Knihy jen na italské Wikipedii

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

• La pioggia nel pinetoGabriele D'Annunzio · 1902 · báseň nebo hra
  #1330prům. denních zobrazení článku na Wikipedii
• San MartinoGiosuè Carducci · 1883 · báseň nebo hra
  #2321prům. denních zobrazení článku na Wikipedii
• X agostoGiovanni Pascoli · 1896 · báseň nebo hra
  #3231prům. denních zobrazení článku na Wikipedii
• Ho sceso, dandoti il braccio, almeno un milione di scaleEugenio Montale · 1967 · báseň nebo hra
  #4196prům. denních zobrazení článku na Wikipedii
• Ed è subito seraSalvatore Quasimodo · 1930 · báseň nebo hra
  #5184prům. denních zobrazení článku na Wikipedii
• A SilviaGiacomo Leopardi · 1831 · báseň nebo hra
  #6169prům. denních zobrazení článku na Wikipedii
• Il sabato del villaggioGiacomo Leopardi · 1829
  #7144prům. denních zobrazení článku na Wikipedii
• Alla seraUgo Foscolo · 1803
  #8133prům. denních zobrazení článku na Wikipedii

  Early nineteenth-century neoclassical verse: latinate word order and vocabulary, poetic elisions and apocopated forms, and a diaeresis-marked spelling convention that a learner meets only in annotated editions of older poetry rather than in modern written Italian.

  Celá jazyková poznámka

  The opening is a single suspended period: a causal clause first, the object and its modifiers displaced ahead of the verb, and the addressee and main verb withheld until the sense closes, with the same inversion and hyperbaton sustained through the quatrains.

• La ginestraGiacomo Leopardi · 1845 · báseň nebo hra
  #9127prům. denních zobrazení článku na Wikipedii
• S'i' fosse foco, arderei 'l mondoCecco Angiolieri · 1300
  #10125prům. denních zobrazení článku na Wikipedii

  Thirteenth-century Tuscan verse: apocopated and elided forms, pronouns and articles fused to neighbouring words, spellings and verb endings that are not the modern language, so an Italian reader also works from an annotated edition.

  Celá jazyková poznámka

  Sonnet-length sentences built on stacked hypothetical clauses with the resolution held to the closing lines, plus word order bent to rhyme and metre, but the clauses run in a followable sequence rather than as suspended periods. The base is medieval Sienese Tuscan, ancestor of the standard but marked by local forms and municipal colouring a reader of modern standard Italian will not recognise, while the grammar is still broadly the one the standard grew from.

• Fabbricante di lacrimeErin Doom · próza
  #11118prům. denních zobrazení článku na Wikipedii

  Written and published in the last few years in the Italian of now, with narration and dialogue drawing on current usage; the narrative past tenses are simply the ordinary written past, doing no period work.

  Celá jazyková poznámka

  Ordinary modern narrative sentences with light subordination, sometimes lengthened for lyrical effect but never stacked or inverted, and dialogue kept short.

• Il cacciatore di anoressiche1997 · próza
  #12116prům. denních zobrazení článku na Wikipedii
• Tutto chiede salvezzaDaniele Mencarelli · 2020 · próza
  #13114prům. denních zobrazení článku na Wikipedii

  Written and set in living memory, in the Italian spoken and written now: present and passato prossimo carry the narration, with no dated forms and no recourse to the passato remoto.

  Celá jazyková poznámka

  Mostly short to medium sentences shaped like speech and inner speech, with occasional accumulating, breathless runs strung together by commas rather than by stacked subordination.

• MyricaeGiovanni Pascoli · 1891 · báseň nebo hra
  #14114prům. denních zobrazení článku na Wikipedii
• La cavalla stornaGiovanni Pascoli · 1903 · báseň nebo hra
  #15111prům. denních zobrazení článku na Wikipedii
• La scuola cattolicaEdoardo Albinati · 2016 · próza
  #16111prům. denních zobrazení článku na Wikipedii

  The Italian is fully contemporary: current usage throughout, with the essayistic and memoir sections written in the language as it is written now, and the past tenses used are the ordinary modern ones rather than any period-marked narrative past.

  Celá jazyková poznámka

  The reflective passages build long periods with stacked subordination, parenthetical qualification and appositive expansion, the argument's main assertion often arriving only after several dependent clauses, while the remembered scenes and dialogue are far plainer.

• Il treno dei bambiniViola Ardone · próza
  #17110prům. denních zobrazení článku na Wikipedii

  A very recent novel written in plainly contemporary Italian; the mid-century setting is carried by content and a few period institutional references, not by archaic forms, and the passato remoto is essentially absent because the narration runs in the present.

  Celá jazyková poznámka

  Short main clauses strung together in a child's additive rhythm, with subordination kept light and only slightly longer breaths in the adult-narrator sections; nothing sustained or inverted. The grammar is standard throughout, but the narrator's idiom and the dialogue are salted with Neapolitan words, forms of address and turns of phrase a learner of standard Italian will not have met, while whole sentences remain followable.

• La robaGiovanni Verga · 1880 · próza
  #18104prům. denních zobrazení článku na Wikipedii

  Late nineteenth-century prose that deliberately imitates plain spoken narration, so it is far less ornate than its date suggests, but it still carries post-unification spellings, elided and apocopated forms and a narrative past tense a learner meets only in grammar notes; the passato remoto here is simply the narrative tense, not an antiquarian effect.

  Celá jazyková poznámka

  Sentences are built by coordination and accumulation, clause after clause joined loosely as a speaker would pile them up, with little embedding and the verb where a reader expects it.

• Tre volte teFederico Moccia · próza
  #1997,0prům. denních zobrazení článku na Wikipedii

  Twenty-first-century Italian written close to how young people in Rome actually speak, with present-tense narration and current slang; the passato remoto is essentially absent rather than doing narrative work.

  Celá jazyková poznámka

  Short paragraphs and mostly simple or lightly subordinated sentences, with long stretches carried by dialogue exchanges rather than by clause-stacking.

• Storia di una capineraGiovanni Verga · 1871 · próza
  #2096,0prům. denních zobrazení článku na Wikipedii

  Post-unification literary Italian of the romantic-sentimental kind, with dated participial and pronoun usages, apocopated forms and an exclamatory diction that a learner meets in a grammar's notes rather than in current writing; the passato remoto appears but as ordinary written narrative past inside the letters, not as period colouring.

  Celá jazyková poznámka

  The letters run to long sentences with several coordinated and subordinate clauses strung by dashes and suspension points, but they proceed in the order a reader expects and the main verb rarely arrives late.

• Alla lunaGiacomo Leopardi · 1820 · báseň nebo hra
  #2192,7prům. denních zobrazení článku na Wikipedii
• Spesso il male di vivere ho incontratoEugenio Montale · 1924 · báseň nebo hra
  #2292,0prům. denních zobrazení článku na Wikipedii
• In morte del fratello GiovanniUgo Foscolo · 1803 · báseň nebo hra
  #2387,1prům. denních zobrazení článku na Wikipedii
• Opera:Solo et pensoso i più deserti campiFrancesco Petrarca · 1337
  #2482,3prům. denních zobrazení článku na Wikipedii

  This is a fourteenth-century Tuscan lyric: Latinising spellings, apocopated and syncopated verb forms, archaic pronoun and article shapes, and a word stock a modern Italian reader also meets with notes; the narrative past is not in play at all, since the poem runs on the present.

  Celá jazyková poznámka

  The opening holds an adjectival phrase in front of the subject and delays the main verb, and the sentence then runs across the quatrains with relative and consecutive clauses stacked and word order inverted for metre, so the sense has to be held open for several lines.

• Pianto anticoGiosuè Carducci · 1871 · báseň nebo hra
  #2581,5prům. denních zobrazení článku na Wikipedii
• Al cor gentil rempaira sempre amoreGuido Guinizelli · 13th c. · báseň nebo hra
  #2681,0prům. denních zobrazení článku na Wikipedii
• Quaderni di Serafino Gubbio operatoreLuigi Pirandello · 1916 · próza
  #2777,4prům. denních zobrazení článku na Wikipedii

  Early twentieth-century literary Italian that reads close to modern written usage; a scattering of period words (early cinema and studio terms, some now-dated abstract nouns) but nothing structurally archaic, and the passato remoto appears only in the retrospective stretches as the ordinary narrative past, not as period colouring.

  Celá jazyková poznámka

  Sentences are often long and run to several clauses, broken by dashes, parentheses and self-interruptions, but they unfold in the order a reader expects and the main verb rarely arrives late.

• La chimeraSebastiano Vassalli · 1990 · próza
  #2876,9prům. denních zobrazení článku na Wikipedii

  The narrating voice is late twentieth-century literary Italian, transparent and current in its grammar; the seventeenth-century setting brings in period nouns and institutional titles rather than archaic morphology, and the passato remoto here is simply the ordinary narrative past of written Italian, not a period effect.

  Celá jazyková poznámka

  Sentences are often long, built up in accumulating clauses and catalogues of people, places and objects, but they run in expected order with the verb early and rarely suspend the sense.

• Discorso del bivaccoBenito Mussolini · próza
  #2976,9prům. denních zobrazení článku na Wikipedii
• Mai dire...Gialappa's Band
  #3076,3prům. denních zobrazení článku na Wikipedii
• Ciàula scopre la LunaLuigi Pirandello · 1912 · próza
  #3175,4prům. denních zobrazení článku na Wikipedii

  Early twentieth-century literary Italian that a learner reads without an annotated edition; the passato remoto carries the narrative frame as the ordinary written past rather than as period colour, with the imperfetto taking over inside the boy's perceptions.

  Celá jazyková poznámka

  Sentences often run long, with several coordinated and subordinate clauses and stretches of accumulation as the climb is described, but the order stays broadly the one a reader expects and the main verb is not held back.

• I Beati PaoliLuigi Natoli · 1909 · próza
  #3274,1prům. denních zobrazení článku na Wikipedii

  Written just after the turn of the twentieth century but in the deliberately antiquated manner of historical romance set in eighteenth-century Palermo, so the narration carries older literary turns, dated spellings and pronoun forms that a learner meets in a grammar's notes; the passato remoto here is both the ordinary narrative past and part of the period colouring.

  Celá jazyková poznámka

  Feuilleton prose built for installment reading: sentences are often long and multi-clause, especially in description, but they unfold in expected order with the verb where a reader looks for it, and the dialogue is markedly shorter. The frame is standard Italian, but Palermitan speech, popular characters and local institutions bring Sicilian lexicon, forms of address and turns of phrase onto the page in dialogue, followable because the grammar around them stays standard.

• Il treno ha fischiatoLuigi Pirandello · 1914 · próza
  #3373,8prům. denních zobrazení článku na Wikipedii

  Early twentieth-century literary Italian that reads close to modern written usage, with only a few dated office and bureaucratic terms; the passato remoto is here the ordinary narrative past alternating with the imperfetto, not a period effect.

  Celá jazyková poznámka

  Sentences often run long through accumulation, parenthetical asides, dashes and exclamations, but the clauses arrive in the order a reader expects rather than suspending the sense.

• Canto notturno di un pastore errante dell'AsiaGiacomo Leopardi · 1831 · báseň nebo hra
  #3471,5prům. denních zobrazení článku na Wikipedii
• La città dei viviNicola Lagioia · 2021 · próza
  #3571,3prům. denních zobrazení článku na Wikipedii

  The prose is present-day Italian of the last few years, with contemporary vocabulary of phones, messaging and media, and nothing dated in its forms.

  Celá jazyková poznámka

  Sentences are often long and multi-clause in the reflective passages but unfold in the order a reader expects, while the reconstructive and documentary stretches run in short plain clauses.

• L'assiuoloGiovanni Pascoli · 1897 · báseň nebo hra
  #3668,5prům. denních zobrazení článku na Wikipedii
• Bar SportStefano Benni · 1976 · próza
  #3766,4prům. denních zobrazení článku na Wikipedii

  Written in the colloquial literary Italian of the nineteen-seventies and still reads close to how Italian is written now; the dating comes from period brand names, television and football references rather than from grammar, and where the passato remoto appears it is doing mock-epic comic work rather than carrying the ordinary narration.

  Celá jazyková poznámka

  Short sketches built on speech rhythms and list-like accumulation: ordinary subordination, punchlines placed at the end of short sentences, nothing sustained or suspended.

• M. L'uomo della provvidenzaAntonio Scurati · 2020 · próza
  #3865,2prům. denních zobrazení článku na Wikipedii

  The narrating voice is present-day Italian written now, but the book interleaves reproduced or pastiched documents from the interwar years — telegrams, police reports, parliamentary speeches, party circulars — whose bureaucratic and oratorical Italian is a century old in phrasing and formulas; the passato remoto appears mainly inside those inset materials and in retrospective summary rather than as the book's ordinary narrative tense, which is the present.

  Celá jazyková poznámka

  The narration favours short, clipped, present-tense paragraphs and blunt declaratives, but the speeches and official documents quoted into it run long with stacked subordination, so the reader meets both.

• Ciò che inferno non èAlessandro D'Avenia · 2014 · próza
  #3963,9prům. denních zobrazení článku na Wikipedii

  Written in and set in recent decades, and the prose is the Italian written now, largely in the present tense; the passato remoto is not the narrative spine here, and there are no dated forms.

  Celá jazyková poznámka

  Sentences are short to medium, often clipped and paratactic for lyrical effect, with subordination present but never sustained over long periods. The Brancaccio boys and the neighbourhood adults speak with Palermitan lexicon and interjections inside otherwise standard grammar, so a learner loses individual words rather than sentences.

• NovembreGiovanni Pascoli · 1891 · báseň nebo hra
  #4063,2prům. denních zobrazení článku na Wikipedii
• La variante di LüneburgPaolo Maurensig · 1992 · próza
  #4159,8prům. denních zobrazení článku na Wikipedii

  Written and reading as late twentieth-century literary Italian, deliberately measured and slightly formal in cadence but with no obsolete morphology; the passato remoto is present as the ordinary narrative past of the retrospective accounts rather than as period colouring.

  Celá jazyková poznámka

  The narrating voices build long, carefully balanced sentences with several coordinated and subordinate clauses, but they unfold in expected order and the main verb rarely arrives late.

• Il gelsomino notturnoGiovanni Pascoli · 1903 · báseň nebo hra
  #4259,5prům. denních zobrazení článku na Wikipedii
• Memoriale MoroAldo Moro
  #4359,1prům. denních zobrazení článku na Wikipedii

  Written in the late nineteen-seventies in the institutional Italian of its moment; nothing structurally dated, only the political idiom of the period, and the narrative past is the passato prossimo rather than the passato remoto, so no period effect is being sought.

  Celá jazyková poznámka

  The characteristic movement is long, qualified periods with stacked subordination, parenthetical concessions and hedges inserted before the main assertion arrives, so a reader has to hold the frame open for a long time before the sentence resolves.

• Gol!sérieLuigi Garlando
  #4459,0prům. denních zobrazení článku na Wikipedii
• ciclo indo-malesesérieEmilio Salgari
  #4558,3prům. denních zobrazení článku na Wikipedii
• Alle fronde dei saliciSalvatore Quasimodo · 1944 · báseň nebo hra
  #4658,0prům. denních zobrazení článku na Wikipedii
• Le libere donne di MaglianoMario Tobino · 1953 · próza
  #4757,9prům. denních zobrazení článku na Wikipedii

  Mid-twentieth-century literary Italian that reads close to how the language is written now, with only a slightly elevated lyrical cast; the passato remoto appears as the ordinary narrative past alongside a present-tense diary voice, not as a period effect.

  Celá jazyková poznámka

  Sentences are often short and paratactic in the diary entries, but the descriptive passages build several clauses in a row with appositions and trailing modifiers, always in the order a reader expects.

• I grandi miti greciLuciano De Crescenzo · 1999 · próza
  #4857,9prům. denních zobrazení článku na Wikipedii
• L'ipotesi del maleDonato Carrisi · 2013 · próza
  #4957,6prům. denních zobrazení článku na Wikipedii

  Contemporary commercial thriller prose written in the Italian of now, with current idiom, present-day technology and police vocabulary and no dated forms; the narrative past is largely carried by the present tense and the passato prossimo rather than by the passato remoto.

  Celá jazyková poznámka

  Short paragraphs, mostly main clauses with light subordination and frequent sentence fragments used for pace; dialogue is clipped and the descriptive passages rarely run long.

• FantozziPaolo Villaggio · 1971 · báseň nebo hra
  #5057,2prům. denních zobrazení článku na Wikipedii

  Twentieth-century comic prose that reads close to how Italian is written now, dated mainly by the office world it describes; the passato remoto appears as the ordinary narrative past of the mock-epic set pieces rather than as period colouring, alternating with a very current-sounding colloquial voice.

  Celá jazyková poznámka

  Comic escalation is built by piling clauses and appositions onto a sentence until the absurdity lands, but the clauses arrive in the order a reader expects, with the verb early and the dialogue short and plain.