Stefania Lucamante is a professor of Italian and Comparative Literature at The Catholic University of America.
Inhaltsangabe
Acknowledgments Abbreviations Introduction Part I. Anger and Commitment in the Narratives of Tiziano Scarpa 1. Pasolini’s La rabbia and the Spectacularization of Scarpa’s Posthuman Aesthetics 2. An Apocalyptic Kamikaze: Tiziano Scarpa or How to Invade the Reader 3. The Fundamental Things in Life According to Scarpa Part II. Anger and Spaces of Vulnerability in the Narratives of Melania Mazzucco and Monica Stambrini 4. Melania Mazzucco’s Un giorno perfetto: Domestic Violence on an Everyday Perfect Day 5. Pushing Boundaries: Road Movies and Gas Stations in Monica Stambrini’s Benzina Part III. Anger and Spaces of Otherness in the Narratives of Paolo Sorrentino, Simona Vinci, and Veronica Tomassini 6. A Recipe for the Advantages and Disadvantages of Love: Anger and Misogyny in Paolo Sorrentino's The Consequences of Love 7. Society, Simulacra, and Love: Simona Vinci’s Stanza 411 8. Wounding the Individual: Dynamics of Diversity and Anatomy of Love in Veronica Tomassini’s Sangue di Cane Afterword Notes Works Cited Index
Acknowledgments Abbreviations Introduction Part I. Anger and Commitment in the Narratives of Tiziano Scarpa 1. Pasolini’s La rabbia and the Spectacularization of Scarpa’s Posthuman Aesthetics 2. An Apocalyptic Kamikaze: Tiziano Scarpa or How to Invade the Reader 3. The Fundamental Things in Life According to Scarpa Part II. Anger and Spaces of Vulnerability in the Narratives of Melania Mazzucco and Monica Stambrini 4. Melania Mazzucco’s Un giorno perfetto: Domestic Violence on an Everyday Perfect Day 5. Pushing Boundaries: Road Movies and Gas Stations in Monica Stambrini’s Benzina Part III. Anger and Spaces of Otherness in the Narratives of Paolo Sorrentino, Simona Vinci, and Veronica Tomassini 6. A Recipe for the Advantages and Disadvantages of Love: Anger and Misogyny in Paolo Sorrentino's The Consequences of Love 7. Society, Simulacra, and Love: Simona Vinci’s Stanza 411 8. Wounding the Individual: Dynamics of Diversity and Anatomy of Love in Veronica Tomassini’s Sangue di Cane Afterword Notes Works Cited Index
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