Abstract:
In 20th-century Italy, writers such as Prazolini, Papini, and Verga, given their connection to the classical novel structure of the 19th century and their imitation of Leopardi and Manzoni in their writing style, did not play a special role in the modernization of 20th-century literature and especially the novel. Therefore, the novel in the 20th century must be familiar with the cultural and social needs of modern man, and this compatibility, according to some critics, is only possible by moving towards the modern European novel. Italo Svevo, in these years, by following some theories of Western thought in his novel, examines the relationship between the individual and others in modern society, and thus his novel has significant innovations. This article, while addressing the conditions and characteristics of literary activities in the 1930s of the twentieth century and examining some writers of the Solaria magazine, seeks to examine the cultural and literary conditions with which Italian society welcomes Italo Svevo.
Machine summary:
In the years after Svevo’s death following a traffic accident and exacerbation of asthma attacks due to the injuries sustained, the memory and name of the writer from Trieste remained alive thanks to numerous critiques published in various literary magazines such as Solaria and Esame by renowned critics such as Vittorini and Montale, and today his name is still seen among the important writers of twentieth-century Italy.
The birth, life, and literary activity of Italo Svevo in a special environment such as the city of Trieste and the influence of such an environmental and inevitable We can also offer another different reading of how writing and novel processing were done in Italo Svevo, considering the cultural impact on his work, which in itself reveals some of the reasons for the difference in Svevo’s style compared to his contemporaries who more or less emerged from a similar intellectual and artistic background, such as Luigi Pirandello.
The incompleteness of Svevo’s stories, the uncertainty and ambiguity of the fate of their first characters, the repetition of the same obsessions and individual and mental characteristics of the first characters of the stories all indicate that there is no particular difference between Svevo’s first and last novels (twenty-five years after the publication of the first novel)¹ and no transformation in the style of the author has occurred, although Zeno Cosini is a very different hero from Alfonso Nitti, but it can be said that the psychological and psychoanalytic process of both is exactly the same and for this reason, in Vittorini’s view, Svevo succeeded in inventing a kind of writing style that distinguished him from the novelists of his time and became a model for many other writers such as Federico Tozzi and led to the transformation of the novel in twentieth-century Italy and its distancing from the idea of the hero as a “superman” and its approximation to ordinary men and women of society.
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