Abstract
The Bakhtinian concept of “monological narrative” as opposed to that of “dialogical narrative” can be used to understand Visconti’s cinematic adaptation of Verga’s novel made three quarters of a century ago. The central character of both the movie and the book fails in his project to create a better situation for his family. The novel, however, because of inherent polyphonicity provides a place for the dissonant voices of the community, while the revolutionary ideal of Visconti’s epic hero offers a glimpse into a distant world of justice for both Sicily and the rest of the world.
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