The contribution examines the linguistic strategies employed in the genre of feminine educational theater, that is to say produced by women and directed to little girls and teenagers in the last three decades of the nineteenth century. In this century the composition of plays and sketchs addressed to a home performance or a public one in boarding schools was a widespread practice for many intellectuals engaged in teaching. The analysis was carried out on a corpus consisting of plays (one for each author) written by six of the most productive intellectual women: Felicita Morandi, Teresa De Gubernatis, Grazia Mancini Pierantoni, Vertua Anna Gentile, Angiolina Bulgarini, Erminia Bazzocchi. The examination of the pièces has been dealt with double perspective: on the one hand, considering these texts as carriers of linguistic models in the young generations (especially female ones), it is verified the level of stability and uniformity of language that they convey and the degree of alignment with the koinè that was spreading after the Unification of Italy; on the other hand, keeping in mind textual status of playwriting, it has been examined the syntax of the dialogue in order to check the strategies through which the authors have reproduced the naturalness of speech and pursued an ideal linguistic realism, also in view of theaching purposes to which such texts were however aimed at.
«Scene famigliari per fanciulle». La lingua del teatro educativo femminile nel secondo Ottocento
FRESU, RITA
2013-01-01
Abstract
The contribution examines the linguistic strategies employed in the genre of feminine educational theater, that is to say produced by women and directed to little girls and teenagers in the last three decades of the nineteenth century. In this century the composition of plays and sketchs addressed to a home performance or a public one in boarding schools was a widespread practice for many intellectuals engaged in teaching. The analysis was carried out on a corpus consisting of plays (one for each author) written by six of the most productive intellectual women: Felicita Morandi, Teresa De Gubernatis, Grazia Mancini Pierantoni, Vertua Anna Gentile, Angiolina Bulgarini, Erminia Bazzocchi. The examination of the pièces has been dealt with double perspective: on the one hand, considering these texts as carriers of linguistic models in the young generations (especially female ones), it is verified the level of stability and uniformity of language that they convey and the degree of alignment with the koinè that was spreading after the Unification of Italy; on the other hand, keeping in mind textual status of playwriting, it has been examined the syntax of the dialogue in order to check the strategies through which the authors have reproduced the naturalness of speech and pursued an ideal linguistic realism, also in view of theaching purposes to which such texts were however aimed at.
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