In his conversation professor Galimberti discusses some of the most relevant features of British thought: the lack of abstract thought and the necessary to personalize communication.

In my opinion, professor Galimberti reacts with scorn when he releases that English people do not show any interest in the translation of his books. At the same time he highlight the importance of a city like London. He rightly considers it a small world since it is a multicultural city that has managed/ has succeed in welcoming migrants of all races that manage to live together in spite of cultural differences. London is a city that offers good example of postmodern culture. The tourist has got a lot of changes to experiment different life styles rich or poor whatsoever. The English have always given relevant importance to literary research.

If you want to compare the features of the traditional novel and the modernist one, you must consider at least four elements belonging to the literary genre fiction.

Starting from narrative techniques, the intelligent reader releases that while in the Vitruvian novel the narrator was omniscient and sometimes intrusive, in the modernist novel he sounds eclipsed. He is an external narrator that enters the character’s mind and he records their stream of consciousness through the technique of the interior monologue. The reader has therefore the chance to give a personal judgment having direct access to the deepest spaces of character’s mind. The style used to is the free indirect style that created the illusion to listen the thoughts and the considerations of each character as if he could listen a recording of all that crosses the different minds.

If, on one hand, the traditional reader privileged telling rather than showing, on the other hand during Modernism, showing find a more extensive space. The particular setting in modernist fiction is the space of one’s consciousness, characters are mainly anti-heros experimenting a life relationship that is difficult and full of doubts. To tell the truth in Modernist novel no narrator tells you what is right and what is wrong and you have the full responsibilities to your choices.

The most part of Modernist characters are middle-aged people who have already lived a great scan of their experience are uniclined to reflection on the sense of their experience. Time that W. Shakespeare said to be a devoured and V. Woolf the cannibal results central in narrative research. Modernist novels have been called dramatic novels: indeed their effects reminds some theatrical scenes because the focus is fixed on the most intimate of its characters. The space of narrator results restricted since experience is totally focused on the present which A. Einstein is relative and as H. Bergson contains past memories and future expectations. It follows that plot loses its importance and narrative space and true contain one day or little more.

As J. Joyce teaches characters suffer for a paralysis of their will, inability to have a point of view since they have no evolution and as a result to make decision on their life.

S. Freud as exclaimed that human beings’ behaviors is indeed most of the buries willed by the unconsciousness part of mind. I. Svevo’s characters’ lapses offer a good example of such a feature. Shifting now from Modernism fiction to the Postmodernism one, the intelligent reader will notice that one of the most outstanding features is the contamination of genders in the same way as intertextuality was already present in the modernist fiction and poetry.

J. Joyce codifies Odyssey to create an anthropological summa in a faw words something different from the summa theological of San Tommaso’s one in the Middle Ages. If in the Middle Ages the problem in the first third decades of 1900 and later the problem is an anthropological one, a feature that can be recognized also in the latestpostmodern novels. The debate is what makes one turan permeates even J. Winterson’s novel and humanity in the case of female writer is mainly connected to affects and to the relationship among the individuals.

Being Modernism fiction devoid of judgment given be forehand it is really demanding for the reader that has to be ready and responsible to decide what is right and what is wrong without being guided by an omniscient narrator. The use of language mixes high and low registers and quotations from pop songs. Co-exist with W. Shakespeare’s quotations and dictionary quotes, the function of which being to demonstrate the multifaced nature of sense making. Identity is the core of narrative research both in Postmodern and Modernist fiction, characters affair then plural identities capable to unveil/ reveal ever new faces that sometimes impress the reader and other times friended him. Everything is left to the reader’s encyclopedia.