LUCE 325 - Page 29

The irreverent and irrational light in some texts by Carlo Emilio Gadda C Ritratto di Carlo Emilio Gadda, 1921 / Portrait of Carlo Emilio Gadda, 1921 Sede del Politecnico di Milano in piazza Cavour / Seat of the Politecnico di Milano in Piazza Cavour, Milan arlo Emilio Gadda (1893-1973) graduated in industrial engineering in 1920, when the Milan Polytechnic was in piazza Cavour. From 1920 to 1935 he worked as an engineer in Italy and abroad, alternating this profession and his writing activity. In his initial literary compositions, the subject of his incisive satire was the Milanese society of the 1930s. First of all, he focussed on his colleagues, the engineers, who he described as being confounded by integral calculus and favoured by projection. Then, on the Polytechnic, “I am your Polytechnic, and you shall have no other Polytechnics before Me”. Gadda remembered that the classroom which had no windows was illuminated by “hanging enamelled steel dishes… where one had to squint to be able to draw, under those lights at 2 p.m. … and from which, in a fifty-year period, – estimates the author of Nuove battute sul Politecnico vecchio (New comments about the old Polytechnic) – twenty-eight thousand engineers came out short sighted”. The Milanese way of life during the Fascist period (1926-1942) seemed “too sloppy, too vulgar” to Gadda, and also the feats of the new architects turned him yellow like jaundice. The “sharp and relentless” light of an electric lamp, in La madonna dei filosofi, (The Philosophers’ Madonna), made Gadda note the uncivil behaviour of the Italians in public places, throwing “very typical sediments and leftovers all over the ‘Garden of Empire’. Within the sky of Italy, which is supposed to be this garden – Gadda highlights –, shining stars were sapphires for all lovers.” During World War II (1939-1945), Gadda recomposes his irreverent yet healthy satire, with the intention of redeeming the fundamental values of the Milanese bourgeoisie, mainly work. Without giving up on the mockery of society, the author of Un concerto di centoventi professori (A concert of a h չɕ)ݕɽͽ̤͕́́ѕѥ)ѡѡɔѥɕձ䁑͍ɥ)ѡݽɬɥЁɑȁѼͥѥѡ)胊qՑɌ̰ݥѠ)ɽ́ѼѡɅݽɬѡх)ѡ͔ɽ́Ёѡٕͅ)ѡ䰁ȁͱѱ䁅ٔаͼѡЁѡ)ЁѡɅЁѡ̻t)͍ɥѥѡЁ́ɕՑ܁啅)ɔѼUѽUѽ̤Ё1Ս)хéє饅Mѥ)٥ɽФɅѥݥѠ)9Yȁѡa%%$5Qɥ)ݡ́ɕѱɔɽ͕)! 5ݡɔ)х锁ѡхѽȰѕɥѡ)ɍѥ)ѕȁѥ́Ց́ͽ)ə́́ɽѕՔՅ)͕ɥ́ѕɅ䁵ѕ̰ݡݕɔ)ɕѕɔՉ͡ѡMѥ̸)ѡ͔1饽ɔ(ՅѕݥѠɥݡЁ)є́ͥɕ́)хЁݽɬݡɔɅѕ́)ɅѥѥЁѡ)ɅѥݽɬѕЁѡЁ́ѡ)屔胊q=ѡѠ)Ʌѥ̰ѡЄݡɕ̰)ɕ̃Քչѕɕ) Ё̰ͽձ̰ݡЁձѥ+ɅЁѠՉɸɥ)ٕɅѥ́镹)Ѽȁѡݥѡаѡ)Ёɕѡٽȁɝ)Յѕɥ́݅ɑ̰݅ɑ݅ѥ)Ѽɕѡ՝ѥٔݕЃѡɕѠ)Ʌѥ́ՙɕ͕͕)ɽɵ́Ѽɵ̸Uѥѡɕ)Ёɥمt)ݡѼ͕+qѡٽѕ!Ʌ́ɽ٥)MMtѡɅѥѡ)ѡЁ̃qչѥѡɕЁ)ɥمtͥɕѡɕ)ՅѕݥѠɥ́ѥɅ)ݱ)Qɽ՝ͽ٥Ս̰ѡѡ)ɕхѕ́ѡɥЁ+qɅѕ݅ɕ̳t)ٕѡ̰䁥ٽչхɥ䁉ɕ)ѡɽ՝ٕ́ѥЁ)Ёٕѡ՝Ё́Ք)ɕ(؃LѼѥՕȃq́ӊt)Ѽєѡݥ͡Ёѽɥ́)5ɄٔՉ͡1U +qͅɼ5齹ɕѽȁӊt(ܰMѕȀؤ샊q!ɵ5٥)1ЁѡЁ٥ѕ́́ɹtİ)MѕȀܤ샊q1ЁɬѡɅ))́)協́չtȰ)Ȁܤ샊q́́͡)!݅éɕݕѼɵϊt̰)5ɍ쀉QѥոQ5)5չхtQ́5а)չ)A%A!9%L=1%!P1U (