#elenaferrante — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #elenaferrante, aggregated by home.social.
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Writing Our Mothers
Archive on 4‘Mothers have such a weight of idealisation and expectation landed upon their bodies and their minds and what women writers can do is to take that apart and explore
its underbelly,’ says feminist writer Jacqueline Rose.Whether worshipped or vilified, treated as lifetime confidantes or rarely trusted, the mothers we meet when we write them are re-inventions. Some may be closer to the
truth than others. Many of them will have roots in the life experiences of the daughter-writer. Virginia Woolf, who lost her mother at the age of 13, said she was obsessed with writing her mother. Eventually she also argued that it was ‘the occupation of the woman writer to kill’ what she called ‘The Angel in the House’ – the perfect, self-sacrificing mother – who may well have been her own maternal influence.Drawing on interviews with Maya Angelou, we hear how for her to write her mother was to ‘write about a hurricane in its perfect power’. She describes how the influence of a mother who ‘abandoned’ her as a child forced her most urgent examinations of class, race and, importantly love. In another frank interview with Marguerite Duras from 1968, she describes writing as a search for connection with her raging and ‘mad’ mother. For Sylvia Plath, the process of writing about becoming a mother herself in the 1950s produced work of a psychic intensity rarely seen before.
What the archive ultimately reveals is that a mother, whether present or absent, loving or cruel, might be as formative an influence on a writer’s work, as in life. ‘When I read about motherhood, I want to be shaken loose from whatever limitations I have when I think about what that means,’ says the writer Siri Hustvedt.
With contributions from Susie Orbach, Jacqueline Rose, Kit de Waal and Siri Hustvedt, and narration from Amaka Okafor.
Produced by Sarah Cuddon
A Falling Tree production for BBC Radio 4Archive sources:
Desert Island Discs with Arundhati Roy (2017)
A Chance to Meet ... Edna O'Brien (1971)
Sylvia Plath, Peter Orr interview (1962)
Audre Lorde, Pacifica Radio Archives and Academy of American Poets www.poets.org
Maya Angelou, BBC News (1985)
Jeannette Winterson, Oranges Are Not the Only Fruit (BBC, 1990) and Face To Face (BBC, 1994)
Marguerite Duras, Worn Out With Desire To Write (1985)
Toni Morrison, Brief Encounters (BBC, 2001)
Jackie Kay, Book of the Week (The Waters Company for BBC R4, 2015)
Elena Ferrante, Lying Lives of Adults (BBC, 2020)
Available now57 minutes
#ArundhatiRoy #EdnaOBrien
#SylviaPlath #AudreLorde
#MayaAngelou #JeannetteWinterson
#MargueriteDuras #ToniMorrison
#JackieKay #ElenaFerrante -
Writing Our Mothers
Archive on 4‘Mothers have such a weight of idealisation and expectation landed upon their bodies and their minds and what women writers can do is to take that apart and explore
its underbelly,’ says feminist writer Jacqueline Rose.Whether worshipped or vilified, treated as lifetime confidantes or rarely trusted, the mothers we meet when we write them are re-inventions. Some may be closer to the
truth than others. Many of them will have roots in the life experiences of the daughter-writer. Virginia Woolf, who lost her mother at the age of 13, said she was obsessed with writing her mother. Eventually she also argued that it was ‘the occupation of the woman writer to kill’ what she called ‘The Angel in the House’ – the perfect, self-sacrificing mother – who may well have been her own maternal influence.Drawing on interviews with Maya Angelou, we hear how for her to write her mother was to ‘write about a hurricane in its perfect power’. She describes how the influence of a mother who ‘abandoned’ her as a child forced her most urgent examinations of class, race and, importantly love. In another frank interview with Marguerite Duras from 1968, she describes writing as a search for connection with her raging and ‘mad’ mother. For Sylvia Plath, the process of writing about becoming a mother herself in the 1950s produced work of a psychic intensity rarely seen before.
What the archive ultimately reveals is that a mother, whether present or absent, loving or cruel, might be as formative an influence on a writer’s work, as in life. ‘When I read about motherhood, I want to be shaken loose from whatever limitations I have when I think about what that means,’ says the writer Siri Hustvedt.
With contributions from Susie Orbach, Jacqueline Rose, Kit de Waal and Siri Hustvedt, and narration from Amaka Okafor.
Produced by Sarah Cuddon
A Falling Tree production for BBC Radio 4Archive sources:
Desert Island Discs with Arundhati Roy (2017)
A Chance to Meet ... Edna O'Brien (1971)
Sylvia Plath, Peter Orr interview (1962)
Audre Lorde, Pacifica Radio Archives and Academy of American Poets www.poets.org
Maya Angelou, BBC News (1985)
Jeannette Winterson, Oranges Are Not the Only Fruit (BBC, 1990) and Face To Face (BBC, 1994)
Marguerite Duras, Worn Out With Desire To Write (1985)
Toni Morrison, Brief Encounters (BBC, 2001)
Jackie Kay, Book of the Week (The Waters Company for BBC R4, 2015)
Elena Ferrante, Lying Lives of Adults (BBC, 2020)
Available now57 minutes
#ArundhatiRoy #EdnaOBrien
#SylviaPlath #AudreLorde
#MayaAngelou #JeannetteWinterson
#MargueriteDuras #ToniMorrison
#JackieKay #ElenaFerrante -
Writing Our Mothers
Archive on 4‘Mothers have such a weight of idealisation and expectation landed upon their bodies and their minds and what women writers can do is to take that apart and explore
its underbelly,’ says feminist writer Jacqueline Rose.Whether worshipped or vilified, treated as lifetime confidantes or rarely trusted, the mothers we meet when we write them are re-inventions. Some may be closer to the
truth than others. Many of them will have roots in the life experiences of the daughter-writer. Virginia Woolf, who lost her mother at the age of 13, said she was obsessed with writing her mother. Eventually she also argued that it was ‘the occupation of the woman writer to kill’ what she called ‘The Angel in the House’ – the perfect, self-sacrificing mother – who may well have been her own maternal influence.Drawing on interviews with Maya Angelou, we hear how for her to write her mother was to ‘write about a hurricane in its perfect power’. She describes how the influence of a mother who ‘abandoned’ her as a child forced her most urgent examinations of class, race and, importantly love. In another frank interview with Marguerite Duras from 1968, she describes writing as a search for connection with her raging and ‘mad’ mother. For Sylvia Plath, the process of writing about becoming a mother herself in the 1950s produced work of a psychic intensity rarely seen before.
What the archive ultimately reveals is that a mother, whether present or absent, loving or cruel, might be as formative an influence on a writer’s work, as in life. ‘When I read about motherhood, I want to be shaken loose from whatever limitations I have when I think about what that means,’ says the writer Siri Hustvedt.
With contributions from Susie Orbach, Jacqueline Rose, Kit de Waal and Siri Hustvedt, and narration from Amaka Okafor.
Produced by Sarah Cuddon
A Falling Tree production for BBC Radio 4Archive sources:
Desert Island Discs with Arundhati Roy (2017)
A Chance to Meet ... Edna O'Brien (1971)
Sylvia Plath, Peter Orr interview (1962)
Audre Lorde, Pacifica Radio Archives and Academy of American Poets www.poets.org
Maya Angelou, BBC News (1985)
Jeannette Winterson, Oranges Are Not the Only Fruit (BBC, 1990) and Face To Face (BBC, 1994)
Marguerite Duras, Worn Out With Desire To Write (1985)
Toni Morrison, Brief Encounters (BBC, 2001)
Jackie Kay, Book of the Week (The Waters Company for BBC R4, 2015)
Elena Ferrante, Lying Lives of Adults (BBC, 2020)
Available now57 minutes
#ArundhatiRoy #EdnaOBrien
#SylviaPlath #AudreLorde
#MayaAngelou #JeannetteWinterson
#MargueriteDuras #ToniMorrison
#JackieKay #ElenaFerrante -
Writing Our Mothers
Archive on 4‘Mothers have such a weight of idealisation and expectation landed upon their bodies and their minds and what women writers can do is to take that apart and explore
its underbelly,’ says feminist writer Jacqueline Rose.Whether worshipped or vilified, treated as lifetime confidantes or rarely trusted, the mothers we meet when we write them are re-inventions. Some may be closer to the
truth than others. Many of them will have roots in the life experiences of the daughter-writer. Virginia Woolf, who lost her mother at the age of 13, said she was obsessed with writing her mother. Eventually she also argued that it was ‘the occupation of the woman writer to kill’ what she called ‘The Angel in the House’ – the perfect, self-sacrificing mother – who may well have been her own maternal influence.Drawing on interviews with Maya Angelou, we hear how for her to write her mother was to ‘write about a hurricane in its perfect power’. She describes how the influence of a mother who ‘abandoned’ her as a child forced her most urgent examinations of class, race and, importantly love. In another frank interview with Marguerite Duras from 1968, she describes writing as a search for connection with her raging and ‘mad’ mother. For Sylvia Plath, the process of writing about becoming a mother herself in the 1950s produced work of a psychic intensity rarely seen before.
What the archive ultimately reveals is that a mother, whether present or absent, loving or cruel, might be as formative an influence on a writer’s work, as in life. ‘When I read about motherhood, I want to be shaken loose from whatever limitations I have when I think about what that means,’ says the writer Siri Hustvedt.
With contributions from Susie Orbach, Jacqueline Rose, Kit de Waal and Siri Hustvedt, and narration from Amaka Okafor.
Produced by Sarah Cuddon
A Falling Tree production for BBC Radio 4Archive sources:
Desert Island Discs with Arundhati Roy (2017)
A Chance to Meet ... Edna O'Brien (1971)
Sylvia Plath, Peter Orr interview (1962)
Audre Lorde, Pacifica Radio Archives and Academy of American Poets www.poets.org
Maya Angelou, BBC News (1985)
Jeannette Winterson, Oranges Are Not the Only Fruit (BBC, 1990) and Face To Face (BBC, 1994)
Marguerite Duras, Worn Out With Desire To Write (1985)
Toni Morrison, Brief Encounters (BBC, 2001)
Jackie Kay, Book of the Week (The Waters Company for BBC R4, 2015)
Elena Ferrante, Lying Lives of Adults (BBC, 2020)
Available now57 minutes
#ArundhatiRoy #EdnaOBrien
#SylviaPlath #AudreLorde
#MayaAngelou #JeannetteWinterson
#MargueriteDuras #ToniMorrison
#JackieKay #ElenaFerrante -
Writing Our Mothers
Archive on 4‘Mothers have such a weight of idealisation and expectation landed upon their bodies and their minds and what women writers can do is to take that apart and explore
its underbelly,’ says feminist writer Jacqueline Rose.Whether worshipped or vilified, treated as lifetime confidantes or rarely trusted, the mothers we meet when we write them are re-inventions. Some may be closer to the
truth than others. Many of them will have roots in the life experiences of the daughter-writer. Virginia Woolf, who lost her mother at the age of 13, said she was obsessed with writing her mother. Eventually she also argued that it was ‘the occupation of the woman writer to kill’ what she called ‘The Angel in the House’ – the perfect, self-sacrificing mother – who may well have been her own maternal influence.Drawing on interviews with Maya Angelou, we hear how for her to write her mother was to ‘write about a hurricane in its perfect power’. She describes how the influence of a mother who ‘abandoned’ her as a child forced her most urgent examinations of class, race and, importantly love. In another frank interview with Marguerite Duras from 1968, she describes writing as a search for connection with her raging and ‘mad’ mother. For Sylvia Plath, the process of writing about becoming a mother herself in the 1950s produced work of a psychic intensity rarely seen before.
What the archive ultimately reveals is that a mother, whether present or absent, loving or cruel, might be as formative an influence on a writer’s work, as in life. ‘When I read about motherhood, I want to be shaken loose from whatever limitations I have when I think about what that means,’ says the writer Siri Hustvedt.
With contributions from Susie Orbach, Jacqueline Rose, Kit de Waal and Siri Hustvedt, and narration from Amaka Okafor.
Produced by Sarah Cuddon
A Falling Tree production for BBC Radio 4Archive sources:
Desert Island Discs with Arundhati Roy (2017)
A Chance to Meet ... Edna O'Brien (1971)
Sylvia Plath, Peter Orr interview (1962)
Audre Lorde, Pacifica Radio Archives and Academy of American Poets www.poets.org
Maya Angelou, BBC News (1985)
Jeannette Winterson, Oranges Are Not the Only Fruit (BBC, 1990) and Face To Face (BBC, 1994)
Marguerite Duras, Worn Out With Desire To Write (1985)
Toni Morrison, Brief Encounters (BBC, 2001)
Jackie Kay, Book of the Week (The Waters Company for BBC R4, 2015)
Elena Ferrante, Lying Lives of Adults (BBC, 2020)
Available now57 minutes
#ArundhatiRoy #EdnaOBrien
#SylviaPlath #AudreLorde
#MayaAngelou #JeannetteWinterson
#MargueriteDuras #ToniMorrison
#JackieKay #ElenaFerrante -
https://www.europesays.com/cz/135453/ Maggie Gyllenhaalová míří do Varů. Intelektuální rebelka, která objala své vnitřní monstrum #ElenaFerrante #Entertainment #Festivaly #JakeGyllenhaal #MaggieGyllenhaal #MezinárodníFilmovýFestivalKarlovyVary(KVIFF) #Ocenění #Oscar(AcademyAwards) #Zábava
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Mit „An den Rändern“ öffnet Elena Ferrante die Tür zu ihrem literarischen Schaffen. Die Autorin spricht über Schreibprozesse, Figurenentwicklung und die Emanzipation schreibender Frauen.
Annegret Glock empfiehlt das Buch in ihrer Rezension auf https://schreiblust-leselust.de besonders Ferrante-Leserinnen und -Lesern.
#ElenaFerrante #AnDenRändern #Literatur #Buchrezension #Lesetipp #Fediverse
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https://www.europesays.com/ch-fr/101674/ L’actrice Maggie Gyllenhaal, présidente du jury de la Mostra de Venise 2026 #Celebrities #Celebrity #Divertissement #ElenaFerrante #Entertainment #MostraDeVenise #People #Suisse
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https://www.europesays.com/hu/73478/ Index – Tudomány – Ezért nem tudtuk eddig, kicsoda Banksy #anonimitás #Banksy #CeFemina #CeNapi #ElenaFerrante #Entertainment #HU #Hungarian #Hungary #Magyar #Magyarország #Művészet #Szórakozás #Tudomány
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https://www.europesays.com/es/459737/ Desenmascaran a Banksy. Pero, ¿qué tan valioso es el anonimato en el mundo del arte? #arte #ArteUrbano #ArteYDiseño #Arts #ArtsAndDesign #banksy #Design #Diseño #ElenaFerrante #Entertainment #Entretenimiento #ES #España #HeyReilly #J.K.Rowling #jerkface #murales #Spain
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“An artist’s decision to remain anonymous should be respected. Creativity is one of the last great human mysteries. The work must be allowed to speak for itself.”
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An artist’s decision to remain anonymous should be respected. Creativity is one of the last great human mysteries. The work must be allowed to speak for itself. #Art #Freedom #Liberty #Banksy #ElenaFerrante
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An artist’s decision to remain anonymous should be respected. Creativity is one of the last great human mysteries. The work must be allowed to speak for itself. #Art #Freedom #Liberty #Banksy #ElenaFerrante
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“An artist’s decision to remain anonymous should be respected. Creativity is one of the last great human mysteries. The work must be allowed to speak for itself.”
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“An artist’s decision to remain anonymous should be respected. Creativity is one of the last great human mysteries. The work must be allowed to speak for itself.”
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Warum zum Fick kann man Leute nicht einfach in Ruhe kreativ und anonym schaffen lassen, wenn sie nicht gerade Nazis sind?
Wenn jemand hinter dem eigenen Werk zurücktreten möchte und das unmissverständlich äußert, warum müssen irgendwelche Arschgeigen dann immer wieder zum Halali blasen?
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Warum zum Fick kann man Leute nicht einfach in Ruhe kreativ und anonym schaffen lassen, wenn sie nicht gerade Nazis sind?
Wenn jemand hinter dem eigenen Werk zurücktreten möchte und das unmissverständlich äußert, warum müssen irgendwelche Arschgeigen dann immer wieder zum Halali blasen?
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Warum zum Fick kann man Leute nicht einfach in Ruhe kreativ und anonym schaffen lassen, wenn sie nicht gerade Nazis sind?
Wenn jemand hinter dem eigenen Werk zurücktreten möchte und das unmissverständlich äußert, warum müssen irgendwelche Arschgeigen dann immer wieder zum Halali blasen?
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Warum zum Fick kann man Leute nicht einfach in Ruhe kreativ und anonym schaffen lassen, wenn sie nicht gerade Nazis sind?
Wenn jemand hinter dem eigenen Werk zurücktreten möchte und das unmissverständlich äußert, warum müssen irgendwelche Arschgeigen dann immer wieder zum Halali blasen?
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Warum zum Fick kann man Leute nicht einfach in Ruhe kreativ und anonym schaffen lassen, wenn sie nicht gerade Nazis sind?
Wenn jemand hinter dem eigenen Werk zurücktreten möchte und das unmissverständlich äußert, warum müssen irgendwelche Arschgeigen dann immer wieder zum Halali blasen?
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[Rencontre] Parlez-nous de... La page est un miroir. Sur l’œuvre d’Elena Ferrante
📅 04 mars | 17h30 – 19h30
📍 La ParenthèseÀ l’occasion de la parution de "La page est un miroir. Sur l’œuvre d’Elena Ferrante" chez CNRS Éditions, l’autrice Ilaria Moretti (IHRIM) propose une traversée critique de l’œuvre de Ferrante, animée par Marie Fabre (Triangle @ENSdeLyon )
Les œuvres d’Elena Ferrante connaissent un succès littéraire mondial exceptionnel : traduites en 45 langues, elles ont déjà conquis plus de 15 millions de lecteurs. Comment expliquer un tel rayonnement ? Cette rencontre propose d’explorer les raisons de cet engouement autour d’une œuvre portée par une auteure qui a fait le choix de l’anonymat depuis plus de trente ans, et d’interroger les liens entre succès commercial, forme littéraire et réception critique.#ParlezNousDe #RencontreBDL #littérature #ElenaFerrante #LittératureContemporaine #Écriture #CritiqueLittéraire #Lecture
➡️ http://urlr.me/3d5jnA -
Sometimes I think I'm turning into Lenuccia Greco. #elenaferrante #mybrilliantfriend
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Sometimes I think I'm turning into Lenuccia Greco. #elenaferrante #mybrilliantfriend
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Sometimes I think I'm turning into Lenuccia Greco. #elenaferrante #mybrilliantfriend
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Sometimes I think I'm turning into Lenuccia Greco. #elenaferrante #mybrilliantfriend
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‘It’s another form of imperialism’: how anglophone literature lost its universal appeal https://www.theguardian.com/books/2025/aug/08/its-another-form-of-imperialism-how-anglophone-literature-lost-its-universal-appeal #Fictionintranslation #JonathanFranzen #ElenaFerrante #RobertoBolaño #AnnieErnaux #Culture #HanKang #Books
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‘It’s another form of imperialism’: how anglophone literature lost its universal appeal https://www.theguardian.com/books/2025/aug/08/its-another-form-of-imperialism-how-anglophone-literature-lost-its-universal-appeal #Fictionintranslation #JonathanFranzen #ElenaFerrante #RobertoBolaño #AnnieErnaux #Culture #HanKang #Books
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‘It’s another form of imperialism’: how anglophone literature lost its universal appeal https://www.theguardian.com/books/2025/aug/08/its-another-form-of-imperialism-how-anglophone-literature-lost-its-universal-appeal #Fictionintranslation #JonathanFranzen #ElenaFerrante #RobertoBolaño #AnnieErnaux #Culture #HanKang #Books
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‘It’s another form of imperialism’: how anglophone literature lost its universal appeal https://www.theguardian.com/books/2025/aug/08/its-another-form-of-imperialism-how-anglophone-literature-lost-its-universal-appeal #Fictionintranslation #JonathanFranzen #ElenaFerrante #RobertoBolaño #AnnieErnaux #Culture #HanKang #Books
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‘It’s another form of imperialism’: how anglophone literature lost its universal appeal https://www.theguardian.com/books/2025/aug/08/its-another-form-of-imperialism-how-anglophone-literature-lost-its-universal-appeal #Fictionintranslation #JonathanFranzen #ElenaFerrante #RobertoBolaño #AnnieErnaux #Culture #HanKang #Books
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#EstoyLeyendo #LaAmigaEstupenda, de #ElenaFerrante (trad. de Celia Filipetto, Barcelona, Debolsillo / Penguin Random House Grupo Editorial, 2025). #Literatura #LiteraturaItaliana #Narrativa #NarrativaItaliana #LecturasdeVerano #LeoyComparto #Libros #LeerMola #LeerEsVivir #LeerEsVivirMás #MeGustaLeer #LibrosEnEspañol #SomosLibros #SomosLetras #SoyLoQueLeo #instalibros #instabooks #books #leer #lectura #bookstagram #bookstagrammer #bookstagramespaña #bookstagramespañol #libroadicto #bookaddict #bookaholic
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#EstoyLeyendo #LaAmigaEstupenda, de #ElenaFerrante (trad. de Celia Filipetto, Barcelona, Debolsillo / Penguin Random House Grupo Editorial, 2025). #Literatura #LiteraturaItaliana #Narrativa #NarrativaItaliana #LecturasdeVerano #LeoyComparto #Libros #LeerMola #LeerEsVivir #LeerEsVivirMás #MeGustaLeer #LibrosEnEspañol #SomosLibros #SomosLetras #SoyLoQueLeo #instalibros #instabooks #books #leer #lectura #bookstagram #bookstagrammer #bookstagramespaña #bookstagramespañol #libroadicto #bookaddict #bookaholic
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#EstoyLeyendo #LaAmigaEstupenda, de #ElenaFerrante (trad. de Celia Filipetto, Barcelona, Debolsillo / Penguin Random House Grupo Editorial, 2025). #Literatura #LiteraturaItaliana #Narrativa #NarrativaItaliana #LecturasdeVerano #LeoyComparto #Libros #LeerMola #LeerEsVivir #LeerEsVivirMás #MeGustaLeer #LibrosEnEspañol #SomosLibros #SomosLetras #SoyLoQueLeo #instalibros #instabooks #books #leer #lectura #bookstagram #bookstagrammer #bookstagramespaña #bookstagramespañol #libroadicto #bookaddict #bookaholic
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🧵 3/3
A final discovery in my browsing of the TLS was the suggestion by Tim Parks that the much loved Neapolitan author known as Elena Ferrante might in fact be a man:
>>...in 2016, after the revelation that Ferrante's publisher had paid large sums of money to the translator Anita Raja, many people supposed, despite Raja's denials, that she was Ferrante, .... However, academic research has suggested a different story. Analysing an electronic corpus of 150 novels by forty contemporary Italian writers (including seven by Ferrante), a study in 2017 at Neuchatel University applied six "authorship attribution models"--essentially the comparison of stylistic attributes--in an attempt to solve the mystery. All six models turned up one writer, and one only, as consistently aligned with Ferrante: Domenico Starnone, Raja's husband. Born in Naples in 1943, he grew up in the city in the periods so intensely evoked in Ferrante's fiction. Raja was also born in Naples, but in 1953, and left at the age of three. Other corpus linguistics studies (for example by the distinguished linguist Michele Cortelazzo at Padua University) have produced the same result.
That there were similarities between Ferrante's fiction and Starnone's was already widely acknowledged....<<
https://link.gale.com/apps/doc/A839229805/AONE?u=txshrpub100020&sid=bookmark-AONE&xid=24b49f5b
I haven't read any Elena Ferrante, but I wonder if some admirers of the novels will be upset by this suggestion. Part of me thinks such a discovery should not make any difference to a reading of the novels, but another part of me thinks that just as our evaluation of a supposedly baroque musical piece might change if we discovered it had been composed in the 20th century, so readers might be similarly entitled to change their evaluation of the Neapolitan novels on learning of the author's identity. I'm not sure though...
Sorry, by the way, if this is all old news to Elena Ferrante readers.
#Books #Literature #ItalianLiterature #ElenaFerrante #DomenicoStarnone #TimParks
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🧵 3/3
A final discovery in my browsing of the TLS was the suggestion by Tim Parks that the much loved Neapolitan author known as Elena Ferrante might in fact be a man:
>>...in 2016, after the revelation that Ferrante's publisher had paid large sums of money to the translator Anita Raja, many people supposed, despite Raja's denials, that she was Ferrante, .... However, academic research has suggested a different story. Analysing an electronic corpus of 150 novels by forty contemporary Italian writers (including seven by Ferrante), a study in 2017 at Neuchatel University applied six "authorship attribution models"--essentially the comparison of stylistic attributes--in an attempt to solve the mystery. All six models turned up one writer, and one only, as consistently aligned with Ferrante: Domenico Starnone, Raja's husband. Born in Naples in 1943, he grew up in the city in the periods so intensely evoked in Ferrante's fiction. Raja was also born in Naples, but in 1953, and left at the age of three. Other corpus linguistics studies (for example by the distinguished linguist Michele Cortelazzo at Padua University) have produced the same result.
That there were similarities between Ferrante's fiction and Starnone's was already widely acknowledged....<<
https://link.gale.com/apps/doc/A839229805/AONE?u=txshrpub100020&sid=bookmark-AONE&xid=24b49f5b
I haven't read any Elena Ferrante, but I wonder if some admirers of the novels will be upset by this suggestion. Part of me thinks such a discovery should not make any difference to a reading of the novels, but another part of me thinks that just as our evaluation of a supposedly baroque musical piece might change if we discovered it had been composed in the 20th century, so readers might be similarly entitled to change their evaluation of the Neapolitan novels on learning of the author's identity. I'm not sure though...
Sorry, by the way, if this is all old news to Elena Ferrante readers.
#Books #Literature #ItalianLiterature #ElenaFerrante #DomenicoStarnone #TimParks
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🧵 3/3
A final discovery in my browsing of the TLS was the suggestion by Tim Parks that the much loved Neapolitan author known as Elena Ferrante might in fact be a man:
>>...in 2016, after the revelation that Ferrante's publisher had paid large sums of money to the translator Anita Raja, many people supposed, despite Raja's denials, that she was Ferrante, .... However, academic research has suggested a different story. Analysing an electronic corpus of 150 novels by forty contemporary Italian writers (including seven by Ferrante), a study in 2017 at Neuchatel University applied six "authorship attribution models"--essentially the comparison of stylistic attributes--in an attempt to solve the mystery. All six models turned up one writer, and one only, as consistently aligned with Ferrante: Domenico Starnone, Raja's husband. Born in Naples in 1943, he grew up in the city in the periods so intensely evoked in Ferrante's fiction. Raja was also born in Naples, but in 1953, and left at the age of three. Other corpus linguistics studies (for example by the distinguished linguist Michele Cortelazzo at Padua University) have produced the same result.
That there were similarities between Ferrante's fiction and Starnone's was already widely acknowledged....<<
https://link.gale.com/apps/doc/A839229805/AONE?u=txshrpub100020&sid=bookmark-AONE&xid=24b49f5b
I haven't read any Elena Ferrante, but I wonder if some admirers of the novels will be upset by this suggestion. Part of me thinks such a discovery should not make any difference to a reading of the novels, but another part of me thinks that just as our evaluation of a supposedly baroque musical piece might change if we discovered it had been composed in the 20th century, so readers might be similarly entitled to change their evaluation of the Neapolitan novels on learning of the author's identity. I'm not sure though...
Sorry, by the way, if this is all old news to Elena Ferrante readers.
#Books #Literature #ItalianLiterature #ElenaFerrante #DomenicoStarnone #TimParks
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🧵 3/3
A final discovery in my browsing of the TLS was the suggestion by Tim Parks that the much loved Neapolitan author known as Elena Ferrante might in fact be a man:
>>...in 2016, after the revelation that Ferrante's publisher had paid large sums of money to the translator Anita Raja, many people supposed, despite Raja's denials, that she was Ferrante, .... However, academic research has suggested a different story. Analysing an electronic corpus of 150 novels by forty contemporary Italian writers (including seven by Ferrante), a study in 2017 at Neuchatel University applied six "authorship attribution models"--essentially the comparison of stylistic attributes--in an attempt to solve the mystery. All six models turned up one writer, and one only, as consistently aligned with Ferrante: Domenico Starnone, Raja's husband. Born in Naples in 1943, he grew up in the city in the periods so intensely evoked in Ferrante's fiction. Raja was also born in Naples, but in 1953, and left at the age of three. Other corpus linguistics studies (for example by the distinguished linguist Michele Cortelazzo at Padua University) have produced the same result.
That there were similarities between Ferrante's fiction and Starnone's was already widely acknowledged....<<
https://link.gale.com/apps/doc/A839229805/AONE?u=txshrpub100020&sid=bookmark-AONE&xid=24b49f5b
I haven't read any Elena Ferrante, but I wonder if some admirers of the novels will be upset by this suggestion. Part of me thinks such a discovery should not make any difference to a reading of the novels, but another part of me thinks that just as our evaluation of a supposedly baroque musical piece might change if we discovered it had been composed in the 20th century, so readers might be similarly entitled to change their evaluation of the Neapolitan novels on learning of the author's identity. I'm not sure though...
Sorry, by the way, if this is all old news to Elena Ferrante readers.
#Books #Literature #ItalianLiterature #ElenaFerrante #DomenicoStarnone #TimParks
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🧵 3/3
A final discovery in my browsing of the TLS was the suggestion by Tim Parks that the much loved Neapolitan author known as Elena Ferrante might in fact be a man:
>>...in 2016, after the revelation that Ferrante's publisher had paid large sums of money to the translator Anita Raja, many people supposed, despite Raja's denials, that she was Ferrante, .... However, academic research has suggested a different story. Analysing an electronic corpus of 150 novels by forty contemporary Italian writers (including seven by Ferrante), a study in 2017 at Neuchatel University applied six "authorship attribution models"--essentially the comparison of stylistic attributes--in an attempt to solve the mystery. All six models turned up one writer, and one only, as consistently aligned with Ferrante: Domenico Starnone, Raja's husband. Born in Naples in 1943, he grew up in the city in the periods so intensely evoked in Ferrante's fiction. Raja was also born in Naples, but in 1953, and left at the age of three. Other corpus linguistics studies (for example by the distinguished linguist Michele Cortelazzo at Padua University) have produced the same result.
That there were similarities between Ferrante's fiction and Starnone's was already widely acknowledged....<<
https://link.gale.com/apps/doc/A839229805/AONE?u=txshrpub100020&sid=bookmark-AONE&xid=24b49f5b
I haven't read any Elena Ferrante, but I wonder if some admirers of the novels will be upset by this suggestion. Part of me thinks such a discovery should not make any difference to a reading of the novels, but another part of me thinks that just as our evaluation of a supposedly baroque musical piece might change if we discovered it had been composed in the 20th century, so readers might be similarly entitled to change their evaluation of the Neapolitan novels on learning of the author's identity. I'm not sure though...
Sorry, by the way, if this is all old news to Elena Ferrante readers.
#Books #Literature #ItalianLiterature #ElenaFerrante #DomenicoStarnone #TimParks
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Also finished book 2 of Elena Ferrante's Neopolitan novels. This series is completely engaging and heartbreaking. I love the insight into 1960s Italian society and the exploration of female friendship.
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Also finished book 2 of Elena Ferrante's Neopolitan novels. This series is completely engaging and heartbreaking. I love the insight into 1960s Italian society and the exploration of female friendship.
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Also finished book 2 of Elena Ferrante's Neopolitan novels. This series is completely engaging and heartbreaking. I love the insight into 1960s Italian society and the exploration of female friendship.
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Also finished book 2 of Elena Ferrante's Neopolitan novels. This series is completely engaging and heartbreaking. I love the insight into 1960s Italian society and the exploration of female friendship.
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Hoy no hice anotaciones en el pizarrón, pero les cuento: en mi grupo de #novela leímos el comienzo del #Quijote y vimos cómo abre su mundo para sus #lectores en el siglo XVII. También hablamos de lo que comparten una novela y quien la lee, de cómo (y cuándo, y cuánto) adicionar detalles inventados y nuevos, y de #FrankHerbert, #DenisVilleneuve, #ElenaFerrante y #MargaretAtwood. Ahí vamos. 🌟
#personal #Fotografía #FotografíaUrbana #UrbanPhotography #photography #CiudadDeMéxico #CDMX -
Hoy no hice anotaciones en el pizarrón, pero les cuento: en mi grupo de #novela leímos el comienzo del #Quijote y vimos cómo abre su mundo para sus #lectores en el siglo XVII. También hablamos de lo que comparten una novela y quien la lee, de cómo (y cuándo, y cuánto) adicionar detalles inventados y nuevos, y de #FrankHerbert, #DenisVilleneuve, #ElenaFerrante y #MargaretAtwood. Ahí vamos. 🌟
#personal #Fotografía #FotografíaUrbana #UrbanPhotography #photography #CiudadDeMéxico #CDMX -
Hoy no hice anotaciones en el pizarrón, pero les cuento: en mi grupo de #novela leímos el comienzo del #Quijote y vimos cómo abre su mundo para sus #lectores en el siglo XVII. También hablamos de lo que comparten una novela y quien la lee, de cómo (y cuándo, y cuánto) adicionar detalles inventados y nuevos, y de #FrankHerbert, #DenisVilleneuve, #ElenaFerrante y #MargaretAtwood. Ahí vamos. 🌟
#personal #Fotografía #FotografíaUrbana #UrbanPhotography #photography #CiudadDeMéxico #CDMX -
Hoy no hice anotaciones en el pizarrón, pero les cuento: en mi grupo de #novela leímos el comienzo del #Quijote y vimos cómo abre su mundo para sus #lectores en el siglo XVII. También hablamos de lo que comparten una novela y quien la lee, de cómo (y cuándo, y cuánto) adicionar detalles inventados y nuevos, y de #FrankHerbert, #DenisVilleneuve, #ElenaFerrante y #MargaretAtwood. Ahí vamos. 🌟
#personal #Fotografía #FotografíaUrbana #UrbanPhotography #photography #CiudadDeMéxico #CDMX -
Hoy no hice anotaciones en el pizarrón, pero les cuento: en mi grupo de #novela leímos el comienzo del #Quijote y vimos cómo abre su mundo para sus #lectores en el siglo XVII. También hablamos de lo que comparten una novela y quien la lee, de cómo (y cuándo, y cuánto) adicionar detalles inventados y nuevos, y de #FrankHerbert, #DenisVilleneuve, #ElenaFerrante y #MargaretAtwood. Ahí vamos. 🌟
#personal #Fotografía #FotografíaUrbana #UrbanPhotography #photography #CiudadDeMéxico #CDMX -
‘My Brilliant Friend’ Trailer: The Fourth and Final Season of Elena Ferrante’s Saga Returns to Naples
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TV -
‘My Brilliant Friend’ Trailer: The Fourth and Final Season of Elena Ferrante’s Saga Returns to Naples
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TV -
‘My Brilliant Friend’ Trailer: The Fourth and Final Season of Elena Ferrante’s Saga Returns to Naples
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TV -
‘My Brilliant Friend’ Season 4 Teaser: Alba Rohrwacher Joins the End of the Elena Ferrante Series
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TVhttps://www.indiewire.com/news/trailers/my-brilliant-friend-season-4-teaser-1235032994/
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‘My Brilliant Friend’ Season 4 Teaser: Alba Rohrwacher Joins the End of the Elena Ferrante Series
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TVhttps://www.indiewire.com/news/trailers/my-brilliant-friend-season-4-teaser-1235032994/
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‘My Brilliant Friend’ Season 4 Teaser: Alba Rohrwacher Joins the End of the Elena Ferrante Series
#IndieWire #News #Trailers #ElenaFerrante #HBO #MyBrilliantFriend #TVhttps://www.indiewire.com/news/trailers/my-brilliant-friend-season-4-teaser-1235032994/
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Areenalle on tänään tullut uusi italialaissarja #LaStoria.
Perustuu #ElsaMorante n romaaniin, ja sijoittuu 1930-1940 -lukujen Roomaan.
Katson kuitenkin ns. #kielikylpy hengessä, mutta mietin, että pystyykö #ElenaFerrante n upean #LoistavaYstäväni filmatisoinnin jälkeen katsomaan noita aikoja kuvaavaa italialaisdraamaa ns. puhtaalta pöydältä vai vertaantuuko kaikki päässä siihen?
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Areenalle on tänään tullut uusi italialaissarja #LaStoria.
Perustuu #ElsaMorante n romaaniin, ja sijoittuu 1930-1940 -lukujen Roomaan.
Katson kuitenkin ns. #kielikylpy hengessä, mutta mietin, että pystyykö #ElenaFerrante n upean #LoistavaYstäväni filmatisoinnin jälkeen katsomaan noita aikoja kuvaavaa italialaisdraamaa ns. puhtaalta pöydältä vai vertaantuuko kaikki päässä siihen?
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Areenalle on tänään tullut uusi italialaissarja #LaStoria.
Perustuu #ElsaMorante n romaaniin, ja sijoittuu 1930-1940 -lukujen Roomaan.
Katson kuitenkin ns. #kielikylpy hengessä, mutta mietin, että pystyykö #ElenaFerrante n upean #LoistavaYstäväni filmatisoinnin jälkeen katsomaan noita aikoja kuvaavaa italialaisdraamaa ns. puhtaalta pöydältä vai vertaantuuko kaikki päässä siihen?
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Areenalle on tänään tullut uusi italialaissarja #LaStoria.
Perustuu #ElsaMorante n romaaniin, ja sijoittuu 1930-1940 -lukujen Roomaan.
Katson kuitenkin ns. #kielikylpy hengessä, mutta mietin, että pystyykö #ElenaFerrante n upean #LoistavaYstäväni filmatisoinnin jälkeen katsomaan noita aikoja kuvaavaa italialaisdraamaa ns. puhtaalta pöydältä vai vertaantuuko kaikki päässä siihen?
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Areenalle on tänään tullut uusi italialaissarja #LaStoria.
Perustuu #ElsaMorante n romaaniin, ja sijoittuu 1930-1940 -lukujen Roomaan.
Katson kuitenkin ns. #kielikylpy hengessä, mutta mietin, että pystyykö #ElenaFerrante n upean #LoistavaYstäväni filmatisoinnin jälkeen katsomaan noita aikoja kuvaavaa italialaisdraamaa ns. puhtaalta pöydältä vai vertaantuuko kaikki päässä siihen?
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Habe ich schon mal geschrieben, ich schreibe es nochmal Elena Ferrante mit der 4-teiligen neapolitanischen Saga ist großartig, weltklasse, Weltliteratur.
Das erste Band heißt "Meine geniale Freundin."
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New Yorker: The Novelist Who Inspired Elena Ferrante https://www.newyorker.com/books/under-review/the-novelist-who-inspired-elena-ferrante #NewYorker #Books/UnderReview #ItalianLiterature #BenitoMussolini #SecondWorldWar #ElenaFerrante #Fascism #Novels