By Virginia Picchietti, Laura A. Salsini
This quantity investigates the ways that Italian girls writers, filmmakers, and performers have represented girl identification throughout genres from the rapid post-World battle II interval to the flip of the twenty-first century. contemplating genres resembling prose, poetry, drama, and picture, those essays study the imaginative and prescient of girl enterprise and self-actualization bobbing up from ladies artists’ critique of woman id. This twin strategy unearths distinctive interpretations of womanhood in Italy spanning greater than fifty years, whereas additionally delivering a deep research of the manipulation of canvases traditionally headquartered at the male topic. With its detailed coupling of familiar and thematic issues, the amount contributes to the ever increasing woman inventive legacy, and to our knowing of postwar Italian women’s evolving dating to the narration of background, gender roles, and those artists’ use and revision of established conference to speak their vision.
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Additional resources for Writing and Performing Female Identity in Italian Culture
How old are you teresino three four come/I’ll take you by the hand over there/to the right and to the left of the Spring and up there/how old are you ninety nine one hundred teresino you are looking at/the flowing river the fishing fishermen that one is/a poor tied-up donkey that poplar which is falling/is the lumberjack who has sawn it that shadow in the water is/the reflection of the tied donkey] As for the dominant autobiographical approach of the book, the creation of this presence has helped the poet overcome some of the hardest passages of her childhood.
L’analista junghiano di Vivian Lamarque. […] Più che recuperare ricordi dell’infanzia rimossi, la trilogia di Vivian Lamarque affronta invece il problema del transfert: il rapporto con l’analista viene posto in primo piano, e di primaria importanza risultano anche le esperienze vissute nel presente dell’analisi e nell’attualità della propria storia personale vi-vii). , Vivian Lamarque’s Junghian analyst. […]. Rather than recovering repressed memories from her childhood, Lamarque deals with the problem of transfer: her relationship with the analyst comes to the fore, and the experiences the patient is undergoing with the analyst as long as those of her actual biography take on a primary relevance.
Cattiva’” (xv) [Vivian Lamarque (Comba Provera Pellegrinelli) was born in Tesero (Trento) on April 16 1946. Illegitimate daughter, at nine months she is given up for adoption in Milan. At four years old, she also loses her adoptive father. At ten years old, after finding out she has two mothers, she writes her first two poems: “The good M. lady,” and “The bad M. lady”]. Nevertheless, the autobiography is just the initial ground to a further and uniquely original linguistic elaboration, which I examine below.