Abstract
ABSTRACT The article examines the presence of dolls in the work of writer Teresa Ciabatti and isolates four narrative functions carried out by dolls. First, the protagonists' identification with broken dolls encourages the acceptance of one's imperfection and promotes the definition of identity as constitutively incomplete (Il mio paradiso è deserto, 2013). Second, Ciabatti entrusts dolls with the task of protecting the characters' most profound and fragile selves (La più amata, 2017). Third, by enabling the re-staging of motherhood and trauma in a safe space, dolls challenge a certain monolithic conception of maternity, youth, and beauty (Sembrava bellezza, 2021). Finally, dolls stand as markers for autofiction, for they both share a disturbing proximity to reality that confuses the boundaries between good and evil, real and fiction. In conclusion, the article argues that Ciabatti's use of dolls produces a theoretical move towards the formation of a multifaceted, open, and mobile definition of womanhood.
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