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.
Calusio, M., L'orrore della colpa nell'ultimo Grossman, <<LINGUAE &>>, 2013; (2): 49-65. [doi:http://dx.doi.org/10.7358/ling-2013-002-calu] [http://hdl.handle.net/10807/51429]
L'orrore della colpa nell'ultimo Grossman
Calusio, Maurizia
2013
Abstract
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.
File in questo prodotto:
Non ci sono file associati a questo prodotto.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
