Multi/Interdisciplinary investigations into Italy and World War I: An introduction

This introductory article details some of the main points that characterized Italian politics and culture in the period leading up to World War I and during the war itself, and then surveys the contributions of each article in this series that further investigates the period. The authors note the febrile nature of Italian domestic politics before the war which challenged traditional liberal parliamentarism. This political challenge was accompanied by a challenge to traditional art, and no movement epitomized these twin challenges to the old order like Futurism. Yet, though the Futurists and other nationalist groups glorified war and helped push Italy into the conflict, the country was hardly united. In fact, the hope was that war would finally unify the nation and erase the shame of Italy’s lackluster military performances since unification. As such, Italy’s cultural experience of the war was somewhat unique, in that the desire to prove its martial valor did not lead to the level of denunciations that other nations’ artists and writers produced – though there were some critics. Ialongo’s article traces the Futurist contribution to this pro-war ethic. Reich shows how the popularity of the Maciste alpino film during the war built upon this desire to unify the nation behind the war. And Palanti’s analysis of the post-war film Umanità notes that there were critics in Italy willing to challenge the cult of war.     

A female war correspondent on the Italian front, 1915–17: the Austrian travel journalist and photographer Alice Schalek

In July 1915, Alice Schalek was accredited to the Austro-Hungarian Kriegspressequartier (War Press Office) as one of a small number of female war correspondents, publishing her war reports and photographs in the prestigious Viennese newspaper Neue Freie Presse and in the illustrated German magazine Berliner Illustrirte Zeitung. Schalek’s writings and photographs were very popular, but also sharply criticized in some quarters for their alleged lack of objectivity and a tendency to glorify the war. Her most prominent critic was the Austrian writer and journalist Karl Kraus, whose negative judgment dominated Schalek’s historical reputation for many decades. Focusing on Schalek’s assignments to the Italian front during 1915–17, this article looks at the working conditions faced by Schalek as a female war reporter and reconstructs the war images she transmitted to the public through her writings, photographs, and lectures. Moreover, it asks in what ways Schalek’s work reflects a female perspective on the war.     

War is its Own Justification: What Americans Think about War

Abstract

The authors deal with the morality of war in American culture. They argue that a war ethics that was characteristic of the Cold War has given way to a warrior ethics as it has developed in post-Vietnam America, in print media, popular sentiment, and film. According to this warrior ethics, the citizenry's support for soldiers, regardless of the justice of war, is understood to create social solidarity. Wars are easily justified because, at bottom, war is understood to be its own justification. It unites a country. This popular conception of war both props up more high-minded, political rationales for war and undermines traditional just war ethics. The article uses the war in Iraq as a case study. It analyzes the Bush administration's defense of the war alongside similar accounts of the just war theory given by Richard John Neuhaus, Michael Novak, and George Weigel.

"As a moral problem, war is ultimately a problem of policy, and therefore a problem of social morality." John Courtney Murray     

Southern rebels against Italian unification: the Great Brigandage in the province of Capitanata

This article explores counter-revolutionary brigandage in Southern Italy after 1860 (also known as Great Brigandage). Working from archival sources, the article offers a new interpretation of the interactions between the political, social and criminal aspects of the guerrilla war against the Risorgimento. Notwithstanding the plurality of the individual motives leading single actors to fight, it is argued that brigandage was an essentially political phenomenon and that the alliances between common bandits and loyalist forces were made possible only in the macro-political setting of the collapse of the Neapolitan monarchy, the difficulties facing Italian state-building, and the emergence of popular legitimist sympathies after 1860.     

Enrique Díaz Retg and El Diluvio: reportage from the Italian frontline (1916)

In the year 1916 Enrique Díaz Retg, a staff journalist working for the Spanish newspaper El Diluvio, extremely popular among Barcelona’s working class readers, was assigned to report from the Italian front. Following an invitation from the Italian Foreign Office, he was granted permission to visit war zones under the control of the Italian army. During this journey, which began on 5 September and concluded in Rome on the 22nd, he traveled with two other famous Spanish reporters, Ramón Pérez de Ayala and Eduardo Gómez de Baquero. Comparing the articles produced by the three journalists allows us to perceive the main distinctive features of Enrique Díaz Retg’s work. From an ideological point of view, his articles reveal a bias in favor of the Latin race and in them he calls for Mediterranean nations to unite, openly inviting the Spanish authorities to enter into war against the barbaric German enemy. In doing so, he contributed to widening the social gap that in the years to come would increasingly alienate the working class from the institution of monarchy and the Catalan elites.     

Allied escapers and the contadini in occupied Italy (1943 – 5) 1

Abstract

The little-known ‘great escape’ of Allied prisoners-of-war (some 50,000) held in Italian camps at the time of the armistice of 8 September 1943 provides the starting-point for a fresh interpretation of popular and peasant experience during the emergency of 1943 – 5. The article explores some of the main aspects of the ‘strange alliance’ between Allied fugitives and the Italian population, with particular attention to the mutual symbolic appropriation between former ‘enemies’ in the midst of a civil war and related collapse of the state.     

Popular geopolitics of Chinese Nanjing massacre films: a feminist approach

This article attempts to deconstruct the masculinised contract among the war narrative, popular culture, and Chinese nationalism by exploring the roles of women in Nanjing Massacre films with war narratives and Chinese audiences' emotional ‘readings’ of these women. Based on the analysis of City of Life and Death (2009) and The Flowers of War (2011) and audiences' comments on these two films from Douban Movie, this article has mapped a popular geopolitics of these two films through a feminist approach. The main argument of this research points out that, through the production and consumption of these two films, the women of the Nanjing Massacre can be territorialised as Nanjing/China and used to represent China's attitudes towards both the historical and current Sino–Japanese relationship. In this way, the women of these films can be considered an articulation of popular culture and politics, and they are empowered to establish Chinese nationalism and construct anti-Japanese identities in Chinese society. To a wider extent, this article can be read as a contribution to the literature on gender, nationalism and popular geopolitics.     

Blurred images: Indro Montanelli’s anti-politics

Through a close reading of Indro Montanelli’s 1944/1945 novel Here They Do Not Rest, this article argues that the famous and popular Italian journalist Montanelli contributed significantly to a particular Italian form of ‘anti-politics’ after the fall of fascism. It argues that anti-politics in Italy provides the foundation for the county’s right-wing populism and that it makes a significant contribution to political and historiographical revisionism of the fascist past. Indro Montanelli is read as an important architect of this revisionism and as such read against his popular image.     

Sender,those who have not returned: Carlo Salsa and his ‘Trenches’

Abstract

Carlo Salsa’s book ‘Trenches: A foot-soldier’s tales’ (Trincee. Confidenze di un fante, 1924) was one of many published in Italy after the end of the First World War. It describes the facts of the war as they were lived by officers and soldiers on the Italian front line. The article tries to compare the book with the contemporary war literature in Italy and in Europe, without forgetting the use of the international historiography on the matter. Thus, it is analysed the way an Italian author described to his readers the brutal carnage of the war in years when Fascism was the rising star in Italian policy and the censorship was becoming the more and more a thornily factor for every writer of those days. From this analysis it is possible to note the quality of the volume both from the literary point of view, and its historical value as a reliable testimony of the facts, stepping up our knowledge of what the war literature was for the Italian public opinion after the 1918. As it is possible to note, the book puts under test our notions of the role played by this kind of literature in shaping the Italian political life at the end of the 1910s and at the start of 1920s, when Italy was becoming a country lead by the Fascist regime.     

Giuseppe Antonio Borgese and Italian propaganda abroad

After the outbreak of war, public and private institutions in Italy embarked on various propaganda projects without coordination. It was not until Vittorio Emanuele Orlando became prime minister (from 30 October 1917 to 23 June 1919) that the first serious efforts were made to organize propaganda abroad. G. A. Borgese, a contributor to the Corriere della Sera, took an active role in the defense of Italian intervention in the war and was assigned various missions abroad, commissioned by the editor of the newspaper and, after this first experience, by the army and naval authorities, and by Orlando himself. His unpublished report Dello spirito pubblico in Francia, written at the end of his mission to Paris in March and April 1917, describes Italian propaganda efforts in France and French public opinion on Italy and the Italians, making it an important text that reveals both the problematic relations between Italy and France and the mistakes and shortcomings of Italian propaganda.     

The Italian Enlightenment and the Rehabilitation of Moral and Political Philosophy

ABSTRACT

By reconstructing the eighteenth-century movement of the Italian Enlightenment, I show that Italy’s political fragmentation notwithstanding, there was a constant circulation of ideas, whether on philosophical, ethical, political, religious, social, economic or scientific questions, among different groups in various states. This exchange was made possible by the shared language of its leading illuministi—Cesare Beccaria, Ludovico Antonio Muratori, Francesco Maria Zanotti, Antonio Genovesi, Mario Pagano, Pietro Verri, Marco Antonio Vogli, and Giammaria Ortes—and resulted in four common traits. First, the absence of a radical trend, such as the French materialist-atheist trend and, British Deism. Second, the rejection of inhumane laws and institutions, capital punishment, torture, war and slavery. Third, the idea of public happiness as the goal of good government and legislation. And fourth, the conception of the economy as a constellation where social capital, consisting of education, morality, and civility, plays a decisive role. I conclude that the Italian Enlightenment, not unlike the Scottish Enlightenment, was both cosmopolitan and local, which allowed its leading writers to develop a keen awareness of the complexity of society alongside a degree of prudence regarding the possibility and desirability of its modernization.     

Working with images and texts: Elio Vittorini’s Il Politecnico

Il Politecnico (1945–47) is the most relevant Italian cultural journal in the immediate aftermath of WWII. It is also the most anomalous; the systematic integration in its graphic layout of textual and visual elements made it more similar to the illustrated magazines of the time than to other cultural journals. The choice to present highbrow contents in a graphic layout associated with popular mass media served to complicate the already tricky relationship between the editor – the writer Elio Vittorini – and the intellectuals working in the cultural agencies planning the journal: the Italian Communist Party and the publishing house Einaudi. A reconstruction of the intellectual network surrounding Il Politecnico and of how it began shrinking during the months of its lifespan shows how this conflict developed and finally led to its closure.     

Pasolini contro Calvino: culture,the canon and the millennium

This article offers an account of a recent debate in the cultural pages of the Italian press on a polemical work of literary criticism entitled Pasolini contro Calvino, in which the two authors are shown to represent emblematically different attitudes towards literature, cultural institutions and the culture industry in post‐war Italy. The debate surrounding this claim is examined in substance, but also as an illustration of the workings of culture in 1990s Italy.     

The Good Woman: the provenance and purpose of Montelupo oil jars

In memory of Ronald Coleman of Chapel Hill, Queensland, Australia (1938–2008)

SUMMARY: The Tuscan origin of the characteristic large oil jars found all over the world was confirmed by neutron activation analysis about 20 years ago, although some still call them Iberian storage jars. Our paper presents the unpublished analytical data and considers whose oil they contained. Italian records show that in the 18th century Montelupo despatched coppi (jars) down the River Arno to Lucca, where the best Italian olive oil was produced, and to Livorno (Leghorn), then the largest emporium in the Mediterranean for transit trade. In London, the jars became a familiar sight with different high and popular cultural meanings.     

The English Patient and the Italian Risorgimento: Medical Tourism and the Body Politic in Giovanni Ruffini's Doctor Antonio (1855)

Doctor Antonio (1855), Giovanni Ruffini's novel of therapeutic travel, cross-cultural love and Risorgimento propaganda, pairs an English patient's quest for renewed health in Italy in the 1840s with the concurrent resurgence of the Italian nation through political action. An Italian revolutionary activist turned man of English letters, Ruffini wrote seven novels in English, of which the second, Doctor Antonio, was his greatest critical and popular success. Employing the popular Victorian practice of recuperative travel as a key plot device, and using this device to convey Italian political messages to nineteenth-century English readers, the novel offers a context-specific variation of the rhetorical tradition of representing the ‘body politic’ as a site of health, disease and medical management. This essay investigates Doctor Antonio's relation to Anglo-Italian literary, political and medical contexts in the mid-nineteenth century. More specifically, it analyses how the novel's medical plot supports Ruffini's aims of challenging negative stereotypes of Italians and advancing the cause of Italian liberalism. A reading of Lucy Davenne's illness and treatment as an allegory for the condition of the ailing, but potentially resurgent, Italian nation is developed and critically reflected upon. The intersection of medical and political frames of meaning in the text is further explored by interpreting the space and community of Lucy's convalescence as the model of an ideal society to which both English and Italians might aspire. Finally, the essay considers the novel's material impact on the development of medical tourism in northern Italy, and the political significance of this impact.     

Unmaking the fascist man: masculinity,film and the transition from dictatorship

This essay examines the recasting and renegotiation of Italian masculinity during the war and during the transition from dictatorship to democracy. Film is my privileged source for understanding the complexities of male experience during this period of dramatic change, but I also rely on war crimes charges, diaries and memoirs. While not explicitly comparative in nature, the essay considers whether we can speak of a ‘crisis of masculinity’ in postwar Italy akin to that diagnosed by historians of postwar Germany and France. Within this broad frame, the essay focuses the experiences and representations of one category of men who evoked particular anxieties about the legacies of defeat and the redemption of Italian men for democratic models of fatherhood and citizenship: veterans, in particular returned prisoners of war. The 1946 film Il bandito (The Bandit, Alberto Lattuada), which I analyze in the last section of the essay, dramatizes the situation of these returned prisoners and the problem of a generation of men raised according to fascist norms that linked masculinity to the performance of aggressive acts.     

Debunking the cliché of Italian military cowardice: the Italian military internees and Guareschi

This article has two goals. The first is to challenge the cliché (outside Italy) of the cowardly and clownish Italian soldier by recalling the voluntary journey to concentration camps (Lagers) of 650,000 soldiers and officers, the so-called Italian Military Internees (IMI), who said ‘No!’ to the German ‘invitation’ to swear an oath of loyalty to the Reich upon the declaration of the armistice on 8 September 1943. Despite a reign of terror in the Lagers in which they were interned, most continued to resist until they died or were repatriated at the end of the war. The second goal is to examine the idiosyncratic evocation of officers’ experience as IMI by Giovannino Guareschi in his Diario clandestino (1949). He played a major role in the IMIs’ ‘unarmed resistance’ in the four Lagers in which he was interned and the work consists mostly of material written in situ for his companions in misfortune.     

The American war: Italian culture and Hollywood movies on the Second World War

Abstract

This article deals with the reception of American narratives on the Second World War in Italy, assuming the key role that myths and memories about the conflict played in post-war Europe and the importance of transcultural exchanges in the mass-media age. Such narratives were not imported to Italy by official US propaganda, but were mainly conveyed by Hollywood war movies, which were centred on the ideas of the righteousness of the conflict and of the fight between good and evil. The article focuses on a specific sector of the Italian audience, that of critics and film reviewers, who played a key role in interpreting the films and in fostering their acceptance – or refusal. Through the analysis of cinema magazines and newspapers, the research outlines how the reception of such movies was influenced by multiple elements, the different political and ideological allegiances, the cultural gap between elite and popular periodicals, and the interactions with Italian myths and memories about the war. Finally, the article compares the results of the inquiry with the rare sources about the reception of American narratives among a mass audience, and underlines the importance of a transnational approach to the study of cultural issues in contemporary history.     

#GomorraLaSerie: Converging audience and enhanced authorship on twenty-first-century Italian screens

Based on Roberto Saviano’s book Gomorra (2006), production of the TV series Gomorra – La serie (2014) was met with scepticism as many feared it would glamorise organised crime and, consequently, attract young people toward Camorra affiliation. The series’ bleak portrayal of criminals and criminality was offered as a response to such concerns. Despite the preoccupations, Gomorra – La serie was hugely successful and, because of its quality, was sold to other countries. In Italy, the series’ success can be measured by the popularity of its Twitter hashtag #GomorraLaSerie. Engaged with Henry Jenkins’ theories of media convergence and based on a corpus of tweets bearing this official hashtag, this article proposes a quantitative analysis and advances conclusions regarding the Italian TV audience and second-screen viewing practices. Additionally, through a qualitative study of Saviano’s tweets about the series, it examines the writer’s use of the social media platform as a tool of narrative continuity. Finally, the article highlights a few examples of fan-generated media and concludes with remarks regarding Saviano’s problematic position at the centre of a transmedia object.     

Paragone: notes on hegemony and realism in the 1950s

This article focuses on the literary review Paragone and on the debate on realism articulated by the review and by the Cultural Commission of the Italian Communist Party (PCI) in the 1950s. By analysing the review’s internal composition, correspondence between its contributors, and records of the PCI’s Cultural Commission, this article highlights a series of issues relating to the debate on realism in the 1950s, as a critical time, in both aesthetic and political terms, for the determination of Italian culture’s identity profile. Specifically, the article discusses the key features of the debate on realism that unfolded in Paragone, and relates these to the debate simultaneously developing within the Cultural Commission. This comparison allows us to argue for a close connection between the aesthetic habitus displayed by an independent review and that embraced by a cultural institution with a distinctly political as well as cultural agenda.