Titlebook: Writing and Performing Female Identity in Italian Culture; Virginia Picchietti,Laura A. Salsini Book 2017 The Editor(s) (if applicable) an

BRIEF

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效果

Re-appropriation for a New Symbolic Order: The Search for Identity in the Poetry of Armanda Guiducci her essay, “Re-appropriation for a New Symbolic Order: The Search for Identity in the Poetry of Armanda Guiducci, Maria Luisa Spaziani and Oliva Gualtieri Bernardi,” Cuda reveals how these poets reconstruct the symbolic, linking it not to an established male order, but to one that embraces and give

aptitude

Minatory

Mina: Narrative and Cinematic Spectacle of the Italian Woman of the 1960ss Paola Valentini writes in “Mina: Narrative and Cinematic Spectacle of the Italian Woman of the Early 1960s,” Mina rejected the model of the . typical of 1950s cinema, as well as the more sexually aware archetype of the late 1960s. Instead, she forged her own identity, one that allowed for an authe

我还要背着他

pineal-gland

欲望

Telling Lives, Staging Silences: Dacia Maraini’s “Biographical” Theateredrich Schiller (.) and Peter Weiss (.), and depiction of historical female figures. Standen argues that in rewriting the canon, Maraini subverts traditional discourse by evincing what has been absent from the reading of history, namely, women’s voices and points of view and their interpretations of

Serenity

spinal-stenosis

Writing History, Trauma, and the (Dis/Re) Appearance of the Body in Cutrufelli’s ,l uses elements of the conventional (male) historical novel, but more importantly extends its focus to consider how history is constructed and remembered. She thus pays particular attention to how the female subject relates to it. Waters concludes that the heroine’s first-person recounting of the se