Spatialities In Italian American Women S Literature

Examining the family saga as an instrument of literary analysis of writing by Italian American women, this book argues that the genre represents a key strategy for Italian American female writers as a form which distinctly allows them to establish cultural, gender and literary traditions. Spaces are inherently marked by the ideology of the societies that create and practice them, and this volume engages with spaces of cultural and gendered identity, particularly those of the ‘mean streets’ in Italian American fiction, which provide a method of critically analyzing the configurations and representations of identity associated with the Italian American community. Key authors examined include Julia Savarese, Marion Benasutti, Tina De Rosa, Helen Barolini, Melania Mazzucco and Laurie Fabiano. This book is suitable for students and scholars in Literature, Italian Studies, Cultural Studies and Gender Studies.

In this work, prominent Italian American creative women discuss the ways their heritage has impacted their works. They discuss the ways that their childhood memories of immigrants and their practices have been a strong foundation for their creativity.

This volume studies the literary voices of the Italian diaspora in Britain, including 21 authors and 34 pieces of prose, verse, and drama. This book shows how authors both recount the history of the migrant community in the period 1880-1980 while creatively experimenting with hybrid forms of expression and blending words with visuals. Literary Voices of the Italian Diaspora in Britain discusses topical issues like migration and social integration, cultures and foods in transition, as well as plurilingualism. The book pays special attention to discussions of the horrors of the Second World War – especially on the tragedy of the Arandora Star (2nd July 1940) – to show this literary community’s political commitments. More importantly, it will begin to fill the void left by a critical tradition which has only appreciated the northern American and Australian branches of Italian writing.

Mary Cappello, Louise DeSalvo, Sandra M. Gilbert, Maria Mazziotti Gillan, Carole Maso, Agnes Rossi. These are some of the best-known Italian American writers today. They are part of a literary tradition with mid-twentieth century roots that began to develop, in earnest, in the late 1970s and early 1980s. During those decades, a number of Italian American women, such as Helen Barolini, began to publish books that depicted their perspectives on life through the critical lenses of gender, class, and ethnicity. At the end of the twentieth century, this literature finally blossomed into a fully fledged cultural movement that also took into account issues of sexuality, age, illness, and familial and societal abuse. Writing with an Accent takes a look at this vibrant literary movement by discussing those first writers of the 1970s and 1980s as well as later authors. At the center of Edvige Giunta s Writing with an Accent is the literal notion of accent, the marker of linguistic and cultural difference that separates and identifies recent immigrants to the United States. In this study, an accent symbolically embodies the differences and creative strategies through which contemporary Italian American women writers engage Italian American culture in works of fiction, poetry, and memoir. Giunta also looks at the links between the literature and art, music, film, and video produced by contemporary Italian American women. The literature of the Italian American women in Writing with an Accent is shaped by the complicated connections these authors maintain with their cultural origins, but also, and perhaps more importantly, by their feminist consciousness and politicized sense of ethnic identity. Writing with an Accent celebrates and explores a group of authors who characteristically mix the joy and pain of Italian American life to paint a multifaceted picture of Italian American women and their complex place in U.S. culture.

Mary Jo Bona reconstructs the literary history and examines the narrative techniques of eight Italian American women's novels from 1940 to the present. Largely neglected until recently, these women's family narratives compel a reconsideration of what it means to be a woman and an ethnic in America. Bona discusses the novels in pairs according to their focus on Italian American life. She first examines the traditions of italianitá (a flavor of things Italian) that inform and enhance works of fiction. The novelists in that tradition were Mari Tomasi (Like Lesser Gods, 1949) and Marion Benasutti (No Steady Job for Papa, 1966). Bona then turns to later novels that highlight the Italian American belief in the family's honor and reputation. Conflicts between generations, specifically between autocratic fathers and their children, are central to Octavia Waldo's 1961 A Cup of the Sun and Josephine Gattuso Hendin's 1988 The Right Thing to Do. Even when writers choose to steer away from the familial focus, Bona notes, their developmental narratives trace the reintegration of characters suffering from a crisis of cultural identity. Relating the characters' struggles to their relationship to the family, Bona examines Diana Cavallo's 1961 A Bridge of Leaves and Dorothy Bryant's 1978 Miss Giardino. Bona then discusses two innovative novels—Helen Barolini's 1979 Umbertina and Tina De Rosa's 1980 Paper Fish—both of which feature a granddaughter who invokes her grandmother, a godparent figure. Through Barolini's feminist and De Rosa's modernist perspectives, both novels present a young girl developing artistically. Closing with a discussion of the contemporary terrain Italian American women traverse, Bona examines such topics as sexual identity when it meets cultural identity and the inclusion of italianitá when Italian American identity is not central to the story. Italian American women writers, she concludes, continue in the 1980s and 1990s to focus on the interplay between cultural identity and women's development.

This collection of essays explores the myriad ways in which the women’s suffrage movement in Britain in the nineteenth century and twentieth century engaged with and was expressed through literature, art and craft, music, drama and cinema. Uniquely, this anthology places developments in the constituent arts side by side, and in dialogue, rather than focusing on a single field in isolation. In so doing, it illustrates how creative endeavours in different artforms converged in support of women’s suffrage. Topics encompassed range from the artistic output of such household names as Sylvia Pankhurst and Ethel Smyth, to the recent feature film Suffragette. It also brings to light under-represented figures and neglected works related to the suffrage movement. A wide variety of material is explored, from poems, diaries and newspapers to posters, dress and artefacts to songs, opera, plays and film. Published in the wake of the centenary of many women receiving the parliamentary vote in the UK, this book will appeal to scholars, undergraduate and graduate students, and members of the public interested in the broad areas of women’s history and the women’s suffrage movement, as well as across the arts disciplines.

Examining freewomen in Mesopotamian society, ancient Greek hetaira, Renaissance Italy courtesans, historical and modern Japanese geisha, and the Hindu devadāsī of India, Stephanie Lynn Budin makes a wide-ranging study of independent women who have historically been dismissed as prostitutes. The purpose of this book is to rectify a well-entrenched misunderstanding about a category of women existing throughout world history—women who were not (and are not) under patriarchal authority, here called "Freewomen." Having neither father nor husband, and not being bound to any religious authority monitoring their sexuality, these women are understood to be prostitutes, and the terminology designating them appears as such in dictionaries and common parlance. This book examines five case studies of such women: the Mesopotamian ḫarīmtu, the Greek hetaira, the Italian cortigiana "onesta", the Japanese geisha, and the Indian devadāsī. Thus the book goes from the dawn of written history to the present day, from ancient Europe and the Near East through modern Asia, comparatively examining how each of these cultures had its own version of the Freewoman and what this meant in terms of sexuality, gender, and culture. This work also considers the historiographic infelicities that gave rise and continuance to this misreading of the historic and ethnographic record. This engaging and provocative study will be of great interest to students and scholars working in Gender and Sexuality Studies, Women’s History, Classical Studies, Ancient Near Eastern and Biblical Studies, Asian Studies, World Cultures, and Historiography.

Drawing on rare sources and archival material, Helen Barolini has here collected 56 works by Italian American women writers. The volume features: prose, poetry, one play and a large section of fiction.