By Enrico Cesaretti
Fictions of urge for food explores and investigates the classy value of pictures of nutrients, urge for food and intake in a physique of modernist literature released in Italian among 1905 and 1939. The corpus tested comprises novels, brief tales, poems, essays and performs by means of F.T. Marinetti, Aldo Palazzeschi, Massimo Bontempelli, Paola Masino and Luigi Pirandello. The publication underlines the literary relevance and symbolic implications of the «culinary sign», suggesting a hyperlink among the predicament of language and subjectivity frequently linked to modernism and figures of intake and corporeal self-obliteration in «alimentary» discourse. In revisiting those works below label of modernism, which has commonly been refrained from within the Italian severe box, the amount brings severe discourse on early twentieth-century Italian literature heavily into line with that of different Western literatures. the writer argues that an alimentary viewpoint not just sheds extraordinary new mild on all of the texts tested, but in addition illustrates the signifying energy of the culinary signal, its kin to the classy sphere and its favorite position within the development of a modernist sensibility.
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Fictions of urge for food explores and investigates the classy importance of pictures of meals, urge for food and intake in a physique of modernist literature released in Italian among 1905 and 1939. The corpus tested comprises novels, brief tales, poems, essays and performs through F. T. Marinetti, Aldo Palazzeschi, Massimo Bontempelli, Paola Masino and Luigi Pirandello.
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Extra info for Fictions of Appetite: Alimentary Discourses in Italian Modernist Literature
Schaer, G. Claeys, L. Tower Sargent, eds, Utopia (New York, Oxford: Oxford University Press, 2000), 251. Karl Marx, The German Ideology (Amherst, NY: Prometheus Books, 1998), 47. Labriola’s essay constitutes a section of his Del materialismo storico (Bari: Laterza, 1971), 63/116. As Jannini (and others) noted (although consistently failing to provide a complete bibliographical reference), Labriola wrote a very positive review of Marinetti’s play in the Socialist newspaper Avanti! ( Jannini 26).
1, 1991, 217–33. 25 Eruli’s observation is timely: “Il rapporto poeta-mondo prevede […] o la distruzione del mondo o la distruzione del poeta, e quest’ultima sotto la forma di un volontario annullamento […] o di riduzione a strumento di una realtà cosmica più vasta e misteriosa cioè l’ ‘esprit poétique’. L’ ‘esprit poétique’ è la sola facoltà capace di comprendere le leggi dell’analogia universale e di arrivare alla verità” (Eruli 1970, 270). 27 His self-ef facing mode becomes thus a paradoxical solution with which to end history and, at the same time, free oneself from its sickly and stif ling inf luence.
18 This epistolary novel describes an ideal society founded on an island in the East Indies by a group of French settlers who “fuyant l’Europe par haine de l’injustice et de la guerre sociale” (56) and who are said to be disciples of earlier utopian thinkers such as Fourier, Saint-Simon, Cabet, and Proudhon. The colony is therefore fed and sustained precisely by those progressive myths and socialist ideals of “universal happiness” that evidently constitute the satirical target of Marinetti’s play.