Fascist censorship on literature and the case of Elio Vittorini

This article tackles the issue of literary censorship in Fascist Italy. The first part offers an outline of the organization and the practices with which the regime attempted to control publishers and authors. It tracks the development of Mussolini's Press Office into a fully fledged ministry, examines the introduction of a semi-preventive form of censorship, and looks at the effects of the anti-Semitic laws. The second part concentrates on the literary activities of the novelist, editor and translator, Elio Vittorini. His many encounters with Fascist censorship provide ideal subject matter for a close examination of how censorship affected literary production. It also provides an example of the need to re-address aspects of Italy's literary history during the Fascist period, particularly in relation to questions of coercive and consensual collaboration with the regime.     

论法西斯意大利的外交选择

凡尔赛格局中,法西斯意大利既非“有”的国家,也非“无”的国家,而是介乎“有”与“无”之间的中间力量。意大利最后盟随德国,并不是一开始就有的既定方针,而是它在两次世界大战之间或主动、或被动的外交选择的结果。     

Fashion,the Politics of Style and National Identity in Pre–Fascist and Fascist Italy

The essay offers an analysis of fashion and its bearing on the construction of national identity and politics of style during fascism in Italy. No recent work on fascism has analysed the role of fashion in the complex and contradictory phases of the cultural politics of Mussolini’s regime. The essay aims to illustrate the two sides of fashion and their relevance to the period in question. It shows, on the one hand, how the regime used fashion to discipline the social body, especially women’s, and to create a national style recognisable as such; and, on the other, how fashion is also an individual act through which was expressed the creativity both of the people working in the fashion industry and of ordinary people who used fashion and style to demonstrate their non–conformity with the diktats of the regime. Pointing out that it was as a result of the debate on nationalism of the pre–fascist liberal period that premises for fascist policy were set, the essay argues that the history of fascist fashion policy is one of continuities rather than ruptures.     

Women and Alcohol Consumption in Fascist Italy

This article examines discourses and practices around women's drinking in Fascist Italy. The history of alcohol production and consumption in Italy during the fascist dictatorship has only recently received attention; alcohol's gendered dimensions, especially women's drinking, have been hitherto overlooked. While the production of legislation, rhetoric and propaganda on alcohol consumption was dominated by men, women were identified as key constituents whose alcohol-related practices could make or break the causes of fascist propagandists, ‘anti-alcohol’ campaigners and alcohol industry associations. The article explains how Italian women were imagined and addressed by regime propagandists, alcohol industry producers and temperance campaigners as (a) simultaneously the principal victims of and responsibility bearers for male excess alcohol consumption, (b) potential ‘crisis-women’ whose unpatriotic drinking choices (whether English tea, French champagne or American cocktails) denoted their prioritising of fashion over fascist values and (c) gatekeepers of family alcohol consumer practices and consumers of alcohol in their own right. It then moves to examine sources left by interwar Italian women to explore what, how and when they drank. Ultimately, it argues that despite attempts to construct women's drinking in archly nationalistic terms, the discourses and actual practices of Italian women around alcohol consumption operated within profoundly transnational frames.     

The Institutionalization of Propaganda in the Fascist Era: The Cases of Germany,Portugal, and Italy

Almost a century after the emergence of right-wing dictatorships in twentieth-century Europe, a consensual regime paradigm has yet to be found. The debate always gets bogged down by ongoing attempts to find the definitive and complete definition of the two most common regime types: fascism or generic fascism, and totalitarianism/authoritarianism. This article claims that, although definitive nomenclatures are unlikely to be found, it is more useful to think of regimes as more or less approximating their ideal type than to posit their typologies in abstract terms. It therefore analyzes a key aspect of three dictatorial regimes: the functioning of the consensus-building institutions in Nazi Germany, in Fascist Italy, and in Salazarist Portugal. Propaganda is central to an understanding of these regimes, because it constitutes their ideological footprint—revealing what it aims for (inputs) and its capacity to impose those goals or make them popular (output). The three regimes examined here were very different from each other, and these differences can help us verify the degree to which each of them attained the standard of the totalitarian ideal type.     

Racisms compared: Fascist Italy and ultra-nationalist Japan

This article tries to compare the racisms of Fascist Italy and ultra-nationalist Japan as evidenced by foreign policy, attempting to categorize them into three dimensions: the inner logic of the nation state; the justification of expansionist foreign policies; and as an accelerator of cruelty in war. It also surveys Italo-Japanese relations by choosing some points of contact to scrutinize how different racisms reacted to each other.     

Review Article: Fascist Italy at War

RENZO DE FELICE. Mussolini l'alleato: L'ltalia in guerra, 1940–1943: 1 : Dalla guerra ‘breve’ alla guerra lunga: II: Crisi e agonia del regime. Torino: Guilio Einaudi, 1990. Pp. xiv, 1,576. L. 150,000.     

意大利法西斯政府与西安事变

1936年12月12日的"西安事变"是历史学家公认的国共关系史上的重大事件.它结束了国共之间的内战,为两党第二次合作铺平了道路,意味着中国抗日战争的开始.有关西安事变的研究,一方面可加深对1930年代苏联对中国影响的理解,同时亦可深化人们对太平洋战争后中国共产党之所以在政治上获得成功的认知.①     

Italians at war: war and experience in Fascist Italy

This article examines Fascist violence in war from the perspective of the strategies employed by the Italian army. Focusing on the military’s use of violence from the re-conquest of Libya to the civil war in Italy, the article argues that Fascism systematically employed forms of violence that were both typical and original.     

A neo-rationalist tendency in the field of the literary intellectual in 1970s Italy: Vittorini,Sciascia, Ginzburg

The article examines a constellation of intellectuals working in 1960s and 1970s Italy who are neither aligned with the extreme political projects of those years nor symptomatic of the perceived collapse in relations between high culture and politics in this period. Instead, Vittorini, Sciascia and Carlo Ginzburg are taken as illustrations of a fertile 'neo-rationalist' tendency in culture-politics relations, at once a reprise of strands from the Enlightenment, an attempt to move beyond Marxist cultural politics and a response to the spread of new intellectual disciplines. Vittorini is shown as laying the groundwork for this tendency, and Sciascia and Ginzburg as putting it into practice through hybrid discourses between narrative, politics, law and history. Finally connections are suggested between this tendency and a longer line of liberal intellectual practice, going at least as far back as the Partito d'azione group of the 1930s and 1940s. L'articolo prende in considerazione un gruppo di intellettuali italiani tra gli anni sessanta e settanta i quali non sono nè allineati con i progetti politici più estremisti di quegli anni, nè sintomatici di una sensazione di collasso imminente nei rapporti tra la cultura di alto profilo ed il mondo della politica, in questo periodo. Al contrario, Vittorini, Sciascia e Carlo Ginzburg sono qui considerati come promotori di una fertile tendenza 'neo razionalista' nei rapporti tra cultura e politica, caratterizzata da un unico tentativo di riappropriarsi di alcuni aspetti dell'illuminismo, di proiettarsi al di lÀ di una cultura politica marxista e di rispondere alla diffusione di nuove discipline intellettuali. Vittorini viene qui considerato come il fondatore di questa tendenza, mentre Sciascia e Ginzburg sono indicati come i prosecutori di questo modello culturale ibrido, prodotto dal convergere di varie discipline: narrative letterarie, politiche, legali e storiche. Infine, vengono indicate connessioni tra questa tendenza 'neo razionalista' ed una più ampia e tradizionale cultura intellettuale e liberale, che ha le sue origini nel gruppo del Partito d'azione negli anni trenta e quaranta.