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' history in their fascist upbringing and schooling through attempting to craft a brand new cultural id for themselves and the rustic. The continuities among the tradition of the fascist and post-fascist classes have been, despite the fact that, a ways 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 quite a few severe techniques, Torriglia investigates the efforts to reconstruct a private in addition to a collective self through reading either canonical and lesser-known cinematic and literary texts. equipped 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 identification - the examine additionally contains historic introductions and sociological remark that gives an intensive and eye-catching photo of the cultural creation in Nineteen Fifties Italy, a interval that has now not but been generally studied.
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Extra resources for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
Oltre alia nostra vita intima, ci legano le nostre idee. E' una cosa che forse lei non puo capire fino in fondo. Una fissazione, magari, ma che ci serve per essere quelli che siamo. Consideriamo la reticenza ilpeggiore dei tradimenti. E chi mentisce, anche per delle sciocchezze, e un appestato. ™ (italics mine) It is clear here that the tradimento, the betrayal Bruna is referring to, is both emotional and ideological. When she says 'non e soltanto un uomo delle mie stesse idee e anche mio marito,' the fact that he is her husband is secondary to the fact that they share a political agenda.
The house is silent except for the ticking of the clock; then we hear the mother's voice without seeing her. The fact that we cannot locate the subject of the gaze, since the gaze is not generated by a character, creates a sense of unease and establishes the house, from the l8 Broken Time, Fragmented Space beginning, as an empty stage in which Stefano and Luisa come and go as guests, while the other characters - their father and mother - also perform empty roles. In this scenario - an empty house - the theme of time is addressed over and over.
While in the Fascist family the father enjoyed a position of undisputed respect,56 there is no communication between Stefano and his father, nor does the father exert any control over his son's life. The distance between father and son is clearly addressed the night of Stefano's birthday. '58 The father refers to him as 'today's youth,' and therefore as an abstraction, since Stefano - the individual - is subsumed into a generic group, youth. With this statement, Stefano's father detaches himself from his son, precisely by using time as an indexical category, while also refusing responsibility for his son's choices.
Broken Time, Fragmented Space: A Cultural Map of Postwar Italy by Anna Maria Torriglia