Arriaga Flórez, MercedesGonzález de Sande, EstelaSelmi, ElisabettaCavallini, Barbara2025-06-202025-06-202025-03-28Cavallini, B. (2025). L'Epistolario di Anna Maria Ortese: rete di relazioni letterarie, editoriali e personali. (Tesis Doctoral Inédita). Universidad de Sevilla, Sevilla.https://hdl.handle.net/11441/174543Las numerosas relaciones intelectuales, profesionales y personales entretejidas por Anna Maria Ortese a lo largo de su extensa actividad literaria constituyen el focus de este trabajo de investigación que, partiendo del copioso epistolario, pretende reconstruir no sólo el panorama cultural en el que se desenvolvió la autora, sino también la compleja visión de la literatura de una escritora difícil de situar dentro de las principales corrientes o movimientos de su época. La tesis se divide en cuatro capítulos destinados a desentrañar la trama de la correspondencia de Ortese siguiendo dos directrices fundamentales, una de carácter cronológico, otra destinada a investigar los distintos modos del diálogo «por carta» y su relación con los diferentes interlocutores. Como introducción al estudio del Epistolario, se ha dedicado un primer capítulo al marco teórico y metodológico de la epistolografía. El segundo capítulo pretende en cambio abordar el estudio de las relaciones epistolares de Ortese durante el periodo de su juventud, entre los años treinta y finales de los cincuenta, y nos remonta a los orígenes de la actividad literaria de Anna Maria Ortese, en particular, al estudio de su correspondencia con Massimo Bontempelli y con Paola Masino sino también con las amigas más caras. La guerra y, en el periodo inmediatamente posterior, la experiencia adquirida en el seno del grupo «Sud» rompieron el estilo visionario de la joven Ortese: la atención se dirigió, por lo tanto, al interlocutor más importante de esa fase, Pasquale Prunas. Después de Il mare non bagna Napoli, se queda sola, intentando defender su elección, como se ve en la carta escrita a Domenico Rea, mientras se acerca a otras amistades como la de Elsa De Giorgi, la condesa Contini Bonacossi, de la que la separa una profunda brecha social. El tercer capítulo define las relaciones epistolares de la etapa más madura de Ortese, durante la cual los vínculos más importantes son con escritoras como Clotilde Marghieri, a la que se le dedica un apartado independiente, o con artistas como Flavia Arlotta Colacicchi. También se presenta una sección aparte sobre el estudio del contexto con exponentes del mundo literario de la época, personalidades con las que no generó una verdadera amistad, pero que contribuyen a arrojar luz sobre sus gustos literarios y sus formas de escritura. Por último, las cartas profesionales son el tema del cuarto capítulo, en el que se analizan las complejas relaciones editoriales, en primer lugar las mantenidas con la editorial Einaudi y Garzanti. El capítulo se cierra con el análisis de la correspondencia con dos importantes intelectuales, Pietro Citati y Enzo Siciliano. Acompaña a la tesis un apéndice que contiene la transcripción, en su forma íntegra, de las cartas más significativas de Anna Maria Ortese.The numerous intellectual, professional and personal relationships weaved by Anna Maria Ortese over the course of her long literary activity constitute the focus of this research project. Starting from her extensive epistolary, currently at the centre of the most recent Ortese studies, the thesis aims to reconstruct not only the cultural climate in which the author was active, but also the complex vision of literature of a writer who was difficult to place within the main currents or movements of her era. The thesis is divided into four chapters aimed at unravelling the weave of Ortese’s epistolary relationships along two fundamental lines: one is of a chronological nature; the other seeks to investigate the different modes of dialogue “by letter” in relation to her different interlocutors, who were, in most cases, crucial figures in the italian artistic scenario between the first and second half of the 20th century. As an introduction to the study of the Epistolario, with regards to the topics at the centre of my analysis, a first chapter is dedicated to a theoretical and methodological framework of epistolography, a discipline that today, unlike in times past, is arousing increasing interest, perhaps due to the disaffection with the medium, which has in fact been replaced by faster and more immediate communication systems. Therefore, this first chapter intends not only to provoke a reflection on the reasons for reading so-called author’s letters, but also to open a first window on Ortese the epistolographer, on her habits as a letter-writer, on the style she imprints on paper, on her usus scribendi. The second chapter, which instead aims to reconstruct Ortese’s correspondence network during her youth, between the 1930s and the end of the 1950s, takes us back to the origins of Anna Maria Ortese’s literary activity and in particular to the study of her correspondence with Massimo Bontempelli and, as far as possible, given the little documentation we have been able to access, with Paola Masino. The correspondence with Bontempelli, known only from Ortese’s side, reveals from the outset the determined character of a writer who knows how to confront her master, despite her young age, on literary and critical issues. Indeed, the letters commenting on the works of the writer from Como show, behind the false appearance of the neophyte, a speculative and epistegmatic ability that contrasts with the image of the ‘untrained’ disciple she wanted to give of herself. In the same years (1930s and 1940s), however, Ortese also weaved important friendships with women intellectuals, which in some cases lasted for years, in others were abruptly severed for the most varied reasons: Adriana Capocci Belmonte, Marta Maria Pezzoli, Helle Busacca y Maria Vittoria Ciambellini. Thus, intimate thoughts shared with friends are mixed on paper together with doubts and uncertainties regarding her literary vocation, as well as with material difficulties and sufferings dictated by bereavements, losses and missed loves. Through the Epistolario, we are able to investigate Ortese’s work, and her world is transfigured into the splendid ‘fantasised biography’ that can be found in Il porto di Toledo. The visionary style of the young Ortese was broken by the outbreak of the second world war and, in the immediate post-war years, by the experience gained within the group of «Sud»: attention therefore turns to the most important interlocutor of that phase, Pasquale Prunas. The break with her friends from the neapolitan magazine, which arose following the publication of Il mare non bagna Napoli, marks a discrimen in Ortese’s life. After Il mare, she remains alone, trying to defend her choice, as can be seen in the letter written to Domenico Rea, while she moves towards new friendships such as that with Elsa De Giorgi and the countess Contini Bonacossi, from whom, however, she is divided by a deep social divide. The third chapter defines the epistolary relationships of Ortese’s more mature phase, during which the most important interactions are with writers such as Clotilde Marghieri, to whom a single section is dedicated, or artists such as Flavia Arlotta Colacicchi, with whom she established a long association. A separate paragraph is also devoted to the study of the context with exponents of the literary world of the time, personalities with whom a true friendship did not develop, but who contributed to shed light on her literary tastes and her way of presenting herself in relation to other women, such as Elsa Morante, Lalla Romano, Gianna Manzini, and to men, such as Vasco Pratolini – to name but one significant name in this shortlist. From this point of view, a specific section is dedicated to Ortese’s relationship with her poet friends Alfonso Gatto, Carlo Betocchi and Dario Bellezza. Moreover, the last chapter analyses her professional connections, characterised by difficult editorial relations, first and foremost those with the publishing house Einaudi and the group of literary editors who collaborated there, Elio Vittorini, Italo Calvino and Natalia Ginzburg. A specific paragraph is also devoted to the study of the letters addressed to Gina Lagorio (Garzanti) that reveal Ortese’s difficult situation before being admitted to Adelphi at the end of the 1980s. The chapter ends with a specific space devoted to the correspondence with two important intellectuals, Pietro Citati and Enzo Siciliano. The study of this part of the epistolary offers, albeit in different forms, an important glimpse into Anna Maria Ortese’s writing methods, her continuous labor limae, her tendency to range between literary genres, her literary passions and her ever constant love for poetry. The thesis is enriched by an appendix containing the transcription, in their complete form, of anna maria Ortese’s most significant letters, chosen from the extensive corpus of correspondence by virtue of both the importance of their content and the beauty of the text itself.application/pdf565 p.itaAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/embargoedAccess