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 by way of attempting to craft a brand new cultural identification for themselves and the rustic. The continuities among the tradition of the fascist and post-fascist sessions have been, in spite of the fact that, some distance more than what intellectuals have been able to admit, developing an uncomfortable, occasionally schizophrenic relation to time, as a painful urge to erase the past.
Drawing on a number of severe techniques, Torriglia investigates the efforts to reconstruct a private in addition to a collective self through studying either canonical and lesser-known cinematic and literary texts. prepared round 4 major subject matters - using language, the interplay among own and public spheres, the perceptual different types of heritage and reminiscence, and the reconstruction of the feminine id - the learn additionally comprises ancient introductions and sociological remark that gives an intensive and eye-catching photograph of the cultural creation in Nineteen Fifties Italy, a interval that has no longer but been widely studied.
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Extra resources for Broken Time, Fragmented Space: A Cultural Map of Postwar Italy
Bruna joins the Partisans at age sixteen and marries a true 'compagno': Faliero. Unlike Virginia, Bruna is a 'modern' woman, a proto-feminist who has a clear perception of her social place and distinguishes between Virginia, 'persuasa che il suo compito nella vita si 26 Broken Time, Fragmented Space esaurisse tra il letto ed i fornelli' ('convinced that her life was spent between her bed and the stove'), and herself. 72 Unlike Virginia, and as a sign of her greater social awareness, Bruna is in touch with the world that surrounds her: 'Non mi succede mai nulla di cui non abbia coscienza' ('Nothing ever happens to me of which I am not aware'), she tells Virginia in a clarifying colloquium in which she tries to warn Virginia of Sandrino's evil nature.
He can do that by choosing Elena, but his choice implies the sacrifice of Virginia. Ultimately, Elena - whose position seems to anticipate Homi Bhabha's thought - is right when she assumes that one cannot escape one's history or oneself: 'mica si scappa da noi stessi ... Papa diceva che ci si porta sempre dietro, come portiamo il viso. '85 By putting these words in Elena's mouth, Pratolini unveils his own pessimist outlook both on the past and on the future. In effect, he denies that a positive future can evolve from a Fascist past, thus also denying hope for a better, more ethical life for those teenagers who were educated according to its ideology.
He is covertly investigating a robbery and homicide case in the university environment. Here, on the very day of the students' enrolment, he meets Luisa, an assertive young girl whose father teaches statistics at the university. Marcello courts Luisa and is gradually introduced into her family. He thus meets Stefano, Luisa's brother, a twentyyear-old rude and selfish young man who leads a luxurious and intense nightlife. Stefano keeps expensive liquors in the closet of his room. ' The brother is the cruel and pitiless leader of a band of four, always ready to commit the next robbery, this time in the university registrar's office.
Broken Time, Fragmented Space: A Cultural Map of Postwar Italy by Anna Maria Torriglia