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Elsa Morante has long been recognized internationally as one of the most significant, innovative, and important writers of the 20th century Italy. Nonetheless, there has, to date, been no full-length study in English dedicated to her work. Critical perspectives on Morante's literary achievement have shifted dramatically in recent years, and while this volume proposes to offer the first comprehensive evaluation of Morante to appear outside Italy, it also aims to take into account modern critical and theoretical developments. The authors' aim is to underline Morante's centrality in a broader context which goes beyond Italian national frontiers and deserves critical attention across a range of transcultural disciplines, departing from the traditional realm of philological analysis to encompass approaches informed by cultural and interdisciplinary studies. This volume gives a comprehensive insight into current thinking on and understanding of Elsa Morante's work. This book places her work in a much wider context of European culture, and traces her influence on a younger generation of writers.
A 2018 Pura Belpré Author Honor Book Save the restaurant. Save the town. Get the girl. Make Abuela proud. Can thirteen-year-old Arturo Zamora do it all or is he in for a BIG, EPIC FAIL? For Arturo, summertime in Miami means playing basketball until dark, sipping mango smoothies, and keeping cool under banyan trees. And maybe a few shifts as junior lunchtime dishwasher at Abuela’s restaurant. Maybe. But this summer also includes Carmen, a poetry enthusiast who moves into Arturo’s apartment complex and turns his stomach into a deep fryer. He almost doesn’t notice the smarmy land developer who rolls into town and threatens to change it. Arturo refuses to let his family and community go down without a fight, and as he schemes with Carmen, Arturo discovers the power of poetry and protest through untold family stories and the work of José Martí. Funny and poignant, The Epic Fail of Arturo Zamora is the vibrant story of a family, a striking portrait of a town, and one boy's quest to save both, perfect for fans of Rita Williams-Garcia.
On the unstable boundaries between "interior" and "exterior," "private" and "public," and always in some way relating to a "beyond," the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature -- from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth -- reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels. This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola.
The mother-daughter relationship is a popular theme in contemporary Italian writing but has never before been analysed in a comprehensive book-length study. In Corporeal Bonds, Patrizia Sambuco analyses novels by authors such as Elsa Morante, Francesca Sanvitale, Mariateresa Di Lascia, and Elena Ferrante, each of which is narrated from the daughter’s point of view and depicts the daughter’s bond with the mother. Highlighting the recurrent images throughout these works, Sambuco traces these back to alternative forms of communication between mother and daughter, as well as to the female body. Sambuco also explores the attempts of the daughter-narrators to define a female self that is outside the constrictions of patriarchal society. Through these investigations, Corporeal Bonds identifies a strong connection between the ideas of post-Lacanian critical theorists, Italian feminist thinkers, and the stories within the novels.
This collection of essays surveys some of the artistic productions by female figures who stood at the forefront of Italian modernity in the fields of literature, photography, and even the theatre, in order to explore how artistic engagement in women informed their views on, and reactions to the challenges of a changing society and a ‘disinhibiting’ intellectual landscape. However, one other objective takes on a central role in this volume: that of opening a window on the re-definition of the subjectivity of the self that occurred during an intriguing and still not fully studied period of artistic and societal changes. In particular, the present volume aims to define a female Italian Modernism which can be seen as complementary, and not necessarily in opposition, to its male counterpart.
Aracoeli (1982) was the last novel written by Elsa Morante (1912-85), one of the most significant Italian writers of the twentieth century. The journey, both geographical and memorial, of a homosexual son in search of his dead mother is a first-person narrative that has puzzled many critics for its darkness and despair. By combining scholars from different disciplines and cultural traditions, this volume re-evaluates the esthetical and theoretical complexity of Morante's novel and argues that it engages with crucial philosophical and epistemological questions in an original and profound way. Contributors explore the manifold tensions staged by the novel in connection with contemporary philosophical discourse (from feminist/queer to political theory to psycho-analysis) and authors (such as Emilio Gadda, Pier Paolo Pasolini and Pedro Almodovar). The Power of Disturbance shows that by creating a 'hallucinatory' representation of the relationship between mother and child, Aracoeli questions the classical distinction between subject and object, and proposes an altogether new and subversive kind of writing. Manuele Gragnolati teaches Italian literature at Oxford University, where he is a Fellow of Somerville College. Sara Fortuna teaches philosophy of language at the Universita Guglielmo Marconi in Rome.
Discloses the richness of ideas and sheds light on the controversy that characterized the transition from fascism to democracy, examining authors, works and memories that were subsequently silenced by Cold War politics. How a shared memory of Fascism and its cultural heritage took shape is still today the most disputed question of modern Italy, crossing the boundaries between academic and public discourse. Against Redemption concentrates on the historical period in which disagreement was at its highest: the transition between the downfall of Mussolini in July 1943 and the victory of the Christian Democrats over the Left in the 1948 general elections. By dispelling the silence around the range of opinion in the years before the ideological struggle fossilized into Cold War oppositions, this book points to early postwar literary practices as the main vehicle for intellectual dissent, shedding new light on the role of cultural policies in institutionalizing collective memory. During Italy’s transition to democracy competing narratives over the recent traumatic past emerged and crystallized, depicting the country’s break with Mussolini’s regime as a political and personal redemption from its politics of exclusion and unrestrained use of violence. Conversely, outstanding authors such as Elsa Morante, Carlo Levi, Alberto Moravia and Curzio Malaparte, in close dialogue with remarkable but now neglected figures, stressed the cultural continuity between the new democracy and Fascism, igniting heated debates from opposite political standpoints. Their works addressed questions such as the working through of national defeat, Italian responsibility in WWII and the Holocaust, revealing how the social, racial, and gender biases that characterized Fascism survived after its demise and haunted the new born democracy.
How can the power of wholes be resisted without essentializing their parts? Drawing on different archives and methodologies, including aesthetics, history, biology, affect, race, and queer, the interventions in this volume explore different ways of troubling the consistency and stability of wholes, breaking up their closure and making them more dynamic. Doing so without necessarily presupposing or producing parts, an outside, or a teleological development, they indicate the critical potential of partiality without parts.
Who are “intellectuals”? What do they think their role and function in contemporary society is? Are they on the endangered-species list? Is equating conservatism with conservation becoming their dominant survival strategy? This book is a collection of essays that examines some of the changes in the activities, role, function and self-perception of Italian intellectuals since World War II (two major divides are considered to be the crisis of 1956–7 and the fall of the Berlin Wall). The first section examines some of the most influential figures in the early decades, the second the activities of contemporary intellectuals, a third gives voice to some contemporary writers, a fourth contains some comparative essays about the role of intellectuals in influential contemporary Western cultures and a final section is devoted to some cross-disciplinary forays and reflections on the relevance and possible future directions of these inquiries.
Elsa Morante is one of the titans of twentieth-century literature—Natalia Ginzburg said she was the writer of her own generation that she most admired—and yet her work remains little known in the United States. Written during World War II, Morante’s celebrated first novel, Lies and Sorcery, is in the grand tradition of Stendhal, Tolstoy, and Proust, spanning the lives of three generations of wildly eccentric women. The story is set in Sicily and told by Elisa, orphaned young and raised by a “fallen woman.” For years Elisa has lived in an imaginary world of her own; now, however, her guardian has died, and the young woman feels that she must abandon her fantasy life to confront the truth of her family’s tortured and dramatic history. Elisa is a seductive, if less than reliable, spinner of stories, and the reader is drawn into a tale of secrets, intrigue, and treachery, which, as it proceeds, is increasingly revealed to be an exploration of a legacy of political and social injustice. Throughout, Morante’s elegant writing—and her drive to get at the heart of her characters’ complex relationships and all-too self-destructive behavior—holds us spellbound.