El narrador no confiable en Robert Walser y Carlo Emilio Gadda: Una lectura comparada

En este artículo exploraremos algunos puntos en común entre los escritores Robert Walser y Carlo Emilio Gadda; específicamente, el empleo del narrador no confiable en las novelas Der Räuber (1925) y La cognizione del dolore (1963/1970). De este modo, argumentaremos cómo la aparición del narrador no confiable está en línea con el programa narrativo vanguardista y experimental de estos dos autores, cuya contribución fue decisiva para la literatura del siglo XX.

Carlo Emilio Gadda: lector-espectador de la Celestina

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«LA COGNIZIONE DEL DOLORE» DI CARLO EMILIO GADDA: IL «ROMANZO FAMILIARE» DI UNA VITA

This essay aims at analysing La cognizione del dolore as a “family novel” which was continued by Carlo Emilio Gadda for nearly all his life. A key element of this investigation is the notion of “complexity” which Gadda acquired during his university studies in the field of philosophy and which is present in his poetics and many aspects of his literary output. Such a notion exerts a strong influence on the obsessively recurring themes as well as the manifold formal and narrative techniques which are constantly hybrid and based on combinatorial mechanisms.

Brickwork and the wall as metaphors in Carlo Emilio Gadda’s fiction

The article analyses the topical motifs of the brickwork, the wall, and the house in the works of Carlo Emilio Gadda, one of the greatest Italian writers of the 20th century. These motifs were part of the writer’s broader writing project, the aim of which was to depict and catalogue the entire material reality. These elements appear as parts of a bigger whole: a safe house and a private impenetrable space, but also as a symbol of limitations, petite bourgeois conventions, and a place of suffering and sacrifice. In utilising architectural elements, Gadda indicated the minutest of details and functions that constitute the whole. By utilising architectural references such as a brickwork or a wall, Gadda made them part of a complex system of metaphorical relations through which he attempted to bridle the chaotic reality. The brickwork and walls of villas, condos, labourers’ flats, rural manors, and towering stone fencings often possessed dual meanings and roles: they separate one from the world and protect them against the chaos of the world, or are the products of the burgher culture – despised by the writer – as well as the marks of its undoubted richness and bad taste. This was why they became the focus of his criticism. In some of his works, they become a symbol of a character’s desire to isolate themselves from the world. At the level of the narrative structure, the motifs of the brickwork and the wall become a pretext for a digressive expanding or a developed pause, which, in turn, produces an effect of a breaking-up of a diegesis, which remains unfinished and fragmented.

El traductor de Gadda, un filólogo equilibrista

Se propone una reflexión a partir del reto de traducir al escritor italiano Carlo Emilio Gadda, uno de los autores supuestamente intraducibles por llevar su escritura hasta los límites de la auto-referencialidad. La página gaddiana teje múltiples hilos que brotan del sustrato filosófico que alimenta la creación literaria del autor. Intertextualidad, registro coloquial y arcaísmos, dialecto e italiano literario, se entretejen deformando la realidad en busca de una verdad que, sin embargo, es imposible alcanzar, es decir, expresar, sin sobrepasar los límites del lenguaje. Un recorrido a través de la íntima relación entre traducción y hermenéutica conduce al traductor a la necesaria toma de decisiones que le permitan llevar a cabo su tarea.