Forme di riscrittura della Nora ibseniana nell’Italia nel Novecento

Ibsen's Casa di bambola (1879) caused a strong reaction amongst the Italian public because of the protagonist's final decision. Indeed, some spectators found it inacceptable, whereas others praised it. Nora's escape can be read as an emancipatory action, as well as the woman's need to impose herself as a subject, and not only as wife or mother; the necessity to acquire an active role in her life; and the theme of a feminine nostos. Nora's paradigmatic figure is surrounded by several other protagonists who take her experience as a model for their own. Nora's character can be interpreted in various ways. For instance, Sibilla Aleramo sees her as a model of real life experience. On the other hand, scholars such as Sfinge and Maria Messina ponder on her future. Therefore, I shall determine how intertextual nets are established around Ibsen's play in the three examples aforementioned, analyzing how Nora's choice is presented and elaborated, and how the source is translated or betrayed.