This essay discusses the representation of war in the writings of the 2015 Nobel Prize in Literature, Svetlana Aleksievič, and notes the novelty of her work: the description of war through the eyes of women (War's Unwomanly Face); the stories she tells us are anti-epic and polyphonic; they are stories that represent the voices of countless witnesses from women fighters and children of World War II (The Last Witnesses) to women who hopelessly waited for their men (Zinky Boys). In her refusal to select the experience of the few and in her representation of the countless witnesses of war, Svetlana Aleksievič is nevertheless confronting history; not the official history but the forgotten one. In her description of the countless victims of the brutality of war, Svetlana Aleksievič imprint in the collective memory the true reality of war and real meaning of history
Il saggio è dedicato alla rappresentazione della guerra nelle scritture del premio Nobel della Letteratura 2015, Svetlana Aleksievič, rilevandone l’assoluta novità: perché adotta, in La guerra non ha un volto di donna, uno «sguardo di genere»; perché le storie narrate sono antiepiche; perché le sue narrazioni sono polifoniche, costituite dalle «voci» di innumerevoli testimoni: di donne combattenti, di coloro che erano bambini durante la seconda guerra mondiale (Gli ultimi testimoni), di donne che hanno atteso invano il ritorno dei loro uomini (Ragazzi di zinco). Mediante l’ intersecarsi di punti di vista, rifiutando la «selezione» mimetica, abbandonandosi a una «cattiva infinità» di piccole storie individuali, la Aleksievič intende comunque confrontarsi con la Storia, non quella ufficiale e legittimata, ma quella obliata
"Tutta un’altra guerra": le altre voci dell’antiepopea di Svetlana Aleksievič
Manganaro, Andrea
2018-01-01
Abstract
This essay discusses the representation of war in the writings of the 2015 Nobel Prize in Literature, Svetlana Aleksievič, and notes the novelty of her work: the description of war through the eyes of women (War's Unwomanly Face); the stories she tells us are anti-epic and polyphonic; they are stories that represent the voices of countless witnesses from women fighters and children of World War II (The Last Witnesses) to women who hopelessly waited for their men (Zinky Boys). In her refusal to select the experience of the few and in her representation of the countless witnesses of war, Svetlana Aleksievič is nevertheless confronting history; not the official history but the forgotten one. In her description of the countless victims of the brutality of war, Svetlana Aleksievič imprint in the collective memory the true reality of war and real meaning of historyI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.