크리스타 볼프는 작가로서의 역량을 발휘하여 그리이스 신화를 개작해서, 여자주인공을 생생하고 현대적 목소리를 가진 캐릭터로 변화시킨다.
Wolf overhauled the Greek myths, using her strength as a writer to create new stories and transform the heroines into vivid, contemporary characters with their own individual voices.
여성은 태어나면서부터 사회가 여성으로부터 기대하는 욕망, 의무와 역할에 종속되어 있다. 사실 지금도 대부분의 여성들은 이런 틀에서 벗어나지 못하고 있는 것 같다."
인권의 관점에서 보면, 성차별은 계급을 초월해 만연했던 것 같다.
"우리는 다른 문화를 가진 나라에서는 계급의 의미와 문화적 배경이 제각기 다르다는 것을 인정해야 한다. 내가 과거에 인도의 한 영화제에 갔을 때, 어느 남성 관객이 한 말이 기억난다. '물론 이 영화는 여성의 인생에 관한 영화입니다. 하지만 우리도 비슷한 류의 사회적 제약과 자유의 부족으로 힘든 삶을 살고 있어요.' 고정적인 성 역할 내지 사회적 제약은 젠더에 무관하게 우리에게 짐이 된다."
From their childhood, the two heroines aspired to leave their neighborhood, where women are destroyed by poverty, pregnancy, children, beatings, regrets, and the Camorra.
남성성에 대한 부정으로서의 페미니즘이 아닌 그 자체로서 정의한
When asked about her intellectual influences, Elena Ferrante evokes this movement, sometimes called the "second feminism", which appeared in the 1970s. In "La Frantumaglia", a compilation of interviews, essays and letters she quotes Luce Irigaray, a figure of "differentialist feminism", who seeks to emancipate the feminine by defining it from itself, and not as an anti-masculinity.
When asked about her intellectual influences, Elena Ferrante evokes this movement, sometimes called the "second feminism", which appeared in the 1970s. In "La Frantumaglia", a compilation of interviews, essays and letters she quotes Luce Irigaray, a figure of "differentialist feminism", who seeks to emancipate the feminine by defining it from itself, and not as an anti-masculinity.
She also quotes Luisa Muraro, founder in 1975 of Libreria delle Donne di Milano, a women's literary club in Milan. (In the "n + 1" magazine , writer Dayna Tortorici devoted a long article to Ferrante's debt to Luisa Muraro.) Ferrante also read the works of Hélène Cixous , theoretician of "women's writing" , principle according to which women must write themselves, about themselves, with their language.
Cixous argues that "women have been dispossessed of literature as violently as they have been from their bodies" . There is an echo in an interview at "Vanity Fair" where Ferrante speaks of "the male colonization of our imaginations - a disaster that has made us unable to shape our differences .
"The honorary man"
In "The Leaving One and the One That Remains," Elena has a revelation by falling on "Spitting on Hegel," the essay by Carla Lonzi, another central figure of Italian feminism in the 1970s:
Spit on Hegel. Spit on the culture of men, spit on Marx, Engels, Lenin. And on historical materialism. And on Freud. And on psychoanalysis and envy of the penis. And on marriage, the family. And on Nazism, Stalinism, terrorism. And on the war. And on the class struggle. And on the dictatorship of the proletariat. And on socialism. And on communism. And on the trap of equality. And on all the products of patriarchal culture. And on all forms of organization. Oppose the dispersal of feminine intelligences. To "deculturate". To "un-acculturate", starting from motherhood, so as not to give children to anyone. Get rid of the boss-servant dialectic. Tearing away any idea of inferiority from his brain […] While men are embarking on space adventures, for women, life on this planet has yet to begin. [...] The author of these pages was Carla Lonzi. How is it possible, I wondered, that a woman is able to think like that?
Muraro believed that in the patriarchal regime the successful woman does so as an "honorary man , " and "the wealth acquired by one woman may be felt by another as something stolen from her . "
At the end of the day, this Neapolitan Tetralogy has an extremely dark speech, which contrasts with some shortcuts of mainstream feminism. Everything locks up women, Ferrante says. Even education. Even social success. Even women.
댓글