Eleonora Rao
Biographic Data
| ID | 9236994 |
|---|---|
| NAME | Eleonora Rao |
| GIVEN NAMES | Eleonora |
| FAMILY NAME | Rao |
| SIGNATURE | RAO E |
| AFFILIATIONS | University of Salerno |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 0 |
“I Will Always Be Crossing Ocean Parkway; I Have Crossed It; I Will Never Cross It.” Marianna De Marco Torgovnick, Crossing Ocean Parkway
In Crossing Ocean Parkway (1994), scholar and literary critic Marianna De Marco Torgovnick—now Professor of English at Duke University—traces her story as an Italian-American girl growing up in a working-class Italian neighborhood of New York City that could not satisfy her desire for learning and for upward mobility. De Marco’s personal experiences of cultural border crossings finds here specific spatial reference especially through Ocean Parkwa…
“It always Takes a Long Time/to Decipher Where You Are”
The focus is on Atwood’s most recent poetry collections; Morning in the Burned House (1995) and The Door (2007), in addition to the prose poems volume The Tent (2006). They have in common, albeit with a different emphasis, a preoccupation with mortality and with the writing of poetry itself. They also share a special concern for space. This reading considers space and landscape to function as metonyms. Space here is far from being passive; instea…
“I Felt Like My Life Had Been Given to Me to Start Over”
Alice Kaplan’s memoir French Lessons (1993) is a story that deals as much with the issue of language learning as with that of cultural belonging(s). This “language memoir,” as it is typical of this sub-genre, is an intimate tale of the transition between languages and cultures. French Lessons recounts her evolving relationship with French language and culture in various phases of her life: starting from childhood, continuing through her graduate …
Home and nation in Margaret Atwood’s later fiction
My opening phrase, taken from The Blind Assassin is, in its turn, a well-known quotation from The Wizard of Oz. In Atwood's novel, it relates to an episode from the Chase sisters' adolescence, where it is irreverent, odd, loony Laura who rewrites the sentence she heard many times from Reenie, the family housekeeper, whose language floods over with common sense, folk sayings, and popular wisdom. Laura's rewriting of “There's no place like home” - …
The Cambridge Companion to Margaret Atwood
Margaret Atwood's international celebrity has given a new visibility to Canadian literature in English. This Companion provides a comprehensive critical account of Atwood's writing across the wide range of genres within which she has worked for the past forty years, while paying attention to her Canadian cultural context and the multiple dimensions of her celebrity. The main concern is with Atwood the writer, but there is also Atwood the media st…
No prominent works on this page.
Home and nation in Margaret Atwood’s later fiction
My opening phrase, taken from The Blind Assassin is, in its turn, a well-known quotation from The Wizard of Oz. In Atwood's novel, it relates to an episode from the Chase sisters' adolescence, where it is irreverent, odd, loony Laura who rewrites the sentence she heard many times from Reenie, the family housekeeper, whose language floods over with common sense, folk sayings, and popular wisdom. Laura's rewriting of “There's no place like home” - …
The Cambridge Companion to Margaret Atwood
Margaret Atwood's international celebrity has given a new visibility to Canadian literature in English. This Companion provides a comprehensive critical account of Atwood's writing across the wide range of genres within which she has worked for the past forty years, while paying attention to her Canadian cultural context and the multiple dimensions of her celebrity. The main concern is with Atwood the writer, but there is also Atwood the media st…
“I Felt Like My Life Had Been Given to Me to Start Over”
Alice Kaplan’s memoir French Lessons (1993) is a story that deals as much with the issue of language learning as with that of cultural belonging(s). This “language memoir,” as it is typical of this sub-genre, is an intimate tale of the transition between languages and cultures. French Lessons recounts her evolving relationship with French language and culture in various phases of her life: starting from childhood, continuing through her graduate …
“It always Takes a Long Time/to Decipher Where You Are”
The focus is on Atwood’s most recent poetry collections; Morning in the Burned House (1995) and The Door (2007), in addition to the prose poems volume The Tent (2006). They have in common, albeit with a different emphasis, a preoccupation with mortality and with the writing of poetry itself. They also share a special concern for space. This reading considers space and landscape to function as metonyms. Space here is far from being passive; instea…
“I Will Always Be Crossing Ocean Parkway; I Have Crossed It; I Will Never Cross It.” Marianna De Marco Torgovnick, Crossing Ocean Parkway
In Crossing Ocean Parkway (1994), scholar and literary critic Marianna De Marco Torgovnick—now Professor of English at Duke University—traces her story as an Italian-American girl growing up in a working-class Italian neighborhood of New York City that could not satisfy her desire for learning and for upward mobility. De Marco’s personal experiences of cultural border crossings finds here specific spatial reference especially through Ocean Parkwa…
Art (5 works) · History (5 works) · Art history (4 works) · Literature (4 works) · Sociology (4 works) · Short Stories in Global Literature (3 works) · Utopian, Dystopian, and Speculative Fiction (3 works) · Canadian Identity and History (2 works) · Law (2 works) · Linguistics (2 works)