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Eva ultima
Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine (extra customization on request like complete leather, Golden Screen printing in Front, Color Leather, Colored book etc.) Reprinted in 2022 with the help of original edition published long back [1923]. This book is printed in black & white, sewing binding for longer life, Printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume, if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. - Italian, Pages 234. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. COMPLETE LEATHER WILL COST YOU EXTRA US$ 25 APART FROM THE LEATHER BOUND BOOKS. {FOLIO EDITION IS ALSO AVAILABLE.} Complete Eva ultima, romanzo. 1923 Bontempelli, Massimo, -.
Paperback
First published January 1, 1924
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About the author
Massimo Bontempelli
103 books30 followersMassimo Bontempelli was an Italian novelist, short story and theater writer, literary and art theorist and critic.
Best known for coining the literary term Magical Realism and creating its theoretical framework. His efforts to implement this specific poetics in his writings begin after his initial experiments, first with traditional poetry (Carduccian classicism) , then humorist, ironic stories (influenced by Pirandello) and short escapades in surrealism and futurism.
Despite forming a literary model for Magic Realism with his own novels and short stories, Bontempelli's importance as a Magic Realist writer is mainly neglected and overthrown in contemporary theories on Magic Realism. Only few authors (mostly Italian authors but A. C. Hegerfeldt, A. B. Chanady, I. Guenther as well) acknowledge Bontempelli's significant role for the development of Magic Realism, but unfortunately, not all of them manage to go further then Franz Roh's and Alejo Carpentier's theories in the debate over the origin and literary use of the term.
Bontempelli graduated from the University of Turin gaining two diplomas, in Classical Studies and in Philosophy.
He worked as a journalist, teacher and served as an artillery officer during the First World War.
In 1924 Bontempelli entered Mussolini's fascist movement and in the same year, together with his friend Luigi Pirandello, he founded Teatro degli Undici. In 1926, co-founded the literary review 900: Cahiers d'Italie en d'Europe with Curzio Malaparte. Despite Malaparte's abandoning the review even before the first issue was published, Bontempelli had succeeded, with the help of Nino Frank, to form an impressive editorial committee which included Max Jacob, André Malraux, Rainer Maria Rilke, and James Joyce and contributions from Pierre Mac Orlan, Philippe Soupault, Georg Kaiser, Ivan Goll and Ramòn Gomez de la Serna. In the first issue Bontempelli presented his theory of Novecentismo and Magic Realism and articulated literary positions that became points of reference in literature.
In 1930 Bontempelli becomes a member of the Italian Academy. In 1938 Bontempelli was offered Attilio Momigliano' chair at the department for Italian Literature at the Florence University (which Momigliano was forced to give up because of the anti-Semitic legislation) but refused the position and was subsequently banished to Venice and censored by the regime because of his critic towards fascist leaders.
In 1953 Massimo Bontempelli is awarded with Italy's highest literary award, the Strega Prize, for his collection of short stories L'amante fedele (The Faithful Lover).
Best known for coining the literary term Magical Realism and creating its theoretical framework. His efforts to implement this specific poetics in his writings begin after his initial experiments, first with traditional poetry (Carduccian classicism) , then humorist, ironic stories (influenced by Pirandello) and short escapades in surrealism and futurism.
Despite forming a literary model for Magic Realism with his own novels and short stories, Bontempelli's importance as a Magic Realist writer is mainly neglected and overthrown in contemporary theories on Magic Realism. Only few authors (mostly Italian authors but A. C. Hegerfeldt, A. B. Chanady, I. Guenther as well) acknowledge Bontempelli's significant role for the development of Magic Realism, but unfortunately, not all of them manage to go further then Franz Roh's and Alejo Carpentier's theories in the debate over the origin and literary use of the term.
Bontempelli graduated from the University of Turin gaining two diplomas, in Classical Studies and in Philosophy.
He worked as a journalist, teacher and served as an artillery officer during the First World War.
In 1924 Bontempelli entered Mussolini's fascist movement and in the same year, together with his friend Luigi Pirandello, he founded Teatro degli Undici. In 1926, co-founded the literary review 900: Cahiers d'Italie en d'Europe with Curzio Malaparte. Despite Malaparte's abandoning the review even before the first issue was published, Bontempelli had succeeded, with the help of Nino Frank, to form an impressive editorial committee which included Max Jacob, André Malraux, Rainer Maria Rilke, and James Joyce and contributions from Pierre Mac Orlan, Philippe Soupault, Georg Kaiser, Ivan Goll and Ramòn Gomez de la Serna. In the first issue Bontempelli presented his theory of Novecentismo and Magic Realism and articulated literary positions that became points of reference in literature.
In 1930 Bontempelli becomes a member of the Italian Academy. In 1938 Bontempelli was offered Attilio Momigliano' chair at the department for Italian Literature at the Florence University (which Momigliano was forced to give up because of the anti-Semitic legislation) but refused the position and was subsequently banished to Venice and censored by the regime because of his critic towards fascist leaders.
In 1953 Massimo Bontempelli is awarded with Italy's highest literary award, the Strega Prize, for his collection of short stories L'amante fedele (The Faithful Lover).
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Displaying 1 - 2 of 2 reviews
January 27, 2025
bontempelli mi affascina molto, sicuramente leggerò altro
March 23, 2025
Ho avuto la goduria di leggere quest’opera nella prima edizione (Stock 1923), trovata su eBay.
Va associata a un’altra mia recente lettura, “il grande ritratto“ di Buzzati. Che cosa c’entra? Entrambi riflettono sul tema dell’essere di creature senzienti fabbricate dalla mano umana, anticipando il dibattito contemporaneo sull’intelligenza artificiale e trattando il tema della coscienza di sé da parte della stessa e del suo rapporto con l’umano.
L’editore Utopia mi ha fatto appassionare a questo autore importantissimo e riscoperto, inventore del realismo magico, corrente che io amo alla follia. Il romanzo ha una fortissima impronta teatrale, nasceva come lavoro per il Teatro e si sente: tutto è metafisico, surreale, ambientato in scene fisse su cui si muovono i personaggi, i cui dialoghi sono molto spesso nella forma del copione.
Anche questa volta apprezzo di Bontempelli la capacità di creare un’atmosfera cupa, piena di lugubre attesa, in situazioni sospese nel tempo.
Va associata a un’altra mia recente lettura, “il grande ritratto“ di Buzzati. Che cosa c’entra? Entrambi riflettono sul tema dell’essere di creature senzienti fabbricate dalla mano umana, anticipando il dibattito contemporaneo sull’intelligenza artificiale e trattando il tema della coscienza di sé da parte della stessa e del suo rapporto con l’umano.
L’editore Utopia mi ha fatto appassionare a questo autore importantissimo e riscoperto, inventore del realismo magico, corrente che io amo alla follia. Il romanzo ha una fortissima impronta teatrale, nasceva come lavoro per il Teatro e si sente: tutto è metafisico, surreale, ambientato in scene fisse su cui si muovono i personaggi, i cui dialoghi sono molto spesso nella forma del copione.
Anche questa volta apprezzo di Bontempelli la capacità di creare un’atmosfera cupa, piena di lugubre attesa, in situazioni sospese nel tempo.
Displaying 1 - 2 of 2 reviews