Abstract

How does a narrator use that scenic, articulate and composite material that we call ‘city’? To give an example, how and to what purpose is Carlo Emilio Gadda’s page – stylistically brimful, and apparently scarcely narrative – named after a city (Milano)? Based on similar questions, this article explores L’Adalgisa. Disegni milanesi, a peculiar textual product that is located between two typical containers of narrative forms. Without being a novel, indeed, L’Adalgisa is no longer a collection of short stories.

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