Criticism on Paola Masino has flourished since the early 2000s. This increased attention has contributed towards reclaiming an author often overshadowed by the attention received by her partner, Massimo Bontempelli, the father of realismo magico. Masino experimented with a variety of styles—realismo magico was one of them—as she rejected strictly naturalistic forms of representation, preferring to co-opt myths and the supernatural. Nascita e morte della Massaia (1945) is Masino’s most renowned literary effort, both for its critique of Fascist Italy and for its sophisticated stylistic effects. Nascita, while indebted to Bontempelli’s theorizations, features all the chief characteristics listed in Faris’s analysis of magical realism as an international phenomenon, and illustrates how magical realism offers strategies for evading censorship to those writing against totalitarianism regimes. At the same time, it is an example of how magical realism can be used to denounce socially imposed gender roles. My analysis shows how this narrative mode emerges on multiple levels within Masino’s text.

中文翻译：

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失去想象力的女人：Paola Masino 在 Nascita e morte della Massaia 中的魔幻现实主义

自 2000 年代初以来，对 Paola Masino 的批评就很盛行。这种日益增加的关注有助于恢复一位经常被她的搭档、现实主义魔术之父马西莫·邦坦佩利（Massimo Bontempelli）所受到的关注所黯然失色的作家。Masino 尝试了多种风格——realismo magico 就是其中之一——因为她拒绝严格自然主义的表现形式，更喜欢选择神话和超自然。Nascita e morte della Massaia (1945) 是 Masino 最著名的文学作品，无论是对法西斯意大利的批判还是其复杂的文体效果。Nascita 虽然感谢 Bontempelli 的理论，但具有 Faris 对魔幻现实主义作为一种国际现象的分析中列出的所有主要特征，并说明魔幻现实主义如何为那些反对极权主义政权的写作提供逃避审查的策略。同时，它也是魔幻现实主义如何被用来谴责社会强加的性别角色的一个例子。我的分析显示了这种叙事模式是如何在 Masino 的文本中出现在多个层面上的。