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' history in their fascist upbringing and schooling through attempting to craft a brand new cultural id for themselves and the rustic. The continuities among the tradition of the fascist and post-fascist sessions have been, despite the fact that, a long way 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 quite a few serious methods, Torriglia investigates the efforts to reconstruct a private in addition to a collective self by means of reading 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 heritage and reminiscence, and the reconstruction of the feminine id - the learn additionally comprises old introductions and sociological statement that gives an intensive and fascinating photo of the cultural construction in Nineteen Fifties Italy, a interval that has now not but been commonly studied.
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Additional resources for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
Towards the end of the film, Stefano goes to his father's class in order to leave Maria a message, asking her out so that he can retrieve his lighter. His father is giving a long lecture about crime: 2O Broken Time, Fragmented Space Dalle cifre si possono trarre molti insegnamenti. Esse sono come lo specchio nel quale si riflette I'immagine di una societd ... La vostra generazione a volte mi ispira una certa pieta. E do che e piu terribile della guerra non e la perdita di vite umane o dei beni, ma la perdita del senso morale, il crollo di tutti i valori, I'indifferenza, il cinismo che essa genera ...
He called into collaboration many important scholars on the basis of their academic standing in specific disciplines, regardless of their inclination towards the regime. 26 In reality most intellectuals, even the ones who later repudiated the regime, were originally drawn to it for its revolutionary promise of change. 27 Fascism wanted to make coincide the private and public spheres by taking charge of needs pertaining to the areas of family, maternity, sexuality, upbringing, schooling, and so on.
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.
Broken Time, Fragmented Space: A Cultural Map of Postwar Italy by Anna Maria Torriglia