton. He has been my “compagno di avventure” all these years, and my doctorate studies would not have been the same without him. He has been my lighthouse in the storm (sometimes the storm itself!), and his constant encouragement has really propelled me to push forward. His selflessness has always been an inspiration for me. Navigating life together we have learned that ‘no dream is too big,’ a motto of which he often reminds me. And to conclude, it is to our little masterpiece, Emma, who bettered our lives in a way we did not think possible, that I dedicate my work. vii TABLE OF CONTENTS Introduction ........................................................................................................................1 Chapter 1: Cesare Pavese: “un autore troppo biografato e mitizzato”? .......................11 Introduction .....................................................................................................................11 1 Pavese’s engagement: from Neorealism to the enrollment in the Pci 2 “La nuova maniera” of Cesare Pavese ........................................................................28 3 The posthumous fortune between politics and private life ..........................................35 4 The taccuino segreto: desertion, immaturity, or lack of political character? ..............40 Chapter 2: Cesare Pavese’s theory of myth ..................................................................56 Introduction .....................................................................................................................56 1 Il mestiere di vivere: a peculiar hermeneutical tool to approach Pavese’s work .........60 2 Pavese’s theory of myth ...............................................................................................66 2.1 A man’s destiny as a “vivaio di retrospettive scoperte” .....................................66 2.2 The relevance of childhood and discoveries-memories in Pavese’s poetics…...71 2.3 “Soltanto l’uomo fatto sa essere ragazzo” ..........................................................86 2.4 The savage ..........................................................................................................92 3 Pavese’s method.........................................................................................................105 3.1 A question of style ............................................................................................105 3.2 Reticence as a way to the core of things ...........................................................110 Chapter 3: Feria d’agosto ..............................................................................................117 Introduction ...................................................................................................................117 1 “Il mare”.....................................................................................................................134 2 “La città” ....................................................................................................................144 3 “La vigna” ..................................................................................................................163 Chapter 4: La casa in collina: the Story of an Enduring Illusion ..............................175 1 La casa in collina and Second Postwar Italy .............................................................177 1.1 La casa in collina and Neorealism....................................................................182 2 Close Reading ............................................................................................................189 2.1 “C’è sempre stata questa guerra”: the prologue ..............................................194 2.2 “Una strana immunità in mezzo alle cose”
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