By Anna Maria Torriglia
Broken Time, Fragmented area: 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 id for themselves and the rustic. The continuities among the tradition of the fascist and post-fascist classes have been, in spite of the fact that, some distance more than what intellectuals have been able to admit, growing an uncomfortable, occasionally schizophrenic relation to time, as a painful urge to erase the past.
Drawing on a number of severe methods, Torriglia investigates the efforts to reconstruct a private in addition to a collective self through interpreting either canonical and lesser-known cinematic and literary texts. equipped round 4 major issues - using language, the interplay among own and public spheres, the perceptual different types of heritage and reminiscence, and the reconstruction of the feminine identification - the research additionally contains old introductions and sociological statement that offers an intensive and fascinating photograph of the cultural construction in Fifties Italy, a interval that has no longer but been widely studied.
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Additional info for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
Sample text
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. The Suicide of the Future: Rossellini's Germania anno zero Is there an alternative to Stefano and Sandrino, two representatives of a 'lost generation' who are equally criminal in their behaviour?
Elena and Sandrino attempt to construct their identities through what is now an absent, deceased father whose probity they do not question. Each is proud of his or her father and each considers him a model for his or her actual behaviour: their fathers did, after all, propel them into society as politically aware members. 79 Sandrino's father letter reads as follows: 'Onora sempre tua madre. Ma onora soprattutto, con ogni atto e pensiero della tua giornata, e col tuo sangue se sara necessario, la piu grande Madre che e la Patria.
Cesare Pavese was facing a similar ideological conflict when he committed suicide in 1950. 78 To come back to Faliero, we can see that he not only dismisses a merely intellectual approach to politics itself, but sees political engagement as inherently ethical: as an extension of that bene, the love, one feels for his or her companion. The same attitude reappears in the relationship between Sandrino and Elena. The primacy of love over politics becomes striking and frames the way in which both Sandrino and Elena come to the foreground as the new generation, that is, free from political orthodoxy or dogmatism.
