Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation
The article examines the influence of Carlo Emilio Gadda, one of the greatest Italian 20th century authors, on the Italian Neo-Avant-Garde of the 1960s, an experimental literary movement aimed at undermining the pillars of the established society (clichéd patterns, widespread beliefs, and myths) by...
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| Language: | English |
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Russian Academy of Sciences, A.M. Gorky Institute of World Literature
2020-06-01
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| Series: | Studia Litterarum |
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| Online Access: | http://studlit.ru/images/2020-5-2/Golubtsova.pdf |
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| author | Anastasia V. Golubtsova |
| author_facet | Anastasia V. Golubtsova |
| author_sort | Anastasia V. Golubtsova |
| collection | DOAJ |
| description | The article examines the influence of Carlo Emilio Gadda, one of the greatest Italian 20th century authors, on the Italian Neo-Avant-Garde of the 1960s, an experimental literary movement aimed at undermining the pillars of the established society (clichéd patterns, widespread beliefs, and myths) by destroying traditional language. In his novels The Experience of Pain and That Awful Mess on Via Merulana, Gadda invents his own peculiar “language,” a complex combination of various linguistic and cultural codes, intertextual references and quotations. Gadda’s texts fully published in the 1950s-1960s, in the period of animated discussions around Neo-Avant-Garde theory and practice, become aesthetic models for the young authors, especially for Luigi Malerba and Giorgio Manganelli. Gadda’s works influence Neo-Avant-Garde ideas, themes, and linguistic techniques, even though Gadda does not share Neo-Avant- Garde’s anti-ideological and destructive spirit. He mixes and transforms different codes seeking to reveal hidden connections between things, to reach back to the cultural tradition, and to convey reality in its fullness, while Neo-Avant-Garde perceives Gadda’s language as a means of social and cultural criticism that allows to discredit myths and ideologies, and denies any possible reconstructive meanings of literary experimentation. |
| format | Article |
| id | doaj-art-cad885d791d54a7ea35e390aba3d4e2f |
| institution | OA Journals |
| issn | 2500-4247 2541-8564 |
| language | English |
| publishDate | 2020-06-01 |
| publisher | Russian Academy of Sciences, A.M. Gorky Institute of World Literature |
| record_format | Article |
| series | Studia Litterarum |
| spelling | doaj-art-cad885d791d54a7ea35e390aba3d4e2f2025-08-20T02:19:38ZengRussian Academy of Sciences, A.M. Gorky Institute of World LiteratureStudia Litterarum2500-42472541-85642020-06-015216217110.22455/2500-4247-2020-5-2-162-171Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and TransformationAnastasia V. Golubtsova0https://orcid.org/0000-0002-1286-7707A.M. Gorky Institute of World Literature of the Russian Academy of SciencesThe article examines the influence of Carlo Emilio Gadda, one of the greatest Italian 20th century authors, on the Italian Neo-Avant-Garde of the 1960s, an experimental literary movement aimed at undermining the pillars of the established society (clichéd patterns, widespread beliefs, and myths) by destroying traditional language. In his novels The Experience of Pain and That Awful Mess on Via Merulana, Gadda invents his own peculiar “language,” a complex combination of various linguistic and cultural codes, intertextual references and quotations. Gadda’s texts fully published in the 1950s-1960s, in the period of animated discussions around Neo-Avant-Garde theory and practice, become aesthetic models for the young authors, especially for Luigi Malerba and Giorgio Manganelli. Gadda’s works influence Neo-Avant-Garde ideas, themes, and linguistic techniques, even though Gadda does not share Neo-Avant- Garde’s anti-ideological and destructive spirit. He mixes and transforms different codes seeking to reveal hidden connections between things, to reach back to the cultural tradition, and to convey reality in its fullness, while Neo-Avant-Garde perceives Gadda’s language as a means of social and cultural criticism that allows to discredit myths and ideologies, and denies any possible reconstructive meanings of literary experimentation.http://studlit.ru/images/2020-5-2/Golubtsova.pdfc.e. gaddaneo-avant-gardel. malerbag. manganelliexperimentintertextuality. |
| spellingShingle | Anastasia V. Golubtsova Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation Studia Litterarum c.e. gadda neo-avant-garde l. malerba g. manganelli experiment intertextuality. |
| title | Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation |
| title_full | Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation |
| title_fullStr | Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation |
| title_full_unstemmed | Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation |
| title_short | Literary Experiment from C.E. Gadda to Neo-Avant-Garde: Continuity and Transformation |
| title_sort | literary experiment from c e gadda to neo avant garde continuity and transformation |
| topic | c.e. gadda neo-avant-garde l. malerba g. manganelli experiment intertextuality. |
| url | http://studlit.ru/images/2020-5-2/Golubtsova.pdf |
| work_keys_str_mv | AT anastasiavgolubtsova literaryexperimentfromcegaddatoneoavantgardecontinuityandtransformation |