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Modernist Subjectivity
A Window on the Italian Female
Modernist Subjectivity:
From Neera to Laura Curino
Edited by
Rossella M. Riccobono
A Window on the Italian Female Modernist Subjectivity:
From Neera to Laura Curino,
Edited by Rossella M. Riccobono
The cover illustration has been published with the financial assistance of The University of St Andrews,
School of Modern Languages.
All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system,
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Acknowledgements .................................................................................... ix
Introduction ................................................................................................. 1
Rossella M. Riccobono
La tregua non esiste per le donne: I ponti di Schwerin di Liana Millu .... 119
Stefania Lucamante
ROSSELLA M. RICCOBONO
1
See Collins Cobuild English Dictionary (London: Harper Collins, 1995), p. 388.
2
Peter Nicholls in his Modernisms: A Literary Guide, 2nd edition (London:
Palgrave McMillan, 2009) analyses at least nine forms of ‘modernisms’ at
international level: starting from Symbolism, to other schools of art, among which
are Decadentism, Futurism, Surrealism, Cubism and Dadaism.
Rossella M. Riccobono 3
‘Oh, very well,’ he smiled; ‘though I don’t think you’ll find anything out
of the way in her; she was very much the same as the rest of us – as far as I
can see, not remarkable –’.4
The Italian literary lineage is similarly a male one, and the rise of the
novel as a genre is marked initially by Alessandro Manzoni’s I promessi
sposi, followed by Giovanni Verga’s I malavoglia, and finally by the
recognised Modernist trio Pirandello-Svevo-Gadda (though, as emphasises
Lia Fava Guzzetta, one could also include Tozzi, Borgese, Alvaro, Calvino
3
See Virginia Woolf, ‘Women and Fiction’ [1929], in Virginia Woolf on Fiction
(London: Hesperus, 2011), pp. 81-94 (p. 81).
4
Virginia Woolf, ‘The Journal of Mistress Joan Martin’, in Memoirs of a
Novelist (London: Hesperus, 1917), pp. 25-65 (p. 42).
4 Introduction
5
L. Fava Guzzetta, ‘Gianna Manzini verso Virginia Woolf (passando per
Pirandello)’, in L. Fava Guzzetta (ed.), Gianna Manzini. Una voce del Modernismo
europeo (Pesaro: Metauro, 2008), pp. 9-23 (p. 9).
6
K. Mitchell and C. Ramsey-Portolano, ‘Introduction’, Rethinking Neera,
Supplement to The Italianist, 30 (2010), 5-12, (5).
7
Gemma Ferruggia, ‘Le novellatrici e le romanziere’, in AA.VV, La donna
italiana descritta da scrittrici italiane in una serie di conferenze tenute
all’Esposizione Beatrice di Firenze (Firenze: Civelli, 1890), pp. 289-303 (p. 299).
Rossella M. Riccobono 5
[…] as such portraits as we have are almost invariably of the male sex,
who strut more prominently across the stage, it seems worthwhile to take
as model one of those many women who cluster in the shade. For a study
of history and biography convinces any right minded person that these
obscure figures occupy a place not unlike that of the showman’s hand in
the dance of the marionettes; and the finger is laid upon the heart.8
8
Virginia Woolf, ‘Phyllis and Rosamond’, in Memoirs of a Novelist, (1917), pp. 3-
18 (p. 3).
6 Introduction
with the narrative theatre practice that she helped define, she works with
private and public memory to create a collective identity, but one that
manages to maintain the integrity of its autonomous selves while also
encompassing the many. Of particular importance here is the choice of
narrative theatre. Curino not only publishes stories in book form, but
performs them, implicitly expanding the ways in which one can express
ideas to stretch beyond theme and include form. Using one of Curino’s
more overtly political pieces, Una stanza tutta per me (2004) as a case
study, the essay investigates the ways in which Curino challenges the
boundaries of subjectivity, particularly with regard to gender.
This collection of essays surveys some of the artistic production by
female figures who were central protagonists of Italian Modernism in the
fields of literature, photography, and even the theatre, in order to explore
how artistic engagement in women informed their views on and reactions
to the challenges of a changing society and a ‘disinhibiting’ intellectual
landscape. However, one other objective stands central: that of opening a
window on the re-definition of the subjectivity of the self that occurred
during an intriguing and still not fully studied period of artistic and
societal changes. In particular, the present volume aims to define a female
Italian Modernism which can be seen as complementary and not necessarily
in opposition to its male counterpart.
THRESHOLDS OF BEING:
MODERNITY AND FEMALE SUBJECTIVITY
IN NEERA’S WORK
MARIAROSA METTIFOGO
1
Neera, Confessioni letterarie in Le idee di una donna e Confessioni letterarie, ed.
by Francesca Sanvitale (Firenze: Vallecchi, 1977), p. 15. Henceforth quoted in
parenthesis as Confessioni.
12 Thresholds of Being
2
Apart from her most famous novel Teresa, last reprinted in 2009, other narrative
works that have become available since the 1970s include: Lydia, Crevalcore,
Monastero e altri racconti, Crepuscoli di libertà, Un nido, and L’Indomani. Among
the non-fictional works, Le idee di una donna e Confessioni letterarie and
Dizionario di igiene per le famiglie, along with the posthumous autobiography
Una giovinezza del secolo XIX, first published by Benedetto Croce in 1919 and last
reprinted in 1981. The work by Antonia Arslan, who is also the curator of Neera’s
epistolary archive, has been fundamental in revamping the interest in Neera, an
interest most recently testified by the volume Rethinking Neera, special supplement
to The Italianist, 30 (2010), ed. by Katharine Mitchell and Catherine Ramsey-
Portolano.
3
What she contested the most fiercely to the feminist movement was being, in fact,
a male product and not the autonomous expression of women’s voices. She sums
this idea up when she exclaims that ‘pretendere che dopo diciannove secoli si
debba tornare a levare un’altra costola all’uomo per rifare la donna, ah! è troppo.’
See Neera, Le idee di una donna in Le idee di una donna e Confessioni letterarie
(1977), p. 52. Henceforth quoted in parenthesis as Idee.
4
On the generational character of Neera’s ambivalent positions on feminism, see,
for example, Anna Nozzoli, ‘La letteratura femminile in Italia tra Ottocento e
Novecento’ in Tabù e coscienza, ed. by Giuliana Morandini (Milan: Bompiani,
1980), pp. 1-40; Antonia Arslan, ‘Ideologia e autorappresentazione. Donne
intellettuali tra Ottocento e Novecento’, in Dame, galline e regine. La scrittura
femminile italiana fra ‘800 e ‘900 (Milan: Guerini e Associati, 1999), pp. 43-59.
Mariarosa Mettifogo 13
the labor force with the false promise of emancipation; the ensuing drastic
rearrangement of social structures and power dynamics; the disdain for
tradition and the spasmodic search for novelty that would turn material
goods, people, bodies, values, and ideas alike into disposable commodities;
the cult of progress, of speed and of machines that would deprive women
in particular of their time and energies; an unrestrained materialism
promising to invade and corrupt all human relations: these were the aspects
of modernity that conjured up in her works the image of an imminent and
fatal threat to human society.
Her apocalyptic views of modernity as a destructive force, reiterated in
her essays in particular, can be easily located in the context of circulating
discourses of identity crisis, moral and cultural decadence, individual and
collective pessimism and discontent that developed around the turn of the
century in relation to modernization, urbanization, industrialization, and
mass-culture, and which gave impulse to the most diverse cultural
expressions that can be placed under the rubric of modernism.5 What sets
her anti-modern discourse apart is the focus on the effects of modernity on
the female self in particular. On the other hand, as argued here, Neera’s
defense of female individuality against the threat posed to it both by
modernity and by some modernist stances is partially accomplished in her
work through the adoption of textual strategies and narrative devices that
show affinity with modernist aesthetics, proving that her position towards
modernism was that of a self-imposed marginality as conditio sine qua
non of creative individuality.
My reading of this aspect of Neera’s work begins with the extrapolation
of the core of her anti-modern discourse from both non-fictional and
fictional works – apart from Dizionario d’igiene per le famiglie (1881) and
5
A much-debated term, modernism remains an evasive and multi-faceted
phenomenon. An informing critical review of recent influential texts attempting at
redefining modernism can be found in Robert Wohl, ‘Heart of Darkness:
Modernism and Its Historians’, The Journal of Modern History, 74, 3 (September
2002), 573-621. As far as literary modernism goes, I found it useful to refer to
Hans Robert Jauss’s theory of three ‘pivotal upheavals’ in its development, and to
envision Neera in critical confrontation with the second phase, coinciding with the
emergence, in the second half of the 19th century, of ‘the aesthetics of a modernité,
beginning with Baudelaire’s theory of the transitory beautiful and with Flaubert’s
poetics of fragmentary perception,’ as well as with the third, starting with the
avant-gardes of the 1910s that marked ‘a change of epoch to a euphorically –
affirmed modern, experienced as a rush of exhilaration leading into a
phantasmagorical future.’ Hans Robert Jauss and Lisa C. Roetzel, ‘The Literary
Process of Modernism from Rousseau to Adorno’, Cultural Critique, 11 (Winter
1988-89), 27-61, 35-36.
14 Thresholds of Being
the essays in Le idee di una donna (1904), other texts analyzed here and
testifying to this continuity are the early novel Lydia (1887) and the later
one Duello d’anime (1911). In the second part, I then move on to
identifying traces of a modernist aesthetic sensibility at work in Neera’s
novels and autobiographical texts, arguing that Neera foresaw the
possibilities such sensibility offered when it came to the literary
representation of modern female subjectivities. In this perspective, images
of heroines standing at the window, on a balcony, or, in general, on a
physical threshold are read as metaphors not just of the imminence of the
modern threat to their identity, but also of the position of the woman writer
in regard to modernist culture as necessarily liminal. By holding on to
such border – between domestic and public sphere, inner and outer life,
tradition and innovation – the woman writer can keep a safe distance – and
with it intellectual autonomy and creative originality – from a threatening
new reality and its (male) cultural expressions. At the same time, she can
valorize the uniqueness of her gaze as better equipped for taking in and
mastering precisely the fragmentary and most ambivalent aspects of an
increasingly complex, mutating reality.
6
In the pages of the review L’Idea liberale, founded by Guido Martinelli and to
which she contributed alongside her close friend and platonic ‘soulmate’ Alberto
Sormani, Neera had already taken a distance from D’Annunzio, lamenting that ‘un
così bell’ingegno sia posto al servizio di una così pessima causa’ (quoted in
Vincenzo Bagnoli, ‘Neera e L’Idea liberale: il ruolo delle voci femminili nel
dibattito fin de siècle’ in Ritratto di signora. Neera (Anna Radius Zuccari) e il suo
tempo, ed. by Antonia Arslan and Marina Pasqui [Milan: Guerini, 1999], pp. 47-
56, 55). Neera’s dislike of D’Annunzio’s Decadentismo was another element of
affinity with Benedetto Croce, with whom she started corresponding in 1903. For
their correspondence and a discussion of the ‘consonanze profonde che li uniscono
nei riguardi del fatto letterario’, see Il concetto che ne informa. Benedetto Croce e
Neera. Corrispondenza (1903-1917), ed. by Antonia Arslan and Anna Folli
(Naples: Edizioni Scientifiche Italiane, 1989).
16 Thresholds of Being
7
Paolo Mantegazza and Neera, Dizionario d’igiene per le famiglie (Milan:
Scheiwiller, 1985), p. 237. Henceforth quoted in parenthesis as Dizionario. The
volume is organized as a series of alphabetically ordered entries pertaining to all
aspects of a good, healthy, ‘hygienic’ management of the house and of the family.
While Mantegazza took charge of topics such as common ailments and their
remedies, dietary and culinary recommendations, and other practical aspects of
domestic management, Neera’s entries, signed with her initial, address topics
pertaining to the moral, mental, and emotional hygiene of the family and of woman
– as bride, mother, and daughter – in particular.
Mariarosa Mettifogo 17
8
For a discussion of the impact of the image of a New Woman in modernism, see
Marianne Dekoven, ‘Modernism and Gender’, in The Cambridge Companion to
Modernism (Cambridge: Cambridge UP, 1999), pp. 174-93.
Mariarosa Mettifogo 19
9
Neera, Lydia (Lecco: Periplo, 1997), p. 35. Henceforth quoted in parenthesis as
Lydia.
10
See Anna Nozzoli, ‘La letteratura femminile in Italia tra Ottocento e Novecento’
(1980), p. 1.
20 Thresholds of Being
11
Xenophilia is another dominant trait of modernity that Neera contests, and it
would be worth exploring, in a separate study, her anti-modern and anti-feminist
crusade against the background of a rising nationalism.