Stanislao Pugliese - Academia.edu (original) (raw)

Papers by Stanislao Pugliese

The American Historical Review, Apr 1, 2012

The Italian American review, 2016

Forum Italicum: A Journal of Italian Studies, 2013

di ogni sorta o colore – sembrano viverla come qualcosa di normale, di ovvio e quotidiano. Un ese... more di ogni sorta o colore – sembrano viverla come qualcosa di normale, di ovvio e quotidiano. Un esempio su tutti: il confronto televisivo su media e società tra un intellettuale e ‘‘il prestante Ano’’, con il secondo a farla da padrone grazie alle sue improbabili abilità ‘‘oratorie’’, ovviamente molto apprezzate dal pubblico: ‘‘[c]ercando di proferire parole ponderate, Ano fu colto da un brusco attacco di tosse petodefecante. Le telecamere vennero travolte dal letame. I telespettatori aprirono sorpresi la bocca bramosa’’ (chier spectaculaire). E ancora, altre situazioni altrettanto grottesche: ‘‘[u]n uomo, credendo si tratti di cioccolata, si getta a fauci spalancate su di un cassone, invece pieno di letame. Mangiando, si accorge che non è cioccolata, ma cosı̀ c’è scritto e pensa: ‘Ben venga’. Un secondo uomo vede il primo ingozzarsi, scorge il cartello Cioccolata, e si unisce al primo’’; ‘‘[i]n piazza un uomo gioca da solo a conversazione. Recita le due parti necessarie al dialogo. Finge di salutare. ‘Come sta?’, chiede. Si spoglia e riveste. Gira la testa e strizza l’occhio. ‘Bene’, risponde’’. Nella terza parte del libro, Fiaba per adulti, il grottesco cede il posto al tragico, la fenomenologia delle situazioni fa spazio alla descrizione delle singolarità esistenziali. Qui, infatti, compare la piccola Allegra, bambina alle prese con le prime mestruazioni, che l’autore lascia però intendere causate da una possibile violenza sessuale (‘‘qualche solco l’hanno scavato gli adulti per farle muovere i passi giusti. Un uomo le ha segnato un sentiero indimenticabile, col dito nel ventre’’). Rispetto alle prime due parti del libro, assistiamo quindi a uno scarto radicale tra forma e contenuto, che ne accentua la brutalità: la scrittura è piana, i colori sono tenui, su tutto si stende un soffice manto di neve natalizio, puro come quei minimi e dimidiati – Allegra, appunto, ma anche i suoi ‘‘amici’’, il topolino Chubby e il clown – che Hoxhvogli elegge a testimoni innocenti di una realtà altra, lontana dalla civiltà degli altoparlanti e della conversazione, una realtà ‘‘le cui radici sono nel futuro’’.

Journal of Family History, 2014

Left History, Mar 1, 2000

But such are the limitations of an image-based art history in relation to the social history of a... more But such are the limitations of an image-based art history in relation to the social history of art. Lee argues well in trying to interpret these gaps and lacunae in the historical evidence, and certainly does a good job in using the images for his defense. If some of the interpretations seem pressed, that makes the argument subject to further review and discussion by scholars. He is to be commended for attempting the difficult task of making sense of a clearly contradictory and complex history. In essence, Lee's sweeping saga is emblematic of stronger currents in contemporary social art history. The social for Lee is a complex term, combining biography, iconography, institutional history, political history, and labour history, all with an attention to explaining how and what painting precisely meant at a given place and given time to a specific audience. That he takes as his subject the crucial period in U.S. labour history of the pre-World War I1 era is no coincidence. Rather, this period still has resonance with leftist and labour debates to our own day. Lee's text thus contributes to the problems and possibilities with which such leftism has to contend. Part of the remnants of this leftist moment is the continued deification of Rivera as an all-important artist. Few would disagree that Rivera was significant. But Lee gives us new material and a new context in which we can place the production and contribution of Rivera. As such, his text thoroughly debunks the notion of an iconic leftist "master" and instead shows the artist to be part and parcel of a much more complex, much more contradictory, and hence much more realistic moment in the cultural and political production of the left. These are actions and politics from which we can still learn.

Journal of Contemporary History, Jul 1, 1997

Page 1. ournal of Contemporary History Copyright ? 1997 SAGE Publications, London, Thousand Oaks,... more Page 1. ournal of Contemporary History Copyright ? 1997 SAGE Publications, London, Thousand Oaks, CA and New Delhi, Vol 32(3), 305-319. [0022-0094(199707)32:3; IT] Stanislao G. Pugliese Death in Exile: The Assassination of Carlo Rosselli ... ...

Fordham University Press eBooks, Nov 28, 2018

the same name. What most do not know is that the figure of Professor Quaddri, assassinated by the... more the same name. What most do not know is that the figure of Professor Quaddri, assassinated by the "conformist" was modeled on the liberal socialist Carlo Rosselli. Cousins to Moravia, Carlo and his historian brother Nello were assassinated by the French caguolard in June 1937 on orders from the fascist regime in Italy. "Molto famoso, ma poco conosciuto," was how Costanzo Casucci described Carlo Rosselli to me in an interview in Rome before his death. Rosselli occupies a unique position in the pantheon of anti-fascist martyrs. Norberto Bobbio once described him, along with Piero Gobetti, as an "intellectual anarchist." A lightning rod in the debates raging within Italian socialism in the 1920s, his Socialisme liberal was published in French in 1930 and attacked from both ends of the political spectrum. Moreover, the book has suffered from the vicissitudes of the highly politicized Italian publishing industry. Rosselli's analysis of fascism, socialism and liberalism has always been a subterranean thread of the narrative of post-war Italy. If the Resistance has been the defining "myth" of post-war Italian identity and history, an understanding and awareness of Rosselli is critical. For although he may not have carried the same weight as a Gramsci or a Croce, his strand of liberal socialism has been critical and ever-present in the so-called "First Republic." That strand often found itself caught between the realpolitik of both the Christian Democrats and the Italian Communist Party (PCI). Nonetheless, it has marked the thought of many of Italy's most noted and respected political actors. Carlo Rosselli was born in 1899 into a wealthy, patriotic, Jewish family with strong ties to the Risorgimento (Mazzini died in an uncle's house.) His father was a musicologist and his mother, Amelia Pincherle, was a well-known playwright. Both the Pincherle and Rosselli families saw Jewish emancipation in Italy as directly tied

... uniforms with the fustian trousers, wearing the annoyed faces of pacifists vowed to defeat; t... more ... uniforms with the fustian trousers, wearing the annoyed faces of pacifists vowed to defeat; the English were arriving, a sixteenth-century army from a revived Merry England, drunken and impudent, amateur warriors who were the terror of the Catholic women of Brittany, and cheer ...

The American Historical Review, Jun 1, 2001

This is the first work in English to deal comprehensively with Italian anarchism from the beginni... more This is the first work in English to deal comprehensively with Italian anarchism from the beginning of the century to the rise of fascism. It reconstructs the development of anarchist and syndicalist ideas and programmes and charts their relations with Gramsci and the Turin- based Ordine Nuovo group. The book places these developments within the general context of little known links connecting Italian anarchists and syndicalists to sympathizers in Britain, France, Germany and Russia. The analysis of 'libertarian' politics in Italy is accompanied by a detailed and fascinating reconstruction of the social base of Italian anarchism that challenges the assumptions of much of the political sociology of the European Left.Developing a hitherto unexplored but important aspect of Gramsci's political ideas and strategies, this book contributes to our understanding of one of the central Marxist thinkers and activists of the twentieth century and to one of the critical moments in the history of the European Left. In bringing new life and understanding to an important chapter in contemporary Italian history, this book is likely to become a standard text on this pivotal thinker.' Levy has written a major and important study [...] likely to become a standard reference text.'John Davis, University of Connecticut

The Italian American review, 2020

The American Historical Review, Jun 1, 2001

The American Historical Review, Apr 1, 2001

Palgrave Macmillan US eBooks, 2017

The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

siamo convinti che il mito e un linguaggio, un mezzo espressivo--cioe non qualcosa di abritrario ... more siamo convinti che il mito e un linguaggio, un mezzo espressivo--cioe non qualcosa di abritrario ma un vivaio di simboli cui appartiene, come tutti i linguaggi, una particolare sostanza di significanti, che null' altro potrebbe rendere. Cesare Pavese, Dialoghi con Leuco Come quello di ogni grande artista, ii lavaro di Cesare Pavese e molto personale e, paradossalmente, universale. Ognuno lo deve confrontare alla sua maniera. E un'eredita ambigua--visione pessimistica o speranza di creazione artistica in un mondo senza speranza? L'ultimo romanzo di Pavese, La luna e i falo, confronta queste domande. La risposta dipende dal lettore. Nel suo diario, pubbicato cal titolo II mestiere di vivere, Pavese ha scritto, "Se figura c'e nelle mie poesie, e la figura dello scappato da casa che ritorna con gioia al suo paesello.." (19). Quest'era la definizione data da Pavese per il suo primo lavoro poetico, Lavorare stanca, e vediamo il tema nella prima poesia, "Mari del sud." Ma potrebbe essere anche la definizione parziale della Luna e I falo. Infatti, il tema ulissico--ji nilto del ritarno--occupava Pavese da quando comincio a scrivere. L'ultimo romanzo (1949) echeggio le prime poesie (1936). La luna e i falo si apre con una dichiarazione semplice: "C'e una ragione perche sono tornato in questo paese..." (3). Ma qual'e questa ragione? Anguilla, il protagonista con il nome molto simbolico (le anguille ritornano al luogo dove nacquero per riprodursi) e un bastardo e non sa dove e nato. "Qui non ci sano nato, e quasi certo; dove sono nato non lo so; non c'e da queste parti una casa ne un pezzo di terra ne delle ossa ch'io posso dire 'Ecco cos'ero prima di nascere'" (3). Se Anguilla non ha ne famiglia ne terra, perche torna? Forse la risposta a questa domanda e la stessa di un'altra: perche ha lasciato il paese? La ragione per andare e per ritornare e una ricerca di se stesso, di un'identita autentica. Un ritorno non e possible senza una fuga; ma fuga senza ritorno, per Pavese, non ha significato. Durante la corsa, viene il momento quando il protagonista si rende conto della necessita di ritornare: Ho girato abastanza il mondo da sapere che tutte le carni sono buone e si equivalgono, ma per questo che uno si stanca e cerca di mettere radici, di farsi terra e paese, perche la sua came valga e duri qualcosa di piu di un comune giro di stagione (La luna e i falo 3). In un senso ontologico, il ritorno fhnziona come catalizzatore per un'epifania. Anguilla non puo entrare nell'aia, non puo chiamare e rimane sulla sogila: Voleva dire ch'era tutto finito. La novita mi scoraggio al punto che non chiamai, non entrai sull'aia. Capii li per li che cosa vuol dire non essere nato in un posto, non averlo nel sangue, non starci gia mezzo sepolto insieme ai vecchi, tanto che un cambiamento di colture non importi (La luna e i falo 5). La memoria di Anguilla lo porta all'infanza: a un tempo quando credeva che il paese, dove non e nato, fosse tutto il mondo. E adesso, dopo che il protagnista ha visto un po' del mondo, pensa che aveva ragione da ragazzo, perche il mondo fatto di tanti piccoli paesi. Anguilla chiede a se stesso: Che cosa vuol dire? Un paese ci vuole, non fosse che per il gusto di andarsene via. Un paese vuol dire non essere soli, sapere che nella gente, nelle piante, nella terra c'e qualcosa di tuo, che anche quando non ci sei resta ad aspettarti... Queste cose si capiscono col tempo e l'esperienza. Possibile a quarant'anni, e con tutto il mondo che ho visto, non sappia ancora cos'e il mio paese? (La luna e i falo 7). Il tentativo di capire, di sapere, di stabilire un'ontologia personale, la ragione del ritorno. Questa breve analisi del primo capitolo puo servire come un'introduzione ai diversi temi che formano il mito del ritomo per Pavese: il simbolo, la memoria, l'infanzia e la maturita. Per quanto concerne l'ultimo romanzo di Pavese, fra le critiche ce un consenso raro. …

Introduction: Israel in Italy: Wrestling with the Lord in the Land of Divine Dew by Stanislao G. ... more Introduction: Israel in Italy: Wrestling with the Lord in the Land of Divine Dew by Stanislao G. Pugliese Historiography & the Law Legal Discrimination Against the Jews: Ancient Rome to Unification by Sandra Tozzini Blaming the Victims: Modern Historiography on the Early Imperial Mistreatment of Roman Jews by Dixon Slingerland Historical Sources on Italian Jews: From the 14th Century to the Shoah by Micaela Procaccia Medieval & Renaissance Italy Florence Against the Jews or Jews Against Florence in the 14th and 15th Centuries? by Michele Luzzati Between Tradition and Modernity: The Sephardim of Livorno at the End of the 17th Century by Julia R. Lieberman Jewish Dancing Master and "Jewish Dance" in Renaissance Italy by Barbara Sparti The Expulsion from the Papal States (1569) in the Light of Hebrew Sources by Abraham David The Case of Ferdinando Alvarez and His Wife Leocadia of Rome (1640) by Nancy Goldsmith Leiphart Giovanni di Giovanni: Chronicler of Sicily's Jews by Salvatore Rotella Literature, Art, and Identity Judeo-Italian: Italian Dialect or Jewish Lnaguage? by George Jochnowitz The Culture of Italian Jews and Shakespeare's Merchant of Venice by H. Wendell Howard Emancipation and Jewish Literature in the Italian Canon by Roberto Dainotto Assimilationn vs. Orthodoxy in the Literature of 20th Century Italian Jews by Lynn Gunzberg Racial Laws and Internment in Natalia Ginzberg's Lessico familiare by Claudia Nocentini Clara Sereni and Contemporary Italian Jewish Literature by Elisabetta Nelsen Art, Architecture, and Italian Jewish Identity by Samuel Gruber Italian Jewish Literature from the Second World War to the 1990s by Raniero Speelman Contemporary Jewish Memorialists by Fabio Girelli-Carasi World War II & the Holocaust Haven or Hell: Italy's Refuge for Jews, 1933-1945 by Maryann Calendrille "Di razza ebraica": Fascist Name Legislation and the Designation of Jews in Trieste by Maura Hametz Pope Pius XI's Conflict with Fascist Italy's Anti-Semitism and Jewish Policies by Frank Coppa A "Cool-Blood" Anti-Semitism: The First Anti-Semitic Campaign of the Fascist Regime (1934) by Luc Nemeth Why Was Italy So Impervious to Anti-Semitism (to 1938)? by Frederick M. Schweitzer Rescue or Annihilation: The Role of the Italian Occupation Forces Towards the Jews in World War II by Yitzchak Kerem The Priebke Trials by David Travis Primo Levi Deporting Identity: The Testimonies of Primo Levi and Giuliana Tedeschi by Marie Orton Narrating Auschwitz: Linguistic Strategies in Primo Levi's Holocaust Memoirs by Eva Gold The Tower of Babel: Language and Power in Primo Levi's Survival in Auschwitz by Anna Petrov Bumble "The Language of the Witness" Holocaust Survivors Speak Renato Almansi Lucia Servadio Bedarida Epilogue: The Survival of "The Most Ancient of Minorities" by Stephen Siporin Bibliography: The Jews of Italy: A Selected Bibliography, 1996-1999 by James Tasato Mellone Index

Routledge eBooks, Sep 27, 2017

Palgrave Macmillan US eBooks, 2005

Primo Levi was born (July 31, 1919) into a highly assimilated and cultured bourgeois Jewish famil... more Primo Levi was born (July 31, 1919) into a highly assimilated and cultured bourgeois Jewish family in Turin, Italy. He spoke no Hebrew until late in life, did not observe the dietary laws, and only occasionally visited the Moorish-style synagogue in his native city on high holy days. Like most Italian Jews, he was shocked when the fascist regime published a “Manifesto of the Racial Scientists” in the summer of 1938. The following autumn, the regime promulgated a series of anti-Semitic laws patterned on the Nuremberg Laws in Nazi Germany. Although many Christian Italians disregarded the laws, Italian Jews suffered the first in a series of traumas that would quickly unfold over the next seven years. Obliquely Levi recounted in his writings and interviews the numerous traumatic events that marked his life. In addition to the event that was to stamp him (literally: the number 174517 was tattooed onto his left arm) forever, the internment in Auschwitz, he suffered from several “minor” traumas: from failed physical and emotional relationships with women to the shock of the anti-Semitic laws, to the rejection of his first book by none other than Natalia Levi Ginzburg at the publishing house of Einaudi in Turin. In a self-fashioning that overcame numerous physical, psychological, and external obstacles, Levi managed to move from trauma to transgression and finally testimony in an attempt to defeat the demons (real and imagined) that plagued him for most of his life.

Italian American Review, 2016

The American Historical Review, Apr 1, 2012

The Italian American review, 2016

Forum Italicum: A Journal of Italian Studies, 2013

di ogni sorta o colore – sembrano viverla come qualcosa di normale, di ovvio e quotidiano. Un ese... more di ogni sorta o colore – sembrano viverla come qualcosa di normale, di ovvio e quotidiano. Un esempio su tutti: il confronto televisivo su media e società tra un intellettuale e ‘‘il prestante Ano’’, con il secondo a farla da padrone grazie alle sue improbabili abilità ‘‘oratorie’’, ovviamente molto apprezzate dal pubblico: ‘‘[c]ercando di proferire parole ponderate, Ano fu colto da un brusco attacco di tosse petodefecante. Le telecamere vennero travolte dal letame. I telespettatori aprirono sorpresi la bocca bramosa’’ (chier spectaculaire). E ancora, altre situazioni altrettanto grottesche: ‘‘[u]n uomo, credendo si tratti di cioccolata, si getta a fauci spalancate su di un cassone, invece pieno di letame. Mangiando, si accorge che non è cioccolata, ma cosı̀ c’è scritto e pensa: ‘Ben venga’. Un secondo uomo vede il primo ingozzarsi, scorge il cartello Cioccolata, e si unisce al primo’’; ‘‘[i]n piazza un uomo gioca da solo a conversazione. Recita le due parti necessarie al dialogo. Finge di salutare. ‘Come sta?’, chiede. Si spoglia e riveste. Gira la testa e strizza l’occhio. ‘Bene’, risponde’’. Nella terza parte del libro, Fiaba per adulti, il grottesco cede il posto al tragico, la fenomenologia delle situazioni fa spazio alla descrizione delle singolarità esistenziali. Qui, infatti, compare la piccola Allegra, bambina alle prese con le prime mestruazioni, che l’autore lascia però intendere causate da una possibile violenza sessuale (‘‘qualche solco l’hanno scavato gli adulti per farle muovere i passi giusti. Un uomo le ha segnato un sentiero indimenticabile, col dito nel ventre’’). Rispetto alle prime due parti del libro, assistiamo quindi a uno scarto radicale tra forma e contenuto, che ne accentua la brutalità: la scrittura è piana, i colori sono tenui, su tutto si stende un soffice manto di neve natalizio, puro come quei minimi e dimidiati – Allegra, appunto, ma anche i suoi ‘‘amici’’, il topolino Chubby e il clown – che Hoxhvogli elegge a testimoni innocenti di una realtà altra, lontana dalla civiltà degli altoparlanti e della conversazione, una realtà ‘‘le cui radici sono nel futuro’’.

Journal of Family History, 2014

Left History, Mar 1, 2000

But such are the limitations of an image-based art history in relation to the social history of a... more But such are the limitations of an image-based art history in relation to the social history of art. Lee argues well in trying to interpret these gaps and lacunae in the historical evidence, and certainly does a good job in using the images for his defense. If some of the interpretations seem pressed, that makes the argument subject to further review and discussion by scholars. He is to be commended for attempting the difficult task of making sense of a clearly contradictory and complex history. In essence, Lee's sweeping saga is emblematic of stronger currents in contemporary social art history. The social for Lee is a complex term, combining biography, iconography, institutional history, political history, and labour history, all with an attention to explaining how and what painting precisely meant at a given place and given time to a specific audience. That he takes as his subject the crucial period in U.S. labour history of the pre-World War I1 era is no coincidence. Rather, this period still has resonance with leftist and labour debates to our own day. Lee's text thus contributes to the problems and possibilities with which such leftism has to contend. Part of the remnants of this leftist moment is the continued deification of Rivera as an all-important artist. Few would disagree that Rivera was significant. But Lee gives us new material and a new context in which we can place the production and contribution of Rivera. As such, his text thoroughly debunks the notion of an iconic leftist "master" and instead shows the artist to be part and parcel of a much more complex, much more contradictory, and hence much more realistic moment in the cultural and political production of the left. These are actions and politics from which we can still learn.

Journal of Contemporary History, Jul 1, 1997

Page 1. ournal of Contemporary History Copyright ? 1997 SAGE Publications, London, Thousand Oaks,... more Page 1. ournal of Contemporary History Copyright ? 1997 SAGE Publications, London, Thousand Oaks, CA and New Delhi, Vol 32(3), 305-319. [0022-0094(199707)32:3; IT] Stanislao G. Pugliese Death in Exile: The Assassination of Carlo Rosselli ... ...

Fordham University Press eBooks, Nov 28, 2018

the same name. What most do not know is that the figure of Professor Quaddri, assassinated by the... more the same name. What most do not know is that the figure of Professor Quaddri, assassinated by the "conformist" was modeled on the liberal socialist Carlo Rosselli. Cousins to Moravia, Carlo and his historian brother Nello were assassinated by the French caguolard in June 1937 on orders from the fascist regime in Italy. "Molto famoso, ma poco conosciuto," was how Costanzo Casucci described Carlo Rosselli to me in an interview in Rome before his death. Rosselli occupies a unique position in the pantheon of anti-fascist martyrs. Norberto Bobbio once described him, along with Piero Gobetti, as an "intellectual anarchist." A lightning rod in the debates raging within Italian socialism in the 1920s, his Socialisme liberal was published in French in 1930 and attacked from both ends of the political spectrum. Moreover, the book has suffered from the vicissitudes of the highly politicized Italian publishing industry. Rosselli's analysis of fascism, socialism and liberalism has always been a subterranean thread of the narrative of post-war Italy. If the Resistance has been the defining "myth" of post-war Italian identity and history, an understanding and awareness of Rosselli is critical. For although he may not have carried the same weight as a Gramsci or a Croce, his strand of liberal socialism has been critical and ever-present in the so-called "First Republic." That strand often found itself caught between the realpolitik of both the Christian Democrats and the Italian Communist Party (PCI). Nonetheless, it has marked the thought of many of Italy's most noted and respected political actors. Carlo Rosselli was born in 1899 into a wealthy, patriotic, Jewish family with strong ties to the Risorgimento (Mazzini died in an uncle's house.) His father was a musicologist and his mother, Amelia Pincherle, was a well-known playwright. Both the Pincherle and Rosselli families saw Jewish emancipation in Italy as directly tied

... uniforms with the fustian trousers, wearing the annoyed faces of pacifists vowed to defeat; t... more ... uniforms with the fustian trousers, wearing the annoyed faces of pacifists vowed to defeat; the English were arriving, a sixteenth-century army from a revived Merry England, drunken and impudent, amateur warriors who were the terror of the Catholic women of Brittany, and cheer ...

The American Historical Review, Jun 1, 2001

This is the first work in English to deal comprehensively with Italian anarchism from the beginni... more This is the first work in English to deal comprehensively with Italian anarchism from the beginning of the century to the rise of fascism. It reconstructs the development of anarchist and syndicalist ideas and programmes and charts their relations with Gramsci and the Turin- based Ordine Nuovo group. The book places these developments within the general context of little known links connecting Italian anarchists and syndicalists to sympathizers in Britain, France, Germany and Russia. The analysis of 'libertarian' politics in Italy is accompanied by a detailed and fascinating reconstruction of the social base of Italian anarchism that challenges the assumptions of much of the political sociology of the European Left.Developing a hitherto unexplored but important aspect of Gramsci's political ideas and strategies, this book contributes to our understanding of one of the central Marxist thinkers and activists of the twentieth century and to one of the critical moments in the history of the European Left. In bringing new life and understanding to an important chapter in contemporary Italian history, this book is likely to become a standard text on this pivotal thinker.' Levy has written a major and important study [...] likely to become a standard reference text.'John Davis, University of Connecticut

The Italian American review, 2020

The American Historical Review, Jun 1, 2001

The American Historical Review, Apr 1, 2001

Palgrave Macmillan US eBooks, 2017

The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

siamo convinti che il mito e un linguaggio, un mezzo espressivo--cioe non qualcosa di abritrario ... more siamo convinti che il mito e un linguaggio, un mezzo espressivo--cioe non qualcosa di abritrario ma un vivaio di simboli cui appartiene, come tutti i linguaggi, una particolare sostanza di significanti, che null' altro potrebbe rendere. Cesare Pavese, Dialoghi con Leuco Come quello di ogni grande artista, ii lavaro di Cesare Pavese e molto personale e, paradossalmente, universale. Ognuno lo deve confrontare alla sua maniera. E un'eredita ambigua--visione pessimistica o speranza di creazione artistica in un mondo senza speranza? L'ultimo romanzo di Pavese, La luna e i falo, confronta queste domande. La risposta dipende dal lettore. Nel suo diario, pubbicato cal titolo II mestiere di vivere, Pavese ha scritto, "Se figura c'e nelle mie poesie, e la figura dello scappato da casa che ritorna con gioia al suo paesello.." (19). Quest'era la definizione data da Pavese per il suo primo lavoro poetico, Lavorare stanca, e vediamo il tema nella prima poesia, "Mari del sud." Ma potrebbe essere anche la definizione parziale della Luna e I falo. Infatti, il tema ulissico--ji nilto del ritarno--occupava Pavese da quando comincio a scrivere. L'ultimo romanzo (1949) echeggio le prime poesie (1936). La luna e i falo si apre con una dichiarazione semplice: "C'e una ragione perche sono tornato in questo paese..." (3). Ma qual'e questa ragione? Anguilla, il protagonista con il nome molto simbolico (le anguille ritornano al luogo dove nacquero per riprodursi) e un bastardo e non sa dove e nato. "Qui non ci sano nato, e quasi certo; dove sono nato non lo so; non c'e da queste parti una casa ne un pezzo di terra ne delle ossa ch'io posso dire 'Ecco cos'ero prima di nascere'" (3). Se Anguilla non ha ne famiglia ne terra, perche torna? Forse la risposta a questa domanda e la stessa di un'altra: perche ha lasciato il paese? La ragione per andare e per ritornare e una ricerca di se stesso, di un'identita autentica. Un ritorno non e possible senza una fuga; ma fuga senza ritorno, per Pavese, non ha significato. Durante la corsa, viene il momento quando il protagonista si rende conto della necessita di ritornare: Ho girato abastanza il mondo da sapere che tutte le carni sono buone e si equivalgono, ma per questo che uno si stanca e cerca di mettere radici, di farsi terra e paese, perche la sua came valga e duri qualcosa di piu di un comune giro di stagione (La luna e i falo 3). In un senso ontologico, il ritorno fhnziona come catalizzatore per un'epifania. Anguilla non puo entrare nell'aia, non puo chiamare e rimane sulla sogila: Voleva dire ch'era tutto finito. La novita mi scoraggio al punto che non chiamai, non entrai sull'aia. Capii li per li che cosa vuol dire non essere nato in un posto, non averlo nel sangue, non starci gia mezzo sepolto insieme ai vecchi, tanto che un cambiamento di colture non importi (La luna e i falo 5). La memoria di Anguilla lo porta all'infanza: a un tempo quando credeva che il paese, dove non e nato, fosse tutto il mondo. E adesso, dopo che il protagnista ha visto un po' del mondo, pensa che aveva ragione da ragazzo, perche il mondo fatto di tanti piccoli paesi. Anguilla chiede a se stesso: Che cosa vuol dire? Un paese ci vuole, non fosse che per il gusto di andarsene via. Un paese vuol dire non essere soli, sapere che nella gente, nelle piante, nella terra c'e qualcosa di tuo, che anche quando non ci sei resta ad aspettarti... Queste cose si capiscono col tempo e l'esperienza. Possibile a quarant'anni, e con tutto il mondo che ho visto, non sappia ancora cos'e il mio paese? (La luna e i falo 7). Il tentativo di capire, di sapere, di stabilire un'ontologia personale, la ragione del ritorno. Questa breve analisi del primo capitolo puo servire come un'introduzione ai diversi temi che formano il mito del ritomo per Pavese: il simbolo, la memoria, l'infanzia e la maturita. Per quanto concerne l'ultimo romanzo di Pavese, fra le critiche ce un consenso raro. …

Introduction: Israel in Italy: Wrestling with the Lord in the Land of Divine Dew by Stanislao G. ... more Introduction: Israel in Italy: Wrestling with the Lord in the Land of Divine Dew by Stanislao G. Pugliese Historiography & the Law Legal Discrimination Against the Jews: Ancient Rome to Unification by Sandra Tozzini Blaming the Victims: Modern Historiography on the Early Imperial Mistreatment of Roman Jews by Dixon Slingerland Historical Sources on Italian Jews: From the 14th Century to the Shoah by Micaela Procaccia Medieval & Renaissance Italy Florence Against the Jews or Jews Against Florence in the 14th and 15th Centuries? by Michele Luzzati Between Tradition and Modernity: The Sephardim of Livorno at the End of the 17th Century by Julia R. Lieberman Jewish Dancing Master and "Jewish Dance" in Renaissance Italy by Barbara Sparti The Expulsion from the Papal States (1569) in the Light of Hebrew Sources by Abraham David The Case of Ferdinando Alvarez and His Wife Leocadia of Rome (1640) by Nancy Goldsmith Leiphart Giovanni di Giovanni: Chronicler of Sicily's Jews by Salvatore Rotella Literature, Art, and Identity Judeo-Italian: Italian Dialect or Jewish Lnaguage? by George Jochnowitz The Culture of Italian Jews and Shakespeare's Merchant of Venice by H. Wendell Howard Emancipation and Jewish Literature in the Italian Canon by Roberto Dainotto Assimilationn vs. Orthodoxy in the Literature of 20th Century Italian Jews by Lynn Gunzberg Racial Laws and Internment in Natalia Ginzberg's Lessico familiare by Claudia Nocentini Clara Sereni and Contemporary Italian Jewish Literature by Elisabetta Nelsen Art, Architecture, and Italian Jewish Identity by Samuel Gruber Italian Jewish Literature from the Second World War to the 1990s by Raniero Speelman Contemporary Jewish Memorialists by Fabio Girelli-Carasi World War II & the Holocaust Haven or Hell: Italy's Refuge for Jews, 1933-1945 by Maryann Calendrille "Di razza ebraica": Fascist Name Legislation and the Designation of Jews in Trieste by Maura Hametz Pope Pius XI's Conflict with Fascist Italy's Anti-Semitism and Jewish Policies by Frank Coppa A "Cool-Blood" Anti-Semitism: The First Anti-Semitic Campaign of the Fascist Regime (1934) by Luc Nemeth Why Was Italy So Impervious to Anti-Semitism (to 1938)? by Frederick M. Schweitzer Rescue or Annihilation: The Role of the Italian Occupation Forces Towards the Jews in World War II by Yitzchak Kerem The Priebke Trials by David Travis Primo Levi Deporting Identity: The Testimonies of Primo Levi and Giuliana Tedeschi by Marie Orton Narrating Auschwitz: Linguistic Strategies in Primo Levi's Holocaust Memoirs by Eva Gold The Tower of Babel: Language and Power in Primo Levi's Survival in Auschwitz by Anna Petrov Bumble "The Language of the Witness" Holocaust Survivors Speak Renato Almansi Lucia Servadio Bedarida Epilogue: The Survival of "The Most Ancient of Minorities" by Stephen Siporin Bibliography: The Jews of Italy: A Selected Bibliography, 1996-1999 by James Tasato Mellone Index

Routledge eBooks, Sep 27, 2017

Palgrave Macmillan US eBooks, 2005

Primo Levi was born (July 31, 1919) into a highly assimilated and cultured bourgeois Jewish famil... more Primo Levi was born (July 31, 1919) into a highly assimilated and cultured bourgeois Jewish family in Turin, Italy. He spoke no Hebrew until late in life, did not observe the dietary laws, and only occasionally visited the Moorish-style synagogue in his native city on high holy days. Like most Italian Jews, he was shocked when the fascist regime published a “Manifesto of the Racial Scientists” in the summer of 1938. The following autumn, the regime promulgated a series of anti-Semitic laws patterned on the Nuremberg Laws in Nazi Germany. Although many Christian Italians disregarded the laws, Italian Jews suffered the first in a series of traumas that would quickly unfold over the next seven years. Obliquely Levi recounted in his writings and interviews the numerous traumatic events that marked his life. In addition to the event that was to stamp him (literally: the number 174517 was tattooed onto his left arm) forever, the internment in Auschwitz, he suffered from several “minor” traumas: from failed physical and emotional relationships with women to the shock of the anti-Semitic laws, to the rejection of his first book by none other than Natalia Levi Ginzburg at the publishing house of Einaudi in Turin. In a self-fashioning that overcame numerous physical, psychological, and external obstacles, Levi managed to move from trauma to transgression and finally testimony in an attempt to defeat the demons (real and imagined) that plagued him for most of his life.

Italian American Review, 2016