By Anna Maria Torriglia
Broken Time, Fragmented house: A Cultural Map for Post-war Italy examines how the artists and intellectuals of post-war Italy handled the 'shameful' background in their fascist upbringing and schooling via attempting to craft a brand new cultural identification for themselves and the rustic. The continuities among the tradition of the fascist and post-fascist classes have been, besides the fact that, some distance more than what intellectuals have been able to admit, developing an uncomfortable, occasionally schizophrenic relation to time, as a painful urge to erase the past.
Drawing on a number of serious ways, Torriglia investigates the efforts to reconstruct a private in addition to a collective self via interpreting either canonical and lesser-known cinematic and literary texts. prepared round 4 major topics - using language, the interplay among own and public spheres, the perceptual different types of historical past and reminiscence, and the reconstruction of the feminine identification - the examine additionally contains ancient introductions and sociological observation that gives an intensive and alluring photograph of the cultural creation in Fifties Italy, a interval that has now not but been broadly studied.
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Extra info for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
39 The goals of the journal were similar to the ones claimed as their own by postwar intellectuals, who strove to produce a 'new' culture that could be informed by moral imperatives - a culture that would focus on the lower classes, privileging Realism as its form of expression. 40 Bottai wanted to create a cultural space - the magazine was not exclusively literary - in which the more active forces of the country could come together and confront each other. As Bottai stated in the introductory editorial of the first issue, Primato s function was one of 'chiarimento ...
The use of the passive voice underlines the problematic relationship, or rather lack of a relationship, between fathers and sons. Stefano's father clearly addresses the younger generation, of which his son is part ('la vostra generazione a volte mi ispira una certa pieta') and then turns to some generic evaluations expressed by using the passive voice ('il ceto medio e forse quello piu ampiamente rappresentato dalla cronaca nera'). In so doing, Stefano's father refuses to adopt the empowering position of the subject, and therefore to relate to his son's generation from such an authoritative site, thus engaging it in a more direct, though hierarchical, way.
He can do that by choosing Elena, but his choice implies the sacrifice of Virginia. Ultimately, Elena - whose position seems to anticipate Homi Bhabha's thought - is right when she assumes that one cannot escape one's history or oneself: 'mica si scappa da noi stessi ... Papa diceva che ci si porta sempre dietro, come portiamo il viso. '85 By putting these words in Elena's mouth, Pratolini unveils his own pessimist outlook both on the past and on the future. In effect, he denies that a positive future can evolve from a Fascist past, thus also denying hope for a better, more ethical life for those teenagers who were educated according to its ideology.
Broken Time, Fragmented Space: A Cultural Map of Postwar Italy by Anna Maria Torriglia