Two characteristics prevail in the works of Natalia Ginzburg: the tendency towards reduction and the tendency towards repetition. Reduction and repetition resemble each other; they are analogous, complementary; both are efficient and dramatic means to express a reality which is partial and incomplete and to underline the inherent obscure suffering which results from that reality. Although Natalia Ginzburg does not belong to any of the various literary trends (and, in particular, not to neo-realism which coincides chronologically with the beginning of her career), she interprets a sorry and limited world and bears sensitive witness to its loneliness, to its "male di vivere". In this sense, Natalia Ginzburg's works, although not in the mainstream of literary currents, touch the heart of modern literary sensibility. This is, in brief, the thrust of my thesis.

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