DOCSLIB.ORG

Universiv Micr^Ilms International Aoon.Zeeb Road Ann Arbor, Ml 48106

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universiv Micr^Ilms International Aoon.Zeeb Road Ann Arbor, Ml 48106 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. UniversiV Micr^ilms International aOON.Zeeb Road Ann Arbor, Ml 48106 8508369 Souag, Mostefa THE THEORY OF LITERARY GENRES IN GEORGE LUKACS The American University Ph.D. 1984 University Microfilms I nternstionsiSOO N. Zeeb Road, Ann Arbor, Ml48106 Copyright 1984 by Souag, Mostefa All Rights Reserved THE THEORY OF LITERARY GENRES IN GEORGE LUKACS by Mostefa Souag Submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy in Literary Studies Signatures of^Comyf)tee: Chairman : 1 / Y Dean of the Coll eg .-1 /. / f P ^ Date 1984 The American University Washington, D.C. 20016 TES AIŒRICAÎÎ UiîIYEACITY LIBRARY ©COPYRIGHT BY MOSTEFA SOUAG 1984 ALL RIGHTS RESERVED THE THEORY OF LITERARY GENRES IN GEORGE LUKACS by Mostefa Souag ABSTRACT In spite of his high reputation among the contemporary Intellectual audience, Lukâcs* work is still perceived and treated reductively in parts, especially with respect to his literary theory and criticism . Believing that Lukâcs’ views particularly in this sphere of aesthetic form an evolving whole, this study seeks to construct the most fundamental principles on which he bases his genre theory. This perspective was chosen because, like many critics, I regard genre theory as the formative principle of literary theory as a whole. Mostly through descriptive method, this study exposes and explains the differences that Lukâcs directly or indirectly makes between modes (the historically universal categories of the genre system), and genres (the variables that represent the more concrete changes in the historical process as aesthetically reflected in literary forms). Throughout his career, Lukâcs established his genre theory on one central category, that of totality. The modes represent the most ii fundamental types of totality: totality of objects for epic, totality of movement for drama, and to ta lity of the lyrical moment or the subjective for ly r ic . The genres, on the other hand, are the more concrete forms in which the modes, and thus the totalities, aesthetically objectify themselves. They are, in other words, the aesthetic forms of particular historical moments, such as the epic genre for early Greek society or the novel for the bourgeois society. Although it contains some weaknesses, Lukâcs' genre theory does form a whole that is deep, rich, insightful, and very useful in understanding the problems of genre, especially from an historical perspective. iii Dedication : To Peggy, my wife: Without her direct and indirect help, this work would have never been completed. To Lameen and Raji; For putting up with me. CONTENTS Chapter I. INTRODUCTION ............................................................................................... 1 II. LUKÂCS AND GENRE THEORY ................................................................ 7 Constants and Variables ............................................................... 7 The Aristotelian Marxist............................................................... 9 The M o d e s ................................................................................................... 10 Lukâcs' Concept of T otality................................................................13 Totality and Literature ............................................................... 17 Totality and Literary Modes............................................................... 21 The Modes and the Aesthetic Dista n ce............................................31 Complementary R em arks........................................ 34 III. LUKÂCS' THEORY OF LITERARY GENRES .............................................. 38 Lukâcs' Definition of Genre ........................................................ 38 The Relationship Between Literature, Genre, and Works ....................................................................40 The Genres-Modes Relationship .................................................. 44 IV. CONCLUSION........................................................................................................ 49 SELECTED BIBLIOGRAPHY ..................................................................................... 53 iv I. INTRODUCTION Writing in 1964, Alfred Kazin judged that George Lukâcs "is probably the only Communist philosopher and literary c r itic in East Europe who s t i l l has the power to interest and to teach many readers in the West."l Much has changed in the la st twenty years, and certainly other Eastern European intellectuals now receive respectful hearings by their Western colleagues. Nonetheless, Lukâcs continues to be the most prominent. In fact. Western in tellectu als with different ideological and philosophical beliefs now widely recognize Lukâcs’ contribution to modern thought. Although his reputation reached the literary circles of the United States much later than it did Western Europe, Lukâcs' influence has become increasingly evident in this country since the sixties. Many of his works are translated into English and seem to be well-circulated among a wide range of readers; books, articles, dissertations, and reviews in English are being published with notable frequency. This growing in terest, however, has until now failed to construct an understanding of his works as a whole, as a philosophical-aesthetic system unified by a clear deep world-view that can be called Lukacsian. ^Alfred Kazin, in his "Introduction," George Lukâcs, Studies in European Realism, trans. not mentioned (New York; The Universal Library, Grosset and Dunlap, 1964), p. v. Ubrich Weisstein, in "Modes of Criticism: Studies in Hamlet." Comparative Literature: Method and Perspective, ed. Newton P. Stallknecht and Horst Frenz (Carbondale: Southern I llin o is University Press, 1961), p. 279, ca lls Lukâcs "the dean of Marxist critics and a writer of a great perspicacity." 2 This may be a result of what Paul de Man describes as "the oversimplified division that has been established"^ concerning Lukâcs's intellectual and political career. During his long eighty-six year l i f e , Lukâcs did sh ift his philosophical and ideological positions, as well as his political loyalty, several times — moves that have created for him an image problem: that of an intellectual drifter or even "disaster."3 His career is usually divided into pre- and post-Marxist stages and each of these is in turn subdivided into smaller blurred stages of intellectual and p o litica l positions. These stages may be glimpsed through the following highlights of his career. At the outset of his lifework. he founded the Thalia Theatre in Budapest (1904) with his friends. In 1910, he published Soul and Form as one of the young neo-Kantians and then The History of the Development of Modern Drama (1911); when writing The Theory of the Novel (1914-15), he had become a new-Hegelian, a phase which ended vAen he joined the Hungarian Communist Party in 1918. In 1923, while he was considered a Leninist, he published his famous History and Class Consciousness, which led to repeated attacks on him by orthodox 2paul de Man, "Georg Lukâcs's Theory of the Novel," in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism (New York: Oxford University Press, 1971), p. 52. 3see in particular the controversial George Lictheim, "An Intellectual Disaster," in Encounter, vol. xx, no. 5 (May 1963), especially p. 74 and his conclusion on p. 80, in which he judges that At the age of 78, and after almost sixty years of intensive and far-ranging activity, George Lukâcs has
Load more

Recommended publications
  • Enrico Vettore
    ENRICO VETTORE ASSOCIATE PROFESSOR OF ITALIAN DEPARTMENT OF ROMANCE, GERMAN, RUSSIAN LANGUAGES AND LITERATURES CALIFORNIA STATE UNIVERSITY, LONG BEACH EMAIL: [email protected] EDUCATION 2005 Doctor of Philosophy (Ph.D.) in Romance Languages, University of Oregon Dissertation Title: “The Aesth/Ethics of Leonardo Sciascia’s Writing: HoW Alessandro Manzoni and Jorge Luis Borges Created a Sicilian Writer” Chairs: Profs. Massimo Lollini & David Castillo 2002 Master of Arts (M.A.) in Italian, University of Oregon Thesis Title: “Il male nei Promessi Sposi” Chair: Prof. Massimo Lollini 1990 Laurea in Lettere (BA equivalent in Italian Literature), Università degli Studi di Padova (Padua, Italy) (110 e lode: magna cum laude) Thesis Title: “The Narrative of G.A. Borgese” Chair: Prof. Antonia Arslan 1985 Diploma in Classical Guitar, Conservatorio Statale di Musica C. Pollini (Cesare Pollini Music Conservatory in Padua, Italy) PROFESSIONAL EXPERIENCE 2013-present Associate Professor of Italian, California State University, Long Beach Department of Romance, German, Russian Languages and Literatures 2007-2013 Assistant Professor of Italian, California State University, Long Beach Department of Romance, German, Russian Languages and Literatures 2005-2007 Visiting Assistant Professor of Italian, Kenyon College (Gambier, Ohio) Department of Modern Languages & Literatures 2000-2005 Graduate Teaching FelloW, University of Oregon (Eugene, Oregon) Summer 2003 Assistant Director, University of Oregon Study Abroad Program in Perugia, Italy 1997-2000 Language
    [Show full text]
  • La Poesia in Europa : Novalis, Dagli Inni Alla Notte, Primo Inno Alla Notte
    Anno Scolastico 2019-2020 Programma classe 5 sezione I Prof.ssa Rosaria Maria Tozzi Testi in adozione: G. Baldi, S. Giusso, M. Razetti, G. Zaccaria, I classici nostri contemporanei voll.4,5.1,5.2 , Paravia ● L’ETA’ DEL ROMANTICISMO 1816 - 1860 Origine del termine Romanticismo Le principali radici storiche e culturali del Romanticismo Aspetti generali del Romanticismo europeo: il ruolo dell’intellettuale e dell’artista e la mercificazione dell’arte – il rifiuto della ragione e l’irrazionale – inquietudine e fuga dalla realtà presente. Autori e opere del Romanticismo europeo Peculiarità del Romanticismo italiano: Romanticismo italiano e Romanticismo europeo – Romanticismo italiano e Illuminismo - fisionomia e ruolo sociale degli intellettuali – pubblico e produzione letteraria. La concezione dell’arte e della letteratura nel romanticismo europeo : la poetica classicistica e la poetica romantica La poesia in Europa : Novalis, dagli Inni alla notte, Primo inno alla notte Il romanzo realista di ambiente contemporaneo: Honoré de Balzac: lettura integrale del romanzo Papa Goriot Il Romanticismo in Italia : la polemica coi classicisti – la poetica dei romantici italiani Madame de Stael: Sulla maniera e l’utilità delle traduzioni (passi antologizzati sul manuale) La poesia in Italia: i principali filoni della poesia romantica in Italia Il romanzo in Italia: l’affermazione del genere, la fioritura del romanzo storico, il romanzo sociale e psicologico . Alessandro Manzoni: la biografia – la concezione della storia e della letteratura nelle opere prima della conversione e dopo la conversione . Il problema del romanzo: l’ideale manzoniano di società; l’intreccio del romanzo e la formazione di Renzo e Lucia ; la concezione manzoniana della Provvidenza; il problema della lingua ; le principali differenze tra le diverse redazioni del romanzo.
    [Show full text]
  • Foscolo, Manzoni E Leopardi a Cura Di Fabio Mombelli
    Il movimento romantico in Italia: Foscolo, Manzoni e Leopardi A cura di Fabio Mombelli Esame di licenza media – Anno scolastico 2011 – 2012 Prof.ssa Ratano Indice I caratteri generali .................................................................................................. pag. 1 Ugo Foscolo . Cenni biografici …………………...........................…………………...…...……. pag. 2 . Opere principali …....................……………………………………..........…….. pag. 2 . La poetica ……...........……………………………………………………..………... pag. 2 . In morte del fratello Giovanni ..................................................................... pag. 2 Metrica e figure retoriche .............................................................. pag. 3 Lettura della poesia .......................................................................... pag. 3 Alessandro Manzoni . Cenni biografici …………………...........................…………………...…...……. pag. 4 . Opere principali …....................……………………………………..........…….. pag. 4 . La poetica ……...........……………………………………………………..………... pag. 4 . Il 5 maggio .......................................................................................................... pag. 4 Metrica e figure retoriche .............................................................. pag. 6 Lettura della poesia .......................................................................... pag. 6 . Il romanzo storico per eccellenza: I promessi sposi ………............... pag. 7 Giacomo Leopardi . Cenni biografici …………………...........................…………………...…...…….
    [Show full text]
  • Guido Mazzoni the Novel, Human Sciences, Democracy
    Guido Mazzoni The novel, human sciences, democracy 1. An immense multitude of men In 2008, when my father died, I tried to collect the photos that I had of him, as often happens in these cases. And, as often happens in these cases, I ended up extending my search to include previous generations. There were extremely few images that depicted the paternal side of the family. I discovered that in 1972 in the middle of a move my grandfather had decided to throw away some of the few photos he owned. When my mother asked him why, he responded “Old junk, all dead people.” Born into a peasant family in conditions not much different from those of the Ancien Regime, he was raised in an epoch that considered photography expensive, complicated, and the province of an elite. He didn’t think he had the means much less the right to leave behind a trace. He considered himself a laborer. His life made sense only in the context of the extended family, working to allow the children to live better than their parents, just as had happened for immemorial generations of sharecroppers from which he descended. All the rest was irrelevant and didn’t pertain to him, least of all the preservation of his image in time. In the third decade of the 19th century, Alessandro Manzoni imported into Italian the model of the historical novel invented by Walter Scott. It almost happened in real time: Waverley was published in 1814; in 1821 Manzoni began to dedicate himself to the book that will be entitled I Promessi Sposi (1827).
    [Show full text]
  • Antonio Rosmini on Property It Showed Itself As a Part of God’S Calling
    Journal of Markets & Morality Volume 7, Number 1 (Spring 2004): 63–97 Copyright © 2004 A Sphere Around Alberto Mingardi Policy Director the Person: Istituto Bruno Leoni (Turin, Italy) Antonio Rosmini and Visiting Fellow Centre for the New Europe on Property* (Brussels, Belgium) Father Antonio Rosmini-Serbati (1797–1855) is an author of growing interest and curiosity to his fellow churchmen, as well as to secular intellectuals, as a philosopher who successfully reconciled reason and faith. Nevertheless, the political nuances of his thought have barely been explored by English-speaking scholars, and even among his Italian followers these have not been fully appre- ciated. This article attempts to present an overview of Rosmini’s political philoso- phy, focusing on his concern for the protection of private property rights and arguing that it is precisely his advocacy of private property that determines his attitude toward the general organization of associated life, government, and democracy. The organization of this investigation consists of four parts. The first pro- vides a brief biographical sketch of Antonio Rosmini. The second tentatively enlists the main influences in the development of Rosmini’s thought as far as politics and economics are concerned. The third is devoted to examining his approach toward property. The fourth examines his definition of social justice in the light of his justification of property. Introduction In this article, I introduce the reader to the figure of Antonio Rosmini, provide a biographical sketch, and subsequently approach his thought on private prop- erty. As a priest and a devout Catholic, religious faith was central to every aspect of Rosmini’s philosophy.
    [Show full text]
  • EJ Full Draft**
    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
    [Show full text]
  • French Romanticism and the Reinvention of Love by Maxime A
    French Romanticism and the Reinvention of Love By Maxime A. Foerster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: French) In the University of Michigan 2012 Doctoral Committee: Professor Michèle A. Hannoosh, Chair Professor Cristina Moreiras-Menor Associate Professor Jarrod L. Hayes Associate Professor Nadine M. Hubbs Lecturer Esther Newton © Maxime A. Foerster 2012 Dedication Au charchour ii Acknowledgements I would like to express my gratitude to David Halperin, David Caron and Frieda Ekotto for having encouraged me to start my PhD at UM, Ann Arbor. I have been honored and stimulated to work with Michèle Hannoosh who taught me coherence and rigor throughout these years of thinking and writing. I feel privileged to have been able to write my dissertation with those I called my dream team, composed of Professors Michèle Hannoosh, Jarrod Hayes, Cristina Moreiras, Esther Newton and Nadine Hubbs. For their friendship, support and fabulousness, I would like to thank Aaron Boalick, Jennifer Bonnet, Virginie Brinker, Neil Doshi, Matthieu Dupas, Gilles Freissinier, Aston Gonzales, Melanie Hawthorne, Trevor Hoppe, Lauren Kennedy, Gérard Koskovich, Charline Lafage, Larry La Fountain, Nicolas Lamorte, Bertrand Metton, Pedro Monaville, Marie-Pierre Pruvot, Pantxika Passicot, Steve Puig, Marie Stoll, Marcelino Viera, and Yannick Viers. I will never thank my parents enough for their love and understanding. Above all, thank you, H.N. iii Table of Contents
    [Show full text]
  • Italian Tragedy, 1820-1827, Apparso Alle Pp
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Avvertenza Questo documento è la versione post-print dell’articolo di Paolo Borsa e Christian Del Vento Italian Tragedy, 1820-1827, apparso alle pp. 59-86 del fascicolo 44, 2014 (ma 2016), della “Rassegna europea di letteratura italiana”. Il documento contiene la versione digitale definitiva del contributo accettata dall’editore, che integra i risultati del processo di referaggio e della revisione finale degli autori ma non presenta loghi o marchi dell’editore stesso. Libero da copyright, il documento è reso disponibile in open access su IRIS-AIR, l’Archivio Istituzionale della Ricerca dell’Università degli Studi di Milano. Il testo è del tutto conforme a quello che si legge nella rivista, compresi i cambi di pagina (anche per le note). Si potrà, dunque, fare riferimento a questo documento, nonché citare da esso, senza incorrere in incongruenze rispetto alla versione dell’editore. Citazione: Italian Tragedy, 1820-1827 / P. Borsa, C. Del Vento. - In: RASSEGNA EUROPEA DI LETTERATURA ITALIANA. - ISSN 1122-5580. - 44 (2014)(2016 Jul), pp. 59-88. Digital Object Identifier (DOI): 10.1400/244732 URL dell’editore: http://digital.casalini.it/10.1400/244732 ITALIAN TRAGEDY, 1820-1827* Paolo Borsa · Christian Del Vento 1. n un diario inedito portato alla luce da Patrick Labarthe, Charles-Augustin de I Sainte-Beuve annotava, in data 11 dicembre 1847, una conversazione avuta con Victor Cousin, nella quale il filosofo avad conto dell’entusiasmo suscitato in Goe- 1 the dalla lettura del Conte di Carmagnola.
    [Show full text]
  • Romantic Poetry 1 Romantic Poetry
    Romantic poetry 1 Romantic poetry Romanticism, a philosophical, literary, artistic and cultural era[1] which began in the mid/late-18th century[2] as a reaction against the prevailing Enlightenment ideals of the day (Romantics favored more natural, emotional and personal artistic themes),[3][4] also influenced poetry. Inevitably, the characterization of a broad range of contemporaneous poets and poetry under the single unifying name can be viewed more as an exercise in historical The Funeral of Shelley by Louis Edouard Fournier (1889); the group members, from left compartmentalization than an attempt to right, are Trelawny, Hunt and Byron to capture the essence of the actual ‘movement’.[citation needed] Poets such as William Wordsworth were actively engaged in trying to create a new kind of poetry that emphasized intuition over reason and the pastoral over the urban, often eschewing consciously poetic language in an effort to use more colloquial language. Wordsworth himself in the Preface to his and Coleridge's Lyrical Ballads defined good poetry as “the spontaneous overflow of powerful feelings,” though in the same sentence he goes on to clarify this statement by In Western cultural context romanticism substantially contibuted to the idea asserting that nonetheless any poem of of "how a real poet should look like". An idealized statue of a Czech poet value must still be composed by a man Karel Hynek Mácha (in Petřín Park, Prague) repesents him as a slim, tender “possessed of more than usual organic and perhaps unhealthy boy. However, anthropological examination proved sensibility [who has] also thought long that he was a man of a strong, robust and muscular body constitution.
    [Show full text]
  • Duke University Dissertation Template
    Subaltern Readers in Nineteenth-Century French and Italian Novels by Fiammetta Di Lorenzo Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Advisor ___________________________ Anne F. Garréta ___________________________ David F. Bell ___________________________ Paola Gambarota ___________________________ Anne-Gaëlle Saliot Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 i v ABSTRACT Subaltern Readers in Nineteenth-Century French and Italian Novels by Fiammetta Di Lorenzo Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Advisor ___________________________ Anne F. Garréta ___________________________ David F. Bell ___________________________ Paola Gambarota ___________________________ Anne-Gaëlle Saliot An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 i v Copyright by Fiammetta Di Lorenzo 2019 Abstract In this work I analyze the ways the figure of the fictional subaltern reader in Italian and French novels of the 19th century tends to dramatize her or his exclusion from the public sphere, while attempting, at the same time, to institute new forms of commonality with his or her reader.
    [Show full text]
  • Kw Neofil 2-16.Indd
    KWARTALNIK NEOFILOLOGICZNY, LXIII, 2/2016 FABIO DANELON (VERONA) IMMAGINI D’ITALIA IN FOSCOLO MANZONI LEOPARDI IMAGES OF ITALY IN FOSCOLO MANZONI LEOPARDI WIZERUNEK WŁOCH W TWÓRCZOŚCI FOSCOLO MANZONIEGO LEOPARDIEGO The article analyses some examples of Italy’s idea in the literary works of the most important Italian writers in the romantic age in order to illustrate their importance in the formation of Italian national cultural identity. KEYWORDS: Italian Literature, 19th Century, Ugo Foscolo, Alessandro Manzoni, Giacomo Leopardi Quali immagini d’Italia possiamo ricavare dall’opera di Foscolo, Leopardi, Manzoni? E quale rilievo esse hanno avuto nel costituirsi di un’identità culturale nazionale nello stato unitario? Nati nell’arco di soli quattro lustri a cavaliere della Rivoluzione francese, tra il 1778 e il 1798, i tre scrittori hanno origine e forma- zione assai differenti. E articolato e vario è il rapporto che essi intrattengono con la tumultuosa Italia reale che conobbero e con l’idea d’Italia che si formarono. Nell’ambito dello sviluppo di tale idea essi operano in un decisivo e caotico momento di svolta, perché l’idea dell’Italia come nazione politica è figlia della Rivoluzione francese. La rivoluzione nazionale italiana, cioè, inizia nel periodo 1796-1814. Come dice bene Giulio Bollati nel saggio introduttivo alla Crestomazia pro- sastica leopardiana: «la nazione italiana dopo il 1815 è già una patria nel senso politico (e non più letterario o retorico o profetico), perché è nella natura di una rivoluzione nazionale che, una volta iniziata, il suo esito finale sia presente e agisca in ogni momento del suo svolgimento» (Leopardi 1968: VIII).1 1 La bibliografia sull’idea di nazione (in ispecie in età romantica) è assai vasta: penso, per esempio, ai lavori di Chabod e Hobsbawm, e non è qui possibile darne conto.
    [Show full text]
  • 100 Must-Read Classic Books Checklist
    100 must-read classic books, as chosen by our readers Take a look at our list of 100 must-read classics, and then tick off every one you've read. Pride and Prejudice by Jane Austen (1813) To Kill a Mockingbird by Harper Lee (1960) The Great Gatsby by F. Scott Fitzgerald (1925) One Hundred Years of Solitude by Gabriel García Márquez (1967) In Cold Blood by Truman Capote (1965) Wide Sargasso Sea by Jean Rhys (1966) Brave New World by Aldous Huxley (1932) I Capture The Castle by Dodie Smith (1948) Jane Eyre by Charlotte Bronte (1847) Crime and Punishment by Fyodor Dostoevsky (1866) The Secret History by Donna Tartt (1992) The Call of the Wild by Jack London (1903) The Chrysalids by John Wyndham (1955) Persuasion by Jane Austen (1818) Moby-Dick by Herman Melville (1851) The Lion, the Witch and the Wardrobe by C.S. Lewis (1950) To the Lighthouse by Virginia Woolf (1927) The Death of the Heart by Elizabeth Bowen (1938) Tess of the d'Urbervilles by Thomas Hardy (1891) Frankenstein by Mary Shelley (1823) The Master and Margarita by Mikhail Bulgakov (1966) The Go-Between by L. P. Hartley (1953) One Flew Over the Cuckoo's Nest by Ken Kesey (1962) Nineteen Eighty-Four by George Orwell (1949) Buddenbrooks by Thomas Mann (1901) The Grapes of Wrath by John Steinbeck (1939) Beloved by Toni Morrison (1987) The Code of the Woosters by P. G. Wodehouse (1938) Dracula by Bram Stoker (1897) The Lord of the Rings by J. R. R. Tolkien (1954) The Adventures of Huckleberry Finn by Mark Twain (1884) Great Expectations by Charles Dickens (1860) Catch-22 by Joseph Heller (1961) The Age of Innocence by Edith Wharton (1920) Things Fall Apart by Chinua Achebe (1958) Middlemarch by George Eliot (1871) Midnight's Children by Salman Rushdie (1981) The Iliad by Homer (8th century BC) Vanity Fair by William Makepeace Thackeray (1847) Brideshead Revisited by Evelyn Waugh (1945) The Catcher in the Rye by J.D.
    [Show full text]