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The public and private space of the ...

Kern, Margaret Elizabeth.

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The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy)./
作者:	Kern, Margaret Elizabeth.
面頁冊數:	324 p.
附註:	Adviser: Rebecca West.
Contained By:	Dissertation Abstracts International63-01A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3039037
ISBN:	049352164X

The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy).
Kern, Margaret Elizabeth.

The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy). - 324 p.

Adviser: Rebecca West.

Thesis (Ph.D.)--The University of Chicago, 2002.

Critics have long appreciated the originality of the character Pisana in Ippolito Nievo's <italic>Le Confessioni d'un Italiano</italic>, written in 1857–8, and first published posthumously in 1867 with the title <italic>Le Confessioni d'un Ottuagenario</italic>. When compared to the general lack of depth of the female character in nineteenth-century Italian literature, Pisana stands in sharp relief. Yet, few studies have concentrated on the way in which Nievo develops her throughout the entirety of the novel, or what her predecessors are in his earlier works. This critical disregard echoes an almost complete critical silence in the United States regarding Nievo's literary production.

ISBN: 049352164XSubjects--Topical Terms:

1019014
Literature, Romance.

The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy).
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245 1 0 $a The public and private space of the female character: Spatially orienting history and conscience in the narrative of Ippolito Nievo (Italy).
300 $a 324 p.
500 $a Adviser: Rebecca West.
500 $a Source: Dissertation Abstracts International, Volume: 63-01, Section: A, page: 0205.
502 $a Thesis (Ph.D.)--The University of Chicago, 2002.
520 $a Critics have long appreciated the originality of the character Pisana in Ippolito Nievo's <italic>Le Confessioni d'un Italiano</italic>, written in 1857–8, and first published posthumously in 1867 with the title <italic>Le Confessioni d'un Ottuagenario</italic>. When compared to the general lack of depth of the female character in nineteenth-century Italian literature, Pisana stands in sharp relief. Yet, few studies have concentrated on the way in which Nievo develops her throughout the entirety of the novel, or what her predecessors are in his earlier works. This critical disregard echoes an almost complete critical silence in the United States regarding Nievo's literary production.
520 $a In my dissertation, I argue that Nievo succeeds, where other authors fail, through his surprising sensitivity to spaces that can be defined as “female.” He revalues the spaces and activities of everyday life, practical knowledge, and the physical world, and at the same time rejects of history. In <italic>Le Confessioni</italic>, the result is a narrative in which the female character is privileged precisely because she belongs to the female realms of the everyday and the cyclical. Remarkably, her participation in life carries the same value as does that of the male characters. Nievo's notion of history as the succession of common, individual lives, benefits the female characters who are excluded from the Great Event. Death itself becomes a necessary part of life in a process that reaffirms the worth of the body and its physical nature.
520 $a I examine the spaces of Nievo's narrative in their relation to the development of the female characters. Spaces are charged with deep symbolisms, be they religious, political, sexual, etc., and these symbol systems dictate how the subject exists in every space of society. Nievo does not subvert the symbol systems of space in the nineteenth century, but rather appropriates them: the dark abyss of the feminine, the hellish cavern of the everyday, the black chasm of death, assume a symbolic prominence in which the female character can recognize herself as woman, and as subject, at least within the narrative of Nievo.
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