Today first page of Sole 24 Ore , signed by Miguel gotor, indeed Michele gotor: "What has made this land [Puglia] a unique ethno-anthropological laboratory scale is a pregnant metaphor of national destiny."
gotor is not alone. If it were, it would be his choice of personal style: respectable, like all the personal style choices. Not a day passes instead of the communication, the public as private, do not count occurrences of such an exemplary metaphor represented by the opening track. last month and without any particular intention, Apollonius has tasty crop. Do the same, if they wish, the his two players. It will find the talk of the academic goers television lounges and politicians from doubt cultural curriculum, under the pen of reputed columnists (you have just seen) and authors of successful novels. In short, they will find in the expression of the people of the world, of what the highly sensitive antennae of stupidity socially effective protagonist of each inevitable change, that before any other language. The use of metaphor , not so much as a reference to a generic trope, but to say 'emblem', 'image copy', not just yesterday. Willing, dictionaries record it for some shine.
It is to Corrado Guzzanti, however, the best indication that, in Italian of the late twentieth century, the word metaphor had stopped flowing in its bed quiet and cultured, secular, overflowing, was destined to become cloudy and little contact with people recommended that he would put on the sidewalk to do tricks. A Rokko Smitherson, television commentator, a parody of the characters invented by the actor in the early nineties, it was going to express themselves, highly-so, "Mrs Soup, Mrs Soup, ie voevo day, er de port city has run stew 'r potty sott'ar der political ass, got a thin MATAF? ".
degradation of metaphor , Apollonius also believed to know who to blame. Without perhaps being the first, the endorsement of the stylistic elements that contributed decisively to its pervasive and unstoppable success in Italy among people of the world was made by Leonardo Sciascia, with the complicity of Marcelle Padovani.
In 1979, first in French, and Italian, the Rome correspondent of the Nouvel Observateur at the time the magazine of the French intellectual left, published a book-length interview with the Sicilian writer. Certainly authorized by Sciascia, gives the title Sicily comme metaphore, which seemed at the time (as still used to say to the people of the world) very intriguing.
A fondamento di tale titolo, stanno le parole con cui Sciascia rispondeva a una sua sollecitazione. Mutatis mutandis , ciò che Gotor oggi scrive nel suo editoriale è eco pallida e distorta dell'espressione dello scrittore.
Alla domanda della giornalista se fosse possibile considerarlo ancora uno scrittore siciliano, Sciascia rispondeva: "Sono piuttosto uno scrittore italiano che conosce bene la realtà della Sicilia, e che continua a esser convinto che la Sicilia offre la rappresentazione di tanti problemi, di tante contraddizioni, non solo italiani ma anche europei, al punto da poter costituire la metafora del mondo odierno".
Apollonio lo confessa: non è questa l'ultima delle ragioni che lo inducono a non deporre la sottile diffidenza che fin da ragazzo ha nutrito per Leonardo Sciascia, cui tributa contemporanemente una grande ammirazione. "Le diable est dans les détails", però, e dove si verificherà mai la buonafede di uno scrittore se non in un rispetto accanito e inesausto per le parole?
It is to Corrado Guzzanti, however, the best indication that, in Italian of the late twentieth century, the word metaphor had stopped flowing in its bed quiet and cultured, secular, overflowing, was destined to become cloudy and little contact with people recommended that he would put on the sidewalk to do tricks. A Rokko Smitherson, television commentator, a parody of the characters invented by the actor in the early nineties, it was going to express themselves, highly-so, "Mrs Soup, Mrs Soup, ie voevo day, er de port city has run stew 'r potty sott'ar der political ass, got a thin MATAF? ". degradation of metaphor , Apollonius also believed to know who to blame. Without perhaps being the first, the endorsement of the stylistic elements that contributed decisively to its pervasive and unstoppable success in Italy among people of the world was made by Leonardo Sciascia, with the complicity of Marcelle Padovani.
In 1979, first in French, and Italian, the Rome correspondent of the Nouvel Observateur at the time the magazine of the French intellectual left, published a book-length interview with the Sicilian writer. Certainly authorized by Sciascia, gives the title Sicily comme metaphore, which seemed at the time (as still used to say to the people of the world) very intriguing. A fondamento di tale titolo, stanno le parole con cui Sciascia rispondeva a una sua sollecitazione. Mutatis mutandis , ciò che Gotor oggi scrive nel suo editoriale è eco pallida e distorta dell'espressione dello scrittore.
Alla domanda della giornalista se fosse possibile considerarlo ancora uno scrittore siciliano, Sciascia rispondeva: "Sono piuttosto uno scrittore italiano che conosce bene la realtà della Sicilia, e che continua a esser convinto che la Sicilia offre la rappresentazione di tanti problemi, di tante contraddizioni, non solo italiani ma anche europei, al punto da poter costituire la metafora del mondo odierno".
Apollonio lo confessa: non è questa l'ultima delle ragioni che lo inducono a non deporre la sottile diffidenza che fin da ragazzo ha nutrito per Leonardo Sciascia, cui tributa contemporanemente una grande ammirazione. "Le diable est dans les détails", però, e dove si verificherà mai la buonafede di uno scrittore se non in un rispetto accanito e inesausto per le parole?
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