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' historical past 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, although, 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 various severe ways, Torriglia investigates the efforts to reconstruct a private in addition to a collective self through examining either canonical and lesser-known cinematic and literary texts. geared up 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 id - the learn additionally comprises ancient introductions and sociological statement that offers an intensive and pleasing photo of the cultural creation in Fifties Italy, a interval that has no longer but been greatly studied.
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Additional resources for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
In 1938 racial laws were implemented; the alliance with Germany grew stricter and more demanding. Italy turned from being an 'equal' ally to Germany into its badly considered subordinate. By the end, between 1943 and 1945, a minority of Italians took part in the Republic of Salo, whereas partisans fought in central and northern Italy. Fascism, as we have seen, changed over time, authorizing and implementing distinct and divergent kinds of state strategies, as well as cultural practices, to maintain and elicit consent.
In the narrative economy of 'before' and 'after' that Pratolini so clearly constructs, Virginia represents a traditional, old image of femininity. On various occasions the correspondence between Virginia and Sandrino's past is clearly spelled out. The most compelling instance is revealed towards the end of the book. Sandrino has just left Elena and runs into Virginia: '// passato lo aggredi d'improvviso, sull'angolo della strada in cui Sandrino abitava. '71 The past and Virginia are thus identified, with no possible equivocation.
On the one hand, he refrains from considering Fascism as a desubjectivized agent responsible for the psychological and emotional disaster of an entire generation. On the other hand, he accounts for Fascism's disastrous aftermath by taking recourse, quite paradoxically, in statistics. He thus replicates, as a film director, Stefano's father's helplessness. Stefano's father is a professor of statistics at the university. 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.
Broken Time, Fragmented Space: A Cultural Map of Postwar Italy by Anna Maria Torriglia