Artikel
Closets and Mirrors: First-Wave Feminist Translators, Nonauthorship, and the Fascist State
Verfasst von:
Bassi, Serena
in:
Signs
Chicago:
2022
,
817–841 S.
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| Einrichtung: | Ariadne | Wien |
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| Verfasst von: | Bassi, Serena |
| In: | Signs |
| Jahr: | 2022 |
| Sprache: | Englisch |
| Beschreibung: | |
| How does our idea of a global first-wave feminist cultural imagination, emerging in the first decades of the twentieth century, change when we view it transnationally and translinguistically? Specifically, what new theoretical approaches to the question of feminist agency can we glean by decentering authors and authorship from literary history? This article looks at the cultural politics of early feminism by focusing on literary translators as often neglected agents of transnational cultural exchange. I focus in particular on the politics of publishing in Fascist Italy to argue that in spite of state censorship and Fascism’s openly misogynist cultural policy, women cultural producers were able to formulate counternarratives to those of Fascism and, to an extent, shape the literary field. Importantly, however, their cultural activities moved from the terrain of authorship to that of what I call “feminist nonauthorship.” To make my argument, I trace the making of two publishing products in translation in Fascist Italy: the seventeenth-century French novel La Princesse de Clèves by Marie-Madeleine Pioche de La Vergne (better known Madame de La Fayette), translated by the feminist writer Sibilla Aleramo in 1934, and the contemporary African American novel Their Eyes Were Watching God by Zora Neale Hurston, translated by the anti-Fascist activist Ada Gobetti in 1938. I argue that by closely studying the hardly visible labor of translators as nonauthors, we can move beyond frameworks for the study of women’s literary history that are entrenched in the liberal Western categories of visibility, authenticity, freedom, and progress. | |
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