Family histories memory as counter-narrative in the works of Natalia Ginzburg
History is taken to be the official record of the past. It is assumed to be a objective, truthful record; such a definition, however, fails to account for the act of inclusion and exclusion which renders history as a political narrative. The writing of history is thus an exercise of power - the powe...
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| Other Authors: | , |
| Resource Type: | Thesis |
| Language: | English |
| Published: |
Quezon City
College of Arts and Letters, University of the Philippines Diliman
2016.
Quezon City 2016. |
| Subjects: |
| LEADER | 03160ctm a22003853i 4500 | ||
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| 001 | UP-99796217612749560 | ||
| 003 | Buklod | ||
| 005 | 20180508145847.0 | ||
| 006 | a r |||| u| | ||
| 007 | ta | ||
| 008 | 180508s2016 xx d r |||| u| | ||
| 035 | |a (iLib)UPD-00362013584 | ||
| 040 | |a DCAL |e rda | ||
| 041 | |a eng | ||
| 090 | |a LG 993.5 2016 C6 |b B45 | ||
| 100 | 1 | |a Belderol, Kestle Khea M. |e author | |
| 245 | 1 | 0 | |a Family histories |b memory as counter-narrative in the works of Natalia Ginzburg |c by Kestle Khea M. Belderol ; Corazon D. Villareal, adviser. |
| 264 | 1 | |a Quezon City |b College of Arts and Letters, University of the Philippines Diliman |c 2016. | |
| 264 | 1 | |a Quezon City |b College of Arts and Letters, University of the Philippines Diliman |c 2016. | |
| 300 | |a iv, 126 leaves |c 28 cm. | ||
| 336 | |a text |2 rdacontent | ||
| 337 | |a unmediated |2 rdamedia | ||
| 338 | |a volume |2 rdacarrier | ||
| 502 | |a Thesis (B.A. in Comparative Literature)--University of the Philippines Diliman |d May 2016. | ||
| 504 | |a Includes bibliographical references | ||
| 520 | |a History is taken to be the official record of the past. It is assumed to be a objective, truthful record; such a definition, however, fails to account for the act of inclusion and exclusion which renders history as a political narrative. The writing of history is thus an exercise of power - the power to determine how the past is to be interpreted. This is especially true of fascist Italy wherein the state exercised its power to create the idea of a single united nation; this involved controlling the ways in which the nation was written about or remembered. Counter-narratives are thus essential in paining a more realistic image of the nation by opposing the narratives forwarded by the state. To oppose the central role of history as the official record of the path, this study shall use the frame of memory in the works of Natalia Ginzburg. The corpus of this study comprises, The Things We Used to Say, All Our Yesterdays, and The Voices in the Evening. These works are centered on the Italian family from the rise of fascism to the post-war years. They tell the story of the war through the shared remembrances of family members; supporting Maurice Halbwachs idea of collective memory - which is a single memory constructed by a social group. It is this memory which contests the narrative of history by exposing the real suffering the war brought people - death of loved ones and loss of home. Meanwhile the individual memory of the narrator exposes the narrative of a marginalized female speaker within the family; supplementing the collective memory. All these counter-narratives told through the frame of memory thus expose the ways in which history disregards several narratives which are just as valid in painting the picture of the past. | ||
| 650 | 0 | |a Historicism in literature. | |
| 650 | 0 | |a Historical fiction, Italian. | |
| 650 | 0 | |a Literature and history |z Italy. | |
| 650 | 0 | |a History in literature. | |
| 700 | 1 | |a Ginzburg, Natalia. | |
| 700 | 1 | |a Villareal, Corazon D. |e adviser. | |
| 905 | |a FI | ||
| 852 | 1 | |a UPD |b DCAL |h LG 993.5 2016 C6 |i B45 | |
| 942 | |a Thesis | ||