Invisible Sea: Anna Maria Ortese's &lt;em&gt;Il mare non bagna Napoli&lt;/em&gt;

Ré, Lucia

doi:10.5070/c331012158

California Italian Studies

2012

DOI: 10.5070/c331012158

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Invisible Sea: Anna Maria Ortese's <em>Il mare non bagna Napoli</em>

Lucia Ré¹

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Anna Maria Ortese’s palette: Colors and achromaticity in Neapolitan Chronicles

Morra

2019

Forum Italicum: A Journal of Italian Studies

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The article outlines the forms and functions of Anna Maria Ortese’s palette in Neapolitan Chronicles. Moving through short stories, essays, and reportages, we can identify topical colors in Ortese’s work: gray, and the achromatic shades black and white. In addition to differentiating the roles of the color series, the article traces Chronicles’ literary genealogies, linking it to Melville and Poe’s works. Far from being a traditional colorist, Ortese gives life to a pictorial writing, which makes of the deformation of reality a key to a more vivid and acute perception of the world.

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Anna Maria Ortese’s palette: Colors and achromaticity in Neapolitan Chronicles

Morra

2019

Forum Italicum: A Journal of Italian Studies

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Invisible Sea: Anna Maria Ortese's <em>Il mare non bagna Napoli</em>

Cited by 1 publication

References 10 publications

Anna Maria Ortese’s palette: Colors and achromaticity in Neapolitan Chronicles

Anna Maria Ortese’s palette: Colors and achromaticity in Neapolitan Chronicles

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