Portraying the Nomadic Spirit of a Transnational Coming of Age

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Disclosure Statement

No potential conflict of interest was reported by the author(s).

Notes

¹ Baby, dir. by Andrea De Sica, Anna Negri, and Letizia Lamartire. Netflix, 2018–2020.

² Summertime, dir. by Francesco Lagi, Lorenzo Sportiello. Netflix, Cattleya, 2020–ongoing.

³ SKAM Italia, dir. by Ludovico Bassegato. TIMvision, Netflix, Cross Productions, 2018–ongoing.

⁴ The international success of Elena Ferrante’s Napolitan novels (2011–2014) resulted in a wider recognition of Italian female authors in Italy and abroad. See Anna Momigliano, ‘The Ferrante Effect: In Italy Women Writers are Ascendant’, The New York Times <https://www.nytimes.com/2019/12/09/books/elena-ferrante-italy-women-writers.html> [accessed 2 April 2023].

⁵ Chiara Barzini, Things That Happened before the Earthquake (New York: Doubleday, 2017), co-translated with Francesco Pacifico into Italian as Terremoto (Milan: Mondadori, 2018).

⁶ Livia Franchini, Shelf Life (New York: Doubleday, 2019).

⁷ Thea Lenarduzzi, Dandelions (London: Fitzcarraldo, 2022).

⁸ Barzini, Terremoto.

⁹ Claudia Durastanti, La straniera (Milan: La Nave di Teseo, 2019).

¹⁰ Viola Di Grado, Settanta acrilico trenta lana (Rome: Edizioni e/o, 2011).

¹¹ Rosi Braidotti, Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory (New York: Columbia University Press, 2011).

¹² Emma Bond, ‘Towards a Trans-National Turn in Italian Studies?’, Italian Studies, 69.3 (2014), pp. 415–24; Charles Burdett and Loredana Polezzi, eds. Transnational Italian Studies (Liverpool: Liverpool University Press, 2020); Jennifer Burns and Derek Duncan, eds. Transnational Modern Languages: A Handbook (Liverpool: Liverpool Press, 2022).

¹³ Luke Sunderland, ‘Cosmopolitanism’, in Transnational Modern Language, pp. 69–76 (p. 1).

¹⁴ Ibid., p. 2.

¹⁵ Bond, ‘Towards a Trans-national Turn in Italian Studies?’

¹⁶ See Paul Jay, Global Matters: The Transnational Turn in Literary Studies (Ithaca and London: Cornell University Press, 2010).

¹⁷ Emma Bond, ‘Stories’, from Burns and Duncan, eds. Transnational Modern Language, pp. 279–88.

¹⁸ Nick Havely Burdett, and Loredana Polezzi, ‘The Transnational/Translational in Italian Studies’, Italian Studies, 75.2 (2020), pp. 223–36.

¹⁹ Charles Burdett, Loredana Polezzi, and Barbara Spadaro, ‘Introduction’, in Transcultural Italies: Mobility, Memory and Translation (Liverpool: Liverpool Press, 2020), pp. 1-20.

²⁰ On the topic, also see Laura Ruberto and Joseph Sciorra, ‘Introduction: Real Italians, New Immigrants’, in New Italian Migrations to the United States, Vol. 1 (Champaign: University of Illinois Press, 2017), pp. 1–32; Claudio Fogu, Stephanie Hom Malia, and Laura Ruberto, ‘Introduction: Italia Senza Frontiere/Borderless Italy’, Californian Italian Studies, 9.1 (2019), pp. 1–12.

²¹ Mark Choate, Emigrant Nation: The Making of Italy Abroad (Cambridge, MA: Harvard University Press, 2008).

²² John Fante, Ask the Dust (New York: Ecco, 2006 [1939]).

²³ Andrea De Carlo, Treno di Panna (Turin: Einaudi, 1982).

²⁴ Barzini, Earthquake.

²⁵ Chandra Livia Candiani, La bambina pugile ovvero la precisione dell’amore (Turin: Einaudi, 2014).

²⁶ Chandra Livia Candiani, Fatti vivo (Turin: Einaudi, 2017).

²⁷ Chandra Livia Candiani, Vista dalla luna (Milan: Salani, 2019).

²⁸ È stata la mano di dio, dir. by Paolo Sorrentino. The Apartment, Fremantle, Netflix, Lucky Red, 2021.