Enrico Annibale Butti: the Case of the Minor Writer (PDF)
A re-evaluation of the works by this novelist, dramatist, and critic of turn-of-the-century Milan. The issue of Butti's place in literary history leads to a critical definition of the minor writer in relation to his public.
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A re-evaluation of the works by this novelist, dramatist, and critic of turn-of-the-century Milan. The issue of Butti's place in literary history leads to a critical definition of the minor writer in relation to his public.
The focus of this work is twofold. It re-examines, on one hand, the principal works of Enrico Annibale Butti, with the purpose of weighing his place in literary history. It attempts to probe the striking discrepancy between the popularity that E. A. Butti, as he called himself, had during his lifetime, and his subsequent oblivion.
Inevitably, a discussion of a minor writer such as Butti turns to the more generalized yet more problematic discussion centering around the concept of the minor writer. The attempt to clarify and define the elusive character of the minor writer is the second, but by no means secondary, purpose of the present work.
Among the many writers and playwrights who lived and worked in Milan in the late nineteenth and early twentieth centuries, Enrico Annibale Butti distinguishes himself for his great versatility, and for his unusually keen ability to capture in his work the spirit of change that characterized late nineteenth-century society.
He experimented with prose, poetry, and literary criticism, but the theater, however, became his preferred genre. Butti was a believer in the power of language as rhetorical and persuasive tool, consequently he believed in the many possibilities open to the theater not only as an art form but as a didactic tool. A profound idealist, Butti discovered in the theater the best means to provide to the public an arena for intellectual debate.
Ironically, Butti`s novels were better received than his theater, and he was frequently criticized for his attempt to bring to the stage subjects that were too explosive, thereby lessening the enjoyment that the public demanded. Nonetheless, Butti persisted in this genre, blaming his failures on unsophisticated audiences.
He insisted that [1]`opera d`arte rappresentativa, che abbia ricevuto
il soffio vitale e innovatore del genio, è dunque
destinata per necessità di cose a incontrare al suo
apparire su le scene le
giudici e de` suoi ascoltatori.
At the heart of the audiences` strong reactions to Butti`s theatrical works was his critique of social and cultural structures, which was aimed at the wealthy middle class that accounted for a large percentage of his public.
Because of their often provocatory nature, Butti`s plays at tunes created a relationship between author and public that was at best polemical, at worst antagonistic. His characters as well, very much reflect the author`s perception of the middle classes, they are portrayed as fundamentally weak figures who are easily swayed by new theories regarding class structure, human evolution, religion.
Butti`s plays revolve around the conflict that is created by the collision of these characters` idealism with a very different reality. In spite of later oblivion, and notwithstanding the image of the alienated artist that Butti himself consciously promoted, many of his works did enjoy a period of widespread popularity in Italy.
Although today they have been all but forgotten by literary history, Butti`s works were taken seriously by authoritative voices such as Domenico Oliva, Luigi Capuana, and Benedetto Croce. Croce, although critical of Butti`s use of literature as a forum for his ideological beliefs, found his works worthy of a place in literary history.
- Autor: Susan Briziarelli
- 1994, 1. Auflage, 110 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 1882528085
- ISBN-13: 9781882528080
- Erscheinungsdatum: 01.01.1994
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- Dateiformat: PDF
- Grösse: 3.80 MB
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