"Donne nate male," "amicizie colpevoli" e quelle "profonde come una parentela." Marise Ferro's Queerly Desiring Women
"Donne nate male," "amicizie colpevoli" e quelle "profonde come una parentela." Marise Ferro's Queerly Desiring Women
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“Donne nate Male”、“amicizie colpevoli”和“profonde come una Parentela”。
DOI：
10.1080/01614622.2016.1158579
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发表时间：
2016
期刊：
影响因子：
0.1
通讯作者：
Ross C
中科院分区：
文献类型：
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作者：
Ross C
这篇文章提供了一个阅读玛丽丝费罗的作品，这些作品很少受到批评的关注，但构成了酷儿代表的重要实例。聚焦于1932年至1972年间出版的一系列小说，它揭示了费罗如何多次重温女性之间的欲望话题，也许比这一时期的任何其他意大利作家都多，尽管在法西斯时期遭受审查。借鉴酷儿理论和“亲密友谊”（Vicinus）的工作，本文认为，费罗的同性爱的描绘是复杂的特点，因为她既挑战异性恋和谴责反常的欲望。她对同性恋渴望的描述带有先天性同性恋的生物医学病理学的印记，但也鼓励同情，而且，令人惊讶的是，虽然死亡和痛苦比比皆是，但她渴望的主人公并没有被杀死，就像许多代表非规范性性行为的文本中发生的那样。费罗的小说的接受也被讨论：虽然在1930年代得到了阿诺尔多·蒙达多里的支持，但早期的作品受到了相当负面的评论，特别是与感知到的性退化有关。在最近发表的几篇分析文章中，没有提到她对同性恋的态度。相比之下，本文批判性地探讨了她富有挑战性的作品，并重新评价了她对欲望女性的表现。
This article offers a reading of Marise Ferro’s works, which have received scant critical attention, but which constitute important instances of queer representation. Focusing on a series of novels published between 1932 and 1972, it reveals how Ferro revisited the topic of desire between women many times, perhaps more than any other Italian author in this period, despite suffering censorship during Fascism. Drawing on queer theory and work on “intimate friendships” (Vicinus), this article argues that Ferro’s portrayals of same-sex love are characterized by complexity as she both challenges heteronormativity and condemns perverse desires. Her depictions of queer longing bear the imprint of bio-medical pathologizations of congenital homosexuality, but also encourage empathy, and, strikingly, while death and misery abound, her desiring protagonists are not killed off, as happens in many texts that represent non-normative sexualities. The reception of Ferro’s novels is also discussed: while supported by Arnoldo Mondadori in the 1930s, early work received quite negative reviews, particularly in relation to perceived sexual degeneracy. In the few analyses published recently, there is no mention of her approach to queer sexuality. By contrast, the present article engages critically with her challenging work, and reappraises her representations of desiring women.