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Gramsci and The South as a Space of Emancipation
39-55Views:166The paper will actively engage with the contradictions found in Gramsci in an attempt to tease out the elements of emancipation found in his thought, as well as a sub-culture of opposition against Western notions of rationality. Antonio Gramsci’s analysis of the Italian South and of the Southern Italian peasantry in relation to the formation of a radical politics of emancipation constitutes one of the most salient features of his critique of orthodox Marxism. I argue that for the Italian Marxist theorist, the liberation of the Italian peasantry is not only a project of social, economic and political emancipation. Rather, the peasantry’s emancipation is also seen as a project of cultural liberation, a liberation from the dominant strands of rationalist and positivist Enlightenment thought, which Gramsci saw as encapsulated in Crocean philosophy. For Gramsci, the task of the organic intellectuals is to create an ideational sphere in which the colonized South can potentially articulate and celebrate a culture that has historically been deemed backward and primitive. However, Gramsci’s analyses of the South also contain historicist encrustations, which create a dialectical tension in his theory of politico-cultural emancipation that has never really been solved. I argue that the positivist and progressionist encrustations of Gramsci’s program for the emancipation of the South is an instantiation of a wider, Western, 19th and 20th century intellectual tradition which conflates “progress” as such with emancipation, a tradition that goes beyond the Italian and European context, and that is even paralleled by the model for black emancipation in the American South put forth by a figure as seemingly divergent as, say, W.E. B. Du Bois in the The Souls of Black Folk (1903).
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Staying or leaving? On the non-stereotypical representations of Naples
36-53Views:346The literary image of Naples, “Capital of the South”, that sees periodic alternations of crisis and splendour in the arts, is certainly dichotomous: on the one hand the locus amoenus in which inventiveness flourishes and different cultural traditions intersect and live together, on the other the symbolic place of immense social disparities, an outbreak of epidemics and the cradle of a lax and reactionary mentality. The image used by Benedetto Croce to define the city, “a paradise inhabited by devils” dates back to the Middle Ages, and is denied from time to time by the authors who intend to build a positive myth of Napoletanità, but already in the early 20th century, and then especially in the period from 1943 (to the present day), there are increasingly critical accents towards this image, which result - more than in hatred or in contempt for the city and its inhabitants - in a tendency to move away from Naples, to abandon a contradictory reality that does not solve its problems, but like a virgin forest grows back destroying every element of progress. The writers examined in the article are: Carlo Bernari, Anna Maria Ortese, Raffaele La Capria, Fabrizia Ramondino, Ermanno Rea, Giuseppe Montesano, Elena Ferrante.
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“I can't write English, not even Italian... give me any 'giobba'": the Italian emigrants in the theater of Nino Randazzo
56-68Views:173The paper examines the cultural, social and linguistic representation of Italians emigrated to Australia in the writing for the theatre of Nino Randazzo, a playwright of Aeolian origin, who emigrated to Melbourne in 1952, considered one of the most important and prolific authors in the context of the so-called “letteratura dell’emigrazione”, and more particularly the Italian-Australian literature in italian language. Of particular interest is the theme of cultural and social prejudices of Anglo-Australians towards people of Italian origin, labelled as ignorant, impossible to acculturate and to discipline, largely linked to criminal organizations, which mostly speak a mixed variety of Italian and English. Thus, in particular, in the comedy Il Sindaco d’Australia (1981), in which the stereotypical (but hilarious) image of the emigrant from the south of Italy, impulsive and ambitious, characterized on a linguistic level by the use of Italian-Australian terms; and in the comedy Victoria Market (1982), conceived by Randazzo as a protest against the tendency on the part of Anglo-Australians to build stereotypes towards Italian-Australians, in this case the one that Italian equals mafioso. Randazzo’s theatre, however, manages to distinguish itself from the works of the majority of first-generation Italian-Australian playwrights for its attempt to demystify such prejudices and clichés in an enjoyable way. It is in the choice of a popular tone of comedy, also achieved through the skilful mixing of more traditional Italian forms with Italian-Australian terms typical of the years in which the narrated events are set, that the specific aspects in this author lay.
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Between description and re-enactment: fantasies of a return to the South in the short stories of Giovanni Verga
Views:207In his works, Giovanni Verga does not depict Sicily through an accurate description of reality, but through a mental representation of the same from the distant city of Milan, where he lives. Beyond the borders of Sicily, modernity devours characters, whose destiny is not described by Verga. He is the only one allowed to move in this space “di là del mare” (lit.“beyond the sea”), from which he observes “dall’altro lato del cannocchiale” (lit. “as from the other side of the telescope”) the “larve” (lit. larvae) that live in the island. The purpose of this article is to show how Fantasticheria, I dintorni di Milano, Di là del mare, and Passato! have as a common ground a process of recreation of Sicily as a place linked to a past that is never coming back, so the island is described from an idealized and nostalgic perspective. Modernity is indeed a condition as irreversible as death, which, in Passato!, appears as a ruthless conclusion of this process of reconstruction.
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Witnessing "another time within our time": Carlo Levi's Tutto il miele è finito
10-27Views:176Tutto il miele è finito is part of Carlo Levi’s interest in Other cultures and in the continuity of the encounter with the anthropological diversity of Southern Italy inaugurated by Cristo si è fermato a Eboli. This article focuses on the theme of the archaic, and on the perspective of the “contemporaneity of times” that characterizes Levi’s thought, in order to demonstrate how from Tutto il miele è finito emerges the testimony “of another time that precedes history but that is itself contemporary of history and as present as history itself” (G. Agamben).