Un paradosso apparente: Menzogna e Sortilegio, il primo romanzo di Elsa Morante

The work of Elsa Morante (1912-85) falls in two parts and the dividing line can be placed shortly before the middle of the 1960s. Almost all scholars of her work have denied the first two novels any substantial relationship with the historical and local context. The present contribution attempts to prove that in her own paradoxical way the author adheres strictly to some of the most fundamental sources of spiritual inspiration, active in her country in the years immediately following the Second World War in her first published novel, Menzogna e sortilegio (1948)

Persona-driven journalism at Radio24syv: Ditte Okman’s affective labor of performing an unashamed persona

The article proposes an analytical approach to the study of persona-driven journalism. Drawing on concepts from performance studies, the article builds an analytical framework for engaging with empirical material where the performance of the journalist’s personality becomes a central part of the journalistic product. The analysis of journalist and radio host Ditte Okman identifies a journalism practice that draws on bodily expressivity, outspoken attitudes and the creation of a socializing media space. This practice is used to showcase an unashamed persona that creates journalism based on a performance of authenticity and sincerity, which is read as an example of doing affective labor. The main contribution of the article is to conceptualize a methodological approach to the study of persona-driven journalism practices by drawing on ideas and concepts from performance studies, thus adding methodologically to journalism studies

L’isola di Arturo di Elsa Morante

The first two novels of Elsa Morante, Menzogna e sortilegio (1948) and L’isola di Arturo(1957), have always been considered texts without any recognizable relationship to their historical context, contrary to the view expressed by the author that any literary work of value will inevitably contain a portrait of its time. The aim of the present study is to cast light on those aspects of L’isola di Arturo that make it a typical product of the decade 1950-1960