L’orrore della colpa nell’ultimo Grossman
The recognition of the sins of the survivors of totalitarian regimes has great importance for the victims in Vasily Grossman’s last works. This paper analyzes how this issue turns out to be central in the artistic delineation of some of the most remarkable characters in Grossman’s works, from the ha...
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| Format: | Article |
| Language: | English |
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LED - Edizioni Universitarie di Lettere Economia Diritto
2014-02-01
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| Series: | Linguae &. Rivista di Lingue e Culture Moderne |
| Online Access: | http://www.ledonline.it/index.php/linguae/article/view/582 |
| Summary: | The recognition of the sins of the survivors of totalitarian regimes has great importance for the victims in Vasily Grossman’s last works. This paper analyzes how this issue turns out to be central in the artistic delineation of some of the most remarkable characters in Grossman’s works, from the half-mad Ikonnikov in Life and Fate to the cook Anna Sergeevna Michalëva, who, in Everything Flows, tells the story of the Holodomor. |
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| ISSN: | 2281-8952 1724-8698 |