Italské knihy

485 titulů nemá zaznamenaný literární druh a zobrazuje se jen pod „Vše“.

• Il GattopardoGiuseppe Tomasi di Lampedusa · 1958 · próza
  #1899prům. denních zobrazení článku na Wikipedii

  Written in the mid-twentieth century but in a deliberately old-fashioned, Latinate literary manner, with elevated and period-flavoured word choices and constructions that a learner meets in a grammar's notes rather than its lessons; the passato remoto here is both the ordinary narrative past and part of that consciously nineteenth-century texture.

  Celá jazyková poznámka

  Descriptive and reflective passages run in long periods with stacked subordination, parenthetical asides and adjectives trailing after their nouns, so the sense is often completed only at the end; the dialogue is much plainer.

• L'infinitoGiacomo Leopardi · 1819 · báseň nebo hra
  #2839prům. denních zobrazení článku na Wikipedii
• Manifesto di VentoteneAltiero Spinelli, Ernesto Rossi, Eugenio Colorni · 1944 · próza
  #3776prům. denních zobrazení článku na Wikipedii
• Divina CommediaDante Alighieri · 1320 · báseň nebo hra
  #4752prům. denních zobrazení článku na Wikipedii
• I promessi sposiAlessandro Manzoni · 1827 · próza
  #5646prům. denních zobrazení článku na Wikipedii

  Nineteenth-century literary Italian in its Florentine-revised form: the vocabulary and the syntax are recognisably modern in their bones but the connectives, pronoun usage, elided and apocopated forms and much of the phrasing are dated enough that Italian schoolchildren and foreign learners alike read it in an annotated edition; the passato remoto here is simply the narrative past, not a period effect.

  Celá jazyková poznámka

  The narration runs in long balanced periods with stacked relative and concessive subordination, parenthetical asides and frequent inversion of the expected order, and the reader often has to hold several dependent clauses open before the governing verb resolves them; the dialogue is markedly plainer.

• A ZacintoUgo Foscolo · 1803
  #6486prům. denních zobrazení článku na Wikipedii

  Early nineteenth-century neoclassical verse whose diction is deliberately archaizing and latinizing, with elided and syncopated poetic forms and Greek-derived proper names that an Italian reader today also meets with footnotes.

  Celá jazyková poznámka

  The poem is built as one suspended period running across most of the octave and quatrains, with inversions, interposed relative and participial material, and the governing verb withheld until late, so the sense cannot be resolved line by line.

• Il nome della rosaUmberto Eco · 1980 · próza
  #7451prům. denních zobrazení článku na Wikipedii

  Written at the end of the twentieth century but deliberately pastiched as a monastic chronicle, with archaizing constructions, Latinate word order and an old-fashioned chronicle diction; the passato remoto here is doing period work as well as serving as the ordinary narrative past.

  Celá jazyková poznámka

  The narration runs in long chronicle periods with stacked relative and concessive clauses and frequent inversion, the main verb often arriving late, while the interrogation and dialogue scenes are considerably plainer. The narration is standard throughout, but one servant character speaks a deliberately macaronic mixture of Latin, Italian vernaculars and other Romance scraps that standard Italian does not cover.

• Cantico delle creatureFrancesco d'Assisi · 1226
  #8445prům. denních zobrazení článku na Wikipedii
• Il fu Mattia PascalLuigi Pirandello · 1904 · próza
  #9441prům. denních zobrazení článku na Wikipedii

  Early twentieth-century literary Italian that is structurally the modern language, with a scattering of dated vocabulary, some older third-person address conventions and a slightly bookish written formality; the passato remoto is simply the narrative past of the memoir sections rather than an archaising device.

  Celá jazyková poznámka

  The narrator writes in long, clause-rich sentences with parentheses, asides and exclamations, but they unfold in the order a reader expects and the speaking voice keeps the main verb early rather than suspended.

• I MalavogliaGiovanni Verga · 1881 · próza
  #10426prům. denních zobrazení článku na Wikipedii

  Post-unification literary Italian of the eighteen-hundreds, but deliberately pulled toward speech, so the distance from today's Italian shows in dated everyday words, idioms and a few older spellings rather than in structure; the passato remoto is the ordinary narrative past here, not a period effect, and it alternates constantly with the imperfetto.

  Celá jazyková poznámka

  Sentences imitate talk: long strung-together runs joined by simple connectives, with clause order following the speaker's thought rather than a built period, so the load is length and loose linkage rather than stacked subordination. The page is Italian, not Sicilian, but it is Italian calqued on Sicilian speech — regional idioms, proverbs and turns of phrase translated word for word — so grammar stays followable while individual expressions do not mean what their parts say.

• La coscienza di ZenoItalo Svevo · 1923 · próza
  #11422prům. denních zobrazení článku na Wikipedii

  Standard twentieth-century literary Italian of the interwar years, with a scattering of dated formal usages (polite third-person address, some now-old-fashioned adverbs and connectives) but nothing structurally removed from what is taught today; the passato remoto here is simply the narrative past of the memoir, not a period effect.

  Celá jazyková poznámka

  Sentences are often long and multi-clause, chaining explanation onto explanation as the narrator qualifies himself, yet they unfold in expected order with the verb early and without sustained inversion or suspended periods.

• DecameronGiovanni Boccaccio · 1350s · próza
  #12411prům. denních zobrazení článku na Wikipedii
• Orlando furiosoLudovico Ariosto · 1516 · báseň nebo hra
  #13409prům. denních zobrazení článku na Wikipedii

  Early sixteenth-century literary Tuscan: verb forms, article and pronoun shapes, syncopated and apocopated words shaped by metre, and spellings that are not the modern language, so Italians themselves read it in an annotated edition; the passato remoto is the ordinary narrative past here rather than a period effect, but it sits alongside genuinely archaic forms.

  Celá jazyková poznámka

  The stanza is the syntactic unit: word order is rearranged for rhyme and metre, subjects and verbs are separated across lines, clauses are nested inside one another and the sense is regularly suspended until the closing couplet.

• La StoriaElsa Morante · 1974 · próza
  #14387prům. denních zobrazení článku na Wikipedii

  Post-war literary Italian that reads close to the language taught today, with the passato remoto serving simply as the ordinary narrative past rather than doing any period work; dated items are mostly wartime and Fascist-era realia rather than older grammar.

  Celá jazyková poznámka

  The narration favours long, accumulative sentences with heavy parenthesis, appositions and lists, but the clauses arrive in the order a reader expects and the main verb is not typically suspended. Narration is standard, while much of the dialogue is Roman popular speech with regional lexicon and clipped pronunciation spellings, plus a child's half-formed speech, all of it followable through standard grammar.

• Uno, nessuno e centomilaLuigi Pirandello · 1926 · próza
  #15348prům. denních zobrazení článku na Wikipedii

  Early twentieth-century literary Italian that still reads close to the modern written language; the passato remoto is doing ordinary narrative-past work in the recounted episodes rather than any period effect, and the dated element is a handful of turns of phrase and elevated connectives rather than anything structural.

  Celá jazyková poznámka

  The narrator argues rather than reports, so sentences pile up subordinate clauses, parenthetical asides, dislocated elements and rhetorical questions, with the point often suspended across several turns before it lands.

• La spigolatrice di SapriLuigi Mercantini · 1858 · báseň nebo hra
  #16343prům. denních zobrazení článku na Wikipedii
• L'amica genialeElena Ferrante · 2011 · próza
  #17337prům. denních zobrazení článku na Wikipedii

  The prose is present-day Italian written in the twenty-first century, with no archaic forms or dated spellings; the passato remoto that carries the retrospective narrative is doing ordinary written-narrative work, not period work.

  Celá jazyková poznámka

  Sentences are often long and accumulative, chaining clauses and appositions with commas, but they unfold in expected order and the verb does not sit far from its subject.

• Le avventure di Pinocchio. Storia di un burattinoCarlo Collodi · 1883 · próza
  #18334prům. denních zobrazení článku na Wikipedii

  Post-unification Italian of the eighteen-eighties: the syntax is close to modern speech, but the spelling conventions, some pronoun and adverb usages, and a stock of household and rural words have since dropped out, and the passato remoto here is simply the ordinary narrative past rather than an archaising effect.

  Celá jazyková poznámka

  Short, forward-moving sentences built for reading aloud, mostly main clause plus one subordinate, with the story carried largely by attributed dialogue rather than by extended periods. The grammar is standard, but the lexicon and turns of phrase are markedly Tuscan-popular throughout, in the narrator's voice as much as in the characters', and a good many of those words are regional rather than national.

• La pioggia nel pinetoGabriele D'Annunzio · 1902 · báseň nebo hra
  #19330prům. denních zobrazení článku na Wikipedii
• Se questo è un uomoPrimo Levi · 1946 · próza
  #20327prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian that has aged very little: the syntax and word order are those of modern written Italian, with only occasional formal or slightly bookish choices, and the passato remoto here is simply the ordinary narrative past of written Italian rather than a period effect.

  Celá jazyková poznámka

  Levi builds long sentences with several coordinated and subordinate clauses, often accumulating detail across semicolons, but they run in the expected order with the verb where a reader looks for it; the prose is deliberately clear rather than suspended.

• San MartinoGiosuè Carducci · 1883 · báseň nebo hra
  #21321prům. denních zobrazení článku na Wikipedii
• Faccetta neraMario Ruccione · 1935
  #22310prům. denních zobrazení článku na Wikipedii
• Sei personaggi in cerca d'autoreLuigi Pirandello · 1921 · báseň nebo hra
  #23306prům. denních zobrazení článku na Wikipedii
• L'arte della gioiaGoliarda Sapienza · 1998 · próza
  #24300prům. denních zobrazení článku na Wikipedii

  Written in the nineteen-sixties and seventies and set across the first two-thirds of the twentieth century, the prose is recognisably modern literary Italian; period flavour comes from the political and household vocabulary of the era rather than from older grammar, and where the passato remoto appears it is doing ordinary narrative work alongside present-tense narration.

  Celá jazyková poznámka

  The sentences are mostly speech-shaped — short, paratactic, often elliptical or broken off — with longer multi-clause stretches in the reflective passages that still run in the order a reader expects rather than suspending the sense. The Sicilian setting comes through in dialogue and in the narrator's own idiom as regional lexicon, forms of address and turns of phrase, but the grammar stays standard and a learner loses individual words rather than whole sentences.

• Rosso MalpeloGiovanni Verga · 1878 · próza
  #25299prům. denních zobrazení článku na Wikipedii

  Late nineteenth-century prose that deliberately leans toward spoken idiom, so it reads more plainly than most writing of its decade, but the verb morphology, some pronoun and article usages and a scattering of dated everyday words sit outside what a learner is taught today; the passato remoto here is simply the narrative past, not a period effect.

  Celá jazyková poznámka

  Sentences are often long but built by accumulation — clauses strung with connectives in the order speech would put them — rather than by suspended subordination, so structure is held rather than untangled. The words are standard Italian, but the phrasing, proverbs and turns of speech are calqued on Sicilian usage, so the surface is followable while the idiom is regionally shaped throughout.

• Tanto gentile e tanto onesta pareDante Alighieri · 13th c.
  #26295prům. denních zobrazení článku na Wikipedii

  This is late-thirteenth-century Florentine vernacular: apocopated and syncopated forms, medieval article and pronoun shapes, spellings and verb endings that are not those of modern Italian, so an Italian reader also works from facing notes.

  Celá jazyková poznámka

  It opens with a suspended correlative construction whose consequence is deferred across several clauses, and the sense runs past line and stanza breaks with inversions and the main verb arriving late.

• Storia della bambina perdutaElena Ferrante · 2014 · próza
  #27292prům. denních zobrazení článku na Wikipedii

  Written and set largely in the recent past, in the plain contemporary literary Italian of today's publishing; the passato remoto carrying the retrospective narration is doing ordinary narrative-past work, not period colouring.

  Celá jazyková poznámka

  Sentences are frequently long and comma-linked with several coordinate and subordinate clauses, but they unfold in the order a reader expects with the verb early, and the dialogue is much plainer.

• Le otto montagnePaolo Cognetti · 2016 · próza
  #28261prům. denních zobrazení článku na Wikipedii

  Written and reading as present-day Italian, with nothing dated in its forms or spellings; the passato remoto that carries the narrative past is simply the ordinary written narrative tense here, not period colour.

  Celá jazyková poznámka

  Short to medium sentences in ordinary modern order, with light subordination and description built by adding clauses rather than by nesting them.

• Il barone rampanteItalo Calvino · 1957
  #29261prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian given a light eighteenth-century patina through titles, courtly address and a slightly formal narratorial diction; the passato remoto here is simply the narrative tense of written Italian, not a period effect, though it sits alongside the deliberately old-fashioned flavour of the memoirist's voice.

  Celá jazyková poznámka

  Sentences are often long, accumulating coordinate and subordinate clauses and long descriptive lists of what is seen from the branches, but they unfold in the order a reader expects and the verb does not get held back.

• M. Il figlio del secoloAntonio Scurati · 2018 · próza
  #30257prům. denních zobrazení článku na Wikipedii

  The narrative voice is present-day Italian, but the book splices in verbatim period documents — telegrams, police reports, party circulars, newspaper polemic of the nineteen-tens and twenties — whose bureaucratic and rhetorical Italian is dated in a way the surrounding prose is not; the passato remoto is scarce because the narration runs in the historic present.

  Celá jazyková poznámka

  The narration favours clipped, hammering sentences and paratactic lists for effect, but alternates with longer multi-clause periods, and the quoted speeches and documents bring in older formal constructions with the verb held late.

• I leoni di SiciliaStefania Auci · 2019 · próza
  #31252prům. denních zobrazení článku na Wikipedii

  Written and reading as present-day Italian: a recent historical novel whose narration uses current vocabulary and syntax, with period words limited to trade goods and institutions rather than older forms; the passato remoto appears only intermittently since the narration leans on the present tense, so it is not doing period work here.

  Celá jazyková poznámka

  Modern commercial-literary prose: mostly short to medium sentences in the order a reader expects, frequent sentence fragments and clipped present-tense clauses, with subordination that rarely runs beyond a clause or two. The Florios and those around them speak Sicilian in dialogue — set off typographically and largely inferable from context — while the narration stays in standard Italian, so a learner meets regional lexicon inside otherwise followable sentences.

• Il cinque maggioAlessandro Manzoni · 1821 · báseň nebo hra
  #32250prům. denních zobrazení článku na Wikipedii
• Il sentiero dei nidi di ragnoItalo Calvino · 1947 · próza
  #33245prům. denních zobrazení článku na Wikipedii

  Post-war twentieth-century literary Italian that still reads as modern; the dated element is period slang of the partisan war and of a port town rather than anything structural, and the narration leans on the present tense rather than using the passato remoto as a period marker.

  Celá jazyková poznámka

  The descriptive passages run to long sentences built by accumulation of coordinated and lightly subordinated clauses, but they proceed in expected order with the verb early; the dialogue is much shorter and simpler. The frame and narration are standard Italian, but the speech of the boy, the tavern regulars and the partisans is regionally coloured Ligurian-inflected popular Italian with coarse local expressions and snatches of song, followable because the grammar underneath stays standard.

• CuoreEdmondo De Amicis · 1886 · próza
  #34234prům. denních zobrazení článku na Wikipedii

  Late nineteenth-century schoolroom Italian: the syntax is deliberately clear, but the address forms, the elevated patriotic diction and a scattering of spellings and constructions now retired place it plainly before modern usage, and the passato remoto is doing ordinary narrative work in the inserted tales rather than period colouring.

  Celá jazyková poznámka

  The boy's diary runs in short, orderly sentences, but the father's and mother's letters and the exhortatory passages build long multi-clause periods with balanced parallel members, still in the order a reader expects.

• X agostoGiovanni Pascoli · 1896 · báseň nebo hra
  #35231prům. denních zobrazení článku na Wikipedii
• L'amica genialesérieElena Ferrante · 2014 · próza
  #36225prům. denních zobrazení článku na Wikipedii
• Ultime lettere di Jacopo OrtisUgo Foscolo · 1802 · próza
  #37224prům. denních zobrazení článku na Wikipedii

  Pre-Manzonian literary Italian of the turn of the nineteenth century: heavy elision and apocope, Latinate word order, archaic spellings and pronoun forms that a learner meets only in an annotated edition, and the passato remoto here is not merely the default narrative past but part of a consciously elevated, classicising manner.

  Celá jazyková poznámka

  The letters are built as rhetorical periods: long suspended constructions with stacked subordination, inverted order, verbs held back, broken by exclamation and apostrophe that interrupt rather than simplify the structure a reader is holding.

• Il deserto dei TartariDino Buzzati · 1940 · próza
  #38221prům. denních zobrazení článku na Wikipedii
• Gerusalemme liberataTorquato Tasso · 1580 · báseň nebo hra
  #39215prům. denních zobrazení článku na Wikipedii
• Filumena MarturanoEduardo De Filippo · 1946 · báseň nebo hra
  #40214prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century stage language, close to the speech of its own moment; nothing archaic in the structures, and the narrative past of written Italian barely appears because everything is spoken, with the compound past carrying reference to past events.

  Celá jazyková poznámka

  Dialogue built on speech rhythms: short turns, interruptions, exclamations and one-clause retorts, with the longer speeches accumulating clauses in the order they are spoken rather than suspending sense. The dialogue is written predominantly in Neapolitan — local grammar, pronoun and verb forms, and lexicon, not merely regional colour — so that Italian readers from elsewhere use the glossaries printed with the text; the stage directions and some of the more educated characters' speech sit closer to standard.

• Cristo si è fermato a EboliCarlo Levi · 1945 · próza
  #41212prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian that still reads as modern: a few dated administrative and rural terms from the fascist period, but no structural distance from the language taught now, and the passato remoto here is simply the ordinary narrative past of written Italian, not a period effect.

  Celá jazyková poznámka

  Long descriptive sentences built by accumulation of clauses and appositions, but they unfold in the order a reader expects, with the verb early and little inversion or suspension.

• Manifesto del futurismoFilippo Tommaso Marinetti · 1909
  #42211prům. denních zobrazení článku na Wikipedii
• Il giorno della civettaLeonardo Sciascia · 1961 · próza
  #43210prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian that reads close to how careful Italian is written now; the passato remoto is simply the narrative tense of the telling, not a period effect, and only a handful of post-war administrative and political words feel dated.

  Celá jazyková poznámka

  Sentences are often long and multi-clause, especially in the reflective and expository passages, but they unfold in expected order with the verb where a reader looks for it; the interrogation scenes are much shorter-breathed. The frame and narration are standard Italian, while Sicilian colours the dialogue through local lexicon, proverbs, forms of address and idiom carried into Italian syntax, so sentences stay followable but individual words do not.

• AccabadoraMichela Murgia · 2009 · próza
  #44209prům. denních zobrazení článku na Wikipedii

  Written and reading as present-day Italian; the passato remoto here is simply the ordinary narrative past of written Italian and, together with the mid-century village setting, gives the prose a slightly formal cast without any dated forms.

  Celá jazyková poznámka

  Controlled, somewhat formal narrative sentences that often carry two or three clauses and an appositive or relative expansion, but they run in expected order and the dialogue is short and plain. The narration and nearly all dialogue are in standard grammar, but Sardinian terms for local roles, kinship and custom (starting with the title word) recur untranslated and a few spoken lines and sayings are given in the island language.

• Il giardino dei Finzi-ContiniGiorgio Bassani · 1962 · próza
  #45208prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian that a learner reads without notes; the passato remoto is simply the narrative past of the retrospective telling rather than a period effect, and only a scattering of pre-war social and institutional vocabulary dates it.

  Celá jazyková poznámka

  The narration is built in long, hesitating periods thick with parentheses, appositions, relative and concessive clauses and self-corrections, so the main assertion often arrives only after several qualifications, while the dialogue is much plainer.

• La solitudine dei numeri primiPaolo Giordano · 2008 · próza
  #46201prům. denních zobrazení článku na Wikipedii

  Written and set in the recent present, with vocabulary and syntax as Italian is written now; the passato remoto is the ordinary narrative past of written Italian here, doing no period work.

  Celá jazyková poznámka

  Short, controlled, clinical sentences with modest subordination; clause order is straightforward and the verb comes early.

• Il principeNiccolò Machiavelli · 1532 · próza
  #47200prům. denních zobrazení článku na Wikipedii
• CanzoniereFrancesco Petrarca · 1336 · báseň nebo hra
  #48200prům. denních zobrazení článku na Wikipedii
• PurgatorioDante Alighieri · 1316 · báseň nebo hra
  #49199prům. denních zobrazení článku na Wikipedii
• La locandieraCarlo Goldoni · 1753 · báseň nebo hra
  #50197prům. denních zobrazení článku na Wikipedii

  Eighteenth-century stage Italian: the courtesy formulas, the older address system between servants, nobles and social equals, and enclitic and truncated forms belong to a pre-Manzonian written language, and though the speech is lively rather than ornate a learner reads it best with the glosses of an annotated edition; the passato remoto surfaces only in characters' reports of past events rather than as period colouring.

  Celá jazyková poznámka

  Speech written for the stage: short turns, questions, exclamations and interruptions, with subordination only in the longer persuasive speeches and the heroine's monologues, and almost nothing suspended.