Woman as Outlaw: Grazia Deledda and the Politics of Gender

Susan Briziarelli

doi:10.1353/mln.1995.0004

Grazia Deledda et la Sardaigne

Revue de géographie de Lyon ◽

10.3406/geoca.1964.1763 ◽

1964 ◽

Vol 39 (2) ◽

pp. 63-95

Author(s):

Marthe Venga-Le Lannou

Keyword(s):

Grazia Deledda

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Bilinguismo in Canne al vento di Grazia Deledda e problemi di traduzione in arabo

مجلة الآداب والعلوم الإنسانیة ◽

10.21608/fjhj.2020.41232.1070 ◽

2020 ◽

Vol 0 (0) ◽

pp. 0-0

Author(s):

عادل سید عبد المولى

Keyword(s):

Grazia Deledda

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The traditional figures of women in Sardinian cinema

Dziennikarstwo i Media ◽

10.19195/2082-8322.11.2 ◽

2020 ◽

Vol 11 ◽

pp. 17-27

Author(s):

Ewa Baszak

Keyword(s):

20Th Century ◽

Point Of View ◽

Main Character ◽

Internal Point ◽

Grazia Deledda ◽

Definition Of

In this article I focus my attention on the archetype of women in Sardinian cinema. First of all, I explain the definition of the cinematographic movement which dominates Sardinia and I try to find the answer if Sardinian cinema cinema sardo exists. The next part of this paper shows the division of the cinema in Sardinia into two categories: seen from an external perspective by authors originating off the island and its culture, defined as hetero-representation, and seen from an internal point of view, developed by directors born and culturally raised in Sardinia, defined as self-representation.In the second part of the paper, I write about the term il deleddismo, which means the picture of Sardinia seen by the writer Grazia Deledda. Gianni Olla uses this term with reference to the cinema, il deleddismo cinematografico, as a way to enter the Sardinian world from the cinematic point of view. In early Sardinian cinema, stereotypes aimed at educating society and in the case of women by the merits of 20th-century ideology — to show them how they should behave. In recent decades this has not changed completely, but the figure of the modern woman is more often shown as the main character, who possesses far more power than her predecessors.

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Sardinia: the ‘Greatest Poem’ and its Maritime Face // Sardinia: El 'mayor poema' y su rostro marítimo

Ecozon@: European Journal of Literature, Culture and Environment ◽

10.37536/ecozona.2013.4.2.530 ◽

2013 ◽

Vol 4 (2) ◽

pp. 83-99

Author(s):

Massimo Lollini

Keyword(s):

Mediterranean Sea ◽

Deleuze And Guattari ◽

Giambattista Vico ◽

The Mediterranean ◽

Grazia Deledda

The Mediterranean Sea contributes to the vital rediscovery of meaning advocated by Giambattista Vico’s poetic geography and Sardinian writers search for roots by interjecting a sense of movement in the otherwise immobile Sardinian landscape. First, we see this feature at work in Grazia Deledda’s Cosima and Salvatore Satta’s Il giorno del giudizio. In their novels the movement of the landscape still concretizes in what Deleuze and Guattari call “faciality” (visageité). This characteristic tends to vanish in the writers of the younger generations. In Alberto Capitta’s Creaturine, Giulia Clarkson’s La città d’acqua and Marcello Fois’s Nel tempo di mezzo the “faciality” of the landscape tends to disappear, wrecked by violent history or submerged in a sort of Heraclitean flow of things. Finally, in Giulio Angioni’s Il mare intorno the sea recovers its double and contradictory nature of agent of both isolation and communication. Resumen El mar Mediterráneo contribuye al vital redescubrimiento del significado que promueve la geografía poética de Giambattista Vico y escritores de Sardinia buscan las raíces de los incorporarando una sensación de movimiento en el paisaje de Sardinia, de otra manera, inmóvil. Primero, vemos este aspecto en funcionamiento en Cosima de Grazia Deledda y Il giorno del giudizio de Salvatore Satta. En sus novelas, el movimiento del paisaje todavía condensa lo que Deleuze y Guattari llaman “facialidad” (visageité). Esta característica tiende a desvanecerse en los escritores de generaciones más jóvenes. En Creaturine de Alberto Capitta, La città d’acqua de Giulia Clarkson y Nel tempo di mezzo de Marcello Fois, la “facialidad” del paisaje tiende a desaparecer, destrozado por una historia violenta o sumergida en una especia de flujo heraclitáneo de las cosas. Finalmente, en Il mare intorno de Guilo Angioni, el mar recobra su naturaleza contradictoria y doble de agente de aislamiento así como de comunicación.

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