Scroll of the story “Il gigante grave” di Kazuo Ishiguro – IlGiunco.net

KAZUO ISHIGURO
“THE GIANT SEPOLTO”
EINAUDI, TORINO, 2015, p. 324

While the war continues, with his civil warfare (other than the military) as ogni guerra and the systematic ricorso of the Russian part all fame and freddo (something that ricorda gli assedi medioevali), I propose a romance that talks about someone else war and delle sue conseguenze in bilico tra oblio e memoria secondo a typically human characteristic.

Kazuo Ishiguro has won the Nobel Prize for Literature in 2017. His cousin noted the successful romance “The rest of the day” (1989), from which James Ivory has treated the other notorious film with Anthony Hopkins and Emma Thompson .

He was born in Giappone to Nagasaki, the city was destroyed by the atomic bomb, but if he was transferred from the baby to six years in England, where he lives in London, he is an English citizen and writes in English. He represents quindi a second generation of migrants, something that he warned of him in the next year will have a diffuse condition and that he will inevitably rifle due culture of appartennza. Potrebbe essere una conseguenza positiva della migrazione bíblica di cui siamo testimoni.

He has written only seven Romanzi (after this and the precedent corrono 10 anni), perché pensa di lavorare più sulla qualità che sulla quantità. He has tutte le carte in regular from my point of view, but this his last proof is per me deludente. I attested to a significant number of events that were marked in my writing, inferior to the venti.

La sua scelta per il Nobel a mio modesto avviso attesta l’incertezza degli accademici svedesi nel loro tentativo di uscire dal “canone occidentale”, respectto al quale Ishiguro è substantially internal. The story is a fantasy of medieval setting, in the successive era all’abbandono della Britannia da parte dei romani, in cui re Artù has imposed a precarious peace between britanni and sassoni. It is a genre that follows Tolkien’s orme and that I am not at ease (è troppo distaccato dalla realtà e troppo incline al simbolico).

In certain ways the romance follows the typology of the historical romance, but the story is full of fantastic creatures: orchi, demoni, folletti, giganti e tra tutti a legendary dragon, Quering, il cui fiato produces a nebbia che determina l’oblio. That this will dimentice against the other the ragioni of the countess against Britanni and sassoni and quindi serve to keep the peace.

The theme of memory and of his failure is dear to all authors, who have made a fantastic story to have it in vita. He tells a story “a ritroso”, but I will tell a recovery from memory: due anziani coniugi britanni, Axl and Beatrice, were consapevoli della nebbia che defusca i loro ricordi e prima di perdersi completamente, partono dal loro villaggio, dove vivono no comunitaria manera , per encircare di ritrovare il loro figlio. Quindi la smemoratezza protects a salient fact of the parrot story, which obviously did not reveal, lasciando lo solo al curiosità del lettore.

Dirò solo che l’agnizione finale, che rimane aperta, sia individuale che collective, è gestita dall’autore con scarsa suspense. The collective dimension is referred to the story of the people and agli altri personaggi della story: the warrior sassone Wistan, che dà la caccia al drago Quering su ordine del proprio re per rinfocolare la guerra; the young orphan Edwin, segnato dal morso di un demone, che si accione a diventare un guerriero sassone; l’anziano cavaliere di Artù Galvano with an ambiguous ruolo verso Quering; Lord Brenno, signore dei britanni, e il monaco saggio Jonus.

La stessa struttura narrative è a ritroso, cioè i personaggi sono rappresentati mentre ricordano gli avvenimenti appena accaduti. A very interesting narrative stratagem to mean that I can only tell if a brief memory ends. I think that this personage is a symbol and metaphor of any other: in this case, I would be interested in investigating the fact that “Quering”, the dragon, bears a name that shares the same root of the “question” (= demand).

It was seen as a comprehensive metaphor, as an allegory, which can give light to this story, this is the contradiction of the obligation that protects the rich and painful (it includes the war and the massacre) and the need to recover my memory, I will serve you a non repeatere i vecchi errori, ma sincerely – se c’è – this è resa debolmente nel romanzo.

It is worth a general consideration: I think that modern writing will hardly be apart from the allegorical dimension – except obviously the consumer literature, which I do not love, which I do not love -, a dimension that inevitably alludes to the alienation of the modern and contemporary hypermodern.

We want to give thanks to the writer of this short article for this outstanding material

Scroll of the story “Il gigante grave” di Kazuo Ishiguro – IlGiunco.net


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