'Soprattutto non ti abbandonare a monologhi svagati o maldicenti o rabbiosi': Traces of Simone de Beauvoir's 'Monologue' in Elena Ferrante's I giorni dell'abbandono.

In its exploration of Olga's reaction to her husband's sudden departure with a younger woman, Elena Ferrante's I giorni dell'abbandono (2002) establishes a structural dialogical relationship with Simone de Beauvoir's La femme rompue (1967). The existing scholarship that examines Ferrante's intertext...

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Publicado en:Italianist Vol. 45; no. 1; pp. 179 - 199
Autor principal: Bounabat, Sarah Leïla
Formato: Artículo
Publicado: Taylor & Francis Ltd Feb2025
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Acceso en línea:Ver este registro en EBSCOhost
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        atl: 'Soprattutto non ti abbandonare a monologhi svagati o maldicenti o rabbiosi': Traces of Simone de Beauvoir's 'Monologue' in Elena Ferrante's I giorni dell'abbandono.
      aug:
        au: Bounabat, Sarah Leïla
        affil: Université de Montréal, Département de littératures et de langues du monde
      su:
        School districts
        Sociolinguistics
        Somali refugees
        Italian literature
        Standard language
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        subj:
          School districts
          Sociolinguistics
          Somali refugees
          Elementary and Secondary Schools
          Italian literature
          Standard language
      keyword:
        dilution of boundaries
        Elena Ferrante
        I giorni dell'abbandono
        monological speech
        obscenity
        Simone de Beauvoir
        dilution of boundaries
        Elena Ferrante
        I giorni dell'abbandono
        monological speech
        obscenity
        Simone de Beauvoir
      ab: In its exploration of Olga's reaction to her husband's sudden departure with a younger woman, Elena Ferrante's I giorni dell'abbandono (2002) establishes a structural dialogical relationship with Simone de Beauvoir's La femme rompue (1967). The existing scholarship that examines Ferrante's intertextual engagement with Beauvoir's collection of short stories focuses on 'La femme rompue', its eponymous final story. However, Ferrante's novel also includes crucially significant references to 'Monologue', the second short story in Beauvoir's volume. I argue that extending the comparison between the two works to include 'Monologue' allows a more accurate understanding of the dialogue sustained in Ferrante's novel with Beauvoir's collection. In particular, I demonstrate how 'Monologue' informs Olga's recourse to monological and obscene forms of speech. I also scrutinize the process of fragmentation and reconstruction of Olga's interiority — an element that speaks to 'La femme rompue' but also to 'Monologue'.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: English
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