Curzio Malaparte (1898–1957)
Autor(a) de Kaputt
About the Author
Obras de Curzio Malaparte
Battibecchi 10 cópias
Eindelijk vrij! : de bevrijdingsdagen van Curzio Malaparte, Viktor Nekrasov, Simone de Beauvoir, Michel Tournier, Louis… (1995) 10 cópias
Curzio Malaparte 2 cópias
Da Malaparte a Malaparte: Malaparte fotografo : [catalogo della mostra a Prato, Palazzo Novellucci, 1987] (1987) 1 exemplar(es)
I custodi del disordine 1 exemplar(es)
Baile en el Kremlin: y otras historias 1 exemplar(es)
Hükümet Devirme Tekniği 1 exemplar(es)
Viva Caporetto : la rivolta dei santi maledetti 1 exemplar(es)
Don Camaleo: ritratto di un'Italia a quattro zampe 1 exemplar(es)
Il ballo al Cremlino e altri inediti di romanzo 1 exemplar(es)
Malaparte Curzio 1 exemplar(es)
Obras I 1 exemplar(es)
Don Camaleo e altri scritti satirici 1 exemplar(es)
Diario de un extrajero en París 1 exemplar(es)
2008 1 exemplar(es)
Il dorato sole dell'inferno etrusco e altre prose (Biblioteca dell'orsa minore) (Italian Edition) (1985) 1 exemplar(es)
CAN PAZARI 1 exemplar(es)
Le giornaliste e la guerra in Iraq : Incontro nella Sala della Regina, Palazzo Montecitorio, Roma, 2 luglio 2003 1 exemplar(es)
Relatos Escogidos 1 exemplar(es)
A Peste 1 exemplar(es)
Mussolini in pantofole 1 exemplar(es)
Curzio Malaparte. Das Kapital : Pièce en 3 actes. Paris, Théâtre de Paris, 29 janvier 1949.… (1950) 1 exemplar(es)
Le nozze degli eunuchi 1 exemplar(es)
La rivolta dei santi maledetti 1 exemplar(es)
Associated Works
Etiquetado
Conhecimento Comum
- Nome padrão
- Malaparte, Curzio
- Nome de batismo
- Suckert, Kurt Erich
- Outros nomes
- Malaparte, Curzio
- Data de nascimento
- 1898
- Data de falecimento
- 1957
- Local de enterro
- Monte Spazzavento, Tuscany, Italy
- Sexo
- male
- Nacionalidade
- Italië
- Local de nascimento
- Prato, Italy
- Local de falecimento
- Rome, Italy
- Causa da morte
- lung cancer
- Locais de residência
- Isle of Capri
Rome, Italy - Educação
- Liceo Classico Cicognini di Prato
- Ocupação
- Periodista
Escriptor - Relacionamentos
- Perelli, Edda (mare)
Suckert, Erwin (pare) - Organizações
- "900", Cahiers d'Italie et d'Europe
Corriere della Serra
Membros
Resenhas
Listas
Prêmios
You May Also Like
Associated Authors
Estatísticas
- Obras
- 68
- Also by
- 2
- Membros
- 2,753
- Popularidade
- #9,319
- Avaliação
- 3.8
- Resenhas
- 72
- ISBNs
- 202
- Idiomas
- 20
- Favorito
- 11
Un-mediated post-war writing, when not vying for absolute-zero matter-of-factness (such as in Primo Levi's high-fidelity text), is always trying to write as grim as possible. Is it success or failure when the failure to be grim is read as a grim failure.
We already know that it is possible to be destroyed for nothing at all (most cases in the private holocaust some call "History"). The notion that, "certain horrible and life-scarring experiences actually make you a worse person," is also well-trafficked. Though what of the other category: of those who have not been destroyed enough, i.e. the vulgar sense of the phrase, "More Annihilated Than Repentant." (I may have finally discovered the source of this phrase in Kierkegaard's Stage on Life's Way in a footnote indicating Leibniz's apocryphal Baron Andrè Taifel who had a satyr and a similar inscription on his coat of arms, (though this I have not yet myself confirmed.))
When the most abject humiliation the author can imagine is the pay-per-view (paper view) scene of an Italian woman exposing her lower half beneath a figure of the Virgin (Mary), ideology has already fallen back onto a wound (though it appears clear as air). For such men, "it is easier to imagine the end of the world, the holocaust, (and the end of capitalism) than the end of misogyny." Given this, it is evident the author has not been whipped enough. We want to get it out of him, perhaps by whipping even more, though always with knowledge that whipping has never cleansed an ideology. ". . . But maybe just this once. . ." Though it may be, as is more frequently the case, that "[we] like to whip [...] and are always working to find a pretext. . ."
Either way, as we deliberate, Malaparte's Pathos becomes "black-comedy" and is rapidly fermenting (ideological-ferments) into Bathos. Episodes of there's-a-hand-in-my-soup, and this-flattened-corpse-is-the-flag-of-Europe are emblematic here. It is no longer possible (if it has ever been possible) to grimace and shout in earnest: "They think they are fighting and suffering to save their souls, but in reality they are fighting and suffering to save their skins, and their skins alone." Per Adorno, 'the grimace is false because it admits too readily what we know to be true.' Thomas Bernhard is better (and more grim) when he writes, “We’re so arrogant that we think we’re studying music whereas we’re not even capable of living,” How grim is it that, even after imprisonment by fascists (per wikipedia) our author cannot get even as grim as this.
Conversations with General Cork on the Via Appia Antica are reminiscent of Madame Bovary at the Agricultural Fair, though Malaparte doesn't lick Flaubert's toes.
It may be true what Althusser says about Hegel: that it had not been possible to decipher him until Marx wrote Capital. Sometimes a text can only be illuminated in retrospect (perhaps this is reason to keep writing). For other texts, destruction by what comes along later is more common. Though, I have never seen a text more destroyed by The Simpsons than this book, which, unhappily, concludes (in a scene of great Pathos): 'and I saw one of the babies and the baby looked at me.'… (mais)