Relevant bibliographies by topics / Ferrante, Elena

Academic literature on the topic 'Ferrante, Elena'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Ferrante, Elena"

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Reyes Ferrer, María. "La narrativa de Elena Ferrante: El desequilibrio de Olga, una Medea moderna." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 268. http://dx.doi.org/10.25115/raudem.v3i0.631.

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Resumen: El presente trabajo pretende acercarse a la figura de la enigmática escritora Elena Ferrante y analizar algunas de las características más destacables de su narrativa. Para ello, nos centraremos en una obra en concreto, I giorni dell’abbandono, y las vivencias de Olga, su protagonista, que guiará al lector por los entresijos de su agonía personal tras ser abandonada y traicionada por su marido. Elena Ferrante’s Narrative: Olga’s Instability, a Modern Medea Abstract: The present work aims to approach the image of the enigmatic writer Elena Ferrante and analyze some of the most distinctive features of her narrative. To do so, we will focus on a particular work Il giorni dell ‘abbandono and Olga’s –its protagonist– experiences, which will guide the reader through the in and outs of her own agony after being dumped and betrayed by her husband.
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Faccini, Sara. "Diverse Elena Ferrante." Narrativa, no. 38 (December 1, 2016): 185–95. http://dx.doi.org/10.4000/narrativa.891.

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Ferrante, Elena, Sandro Ferri, Sandra Ferri, Eva Ferri, and Maïra Muchnik. "Entretien Elena Ferrante." Books N° 77, no. 6 (June 1, 2016): 14–20. http://dx.doi.org/10.3917/books.077.0014.

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Muller, Fernanda Suely, and Antonia Dayane Figueiredo Rodrigues. "A personificação do dialeto como violência em Um amor incômodo, de Elena Ferrante." Revista Italiano UERJ 13, no. 1 (October 17, 2022): 12. http://dx.doi.org/10.12957/italianouerj.2022.70729.

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RESUMO: Elena Ferrante é o pseudônimo de uma escritora italiana cuja identidade é um mistério. Em sua trama de exórdio L'amore molesto (1992), Ferrante nos apresenta a história intrigante de Delia, personagem que procura desvendar a morte estranha de sua mãe e, ao mesmo tempo, precisa enfrentar o desconforto que lhe causa o retorno à sua cidade natal. Na tessitura do enredo, é interessante observar como a escritora utiliza a linguagem (mais especificamente o dialeto napolitano) como elemento reiterante da aflição emocional que a viagem a Nápoles desperta na protagonista. Sendo assim, sobretudo a partir de Alfonzetti (2018) e Di Rogartis (1993), pretendemos, neste trabalho, analisar a presença do dialeto na obra Um amor Incômodo de Elena Ferrante, procurando sublinhar como a escolha narrativa operada pela escritora se configura como uma espécie de "personagem silencioso", ora conduzindo a protagonista, ora justificando o porquê da sensação desagradável experimentada por Delia desde a tenra idade.Palavras-chave: Elena Ferrante. Dialeto. Violência. Um Amor Incômodo. ABSTRACT: Elena Ferrante è lo pseudonimo di una scrittrice italiana la cui identità è un mistero. Nel suo esordio L'amore molesto (1992), Ferrante ci presenta l'intrigante storia di Delia, un personaggio che cerca di svelare la strana morte della madre e, allo stesso tempo, deve affrontare il disagio causato dal suo ritorno nella sua città natale. Nell’intreccio, è interessante osservare come la scrittrice utilizzi il linguaggio (più precisamente il dialetto napoletano) come nodo centrale del conflitto emotivo che il viaggio a Napoli suscita nella protagonista. Dagli studi di Alfonzetti (2018) e Di Rogartis (1993), si intende, in questo lavoro, analizzare la presenza del dialetto nell'opera Um amor Incômodo (titolo in portoghese) di Elena Ferrante, cercando di sottolineare come la scelta narrativa operata dalla scrittrice sia configurata come una sorta di "personaggio muto" che rege la protagonista Delia fin dalla tenera età.Parole chiave: Elena Ferrante. Dialetto. Violenza. L’amore molesto ABSTRACT: Elena Ferrante is the pseudonym of an Italian writer whose identity is a mystery. In his exordium plot L'amore molesto (1992), Ferrante presents us with the intriguing story of Delia, a character who seeks to unravel the strange death of her mother and, at the same time, has to face the discomfort caused by her return to her hometown. Christmas. At the plot, it is interesting to observe how the writer uses language (more specifically the Neapolitan dialect) as a reiterating element of the emotional distress that the trip to Naples arouses in the protagonist. Therefore, especially from Alfonzetti (2018) and Di Rogartis (1993), we intend, in this work, to analyze the presence of dialect in the work Um amor Incômodo by Elena Ferrante, seeking to underline how the narrative choice operated by the writer is configured as a kind of "silent character" that leads the protagonist Delia from her early age.Keywords: Elena Ferrante. Dialect. Violence. Um amor incômodo.
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Haugen, Marius Warholm. "Stranden hos Elena Ferrante." K&K - Kultur og Klasse 48, no. 130 (December 30, 2020): 209–38. http://dx.doi.org/10.7146/kok.v48i130.123640.

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Giorgio, Adalgisa. "Elena Ferrante. Parole Chiave." Italian Culture 37, no. 2 (July 3, 2019): 177–79. http://dx.doi.org/10.1080/01614622.2019.1683276.

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Lushnikova, Galina, and Elena Chibireva. "Two Naples in the literary text: contrasting image of the city." Litera, no. 1 (January 2020): 135–49. http://dx.doi.org/10.25136/2409-8698.2020.1.32030.

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The subject of this research is the peculiarities of representation of the city of Naples in “Neapolitan Novels” by Elena Ferrante. The object of this research is the tetralogy of the Italian writer Elena Ferrante “The Neapolitan Novels”. The goal of this article consists in description, analysis, and revelation of a controversial image of Naples in the works of Elena Ferrante “The Neapolitan Novels” compared with the text of other Russian and foreign writers of various times. Special attention is paid to the negative characteristics of the city reflecting the secular chronotope, daily image of the city through the eyes of female protagonists of the novel. Methodology is based on intertextual method, since the analysis suggest comparison of the image of Naples in specific works; and comparative method, which allows noticing the commonalities and differences in the image of Naples. The following conclusions are made: 1) the opposite interpretations of the city – positive and negative – depend on a particular observer, whether he is a tourist or a local; 2) Naples of Elena Ferrante is presented as a source of ethical and spiritual decay; this is the “second” Naples representing dehumanized, backstage image, the inside of a beautiful city. The novelty of this article lies in viewing the dualistic nature of Naples, as well as analysis of Elena Ferrante’s work “The Neapolitan Novels”, which did not previously fall under the spotlight of literary scholars.
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Colonna Dahlman, Roberta. "Narrazione dell’abbandono tra letteratura e cinema." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 51, no. 1 (July 18, 2016): 125–46. http://dx.doi.org/10.1075/rro.51.1.05dah.

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This paper aims at offering a comparative analysis of the narrator in the novel I giorni dell’abbandono (2002) by the Italian writer Elena Ferrante, and the narrator in the cinematographic version of the same work I giorni dell’abbandono (2005), directed by Roberto Faenza. The paper focuses on some narrative properties that emerge in Elena Ferrante’s novel and compares the literary narrator to the cinematographic narrator in Roberto Faenza’s movie. Furthermore, the paper discusses different narrative strategies as used in these two different media, literary text and cinematographic work.
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Ferrara, Enrica Maria. "Elena Ferrante as World Literature." Italian Studies 76, no. 3 (June 11, 2021): 347–49. http://dx.doi.org/10.1080/00751634.2021.1936796.

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DEUTSCH, ABIGAIL. "FICTION IN REVIEW: ELENA FERRANTE." Yale Review 103, no. 2 (2015): 158–65. http://dx.doi.org/10.1353/tyr.2015.0070.

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Dissertations / Theses on the topic "Ferrante, Elena"

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Varricchio, Isabella. "Lacrime di frantumaglia : Verità letteraria nell'opera di Elena Ferrante." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-160721.

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This master thesis presents a study of the authorship of the Italian writer Elena Ferrante, focusing on hermain concepts “la frantumaglia” and “la smarginatura” in relation to the question of literary truth. Thepurpose is to examine the fascinating interaction between meta reflection and narration through anintratextual reading of her poetics elaborated in La frantumaglia (2013, 2016) and all novels publishedso far. With references to the theories of Sigmund Freud and Jacques Lacan, la frantumaglia and lasmarginatura are interpreted as the unconscious and different mental disorders that characterize the crisisof the female protagonists. The analysis examines literary truth on three literary levels: the verbal,considering the Neapolitan dialect related to the city of Naples as a representation of both maternalorigin and patriarchal oppression, the stylistic, viewing la smarginatura as literary style, and finally, thesymbolic, connected to what Ferrante calls the “symbolic sphere of the authentic”. Furthermore, anintellectual approach to truth is discussed as a contraposition to the others. In applying the methodologyof Michael Riffaterre, the analysis of the stylistic and symbolic truth dimensions shows how theiridiosyncratic traits are extended and transformed throughout the Ferrantian work. The thesis alsosuggests a different interpretation of the intimate relationship between mother and daughter, one of theauthorship’s central themes. Unlike previous studies with a psychoanalytical approach that affirms theexistence of a pre-oedipal phase free from patriarchal intrusion, this analysis demonstrates how Ferranterepeatedly reveals this idea as an infantile fantasy. Instead, the thesis argues that the only real synthesisis found at the level of writing itself, in the merging of the perspectives of the two protagonists in thecycle of L’amica geniale (The Neapolitan novels). This synthesis is further conceived as the authenticidentity of the anonymous author herself.
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Restucci, Francesca. "Elena Ferrante in Cina. Traduzione e ricezione de L'amica geniale." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20383/.

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Visto lo straordinario successo mondiale della quadrilogia L’amica geniale di Elena Ferrante, questa tesi si pone l’obiettivo di analizzare la traduzione in cinese del primo volume e di spiegare quale sia stata la ricezione di un romanzo italiano di tale valore da parte del pubblico cinese. L’amica geniale è indubbiamente uno dei capolavori della letteratura italiana degli ultimi dieci anni. Pubblicata a partire dal 2011, la quadrilogia è diventata in breve tempo un best-seller in tutto il mondo, ottenendo il primo posto anche nelle classifiche dei libri più letti in Cina. Basato sulla storia della travagliata amicizia che legherà per sempre Elena e Lila, due bambine provenienti da un rione povero della periferia di Napoli, il romanzo si presenta come il racconto indiretto dell’evoluzione storica e sociale dell’Italia del Secondo Novecento. L’opera si contraddistingue dunque per una forte connotazione italiana e, in particolar modo, regionale: il presente lavoro è quindi incentrato sull’analisi della traduzione in cinese di tutti gli elementi culturo-specifici che contribuiscono alla creazione dell’immagine dell’Italia e della realtà locale in cui è ambientata la quadrilogia. Considerando, poi, l’universalità dei temi trasmessi da L’amica geniale, che ne hanno favorito il consenso internazionale, questa tesi si focalizza anche sull’impatto che il romanzo ha avuto sui lettori e sulle lettrici cinesi, provenienti da un background culturale molto distante da quello italiano.
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Causin, Susanna <1992&gt. "La maternità nei romanzi di Elsa Morante e Elena Ferrante." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13434.

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Scopo della presente tesi è di indagare le risposte della teoria e dei movimenti femministi nella letteratura italiana contemporanea. Sono state scelte pertanto due scrittrici come rappresentative di due importanti momenti storici, ovvero la Morante che ha vissuto direttamente l'estensione del voto alle donne e la Ferrante, che ha invece visto l'allargamento dei diritti femminili, in particolare aborto e divorzio. Si tratta di temi di estrema importanza per la cultura e letteratura italiana, di cui si cerca corrispondenza nell'evoluzione dei personaggi femminili delle due scrittrici.
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Favaro, Martina <1993&gt. "Sguardi obliqui. Il topos della maternità nella narrativa di Elena Ferrante." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12517.

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Analisi che, pur mantenendo costante lo sguardo verso tutta l’intera produzione di Elena Ferrante, si rivolge al ciclo de L’amica geniale con l’intento di mettere a fuoco il tema della maternità, quest’ultima intesa lungo tre diverse direttrici: una prima, interessata alle modalità attraverso cui vengono tracciati i margini fisici e caratteriali dei personaggi investiti di un grado materno; una seconda, orientata a istituire una possibile filiazione con alcune autrici italiane e straniere; e una terza, intimamente connessa all’idea di partorire dei testi a cui i lettori non potranno attribuire un volto di madre.
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Moretti, Ilaria. "La page est un miroir : la construction d'une identité littéraire à travers l'étude métabiographique des personnages féminins d'Elena Ferrante." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3034.

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Cette étude naît de la volonté de répondre à un simple questionnement : est-il possible de reconstruire l’identité littéraire d’un auteur qui choisit délibérément de se cacher au grand public ? Ce concept d’identité littéraire paraît s’inscrire dans une théorisation métabiographique présentant un texte à la fois récit personnel, autofiction et compte rendu littéraire. Notre idée serait de pouvoir examiner comment Elena Ferrante, auteure absente, a pu, grâce à la création de ses protagonistes féminines, réfléchir à son rapport avec autrui, l’écriture, le corps interprété dans son acception féministe, ou avec les villes conçues comme des dramatis personae. Dans sa littérature, Ferrante met en place une véritable réflexion sur l’identité : la sienne d’auteure cachée ainsi que celle de ses personnages. Ses œuvres montrent des femmes déstructurées par le sentiment de perte, puis broyées par le démantibulement de leur subjectivité et enfin reconstituées dans la page d’écriture. Ainsi, l’effacement de Ferrante ne serait qu’un stratagème révélateur d’une éthique de l’écriture qui viserait à la construction d’un « être de mots » n’existant qu’à travers son identité de papier. Ces identités s’inscrivent d’ailleurs dans la mouvance d’une « philosophie de la narration » s’inspirant aux théories d’Adriana Cavarero et d’Hannah Arendt. En effet, ce n’est qu’en racontant le vécu d’autrui que l’auteure, ainsi que ses protagonistes-narratrices, parviennent à construire leur propre individualité. Cette relation en miroir montre comment l’écriture se fait moteur identitaire en permettant aux individus de se comprendre en tant que subjectivités pensantes, relationnelles et uniques
This dissertation originates from the desire to answer a simple question : is it possible to reconstruct the literary identity of an author who deliberately chooses to hide from the general public ? The concept of literary identity seems to inscribe itself in the metabiographical theorization which deals with the study of a text that is, at the same time, personal narrative, autofiction and literary criticism. The underpinning idea is to examine how Elena Ferrante – the absent author – is able, through the creation of her female characters, to reflect on her relationships with the Other, the act of writing, the body considered in its feminist meaning, and cities understood as dramatis personae. In her literature, Ferrante builds an authentic reflection on identity: her own as a hidden author, as well as those of her characters. Her works showcase women destructured by the sense of loss, shattered by the disruption of their subjectivity (squadernamento in Italian) and finally rebuilt on the page. Thus, Ferrante’s erasure would be nothing but a stratagem designed to reveal an ethic of writing aimed at creating a “word-character” that exists only through its identity made of paper. Moreover, these identities themselves fall under a “philosophy of storytelling” inspired by Adriana Cavarero and Hannah Arendt’s theories. As a matter of fact, it is only by telling the life of the female Other that the author and her protagonists-narrators can build their own individuality. This mirror relationship shows how writing is a creator of identity, which allows these individuals to conceive themselves as thinking, relational and unique subjectivities
Questo studio nasce dalla volontà di rispondere a una semplice domanda: è possibile ricostruire l’identità letteraria di un autore che sceglie deliberatamente di nascondersi dal grande pubblico? Questo concetto di identità letteraria pare inscriversi nella teorizzazione metabiografica che si occupa di studiare un testo che è, contemporaneamente, racconto personale, autofinzione e critica letteraria. La nostra idea è di esaminare come Elena Ferrante, autrice assente, riesce, grazie alla creazione dei suoi personaggi femminili, a riflettere al suo rapporto con l’Altro, la scrittura, il corpo inteso nella sua accezione femminista, o con le città interpretate come dramatis personae. Nella sua letteratura, Ferrante costruisce un’autentica riflessione sull’identità: la sua, quella di un’autrice nascosta, unita a quella dei suoi personaggi. Le sue opere mettono in evidenza delle donne destrutturate dal sentimento di perdita, poi frantumate dallo squadernamento della loro soggettività e infine ricostruite nella pagina. Così, la cancellazione di Ferrante, non sarebbe altro che uno stratagemma capace di rivelare un’etica della scrittura che mirerebbe alla costruzione di un “individuo-parola” che esiste soltanto attraverso la sua identità di carta. Per altro, queste stesse identità si iscrivono nella dinamica di una “filosofia della narrazione” che si ispira alle teorie di Adriana Cavarero e di Hannah Arendt. In effetti, soltanto raccontando la vita dell’altra, l’autrice e le sue protagoniste-narratrici riescono a costruire la loro stessa individualità. Questa relazione a specchio mostra come la scrittura sia motrice di identità permettendo a questi individui di concepirsi in quanto soggettività pensanti, relazionali e uniche
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Fant, Evelina. "Från barndomens Neapel och tillbaks igen : En undersökning av huvudpersonens utveckling i Elena Ferrantes romansvit." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-77972.

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Sandberg, Amanda. "”Da domani [...] te ne vai di nuovo a mettere la ricotta nei cannoli” : La traduzione dei realia culturospecifici dall’italiano allo svedese nella serie dell’Amica geniale di Elena Ferrante." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-148815.

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This essay focuses on the cultural aspects of translation, mainly on the cultural-specific elements known as realia, when translating from Italian to Swedish. As the realia might be unknown to the reader of the target text and as they often have no exact correspondence in the target language, they often pose a challenge for the translator. The essay examines which strategies the translator has used to translate cultural-specific elements and the question is raised whether the translation, regarding the cultural aspects, is orientated towards the source culture (adequacy-orientated) or towards the target culture (acceptability-orientated). Three of the Neapolitan Novels written by pseudonymous Elena Ferrante, Storia del nuovo cognome (2012), Storia di chi fugge e di chi resta (2013) and Storia della bambina perduta (2014), serve as source text of the analysis. The Neapolitan setting of the novels make them specifically suitable for a study of cultural-specific elements. The study is qualitative and complemented with a quantitative part. It is based on Osimo’s (2011) strategies for the translation of realia. The analysis reveals that cultural-specific elements of the source text tend to be replaced with more generic and international expressions. Prioritizing the narrative over cultural-specific elements the translation shows a tendency towards acceptability.
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Marchais, Nathalie. "La figure maternelle dans la littérature féminine italienne des quarante dernières années." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100231/document.

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Depuis l’essor du féminisme dans les années soixante-dix, les écrivaines ont commencé à occuper une place importante dans le panorama littéraire italien. Parmi les thématiques les plus souvent traitées, celle de la mère et de la maternité représentent un intérêt constant. Loin de reproduire l’habituel stéréotype de la mamma italienne, les écrivaines ont contribué à une déconstruction progressive des mythes inhérents à cette figure centrale dans la culture et la société. Les années soixante-dix ont été caractérisées par le refus de la maternité en tant que vocation naturelle de la femme, en lien avec les revendications féministes de disposer de son corps, (légalisation de l’avortement, développement de la contraception, révision du droit de la famille). Dans les années quatre-vingt et jusqu’au milieu des années quatre-vingt-dix, le thème de la relation mère-fille s’est imposé comme une réhabilitation des mères du passé. Le genre autobiographique s’est affirmé dans cette phase sous d’autres formes. Depuis le milieu des années quatre-vingt-dix et jusqu’à nos jours, la nouvelle génération d’écrivaines tend à faire de la mère dans les récits une femme tourmentée, inadaptée, instable voire un être monstrueux qui peine à remplir son rôle et met la vie de ses enfants en danger. Dans cette optique, une partie des héroïnes font d’ailleurs le choix de ne pas devenir mères. Parmi les auteures analysées : Dacia Maraini, Carla Cerati, Giuliana Ferri, Gina Lagorio, Francesca Duranti, Francesca Sanvitale, Fausta Cialente, Elena Ferrante, Simona Vinci, Letizia Muratori, Alina Marazzi, Cristina Comencini
Since feminism emerged in the seventies, women writers have occupied an increasingly important place in the Italian literary panorama. Among the most dealt with subjects, those of the mother and motherhood have been of constant interest. Far from reproducing the usual stereotype of the Italian mamma, women writers have contributed to a progressive deconstruction of the myths inherent to that central figure of the culture and society. The seventies were characterized by the refusal of motherhood as a natural vocation of women, in connection with the feminist claims to own and control their own bodies, (abortion right, development of contraception, revision of the family law). In the eighties and until the middle of the nineties, the theme of the mother-daughter relationship imposed itself as a rehabilitation of the mothers of the past. The autobiography asserted itself at that stage under other forms. Since the middle of the nineties and until today, the new generation of women writers has tended to turn the mother of the narrative into a tormented, maladapted and unstable woman, even a monstrous being who fails to play her role, and puts her children’s lives in danger. This might be the reason why some heroines actually make the choice not to become mothers. Among the women writers studied: Dacia Maraini, Carla Cerati, Giuliana Ferri, Gina Lagorio, Francesca Duranti, Francesca Sanvitale, Fausta Cialente, Elena Ferrante, Simona Vinci, Letizia Muratori, Alina Marazzi, Cristina Comencini
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Bergquist, Echo Bray. "La morte e rinascita dell'autrice Elena Ferrante." 2009. http://hdl.handle.net/10090/8587.

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Menezes, Cristina Carneiro de. "Entre o conhecimento e o desejo: estratégias de emancipação das personagens Lila e Lenù na tetralogia napolitana de Elena Ferrante." Master's thesis, 2020. http://hdl.handle.net/10362/111126.

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A tetralogia napolitana de Elena Ferrante foi publicada entre 2011 e 2014, na Itália, e rapidamente espalhou-se pelo mundo de uma maneira muito abrangente, popularizando e pautando debates entre leitores, especialmente o público feminino, a partir da história de amizade de Lila e Lenù. Com este trabalho, busco compreender o potencial feminista da obra e como a construção da subjetividade e da identidade da protagonista e narradora, Lenù, através da narrativa, é um caminho viável para ressignificar a existência, criando novas formas de estar no mundo. Para isso, analisei a formação feminista da personagem Lenù, as diferentes estratégias de resistência de Lila e de Lenù e a construção da subjetividade e da identidade de Lenù à luz do pensamento de Paul Ricoeur e Seyla Benhabib sobre o tema.
Elena Ferrante's Neapolitan Tetralogy was published between 2011 and 2014, in Italy, and quickly spread across the world in a very extensive way, popularizing and guiding descussions among readers, especially the female audience, based on the story of Lila and Lenù friendship. This study seeks to understand the feminist potential of the Neapolitan Tetraogy and how the construction of subjectivity and identity of the protagonist and narrator, Lenù, through narrative, is a viable way to re-signify existence, creating new ways of being in the world. For this, I analyzed the feminist formation of Lenù, the different resistance strategies of Lila and Lenù and the construction of Lenù's subjectivity and identity through Paul Ricoeur and Seyla Benhabib theories about the theme.
El ciclo de L'Amica Geniale di Elena Ferrante è stato pubblicato tra il 2011 e il 2014, in Italia, e si è rapidamente diffuso in tutto il mondo in modo molto ampio, diffondendo e guidando le discorsi tra i lettori, in particolare il pubblico femminile, basato sulla storia dell'amicizia tra Lila e Lenù. Questo studio cerca di comprendere il potenziale femminista del ciclo de L'Amica Geniale e come la costruzione della soggettività e dell'identità del protagonista e narratore, Lenù, attraverso la narrazione, sia un modo praticabile per ri-significare l'esistenza, creando nuovi modi di essere nel mondo. Per questo, ho analizzato la formazione femminista di Lenù, le diverse strategie di resistenza di Lila e Lenù e la costruzione della soggettività e dell'identità di Lenù attraverso le teorie di Paul Ricoeur e Seyla Benhabib sul tema.
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Books on the topic "Ferrante, Elena"

1

Russo Bullaro, Grace, and Stephanie V. Love, eds. The Works of Elena Ferrante. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7.

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2

Pinto, Isabella. Elena Ferrante: Poetiche e politiche della soggettività. Milano: Mimesis, 2020.

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3

Cauchi-Santoro, Roberta, and Costanza Barchiesi. Ferrante unframed: Authorship, reception and feminist praxis in the works of Elena Ferrante. Firenze: Società editrice fiorentina, 2021.

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4

Italy) IQLA-GIAT Summer School in Quantitative Analysis of Textual Data (3rd 2017 Padua. Drawing Elena Ferrante's profile: Workshop proceedings, Padova, 7 September 2017. Padova: Padova UP, 2018.

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5

Rogatis, Tiziana De. Elena Ferrante. Parole chiave. E/O, 2018.

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Incontro con Elena Ferrante. Palermo: Palermo University Press, 2019.

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7

Elena Ferrante. Key Words. Europa Editions, Incorporated, 2019.

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8

La leggenda di Elena Ferrante. Milano: Garzanti, 2021.

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9

Beebee, Thomas Oliver, and Stiliana Milkova. Elena Ferrante As World Literature. Bloomsbury Publishing Plc, 2021.

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Beebee, Thomas Oliver, and Stiliana Milkova. Elena Ferrante As World Literature. Bloomsbury Academic & Professional, 2022.

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More sources

Book chapters on the topic "Ferrante, Elena"

1

Cellinese, Anna. "L'assente voce di Elena Ferrante." In Voci Italiane, 19–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003119746-5.

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Rassendren, Etienne. "Curious Case of Elena Ferrante." In Encyclopedia of New Populism and Responses in the 21st Century, 1–6. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-16-9859-0_419-1.

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Bullaro, Grace Russo, and Stephanie V. Love. "Introduction: Beyond the Margins: “Ferrante Fever” and Italian Female Writing." In The Works of Elena Ferrante, 1–12. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_1.

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Elwell, Leslie. "Breaking Bonds: Refiguring Maternity in Elena Ferrante’s The Lost Daughter." In The Works of Elena Ferrante, 237–69. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_10.

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Mandolini, Nicoletta. "Telling the Abuse: A Feminist-Psychoanalytic Reading of Gender Violence, Repressed Memory, and Female Subjectivity in Elena Ferrante’s Troubling Love." In The Works of Elena Ferrante, 271–92. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_11.

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Ness, Emma Van. "Dixit Mater: The Significance of the Maternal Voice in Ferrante’s Neapolitan Novels." In The Works of Elena Ferrante, 293–312. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_12.

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Bullaro, Grace Russo. "The Era of the “Economic Miracle” and the Force of Context in Ferrante’s My Brilliant Friend." In The Works of Elena Ferrante, 15–44. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_2.

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Cavanaugh, Jillian R. "Indexicalities of Language in Ferrante’s Neapolitan Novels: Dialect and Italian as Markers of Social Value and Difference." In The Works of Elena Ferrante, 45–70. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_3.

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Love, Stephanie V. "“An Educated Identity”: The School as a Modernist Chronotope in Ferrante’s Neapolitan Novels." In The Works of Elena Ferrante, 71–97. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_4.

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Gallippi, Franco. "Elena Ferrante’s My Brilliant Friend: In Search of Parthenope and the “Founding” of a New City." In The Works of Elena Ferrante, 101–27. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_5.

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