Ragionare sul proprio corpo: riflessioni e consonanze in Il filo di mezzogiorno di Goliarda Sapienza e In contumacia di Giacoma Limentani

lucamante

Primo

2024-01-01

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Abstract

The acceptance of one's femininity - not its rejection because it is stigmatizing - is achieved through the most diverse stages and paths. The real aspect of the journey is the unamendability of reality created by our mind as those who suffer from dysmorphophobia suffer from an obsession that affects every aspect of their existence. From the analyst's room to that of the cosmetic surgeon, the novelistic space of Parla, mia paura by Vinci is defined in precise settings of Jungian reminiscence. From the disinterested, but above all compulsory practice of caring for others, the discussion of care is introflected onto the woman who now practices care for her own indivisible body and mind. Agoraphobia and dysmorphophobia are two sides of the same coin. The reconfiguration/therapy of one's body placed as of equal importance to the understanding/therapy of one's mind ensures that different fields of scientific knowledge are present in the construction of the literary field which bears a confirmation of the physical dimension of existence in which solidity and corporeity constitute elements of writing. Taking a step back, the issue of healing and telling one's own physical pain because it is mental precedes and provides the possibility of constructing writing material to our younger authors like Vinci, giving life and substance to two emblematic texts of the passage of literary writing by women in the Sixties: In contumacia by Giacoma Limentani (1967 Adelphi), and Il filo di mezzogiorno by Goliarda Sapienza (1969 Garzanti) (rep. 1994 La tartaruga), and recently by Nave di Teseo.