Titlebook: Natalia Ginzburg‘s Global Legacies; Stiliana Milkova‘Rousseva,Saskia Elizabeth Ziolkow Book 2024 The Editor(s) (if applicable) and The Aut

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Ginzburg’s Worlds: The World-making Power of the Short Storyxplains his criterion for the selection of the stories included in the volume. The scholar highlights how, in his view, what characterizes the novel as a genre is, in his own words, “a different dimension of reality” and “the ability to create a world that is complete with everything,” as opposed to

Mortal

Born Untranslatable? On the Translation, Reception and Transnational Circulation of Ginzburg’s heral circulation of women writers. Drawing on the Swedish case, the two translations of the novel will undergo “a close reading at a distance” (Walkowitz, .. Columbia University Press, 2015), focusing on the texts and the paratexts as well as the cultural contexts in which they appeared. Particular

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Women’s Bodies in Natalia Ginzburg’s Fictions a form of resistance against facile binaries, including the mind-body divide inherited from the Enlightenment tradition. This chapter reads Ginzburg’s narrative fiction in relation to feminist concerns about the body and embodiment as the foundation for new epistemologies that challenge existing c

Anterior

The Female Voice as a Form of Resistance: Natalia Ginzburg’s Speech Actsveryday family sagas, with their houses, complicated relationships and dramas, marks her works from . (1963) to the more openly vocal text of . (., 1964). This chapter analyzes the specificity of the voice as a strategic tool in Ginzburg’s unique diegetic constructions. I look at a few examples from

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From Closet to Absence: Queering Family Roles and Gender Norms in Natalia Ginzburg’s , and lena in the novelette . (1951) to the invention of the “absent” queer character, linguistically performed through epistolary dialogue in . (1973). Written twenty years apart, the two books respond to diverse historical context and social climate, revealing, in both cases, the adoption of a forward-t

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“When a Film is Beautiful, I Remember it”: Natalia Ginzburg at the Moviestions of essays . (.), . (.), and . (.), but most of her film criticism, such as her 40 film reviews for the column “Cinema” in the weekly newspaper ., remains uncollected (and untranslated). This chapter aims to reconstruct Ginzburg’s self-portrait as a spectator: a self-portrait refracted in her u

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Topographies of Trauma, Loss, and Mourning in Natalia Ginzburg’s Early Worksellas collected in . (1964). The chapter first argues that Ginzburg’s essay “Portrait of a Friend” (1957) elaborates and maps an urban topography grounded in Turin’s melancholy nature and conflating cityscape and affective terrain, external reality and interior landscape. Ginzburg’s urban topographi

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Narrative Modes in Elsa Morante and Natalia Ginzburg’s Family Novels.), winner of the 1963 Strega Prize. Reinterpreted as creative projects that employ diverse expressive modalities to narrate the family, the two texts’ stylistic and thematic particularities expose a profound split in the conception of the family story itself. On the one hand, reality is transfigure

Antarctic

Neither Rich, Nor Poor, Neither Jewish, Nor Catholic: The Legacies of Natalia Ginzburg’s Negationsewish, nor Catholic. While at times Ginzburg’s reflections on her nothingness lead to remarks about a sense of displacement or not belonging, in her essay “The Little Virtues” Ginzburg highlights the power of being neither rich nor poor, a space which creates the possibility of money not guiding one

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