writers speak of "cursed" is always difficult task, because of the conflicting reactions that their works have the power to inspire in the reader. What is even more complicated if you are in front of a Destouches Louis Ferdinand (l894 - 1961), known worldwide with the Celine's stage name (taken from the maternal grandmother which was really close). In Italy, the ostracism of some critical of him is well represented by Massimo Onofri, who in his reviews. User manual (Donzelli, 2008) has snubbed, devoting only a couple of quotes. Fortunately, not all are on this line, as shown by the following year Alberghini Marina with its stray cats, published by Murcia. However, to give us a hand to try to tell the business impact of the works of Celine in Italy, there is a remarkable book five years ago, titled Celine in Italy and published by Editions Seventh Seal of Rome. Maurizio Markovec you rebuild with a wealth of references the story of all the translations and interpretations of the works of Celine, who've succeeded here with us since 1933, when he appeared by Alex Alexis (aka Luigi Alessio) an Italian version of the Puritan Voyage au bout de la nuit, who then touched the prestigious Prix Goncourt. As purified from all the vulgar expressions that could appear in a climate unwilling to tolerate this story - like the Death on the next - there are a total of negative comments, like those of the Catholic magazine or The Title of The Assayer, not to mention a harsh criticism of Margherita Sarfatti in La Stampa. In fact, the first Celine, also because of his virulent anti-militarism and attacks on bourgeois society, lent itself to greater pleasure to Trotsky, who in October of '35 had flattering words for him. The famous Russian revolutionary not noticed that no one was out of range with the loose cannon of literature that was Celine, quite capable of writing a mea culpa to the Soviet regime and even viciously desecrate social issues.
The proletarians, in fact, according to Céline which had "nothing but profound aspiration only access to the bourgeoisie" and therefore also deserve the name "greedy guts ... basely absorbed by the digestive functions," saddled up their L'Ecole des cadavres (only text still not published in Italy). The strict view, as we see, is no less fierce thrusts of which he pulled the "well-fed bourgeois," whose only ideals - to cite an expression of Maurice Bardeche - have a drink, salary and holidays. In fact, the arrows are disgusted and desecrating Céline directed at the entire human race the last two centuries, "crowds of proud, inflated by the mechanical" and "dragged through the tripe," and which "will keep only the word m ... ". In the cauldron of his invective in fact end up falling all without regardless of race, sex, caste or religion, in a delusional accusations that does not spare anybody. "I adhere to myself, until I can ..." Nietzsche wrote in the wake of this great anarchist thought. His hostility toward the modern world brings us to the most delicate of some of his writings, the most notorious of which is Bagatelles for a Massacre, recently withdrawn from the market at the behest of the widow because of the strong anti-Semitism.
The most enthusiastic critics as the work céliniana Ernesto Ferrero and Giovanni Roboni talked about a frenzy of "all metaphorical", please do not confuse his ego with his real I lyric or apparent, built just for literary purposes only. The argument is unconvincing, even where the bitter end too frantic pamphlets (now) less presentable Celine's may appear high enough to prevent any possible effectiveness of propaganda. A similar situation has to apply in respect to the accusation of collaboration, called "pretext" by Elio Hake, believed to be true instead Stelio Solinas and mitigated by a "in his own way" by Alberto Rosselli. In fact, both the government of Petain that the Nazis did not show great sympathy for an author considered decadent, amply reciprocated, moreover, by the misanthropic Courbeoie. The fact is that the accusation leveled at him by Radio London during the Second World War II, is tantamount to a death sentence, he was forced to seek refuge in Denmark where he luckily only ended in prison.
The dramatic flight through the throes Germany became the subject of the famous trilogy of the North in the last years of his life. For some of its extreme positions, Céline was certainly a character capable of provoking antipathy even to the right, even if some of the most racist nationalism will make it an icon. As for the left, is well known that in December 1945, and went mad the purge against French collaborators, Jan-Paul Sartre's waged with his Portrait of an anti-Semite the dangerous even been accused of being "paid" by the Nazis.
Céline, who during the German occupation had enough defiladed simply write an article and several letters to newspapers, said hard with the vitriolic pamphlet 'A l'agité du bocal. The father of existentialism, which in turn had been put safely in an allegory of the German scene titled Les Mouches as late as June of '43, I ended up crushed under a deluge of unrepeatable epithets, the kindest of which sounds as tapeworm des étrons. In this regard, we remember those who were concerned that this bill of Céline was published in 2005 by Andrea Lombardi dall'Effepi Genoa (Via Balbi Rainbow, 7). Apart from the ideological-political, which often led to the publishers who have published to take cautiously distanced himself from some of his racist invective likely today the rigors of the law, Celine was a true literary event being the inventor, according to Phlippe Sollers, a "stunning rhythmic, ever heard" in the French language, capable of attracting the praise of Ezra Pound and Henry Miller and put it next to Bernanos (Carlo Bo) or Marcel Proust (Giuseppe Guglielmi). Mastered the slang, the jargon that is strong and pronounced the barracks, the slums, the bad and the casualty departments of French hospitals he dabbled as a physician, Céline has deeply innovated the official language thus putting into serious difficulties who is starting a translation of his works because even the dialect can make full sense.
Another revolutionary aspect of Celine has been the use of a fast-paced speech, interrupted by a hyperbolic language, harsh and disruptive, punctuated with exclamation marks and ellipses, to emphasize the excitement of the speech. This technique sulfur, according to John bucket, worked a miracle to regain "virginity absolute" even the most "worn-out narrative and rhetorical tricks." From these observations necessarily brief because we understand Celine is intended to discuss each time it is republished. He puts us in fact faced with a dilemma which admits of no middle ground: either you love it or hate it. And hate is much more comfortable.
Article read: 617 times (January 24, 2011)
The proletarians, in fact, according to Céline which had "nothing but profound aspiration only access to the bourgeoisie" and therefore also deserve the name "greedy guts ... basely absorbed by the digestive functions," saddled up their L'Ecole des cadavres (only text still not published in Italy). The strict view, as we see, is no less fierce thrusts of which he pulled the "well-fed bourgeois," whose only ideals - to cite an expression of Maurice Bardeche - have a drink, salary and holidays. In fact, the arrows are disgusted and desecrating Céline directed at the entire human race the last two centuries, "crowds of proud, inflated by the mechanical" and "dragged through the tripe," and which "will keep only the word m ... ". In the cauldron of his invective in fact end up falling all without regardless of race, sex, caste or religion, in a delusional accusations that does not spare anybody. "I adhere to myself, until I can ..." Nietzsche wrote in the wake of this great anarchist thought. His hostility toward the modern world brings us to the most delicate of some of his writings, the most notorious of which is Bagatelles for a Massacre, recently withdrawn from the market at the behest of the widow because of the strong anti-Semitism.
The most enthusiastic critics as the work céliniana Ernesto Ferrero and Giovanni Roboni talked about a frenzy of "all metaphorical", please do not confuse his ego with his real I lyric or apparent, built just for literary purposes only. The argument is unconvincing, even where the bitter end too frantic pamphlets (now) less presentable Celine's may appear high enough to prevent any possible effectiveness of propaganda. A similar situation has to apply in respect to the accusation of collaboration, called "pretext" by Elio Hake, believed to be true instead Stelio Solinas and mitigated by a "in his own way" by Alberto Rosselli. In fact, both the government of Petain that the Nazis did not show great sympathy for an author considered decadent, amply reciprocated, moreover, by the misanthropic Courbeoie. The fact is that the accusation leveled at him by Radio London during the Second World War II, is tantamount to a death sentence, he was forced to seek refuge in Denmark where he luckily only ended in prison.
The dramatic flight through the throes Germany became the subject of the famous trilogy of the North in the last years of his life. For some of its extreme positions, Céline was certainly a character capable of provoking antipathy even to the right, even if some of the most racist nationalism will make it an icon. As for the left, is well known that in December 1945, and went mad the purge against French collaborators, Jan-Paul Sartre's waged with his Portrait of an anti-Semite the dangerous even been accused of being "paid" by the Nazis.
Céline, who during the German occupation had enough defiladed simply write an article and several letters to newspapers, said hard with the vitriolic pamphlet 'A l'agité du bocal. The father of existentialism, which in turn had been put safely in an allegory of the German scene titled Les Mouches as late as June of '43, I ended up crushed under a deluge of unrepeatable epithets, the kindest of which sounds as tapeworm des étrons. In this regard, we remember those who were concerned that this bill of Céline was published in 2005 by Andrea Lombardi dall'Effepi Genoa (Via Balbi Rainbow, 7). Apart from the ideological-political, which often led to the publishers who have published to take cautiously distanced himself from some of his racist invective likely today the rigors of the law, Celine was a true literary event being the inventor, according to Phlippe Sollers, a "stunning rhythmic, ever heard" in the French language, capable of attracting the praise of Ezra Pound and Henry Miller and put it next to Bernanos (Carlo Bo) or Marcel Proust (Giuseppe Guglielmi). Mastered the slang, the jargon that is strong and pronounced the barracks, the slums, the bad and the casualty departments of French hospitals he dabbled as a physician, Céline has deeply innovated the official language thus putting into serious difficulties who is starting a translation of his works because even the dialect can make full sense.
Another revolutionary aspect of Celine has been the use of a fast-paced speech, interrupted by a hyperbolic language, harsh and disruptive, punctuated with exclamation marks and ellipses, to emphasize the excitement of the speech. This technique sulfur, according to John bucket, worked a miracle to regain "virginity absolute" even the most "worn-out narrative and rhetorical tricks." From these observations necessarily brief because we understand Celine is intended to discuss each time it is republished. He puts us in fact faced with a dilemma which admits of no middle ground: either you love it or hate it. And hate is much more comfortable.
Article read: 617 times (January 24, 2011)
0 comments:
Post a Comment