TOMMASO LANDOLF’S EXPERIMENTAL ART

Abstract

Tommaso Landolf (1908-1978), is all about a finished literature, but not a similar one for the interpretations. This work aims to identify the presence of different schools of literature mentioned in chosen masterpieces same as the representatives of his prose. At the same time this work aims to interpret the presence of structuralism theory in one of the best known stories of the author, specifically “Parole in agitazioneâ€, which we see as a written model too special according to the strategies of dealing with a literary subject.
Tommaso Landolf, graduated at the Florence Faculty in 1932, with the thesis on Anna Ahmantova (who lived at that time) gets the highest evaluation. It has been determined from the scholars as a writer obsessed after the word to build a fantastic world. His entire life was accompanied by multiple literary prizes along with his very rich creativity. He first issued the prose, which firstly took life in 1937 with “Dialogi di massimi sistemiâ€, “La pietra lunareâ€, “La spadaâ€, “Racconto d’autunno†etc, 34 works of art in prose, novels, short stories and narrations, with which we think he stars. We do think so because they (the stories) show more his researching work as a scientist upon language.
The short narration “Parole in agitazioane†is definitely a writer with dimensions of the modern and it comes as testimony of his research in a different poetry, with the features of original texts in content and shape. So you can only approach to Landolf as a writer of varieties and literary experiment, as a writer who set a finished experimental literary challenge. A similar art arouses the receptor, suggests him reading and rereading the art to achieve its review and interpretation. With no doubts this reader surpasses the limits of a disqualified reader, for the event is awkward, interesting, full of subtle situations which require careful attention and thorough examination. The subject of the story in hand is built upon a detail that makes it an artistic discovery; words and letters that come up from the mouth, go round about in a sink, yell, dance and twist and talk just like living beings, give a chance of an infinite understanding of oneself (each is one and many meanings) up to the moment when the character puts them with great difficulties in a prison-bottle from where they feel as caught in a trap. Perhaps shared content from us is not enough to introduce the tension of the narration. We think to uphold his analyses upon the structuralism theory that starts with Saussure and deepens in Roland Barthes) On the other hand in T. Landolf’s prose it is defined from the scholars as present the fantastic and surrealist by explaining this with Tzvetan Todorov’s theory ‘The fantastic Literature’, where the fantastic raised upon a background of abnormality makes a regulation where the absurd and the awkwardness are rules and regulations. Apart from these we think that in T. Landolf’s theory is seen the presence not in a very clear way but as a combination of the other literary directions like: Futurism, Imagenism, Existentialism.