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©2017 Gabriella Bellorio ALL RIGHTS RESERVED ©2017 Gabriella Bellorio ALL RIGHTS RESERVED EXTREME CHILDHOOD: CHILDREN, ADULTS, AND COMING-OF-AGE IN CONTEMPORARY ITALIAN NOVEL by GABRIELLA BELLORIO A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Italian Written under the direction of Alessandro Vettori And approved by ___________________________ ___________________________ ___________________________ ___________________________ New Brunswick, New Jersey January, 2017 ABSTRACT OF THE DISSERTATION Extreme Childhood: Children, Adults, and Coming-of-age in Contemporary Italian Novel by GABRIELLA BELLORIO Dissertation Director: Alessandro Vettori This dissertation examines five contemporary Italian novels that focus on the traumatic and violent coming-of-age of the child protagonists and their dysfunctional relationships with inadequate adults/parents. Deploying a variety of interpretive tools drawn from literary, sociological, psychoanalytical, and philosophical approaches, this study investigates whether—and if so, then in what ways—these narratives may be read collectively as a literary symptom exposing a form of social uneasiness having to do with the concept of coming-of-age. More specifically, it explores the problematic relationship between children and grown-ups, which indirectly touches on the ideas of the future, of legacy, of ethics, indeed of our presence in the world. This hypothesis stems from the fact that these novels are the literary expression of a social context in which the pervasive presence of the media has blurred the line between authenticity and fiction (i.e. between trauma and its mere representation) eradicating the notion of childhood as such. As a result, the traumatic coming-of-age process, traditionally codified by initiation rites organized by elders, is nowadays fragmented into a myriad of apparently unimportant but potentially disturbing event—for instance, finding ii specific information online—that do not imply the presence of a grown-up and therefore jeopardize the role and identity of adults as mentors. Relevant factors and notions, such as the link between fatherhood and the Symbolic Order, the importance of the animal and the role of cattiveria in identity formation, the Double, the Other, fairy tales, and the abject, are analyzed and woven together into an essay that aims to provoke a few crucial questions about childhood, adulthood (fatherhood in particular) and coming of age in both novels and in contemporary Italian society. iii ACKNOWLEDGMENTS My debts are numerous, because I have been very lucky. First and foremost, I would like to thank Alessandro Vettori, my Dissertation Director, for his sustained help and support, his friendship and his accurate advice— and not least for being sufficiently persuasive to convince me to move to New Jersey from Beijing back in 2005. I am indebted to Alessandro for so many things; it is enough to say that this dissertation would simply not have come to be without him. I am very thankful indeed to the other professors in my committee, namely: Rhiannon Welch, who very kindly agreed to be part of this project even though she barely knew me; Andrea Baldi, whose belief in me and whose constant encouragement played a crucial role in my decision to enroll in this Ph.D. Program; and Judith Kasper, whose generous comments and ever-insightful suggestions made a tremendous difference in my study. I would also like to thank professors Elizabeth Leake, David Marsh and Laura White—who, as a Chair, welcomed me at Rutgers when I first arrived—for their teaching, help and support. A special thank you is due to Professor Paola Gambarota, who passed on to me her passion for academic research, who always believed in me, and who, over the years, became a dear friend. Outside of the Department, I wish to thank professors Giancarlo Lombardi and Nancy Miller, whose courses at CUNY have been absolutely crucial to my academic formation. Another big thank you goes to professor Michael Levine, whom I am now lucky enough to count among my friends and whose instruction informed my intellectual perspective as well as my academic research. I also want to thank Marlene Klein for her passionate editing work (which she had to do in a very short time!), and Anita Pinzi for helping me with the formatting iv work. Thank you also to Paolo Fasoli, Monica Calabritto, and to the Italian Faculty at Hunter for making me feel at home there. I am also indebted to Carol Feinberg and Robin Rogers, who were ever-ready to help me through myriad incomprehensible bureaucratic processes—and with a smile!—and to Sheri La Macchia, who has been helping me in the same way and with the same kindness. A huge thank you also goes to Justin Schlossenberg, who has always helped in dealing with the complex paperwork of international students. It was Carol who introduced me to Sara Teardo just a few days after I had arrived in the US, and I want to thank Sara for her undying friendship, her generosity, her constant willingness to help, and her great sense of humor. I can’t think of my years at Rutgers without her—I simply cannot. And, of course, thank you to the girls, who, together with Sara, have been my steady safety net so many times during all these years: Donata Panizza, Flora Ghezzo, Ilaria Costa, Sabrina Bianchini, Orietta Crispino, Federica Costa, and Borinquen Gallo, with whom I have shared intriguing academic discussions, lots of laughs, and endless conversations about any possible subject. Each one of you knows how special you are to me. Many other friends have made a difference in my life at one point or another during my American years: Julian Gargiulo and Octavio Vazquez—my first New York “family”—, Dominique Bousquet—who offered me a home when I did not have a home—, and then Vivianne, David(e), Geoff, Jon, Mark and Kat, Ron, Laura, Julia, Roberto, Serena, Federica, Elektra, all of them so dear to me. And I naturally cannot forget my dear friends Laura Di Bianco, who helped me tremendously during my semesters at Hunter; Sante Scardillo, the very first editor of the first version of the first chapter; the unbelievable Tiziana Rinaldi, who generously gave me precious clues invaluable to my research without even realizing it; and Gianmaria Annovi, who has always supported me, and who gave me crucial v bibliographical suggestions exactly when I needed them. I am sure I am forgetting someone, and for this I apologize in advance. On the other side of the ocean, I naturally want to thank the Italian Board of Education for giving me the opportunity to work abroad. A special thank you goes to Francesco Ronzon, who has always been my academic reference point in Italy, and to all my Italian friends who have always been there for me when I needed them, each in their own way, helping me on both a practical—sometimes very practical!—and an emotional level: Ada Arduini, Marina Braunizer, Marina Rigo, Fausto Caliari, Anna Maria Turcato, Egizia Franceschini, Damir Jellici, Mauro Zammataro, and then Massimo Turco, Giovanna Lui, and Davide, Sara, Roberta, Gabriele, Beppe, Federico, Dave, Anna, Annapaola, Cristina, Loretta, Christian... I have been trying to make a complete and ordered list, but I just can’t, and it would be too long anyway. Many of you are not mentioned here, and I apologize. You know who you are—and I know too. Finally, I want to thank my mother, my sister, and my grandmother, who have always accepted my decisions, never stopped believing in me, and have always supported me from afar, with lots of affection and love. Knowing that I always had a place to go back to gave me a powerful measure of strength and self-confidence. I am sure I could not have done what I have done without them backing me up. Thank you to my brother-in-law Stefano for being part of the family. And a very special thank you goes to my dear niece and nephews, who never stopped asking: “Quando vieni?” And I want to thank my father. Now I know: this dissertation is for you. vi Come faceva ad essere così cattivo? Come? Chi glielo aveva insegnato? Niccolò Ammaniti, Ti prendo e ti porto via Quando hai visto, non torni indietro. Sei cresciuto, sai. Simona Vinci, Dei bambini non si sa niente Perché i figli salvano e tengono vivo il nome dei morti, come i sugheri, reggendo la rete, preservano il filo di lino dal fondo del mare. Eschilo, Coefore Ma va là, nebbia! Mio padre vii Table of contents Abstract…………………………………………………………………………….….ii Acknowledgments…………………………………………………………………….iv INTRODUCTION……………………………………………………………….…….1 - La scrittura dell’estremo…………………………………………...………….5 - The Disappearance of Childhood……………………………………………..12 - The Socio-cultural Background……………………………………...……….17 - Extreme Childhood…………………………………………………………...21 CHAPTER ONE - Feral Children and Blind Adults. Ti prendo e ti porto via and Certi - bambini………………………………………………………………………26 - Plot and Style………………………………………………………………...27 Part One - Wickedness and Rage. Rosario and Pierini………..……………………........34 - Animals and Human Identity. The Animal that therefore I am……………....38 - Wickedness, the Animal, and Identity. Pierini, or “The Turtle That - Therefore He Is”…………………………………………...…………………42 - Wickedness, the Animal, and Coming-of-Age. Killing a Dog…………..…...47 - Pietro’s Coming of (R)age. From Passivity to Aggression………………..…49 - Between Childhood and Adulthood. Rosario…………………………..…….57 Part Two - The Social Context. Moral Panic ……………………………………………63 - Moral Panic. Feral Children between Fiction and Reality …………………..64 viii - Moral Panic. Feral Children as Zombies ………………………………….….69 - Moral Panic. Criminal Children and Abusive Policemen…………………… 74 - As Real as “Seen on TV.” Authenticity and Fiction in Ti prendo e ti - porto via…………………………………………………………...………....81 - Nobody is Safe. Indifference and Violence in Certi Bambini…………….…87 - The Blindness of Adults. Certi bambini………………………………….... 89 CHAPTER TWO - On Seeing. Children and Ogres in Dei Bambini non si sa niente and Io non - ho paura………………………………………………...……….……………94 - Plot, Structure, Style …………………………………………..……………..96 - Good Children and Evil Adults.
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