Italian Jews and their ‘political’ reactions to the fascist regime’s anti-Semitic campaign*

ABSTRACT

The article intends to emphasize the political redefinition of Italian Jews in reaction to the fascist aggression and its different answers ‘organized’. Since 1934 there arose strong divisions within Italian Judaism: the real issue of contention, however, did not reside in the attitude towards fascism, but in the judgement on Zionism and postponed a long-standing dynamics. A group of Jews, called ‘bandieristi’ from a magazine called La Nostra Bandiera, on the basis of a ‘fascist’ programme and anti-Zionism, tried to replace the official establishment of the Jewish representatives, the Union Community of Italian Jewish, as a reference to the fascist authorities. The Union was accused by the ‘bandieristi’ of being complicit with international Jewry and Zionism. The confrontation with fascism exasperated the Italian Judaism internal contradictions, putting in long-term dynamic light that preceded fascism and survived the early post-war years.     

From prophecy to apocalypse: the verb tenses of Jerusalem in Robert the Monk's Historia of the First Crusade

In the prologue to his Historia of the First Crusade, Robert the Monk posed this rhetorical question: ‘since the creation of the world what more miraculous undertaking has there been (other than the mystery of the redeeming Cross) than what was achieved in our own time by the journey of our own people to Jerusalem?’ For Robert, the answer was of course simple: nothing was more miraculous. Yet when we answer that question along with Robert, we lose sight of its significance, and how staggering that claim actually would have been in the early twelfth century. For Robert, the events of 1095–9 signalled a new moment in sacred history. Old Testament prophecy had come true in his own day. What ‘was to come’ became what simply ‘was’. For Robert the Monk, prophecy became apocalypse.     

„Simulanten des Irrsinns auf dem Vortragspult“: Dada,Krieg und Psychiatrie,eine ‚Aktive Traumadynamik‘

“Simulanten des Irrsinns auf dem Vortragspult”: Dada, War and Psychiatry – ‘Active Dynamics of Trauma’. This paper relates stage performances of dada artists to war neurosis and shell shock as sociocultural phenomena. The leitmotif of this investigation is the notion of simulation, as dada artists were referred to as malingerers (simulators) of madness by the press at the time. I hypothesize that the performers imitate/simulate with drums, shouting and ‘bruitist’ sound poems, the noises of war, staging themselves as war neurotics in a kind of shocking clinical demonstration. Both discourses intersect in the fact that many dadaists try to dodge the draft by simulating madness. The scandalizing anti-art of dada will be understood as contagious anti-pedagogy, trying to vaccinate against the madness of the era.