Marcello non si tira indietro nemmeno di fronte alla prospettiva di prender parte a un omicidio politico e rintraccia il professore. Questi vive con la moglie e ricevuta la chiamata del suo ex alunno lo invita a casa. Marcello e Giulia, sua moglie, vi si recano e qui non solo emerge che il professore e la moglie sanno tutto di Marcello e dei suoi scopi, nonostante lo accolgano con cortesia, ma si crea anche un curioso triangolo: Marcello infatti resta folgorato dalla bellezza della moglie del professore e crede anche di essersene innamorato, ma questa si scopre subito avere inclinazioni omosessuali, ed essersi invaghita disperatamente di Giulia. A Parigi sarebbero dovuti rimanere Marcello, Giulia e la moglie del professore che nel mentre cerca con insistenza di avvicinarsi a Giulia, che la respinge. Tuttavia la moglie alla fine parte con il marito professore e Marcello e Giulia fanno ritorno in Italia.
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Not only do they help understand the relationship of an individual to an authoritarian regime, but they also explore existentialist issues that became more pressing in the context of the Second World War and the post-war environment. Whether or not you get to see the film, I recommend that you read this novel. To be honest, during the first half, I wondered whether Moravia had failed to lift his work above the ideas that formed his subject matter.
No wonder that it was made into a film. I have tried to avoid any detail or implication about what follows, except to the extent that I mention the abstract nature of his own self-realisation but not the trigger of it. When we meet him, he is a relatively innocent 13 year old.
At various times, Moravia describes him as timid, feminine, impressionable, unmethodical, imaginative, impetuous, passionate, confiding, expansive, sometimes positively exuberant.
In a way, his guilt derives from a first cause or an original sin. He is deprived of his innocence as a teenager, although Christian doctrine would have it that we are all born guilty. He has a longing to be like everybody else. To be different would be to be guilty. By the time we meet him 17 years later, he is "perfectly sure of himself, entirely masculine in his tastes and in his general attitude, calm, methodical to a fault, almost completely lacking in imagination, cool and self-controlled, reserved, always equable in temper, lacking in vivacity if not actually gloomy, silent, a sort of benumbed, grey normality".
He has built "a bond, a bridge, a symbol of attachment and communion" with the middle class, the conventional, the ordinary, the common, the modest, the reassuring, the complacent. No longer is he "a solitary, an abnormal person, a mad man, he was one of them, a brother, a fellow-citizen, a comrade". In other words, he is a Conformist. Only, his resemblance to other men is "deliberate and imitative rather than a result of a conformity of inclination".
He is a fake Conformist. He feels repugnance for any form of corruption or decadence, and he is compelled to banish abnormality, subversion and disorder: "The possession of the truth did not merely permit, it also imposed, action. Quadri is gentle, affectionate and persuasive, a father figure, if not quite Christ-like, the epitome of what the Fascist Party describes as a "negative, impotent intellectual", who, after years of passive opposition, has "passed from thought to action".
So effectively we have a conflict between two men who have been called to action for different, almost mirror image, reasons. Quadri tries to save Italy and Europe from Fascism. Marcello, placed in a position where he must bet on one horse or another, is a Conformist in one sphere, but must seem like a Judas in the other. Only History can tell who will prevail.
The Correction To say more, to discuss the themes of the novel any more deeply, is to risk spoilers. However, ultimately, Marcello must confront and deal with his complicity in the political crimes of the era. He realises that, even outside the context of the War and Fascism, he is not the only guilty one. We are all guilty. None of us is innocent: "All of us have been innocent Equally importantly, while he has struggled to achieve perfect normality, he discovers that the truly normal "take the utmost liberties with normality itself.
He should have aimed for authenticity, to be true to himself, instead. On the night of her conception, he says: "I have loved, I have united myself with a woman and have begotten another human being. Footnotes: 1 After a while, I started to keep track of some of the key abstract terms used in the novel. But here are the ones that began, strangely enough, with "c" or "a":.
Not only do they help understand the relationship of an individual to an authoritarian regime, but they also explore existentialist issues that became more pressing in the context of the Second World War and the post-war environment. Whether or not you get to see the film, I recommend that you read this novel. To be honest, during the first half, I wondered whether Moravia had failed to lift his work above the ideas that formed his subject matter. No wonder that it was made into a film. I have tried to avoid any detail or implication about what follows, except to the extent that I mention the abstract nature of his own self-realisation but not the trigger of it. When we meet him, he is a relatively innocent 13 year old.
In the first, Marcello coldly kills several lizards in the yard between his home and the home of his neighbor and friend, Roberto. Marcello is mortified not so much by his actions but by what he perceives as the abnormality of his sentiments. His father ultimately chases his mother around the house and attacks her in the bedroom, leaving Marcello torn between whether to rescue his mother or aid his father. One day, five classmates follow Marcello home from school and try to force him to wear a skirt, but their attack is interrupted by a chauffeur who happens on the scene and offers to drive Marcello home. En route, the chauffeur appears to proposition Marcello, offering him a pistol in exchange for unspecified actions.
Il conformista (romanzo)
Early years Edit Alberto Pincherle the pen-name "Moravia" was the maiden surname of his paternal grandmother was born in Via Sgambati in Rome, Italy, to a wealthy middle-class family. His Jewish Venetian father, Carlo, was an architect and a painter. His family had interesting twists and developed a complex cultural and political character. He learned French and German and wrote poems in French and Italian.