Adriana Chemello

Fuori dai repertori. Donne sulla scena letteraria ottocentesca

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Keywords

  • These reflections on the presence of women on the literary scene take origin from the first 19th Century bibliography of â€
  • œ
  • womenâ€
  • s writingâ€
  • 
  • published in Venice in 1924 with the title: Prospetto Biografico delle Donne Italiane Rinomate in Letteratura dal Secolo Decimoquarto fino aâ€
  • giorni nostri (Biographical Schedule of Italian Women renowned in the Literary Field from the 14th Century up to the present time) edited by Ginevra Canonici Fachini. This bibliography
  • addressed to Lady Morgan
  • aims to refute all her malicious judgements about Italian women. It takes strength from a sense of belonging in order to emphasize womenâ€
  • s rich poetical tradition
  • starting from the â€
  • œ
  • big mothersâ€
  • 
  • of the 16th Century
  • moreover
  • it starts an interesting analytical reflection on spaces
  • shapes
  • intensity and strength of a womenâ€
  • s widespread presence on the literary scene at the turn of the 19th Century.
  • Examining the pages of the Bibliography
  • Adriana Chemello inquires into womenâ€
  • s real literary frameworks at the beginning of the 19th Century. The author analyses some interesting publishing experiences: her purpose is to outline a first
  • although approximate
  • map of the womenâ€
  • s presence on the literary scene. She also takes into account the fact that
  • in such a peculiar historical context
  • women shift between â€
  • œ
  • privateâ€
  • 
  • and â€
  • œ
  • publicâ€
  • 
  • in their historical and narrative coming and going. In these editorial works the word â€
  • œ
  • womanâ€
  • 
  • becomes text interacting and conversing with other texts in an open but clearly-defined and shaped system
  • such as the â€
  • œ
  • collectionâ€
  • 
  • the â€
  • œ
  • miscellanyâ€
  • 
  • the â€
  • œ
  • anthologyâ€
  • 
  • the â€
  • œ
  • giftâ€
  • 
  • . Each of these literary products gives the reader a little series of personal data and
  • most of all
  • it shows â€
  • œ
  • a synchronic cross-sectionâ€
  • 
  • of the literary products of the period
  • creating a hierarchy of the prevailing literary forms

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