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Il telaio di Dolores
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Title
Il telaio di Dolores
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Pecorelli
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Nevin
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Nevin Pecorelli
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author
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Leake
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Elizabeth
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Elizabeth Leake
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chair
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Baldi
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Andrea
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Advisory Committee
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Andrea Baldi
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internal member
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Vettori
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Alessandro
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Advisory Committee
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Alessandro Vettori
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internal member
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Russi
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Cinzia
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Advisory Committee
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Cinzia Russi
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outside member
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Rutgers University
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degree grantor
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Graduate School - New Brunswick
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school
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theses
OriginInfo
DateCreated
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2008
DateOther
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2008-05
Language
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Italian
PhysicalDescription
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electronic
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application/pdf
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Extent
vii, 226 pages
Abstract
My dissertation clarifies the psychological importance of words and language in Dolores Prato's works Giù la piazza non c'è nessuno and Le ore. An analysis of these works helps to demonstrate the decisive impact that language had on Prato's perception of her childhood. Fortunately, this analysis was made lucid by the "unfortunate" editorial cuts that Natalia Ginzburg made in Giù la piazza non c'è nessuno as published in 1980.
For both editorial conviction and personal ideas on what literature is, Ginzburg decided to reduce the original manuscript by two thirds and in the process eliminated most of the linguistic richness of the author's original manuscript. This reduction clearly demonstrates Ginzburg's benightedness of the psychological involvement that Prato's childhood language had in her impulse to start writing in the first place.
Prato's negation of her childhood language, and later recuperation of that language in the original manuscript resulted in Prato rediscovering her identity, i.e., the identity of her childhood. In fact, to recuperate her childhood Prato reconciled herself with her past and in the process regained the language of Treia, the small village where she spent the first ten years of her life. The prohibition of the Treia dialect at Prato's local boarding school and the editorial cuts made by Natalia Ginzburg were both done for reasons of linguistic prestige. Therefore, Prato's boarding school linguistic proscriptions as well as these editorial interdictions represent "violent acts" against the maintenance, recuperation and rediscovery of that childhood identity.
Ultimately, given the history of publishing houses at the time the book was published, without Natalia Ginzburg's editorial cuts the book would have never come out. Therefore, while we can debate the type of cuts that were made, what we cannot debate is that without Ginzburg's drastic reduction of Prato's book it never would have come to light.
For both editorial conviction and personal ideas on what literature is, Ginzburg decided to reduce the original manuscript by two thirds and in the process eliminated most of the linguistic richness of the author's original manuscript. This reduction clearly demonstrates Ginzburg's benightedness of the psychological involvement that Prato's childhood language had in her impulse to start writing in the first place.
Prato's negation of her childhood language, and later recuperation of that language in the original manuscript resulted in Prato rediscovering her identity, i.e., the identity of her childhood. In fact, to recuperate her childhood Prato reconciled herself with her past and in the process regained the language of Treia, the small village where she spent the first ten years of her life. The prohibition of the Treia dialect at Prato's local boarding school and the editorial cuts made by Natalia Ginzburg were both done for reasons of linguistic prestige. Therefore, Prato's boarding school linguistic proscriptions as well as these editorial interdictions represent "violent acts" against the maintenance, recuperation and rediscovery of that childhood identity.
Ultimately, given the history of publishing houses at the time the book was published, without Natalia Ginzburg's editorial cuts the book would have never come out. Therefore, while we can debate the type of cuts that were made, what we cannot debate is that without Ginzburg's drastic reduction of Prato's book it never would have come to light.
Note
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Ph.D.
Note
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Includes bibliographical references (p. 218-225).
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Topic
Italian
Subject
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Topic
Prato, Dolores--Criticism and interpretation
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Graduate School - New Brunswick Electronic Theses and Dissertations
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rucore19991600001
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http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17369
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ETD_896
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NjNbRU
Identifier
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doi:10.7282/T3TQ61VP
Genre
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ETD doctoral
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Rights
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The author owns the copyright to this work.
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Open
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Nevin Pecorelli
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Rutgers University. Graduate School - New Brunswick
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Non-exclusive ETD license
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Author Agreement License
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I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
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