A 'New' Woman in Verga and Pirandello

Francisci, Enza De

doi:10.2307/j.ctv16kkzb6

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“…As Allen (1996: 207) has put it, when Nora slams the door shut on her family, the play ‘slams the door on conventional ideas’. However, it could equally well be argued that, in so doing, Nora opens up the door to a ‘new’ kind of woman on the other side — one who explicitly rejects her traditional representation as a wife and mother (De Francisci, 2018). Another interesting aspect of this scene is that, even though Nora does not have a voice in terms of the law, which explains why she committed forgery, she nonetheless has a strong voice of her own.…”

Section: Casa DI Bambola / Una Donnamentioning

confidence: 99%

Aleramo’s Una donna via Ibsen’s A Doll’s House

Francisci

2021

Forum Italicum: A Journal of Italian Studies

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This article provides a detailed comparison of Henrik Ibsen's A Doll's House (1879) and Sibilla Aleramo's novel Una donna (1906), focussing specifically on the similar endings of both works where the respective protagonist walks out on her family. It begins by examining the various contexts and collaborative networks that enabled the theatre of Ibsen to travel into late nineteenth-century Italy, namely Luigi Capuana's translation of the play, Casa di bambola, and early interpretations of the lead role by Italy's star actress, Eleonora Duse. The article proceeds to offer a close reading of Casa di bambola and Una donna, elucidating how Aleramo's first-person novel is able to expand on key issues which are only dealt with briefly in Ibsen's play. In so doing, the analysis illustrates what it was about Aleramo's narrative technique which both aligns her with, but also sets her apart from, her predecessor, shedding new light on the connective associations between the two authors.

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Section: Casa DI Bambola / Una Donnamentioning

confidence: 99%