Alberto Moravia - translation to γαλλικά
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Alberto Moravia - translation to γαλλικά

ITALIAN WRITER AND JOURNALIST (1907-1990)
Alberto Pincherle
  • Moravia and Elsa Morante, Capri, 1940s

Alberto Moravia         
Alberto Moravia, pen name of Alberto Pincherle (1907-1990), leading 20th-century Italian novelist
Alberto Pincherle      
Alberto Pincherle (1907-1990) leading 20th-century Italian novelist who used the pen name "Alberto Moravia"
Moravia         
Moravia, city in Iowa (USA); village in the state of New York (USA); family name; Alberto Moravia (1907-1990), pen name of Alberto Pincherle, leading 20th-century Italian novelist

Ορισμός

semprini
1. A multiple-use profanity.
2. A term for any body part that would otherwise be unfit for public discussion.
1. Oh, semprini! I dropped the bowling ball on my foot! 2. Oh, kiss my semprini.

Βικιπαίδεια

Alberto Moravia

Alberto Moravia (US: moh-RAH-vee-ə, -⁠RAY-, Italian: [alˈbɛrto moˈraːvja]; born Alberto Pincherle Italian pronunciation: [ˈpiŋkerle]; 28 November 1907 – 26 September 1990) was an Italian novelist and journalist. His novels explored matters of modern sexuality, social alienation and existentialism. Moravia is best known for his debut novel Gli indifferenti (The Time of Indifference 1929) and for the anti-fascist novel Il Conformista (The Conformist 1947), the basis for the film The Conformist (1970) directed by Bernardo Bertolucci. Other novels of his adapted for the cinema are Agostino, filmed with the same title by Mauro Bolognini in 1962; Il disprezzo (A Ghost at Noon or Contempt), filmed by Jean-Luc Godard as Le Mépris (Contempt 1963); La Noia (Boredom), filmed with that title by Damiano Damiani in 1963 and released in the US as The Empty Canvas in 1964 and La ciociara, filmed by Vittorio De Sica as Two Women (1960). Cédric Kahn's L'Ennui (1998) is another version of La Noia.

Moravia once remarked that the most important facts of his life had been his illness, a tubercular infection of the bones that confined him to a bed for five years and Fascism, because they both caused him to suffer and do things he otherwise would not have done. "It is what we are forced to do that forms our character, not what we do of our own free will." Moravia was an atheist. His writing was marked by its factual, cold, precise style, often depicting the malaise of the bourgeoisie. It was rooted in the tradition of nineteenth-century narrative, underpinned by high social and cultural awareness. Moravia believed that writers must, if they were to represent reality, "assume a moral position, a clearly conceived political, social, and philosophical attitude" but also that, ultimately, "A writer survives in spite of his beliefs". Between 1959 and 1962 Moravia was president of PEN International, the worldwide association of writers.

Παραδείγματα από το σώμα κειμένου για Alberto Moravia
1. Lui–męme refuse l‘étiquette d‘«intellectuel», n‘ose pas se voir dans la męme catégorie qu‘un Alberto Moravia, un Pier Paolo Pasolini ou un Leonardo Sciascia.
2. Sa collaboration fréquente avec des auteurs tels que Pasolini ou Alberto Moravia est en soi un indice de lorientation existentielle qui imprime ses films.
3. Le premier (auteur du fameux Banditi a Orgosolo en 1'60) retrace le parcours exemplaire d‘un immigrant clandestin sénégalais dans Lettere dal Sahara (titre emprunté ŕ Alberto Moravia), mais la forme et le propos restent en deçŕ des bonnes intentions.