‘An entirely new land’? Italy’s post-war culture and its Fascist past

Scholarship has for decades emphasized the significant continuities in Italian culture and society after Fascism, calling into question the rhetoric of post-war renewal. This article proposes a reassessment of that rhetoric through the analysis of five key metaphors with which Italian intellectuals represented national recovery after 1945: parenthesis, disease, flood, childhood and discovery. While the current critical consensus would lead us to expect a cultural conversation characterized by repression and evasion, an analysis of these five post-war metaphors instead reveals both a penetrating reassessment of Italian culture after Fascism and an earnest adherence to the cause of national revitalization. Foregrounding the inter-relation of Italy’s prospects for change and its continuities with Fascism, these metaphors suggest that post-war Italian intellectuals conceived of their country’s hopes for renewal, as well as its connections to the recent past, in terms that transcend the binary division favoured in many historical accounts.     

Resistance,Charity, and Rebirth in Roberto Rossellini's Rome,Open City

Abstract

With its use of contemporary events, location shots, and a plot that mixes comedy, tragedy, and passion play, Roberto Rossellini's 1945 film Rome, Open City founded the movement known as “Italian Neo-Realism.” The film vividly presents the Christian teaching on the relation between religion and politics. Rossellini asserts that a Christian Europe can be reconstructed only on a foundation of charity rather than hate, vengeance, or even justified punishment for Nazi crimes. It is not on the basis of tales of resistance that Italians and Europeans can be reborn, Rossellini argues, but on the basis of the Christian command to “love your enemies.” European rebirth means the installation of a moral order that makes parenthood feasible and respectable. By reflecting on Rossellini's masterpiece, I examine the triumph and the tragedy of the Christian Democratic Europe that Rome, Open City foretold and helped to found.     

Local government and the meanings of political representation: A case study of Bologna between 1860 and 1915

Since the early nineteenth century political opposition became a central concept of political representation in constitutional monarchies. While this concept marked the political language of unified Italy on the national level, in local administration the legitimacy of political opposition remained an issue of dispute, as illustrated in this analysis of the political language in Bologna's local council. Local perceptions of national events, like the government's reaction to Garibaldi's unsuccessful Mentana-campaign, assumed major symbolic meaning in local politics and challenged traditional understandings of municipal administration by introducing the concept of political opposition. In Bologna, after Rome the second city of the former Papal State, the Moderates were able to grow into a position of political hegemony after the Unification of Italy and remained the predominant political force also after Italy's “parliamentary revolution” of 1876 and the electoral reforms of the 1880s. As a consequence of its limited influence on the local administration, Bologna's Left defined its ideological profile earlier and more clearly than the Left in other parts of Italy and integrated issues of national importance into local political discourse. Analysing the relationship between central administration and periphery, the article reveals the development of political language and the changing meanings of political representation between Unification and World War One and explains on this basis the escalation of social and political conflict in Finesecolo Italy.     

Life Is Beautiful : four riddles,three answers

Four riddles occur in the dialogue of Roberto Benigni's 1998 film, La vita è bella ( Life Is Beautiful ). Solutions to the first three are provided almost as soon as they are uttered, but a fourth riddle, spoken at the film's climax, remains unanswered. Exploring possible meanings of the fourth riddle illuminates the film's meaning. Although the riddles may seem to be relatively unimportant bantering between two of the major characters (Guido, the Italian Jew, and Captain Lessing, a German Nazi officer and physician), they are critical to the unfolding of the plot and significant in the portrayal of the two characters who employ them. Most importantly, they act as condensed expressions of the film's themes, complementing and giving deep texture to its narrative expression of the same ideas. Through the riddles and other folk and children's genres - such as game and folktale - La vita è bella asserts not only that art helps us survive, but that the humblest art is the daily weapon against the most formidable attacks on the human spirit.     

#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.     

Bad news from an aberrant city: a critical analysis of the British press's portrayal of organised crime and the refuse crisis in Naples

This article examines the coverage of Naples since 2000 in the Guardian and the Independent, paying particular attention to their portrayal of the Camorra and the refuse crisis. It argues that this coverage was not simply riddled with stereotypes but was also characterised by significant inaccuracies and omissions. Analysts in Italy have detailed how the trash emergency in 2008 was the outcome of corporate malpractice and institutional complicity and that organised crime, although intent on exploiting the situation, was not a determining factor. The British press, instead, tended to conflate the breakdown of the urban waste cycle with the dumping of toxic waste and, by inverting cause and effect, to point the blame at the Camorra. These accounts, it is argued, are partially explained by the very nature of foreign news that seeks out dramatic and clear-cut stories for an otherwise disinterested audience. They also reflect the heightened interest in the Camorra following the Secondigliano War and the English translation of Roberto Saviano's Gomorrah. However, the article suggests that it is the press's assumption that Naples is already an ‘out of the ordinary’ urban setting that ultimately precludes the possibility of an informed coverage of the city and its predicaments.     

The camp and the question of community

Recent literature in camp geographies has sought to emphasize the significance of political agency among camp residents, particularly in refugee camps, as part of a critical reaction against the highly influential Agambenian conceptual vocabulary of exception and bare life. The concept of community has been integral to this body of work, with diverse accounts of the camp implicitly or explicitly positioning community as the natural scale through which camp resident and inmate agency is formulated, and yet there has hitherto been little research reflecting directly on the meaning that community takes on in the specific context of the camp. In this article we adopt Roberto Esposito's critique of the concept of community to problematize the assumption that camp communities necessarily constitute a space of empowerment and agency for camp residents and inmates. Drawing on Esposito's genealogical account of communitas (2010), whereby community is encountered not in terms of a property shared among individuals but instead as the loss of individuality and other forms of ‘the proper’, we suggest that the implementation of community, while generative of agency, is also fundamental to camp authorities and related regimes of power. Furthermore, we argue that the operation of camp communities includes its own forms of politics that are specific to the exceptional space of the camp and that potentially expose individuals to violence. We develop this argument through an experimental reading of communitas in relation to the two empirical contexts that have been most influential on the trajectory of camp studies within geographical debates, the concentration camp and the refugee camp, represented in this paper by Auschwitz and the contemporary archipelago of Serbian refugee camps respectively. The ambivalent account of power relationships emerging from these readings suggests that Esposito's rendering of community may have important analytic value in investigating the complexity of camp spatialities and the distinctive co-articulation of power and agency therein.     

Historians and friends: reflections on some contemporary historians*

ABSTRACT

This article is based on the text of a talk at the University of Athens in October 2018, in which I drew brief cameo portraits of five historians who inspired me and whose lives I admire: David Herlihy (1930–1991), Michael Baxandall (1933–2008), Marino Berengo (1928–2000), Hans Baron (1901–1988), and Marvin Becker (1922–2004). It is difficult to find strong common methodological or ideological ground shared by all five. Their priorities were different, their guiding lights in each case came from an internal dialogue between their own passions and the inspiration they received from teachers and readings, not by the methodological preferences that dominated the profession in their lives. What, in the end, left a deep imprint on me was their character. Their commitment was to ideas and to dialogue. National, religious, ideological, or methodological differences did not cloud their judgment of others, especially of young scholars. All five, growing up in the Fascist era, were portents of the more level tones of the liberal democracy that slowly, amid myriad obstacles, set root in the decades following 1945.     

‘I draw a line here and open a new chapter’: The Bagrow-Almagià Correspondence 1947–1955

ABSTRACT

The Imago Mundi archives, held in the Map Library of the British Library in London, contain the correspondence between Leo Bagrow, the founding editor of Imago Mundi, and the Italian geographer and historian of cartography Roberto Almagià. Their correspondence, which continued throughout the late 1940s and early 1950s, brought out the worst in their very different characters, at times to an almost comical extent. The exchanges reveal Bagrow’s somewhat brusque editorial methods but also show his vision for Imago Mundi and demonstrate his total dedication to the history of cartography. The letters also provide a revealing commentary on the immense difficulties of international communication and research in the immediate post-war years, and the persistence of the cultural nationalism that dominated the history of cartography as an academic pursuit in this period.     

Professor Camillo Negro’s Neuropathological Films

Camillo Negro, Professor in Neurology at the University of Torino, was a pioneer of scientific film. From 1906 to 1908, with the help of his assistant Giuseppe Roasenda and in collaboration with Roberto Omegna, one of the most experienced cinematographers in Italy, he filmed some of his patients for scientific and educational purposes. During the war years, he continued his scientific film project at the Military Hospital in Torino, filming shell-shocked soldiers. In autumn 2011, the Museo Nazionale del Cinema, in partnership with the Faculty of Neurosciences of the University of Torino, presented a new critical edition of the neuropathological films directed by Negro. The Museum’s collection also includes 16 mm footage probably filmed in 1930 by Doctor Fedele Negro, Camillo’s son. One of these films is devoted to celebrating the effects of the so-called “Bulgarian cure” on Parkinson’s disease.