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' history 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 sessions have been, in spite of the fact that, a ways 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 way of interpreting either canonical and lesser-known cinematic and literary texts. prepared round 4 major subject matters - using language, the interplay among own and public spheres, the perceptual different types of background and reminiscence, and the reconstruction of the feminine identification - the examine additionally contains historic introductions and sociological observation that offers an in depth and attractive photo of the cultural construction in Nineteen Fifties Italy, a interval that has no longer but been greatly studied.
Read or Download Broken Time, Fragmented Space: A Cultural Map of Postwar Italy PDF
Best italian_1 books
- I sentieri di Heidegger
- La presa di Izmail
- Storia universale. L’impero romano
- L’ordine invisibile. Organizzazione, autonomia e complessità del vivente
Additional resources for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
The 'basi della societa' - for Germi represented by the 'ceto medio' - are the subject being acted upon. 'Vengono ... minate' is the action being performed on them, but the agent that acts is not grammatically expressed. One could say that there is an implied agent, namely the war, but, from a strictly grammatical point of view, that agent cannot be located. Indeed, there is no subject, and the professor ends his discourse with an appeal to no-better-identified 'forces of good,' to individuals, the family, and the state.
41 Vittorio Mussolini, who was actively involved in production and scriptwriting, was himself a passionate fan of Hollywood and visited the California Studios in 1937. He urged many artists and cultural activists to participate in the magazine. Many of these contributors would become either Neorealist directors or leftist intellectuals after the fall of the regime. Among them were Giuseppe De Santis, Carlo Lizzani, Luchino Visconti, Michelangelo Antonioni, and Mario Alicata. 42 Fascist traits were appropriated and rearranged by artists and writers - in some cases the very persons who had used them before 1945 - in an effort to convey new meanings.
Sandrino is violent and aggressive and beats Virginia, who now fully depends on his capricious behaviour and gives him all sorts of expensive gifts. One day Sandrino steals all of Virginia's money and goes to Milan to organize a Fascist revolutionary action. However, his companions deceive him, robbing him and leaving him without a penny. In the meantime, Bruna and Faliero discover Virginia's relationship with Sandrino. Virginia, now paranoid about Bruna and Faliero's prospective intervention and afraid that they might hurt the boy, flees the apartment and relocates.