Overview

Central to Grazia Deledda’s narrative worlds are the relationships between her characters and the vast landscapes they inhabit. Deledda decodes, translates, and represents her characters, her characters’ emotions, and her natural and urban landscapes in a language that shares a vocabulary with the visual arts. However, despite the fact that her descriptions contain the gradation of Modernist painting, beginning with Impressionism, no book-length study has been dedicated to investigating Deledda’s relationship with the visual arts and the resulting painterly aesthetic of her colorful and nuanced narratives. Grazia Deledda’s Painterly Aesthetic seeks to present an articulated and colorful literary panorama of Deledda’s novels and short stories situated between literature and pictorial art. The analyses guided by these two cardinal points are undertaken by contributors who have a profound awareness of an epochal change and work in different disciplines. Two years from the centenary of her receipt of the Nobel Prize, the contributors investigate the connections, consonances, and differences between Grazia Deledda’s oeuvre and other works inside this panorama to verify and affirm a possible unity of purpose. At the same time, they seek to ascertain whether these connections can corroborate and exalt the choices that the Sardinian writer had made with great effort to free herself from the constraints of an environment that was at times hostile to her aesthetic choices.

Full Product Details

Author:   Angela Guiso ,  Virginia A. Picchietti ,  Angela Guiso ,  Clara Incani Carta
Publisher:   Fairleigh Dickinson University Press
Imprint:   Fairleigh Dickinson University Press
Weight:   0.572kg
ISBN:  

9781683934417

ISBN 10:   1683934415
Pages:   340
Publication Date:   26 February 2025
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

Section I: From the Language of the Painters of the Secessione Romana to Ignacio Zuloaga’s Chromatism Chapter 1: From the “Anticlassical” Barbagia to the “Gerusalemme dell’arte”: The Representation of the Island in the Works of Grazia Deledda. Between Primitivism and the Aesthetics of the Secessions Dino Manca Chapter 2: Deledda, Modernism, Primitivism, and Contemporary Art Giuliana Altea Chapter 3: Grazia Deledda’s Landscape Writings: Ignacio Zuloaga’s Pictorial Suggestions in “L’uomo nuovo” and “Lasciare o prendere?” Ombretta Frau Section II: The Long Journey of Deledda’s Narratives from Impressionism to Art Déco Chapter 4: Impressionist Style in Deledda’s Landscapes Clara Incani Carta Chapter 5: An Explorer’s “Soul […] Enlightened by the Shining Art”: Grazia Deledda’s Epistemology as a Traveller Through Observation, Discourse, and Image Tania Manca Section III: The Chiaroscuro of Deledda’s Short Stories Chapter 6: The Space Between: Deledda’s Doors as Frames for Visual and Symbolic Landscapes Marella Feltrin-Morris Chapter 7: “The Feast of Christ” and the Practice of Forgiveness According to Grazia Deledda Stefania Lucamante Section IV: Artistic Connections across Continents: Deledda and Mansfield, Morisot, Cather, Wharton Chapter 8: Between Affinity and Sisterhood: Nature and Art in Grazia Deledda's Visual Writing Angela Guiso Chapter 9: Landscapes of Desolation: Philosophical Pessimism in Grazia Deledda’s Canne al vento (1913) and Edith Wharton’s Ethan Frome (1911) Maria Novella Mercuri Chapter 10: Marianna Sirca, Alexandra Bergson, and Marie Tovesky Shabata: Understanding Grazia Deledda and Willa Cather’s Female Protagonists through Berthe Morisot’s Impressionist Paintings Virginia A. Picchietti

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Author Information

Angela Guiso is an independent scholar, literary critic, and author of many works. Virginia A. Picchietti is professor of Italian and women’s and gender studies at the University of Scranton.

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