摘要：Amelia Rosselli has been one of the most original and innovative feminine voices of the last century. Occasionally created using a completely artificial Italian, her poetry becomes a linguistic experimentation field which reflects the traces of her multilingual academic training. What could initially be considered an error or an anacoluto, becomes little by little an experimental poetry reserved to an intellectual elite that could appreciate the mastery and the courage of the original poetess. Supported and introduced to the intellectual Italian circles of the second half of the 20 th century by Pier Paolo Pasolini, Rosselli’s broken voice shows the reader a pessimistic and tender poetry in which the complex feminine universe finds its raison d’être in the poetic creation.
其他摘要：Amelia Rosselli has been one of the most original and innovative feminine voices of the last century. Occasionally created using a completely artificial Italian, her poetry becomes a linguistic experimentation field which reflects the traces of her multilingual academic training. What could initially be considered an error or an anacoluto, becomes little by little an experimental poetry reserved to an intellectual elite that could appreciate the mastery and the courage of the original poetess. Supported and introduced to the intellectual Italian circles of the second half of the 20 th century by Pier Paolo Pasolini, Rosselli’s broken voice shows the reader a pessimistic and tender poetry in which the complex feminine universe finds its raison d’être in the poetic creation.
