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Elsa Morante's Politics of Writing is a collected volume of
twenty-one essays written by Morante specialists and international
scholars. Essays gather attention on four broad critical topics,
namely the relationship Morante entertained with the arts, cinema,
theatre, and the visual arts; new critical approaches to her four
novels; treatment of body and sexual politics; and Morante's
prophetic voice as it emerges in both her literary works and her
essayistic writings. Essays focus on Elsa Morante's strategies to
address her wide disinterest (and contempt) for the Italian
intellectual status quo of her time, regardless of its political
side, while showing at once her own kind of ideological commitment.
Further, contributors tackle the ways in which Morante's writings
shape classical oppositions such as engagement and enchantment with
the world, sin and repentance, self-reflection, and corporality, as
well as how her engagement in the visual arts, theatre, and
cinematic adaptations of her works garner further perspectives to
her stories and characters. Her works-particularly the novels
Menzogna e sortilegio (House of Liars, 1948), La Storia: Romanzo
(History: A Novel, 1974) and, more explicitly, Aracoeli (Aracoeli,
1982)-foreshadowed and advanced tenets and structures later
affirmed by postmodernism, namely the fragmentation of narrative
cells, rhizomatic narratives, lack of a linear temporal
consistency, and meta- and self-reflective processes.
Elsa Morante's Politics of Writing is a collected volume of
twenty-one essays written by Morante specialists and international
scholars. Essays gather attention on four broad critical topics,
namely the relationship Morante entertained with the arts, cinema,
theatre, and the visual arts; new critical approaches to her four
novels; treatment of body and sexual politics; and Morante's
prophetic voice as it emerges in both her literary works and her
essayistic writings. Essays focus on Elsa Morante's strategies to
address her wide disinterest (and contempt) for the Italian
intellectual status quo of her time, regardless of its political
side, while showing at once her own kind of ideological commitment.
Further, contributors tackle the ways in which Morante's writings
shape classical oppositions such as engagement and enchantment with
the world, sin and repentance, self-reflection, and corporality, as
well as how her engagement in the visual arts, theatre, and
cinematic adaptations of her works garner further perspectives to
her stories and characters. Her works-particularly the novels
Menzogna e sortilegio (House of Liars, 1948), La Storia: Romanzo
(History: A Novel, 1974) and, more explicitly, Aracoeli (Aracoeli,
1982)-foreshadowed and advanced tenets and structures later
affirmed by postmodernism, namely the fragmentation of narrative
cells, rhizomatic narratives, lack of a linear temporal
consistency, and meta- and self-reflective processes.
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