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The Works of Elena Ferrante, Italian and Italian American Studies, DOI Mi sembrò il testo più accessibile che avessi” (Storia del nuovo cognome ). Summary This paper will analyze Elena Ferrante's Neapolitan novels – L'amica geniale, Storia del nuovo cognome, Storia di chi fugge e di chi resta and Storia. stevephilip/Scarica Storia del nuovo cognome Libri Gratis (PDF, ePub, Mobi) Di Elena musicmarkup.info Find file Copy path. Fetching contributors Cannot retrieve.
Going to school, for example, is considered an opportunity for redemption, escape, emancipation, but also an abstract entity that is too distant from the everyday social problems of Naples. Even the art of writing is viewed as a possible means of escape from the reality of poverty and violence that Lila and Elena experience daily. Moreover, it is the art of writing that carries the responsibility of providing an interpretation of reality by capturing the essence of the city of Naples through the charac- ters, whose lives unfold in the context of a paradigm that resists change and continues from one generation to the next. It is through her that the link between writing and F. Russo Bullaro, S. Love eds. Lila not only disappears, but she erases every sign of her existence.
Enzo Scanno, primogenito, si trasforma da bambino ribelle e delinquente a uomo onesto e rispettoso. Signor Spagnuolo, pasticcere nel bar - pasticceria Solara. Rosa Spagnuolo, moglie del pasticcere.
Guido Airota, professore di letteratura greca. Adele Airota, moglie di Guido. Maestra Oliviero, insegnante di Elena e Lila alle elementari, rimane legata solo alla prima, tentando di allontanarla da Lila. Gerace, professore del ginnasio. La Galiani, professoressa del liceo. Armando, medico e figlio maggiore della Galiani. Retrieved January 29, The New Republic. Retrieved 17 October Elena Ferrante, Art of Fiction No. The Paris Review. Retrieved 13 June After the War: New York: Italica Press.
The New York Times. December 3, The New Yorker. An Answer?
New York Review of Books. Sky News. BBC News Online. Retrieved 6 October The Guardian. Los Angeles Review of Books. The Sydney Morning Herald. Ma ora lasciatemi vivere e scrivere in pace". Ma dalla casa editrice smentiscono: Vanity Fair. Retrieved April 28, Independent Publisher.
Retrieved 10 May One is even tempted to characterize this love as the ideal love that the trou- badours sang about during the Middle Ages: The love that is neither Eros nor Agape. Having the type of mind she does, Lila never really surrenders to that world of unwritten laws.
She is part of it, but with the perspective of someone who conceals a plan for a paradigm shift. She never leaves. Even her choice to marry young has something strategic behind it. As if Lila has some hidden agenda for the rione, which Elena attempts also to decipher: Did she want to leave the neighborhood by staying in the neighborhood?
Did she want to drag us out of ourselves, tear off the old skin and put on a new one, suitable for what she was inventing? As mentioned above, Lila is not interested in an exchang- ing of roles. There is something more in her perspective, which appears to imply change in its truest form: Here, the main idea involves memory and the impor- tance of remembering history to avoid repeating the mistakes of the past.
The very sterility she observes in those who experienced and were part of the events of before. These are shoes made by hand following the original artisan code. However, Lila and her brother make an attempt, and it appears that the handmade shoes incident represents not so much the dream of elevating themselves beyond the confines of their neighborhood, as that of elevating the neighborhood.
It should be stressed therefore that this new craftsmanship takes elements from the old and then recreates it and proposes it in a context that, although governed by a global economy, strives to maintain the quality of its local products.
There is no doubt that the Cerullo shoes are of very high quality. And it is very significant that Lila at some point is not permitted to go to school while Elena is. It is as if a bridge is built between theory and practice. While Elena goes to school, Lila is immersed in the day-to- day concrete reality of surviving in her rione. Lila, especially in Book Two, provides Elena with the ideal conditions for proper and effective study habits so that, in actuality, Elena will create for herself a different life than that of the before.
She downloads her books and listens to what Elena learns at school. As Elena is trying to initiate herself in order to be part of a world from which Lila must be excluded, the latter never ceases to teach her friend fundamental lessons. This is the world in which Elena must find her place, if she wants to continue her education.
After the party, Lila evaluates the people and the environment with a comment that reflects her ability to see the matter-of-factness truth of every situation: This is clearly demonstrated in Book Three, after Elena has a child, is out of the literary environment, and her writing loses energy and vitality. She tries to write but there is something missing. Elena is losing ground as a writer.
Her words are too abstract. At some point she calls Lila as if to fire up her imagination and give life to her writing. Here, again, Elena has to learn to conceal the artifice of writing so that the reality behind the words is conveyed, but there must be a firm grasp on concrete reality to begin with.
After this, Elena turns to Lila again by sending her the first draft. In her conversation with Lila, Elena states her intentions, which provoke in Lila a very interesting response that in some way captures the essence of writing novels and reminds Elena of that game she and Lila used to play as children when they would reinvent the gray and harsh reality of the rione in order to make it bearable, livable: She burst out laugh- ing.
She said that the disgusting face of things alone was not enough for writing a novel: And while Lila tells Elena what the true face of reality is like, she sometimes makes comments either to test Elena or to underline the difference between those who are immersed in reality and those who are the ivory tower intellectuals: When Lila sends her son Gennaro to vacation with Elena and her family, Elena imagines that her friend is involved in something big and dangerous that suggests the founding of a new world order, which captures the tone of the late 60s and early 70s in Italy and much of the Western world: Transform the neighborhood, Naples, Italy into a battlefield, a Vietnam in the Mediterranean?
Hurl us all into a pitiless, interminable conflict, squeezed between the Eastern bloc and the Western? Encourage its fiery spread throughout Europe, throughout the entire planet? This does not imply that Lila must disappear from her life.
The question that arises is the following: Who is or what is Lila? Elena must find her own voice: My becoming was a becoming in her wake. What we do know is, how they generate a sort of model that Elena tries to fol- low all her life. Put differently, the absence of Lila has led to the presence of words that attempt to diachronically reconstruct a story aimed at finding a solution for a present problem. The solution lies in the act of writing because writing is, on the one hand, removed from the chaos of reality and, on the other, endowed with a critical distance that can potentially suggest a way out of a difficult situation.
In a recent interview, Ferrante states the creative process in writing, whether it is an order comprised of fragments that linger in the memory or a selection of fragments that become a story, it is difficult to define what happens in that mysterious act: The gift that Lila has is that of being able to conceal the artifi- ciality of writing so that one does not only read words, but words that have the power to convey the vitality of life, its truth.
In her desire not to betray the truth, Ferrante provides the reader with Lila, whose absence generates the presence of words.
Lila is therefore absent but she is ever present. What this may imply is that the tension between Lila and Elena could be interpreted as an attempt to find a point of interaction between the written world epistemology and the unwritten world ontology.
Lila, instead, suggests a chal- lenge to the position that results from the figure of Ulysses who does not put himself in accord with the ways of Nature.
Lila seems to represent a tension that seeks a shift in paradigm. Her writing and her voice are the song of the Siren Parthenope, who, accord- ing to legend, died on the site where Naples was founded. But it was a foundation without love. Ulysses did not follow the song of Parthenope, its humanizing effect, and for this she committed suicide.
If it were to break, the castle would be destroyed and disaster would befall the city of Naples. In relation to this, it is significant that in Book Three Elena takes a walk in downtown Naples at four in the morning. Something she had never done before.
This occurs after her meeting with Professor Galiani. At this point, Elena questions her validity as a writer and the implicit motives behind her vocation. And she speaks in terms of founding a new city: To change my origins?
To change, along with myself, others, too? Repopulate this now deserted city with citizens not assailed by poverty or greed, not bitter or angry, who could delight in the splendor of the landscape like the divinities who once inhabited it?
In other words, and this pays homage to Matilde Serao, it suggests that in order to find a solution to the problems of the present, one must travel back to the source, to the womb, to where it all began.
NOTES 1. In an interview by Paolo Di Stefano, Ferrante says: See also Michael A. But there was one condition: If the egg were to be damaged, Virgil warned, the city would fall and the castle would sink to the sea. Both have power to control natural elements. Both come from the East and died on the shores of the Gulf of Naples. And in the seventeenth century, at the height of the Baroque, the body of Saint Patrizia was carried to a monastery atop the hill of Caponapoli, where, centuries earlier, the tomb of Parthenope was located.
In Leggende Napoletane, Serao dedicates a chapter also to Virgil see 29— All translations from Italian to English are mine unless stated otherwise. His books are available on site: All translations from Il ventre di Napoli are mine.
But Galasso and Croce are quite right to find it demeaning because, as they sense, the ste- reotype provided an excuse for failure and weakness. Giuseppe Galasso is a famous Neapolitan historian, journalist, politician, and university professor. Benedetto Croce was a philosopher, historian, literary critic, and politician. See Ledeen for more on the cholera in Naples: Originally, during the Middle Ages, the fondaci were commercial sections of the city where a variety of products were sold.
In the time period in which Serao writes about the fondaci, they are a poverty-stricken and dis- ease-infested part of the city. He discusses the dif- ference between ontology and epistemology, and claims that the worst kind of postmodernism has confused the two, resulting in the loss of a sense of reality. But above all Leopardi who in the Zibaldone discusses in detail the art of concealing the artifice of writing: See http: Sono Lighea, sono figlia di Calliope. Non credere alle favole inventate su di noi: Translation mine.
You think you hired a worker? This woman is much, much more. Because she has the type of mind that normally no woman has but also that not even we men have. She designed shoes that I still sell today in Naples and outside, and I make a lot of money. And she renovated my shop in Piazza dei Martiri with such imagination that it became a salon for the rich people from Via Chiaia, from Posillipo, from the Vomero. But she has a crazy streak, she thinks she can always do what she wants.
Come, go, fix, break. You think I fired her? Just like that, vanished.