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Humanities 2019, 8(1), 25; https://doi.org/10.3390/h8010025

Female Relays, Rice-Workers and flâneuse: The geo parler femme in Renata Viganò’s Work

Department of Linguistic and Literary Studies, University of Padua, 35121 Padua, Italy
Received: 20 November 2018 / Revised: 27 January 2019 / Accepted: 30 January 2019 / Published: 5 February 2019
(This article belongs to the Special Issue Negotiating Spaces in Women’s Writing)
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Abstract

The aim of this article was to reflect on how settings are used as narrative practices in the work of Renata Viganò, one of the most famous Italian female writers. Drawing upon Well’s concept of geo parler femme, this article examined the extent to which the setting plays a role in Viganò’s fictional works and essays. Focusing on the most common stereotypes of gendered spatiality, the intention of the analysis was to point out that at specific historical moments, such as the Italian resistance movement and the post-war years, the traditional gender assignment of spaces was no longer valid. The idea of a well distinguished ‘limit’ that separates certain places as feminine from others as masculine in time of war becomes blurred and destabilizes the traditional dichotomy of public–private spaces. The dialectic masculine–feminine places are nonexistent and often completely reversed, turning the setting into one of the main narrative practices in novels, such as L’Agnese va a morire or Una storia di ragazze, as well as in politically engaged essays dedicated to female partisans and rice-workers. View Full-Text
Keywords: geocriticism; gendered space; geo parler femme; Renata Viganò; Italian resistance geocriticism; gendered space; geo parler femme; Renata Viganò; Italian resistance
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).
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Stefanovska, A. Female Relays, Rice-Workers and flâneuse: The geo parler femme in Renata Viganò’s Work. Humanities 2019, 8, 25.

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