Grazia Deledda's novels and short stories contain the gradations of Modernist painting. By investigating Deledda’s relationship with the visual arts and the resulting painterly aesthetic of her colorful and nuanced worlds, this work seeks to present an articulated and rich literary panorama situated between literature and pictorial art.
Grazia Deledda's novels and short stories contain the gradations of Modernist painting. By investigating Deledda’s relationship with the visual arts and the resulting painterly aesthetic of her colorful and nuanced worlds, this work seeks to present an articulated and rich literary panorama situated between literature and pictorial art.
Angela Guiso is an established literary critic, author of numerous studies on modern and contemporary Italian literature, and authoritative voice in Deledda studies. Virginia A. Picchietti is professor of Italian and women's and gender studies at the University of Scranton.
Inhaltsangabe
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
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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