Alba de Céspedes’s Prima e dopo (1955) has generally been interpreted within the framework of the Italian Resistance and the subsequent disillusionment of Resistance ideals. While taking this interpretation into account, I argue that the central narrative of desire in Prima e dopo is not Irene’s relationship with her lover, Pietro, but Irene’s subversive desire for her maid, Erminia. I analyse and challenge some of the mechanisms and methodologies of Italian literary historiography that create and reproduce the disregard and devaluation of queer desire, specifically lesbian desire, in Italian narratives, and I identify scholarly, cultural and textual mechanisms that have rendered queer desire in Prima e dopo invisible. In sum, this article contributes to an Italian lesbian archive and lesbian literary historiography and argues that a queer reading of Erminia’s role in Prima e dopo enhances our understanding of the post-Resistance framework of the novel and its radical politics.

中文翻译：

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“质疑 Alba de Céspedes 的 Prima e dopo 的文本政治”

阿尔巴·德·塞斯佩德斯 (Alba de Céspedes) 的 Prima e dopo (1955) 通常在意大利抵抗运动和随后抵抗运动理想的幻灭的框架内被解读。在考虑到这种解释的同时，我认为 Prima e dopo 中欲望的中心叙事不是艾琳与她的情人彼得罗的关系，而是艾琳对她的女仆埃尔米尼亚的颠覆性欲望。我分析和挑战意大利文学史学的一些机制和方法论，这些机制和方法论在意大利叙事中创造和再现了对酷儿欲望，特别是女同性恋欲望的漠视和贬值，并且我确定了在 Prima 中渲染酷儿欲望的学术、文化和文本机制e dopo 看不见。总共，