DOCSLIB.ORG

Surviving the Holocaust: Jean Améry and Primo Levi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Surviving the Holocaust: Jean Améry and Primo Levi Surviving the Holocaust: Jean Améry and Primo Levi by Livia Pavelescu A thesis submitted to the Department of German Language and Literature in confonnity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada August 2000 Copyright OLivia Pavelescu, 2000 National Li'brary Bibliothèque nationale du Canada uisitions and Acquisitions et 9-&b iographi Senrices services bibliographiques 395 wtmlgm Street 395. Ne WeUington Ottawa ON K1A ON4 OttawaON KfAW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distniute or sell reproduire, prêter, distri'buer ou copies of îhis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/fiIm, de reproduction sur papier ou sur fomat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantîal extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This study is predicated on the assumption that there is a culture of the Holocaust in Austria and Itaiy and that its strongest manifestation is the literahire of the Holocaust. The purpose of this thesis is twofold. First it detemiines a representative spectnun of reaction to the Holocaust by using two texts Se questo è un uomo (Sumival in Auschwitz) and Jemeits von Schuld und Sühne (At the MNld'S Limits) of two prominent writen, Primo Levi and Jean Améry. Secondly, the text-based analysis that forms the core of the thesis is grounded and tied to the histoncal context of the Austrian and Italian Jewry that 1 present in the second chapter of the manuscript. The discussion that follows tracks two representative Jewish Holocaust sumivors, one Italian and one Austnan. Primo Levi's Holocaust work is analyzed not so much for its ethical implication or moral importance but for the ways in which Levi was able to craft a significant rhetoric of the Holocaust. Jean Améry's work is treated not only for the position of the intellechial in Auschwitz but also for his problematic feelings of confusion, narnely the necessity and impossibility of being a Jew. Though Levi and Amery are quite distinct in terms of üterary abilities and purposes in writing, their trauma is presented as a survivofs memoir. The final segment of this thesis compares the texts by the two authors in detail, while a bnef conclusion situates Améry and Levi within the broader context of Holocaust stuvival memoirs. Acknowledgements 1 would like to thank my two SupeMsors Dr. Ulrich Scheck and Dr. Donato Santeramo for their helpful support during the program at Queen's University and especially during tie time while 1 was writing my thesis. 1 would also like to express my thankfulness to them for making it possible for me to go abroad to do my research. 1 owe thanks to the German Department of Queen's University for the financial support I have received during my years at Queen's University. There are niends to thank in Montreal: Monica and Martin for their support and expert advice with my thesis. This has been an exhausting thesis to write. Fominately my husband Giuseppe's patience, like his great encouragement, seems boundless. 1 am lovingly grateful for everything. Lastly, 1 also acknowledge the support I received fiom my parents. TabIe of Contents 1. Introduction 2. Historical Considerations 2.1 From Hitler and the Jewish Question to Auschwitz 2.2 A Bnef History of Events: The Jews in Austria and Italy 2.3 Austria 2.4 ItaIy 2.5 Memory 3. Primo Levi: Se questo è un tiomo (Survivd in Auschwitz) 4. Jean Améry: Jenseiis von Schuld und Sühne (Ai the Mind's Limirs) 5. Differences and Sirnilarities: Primo Levi & Jean Améry 6. Conclusion 7. Appendix Works Cited Vita 1. Introduction The Holocaust theme, informed by ineradicable motifs and unparalleled contemporary relevance, is still very much alive in current film, Song and literature. Both the cultural and political debates on the Second World War in general and the continuing cornparisons with current historical events have decisively contributed to the re- emergence of the Holocaust theme. ' At the same time the vast production of texts, whether prose, poetry or drama, has played an extremely importarit role in keeping the tragedy of the Holocaust alive today. In particular, works which have been published by survivon, inhabitants of Germany and of its Geman-speaking occupied territories and survivon from Italy. have borne witness to the continuing relevance and ramifications of these tragic events. The writings created in these countries are far from being one and the same. In fact, we are confionted with a wide range of approaches, techniques and styles that diversely recount the Holocaust expenence. Significantly, among these writers there are radical differences other than those generated linguistically through the various languages employed. These are apparent first in the locale of the experience, secondly in its rendering, and finally, in how the various authors have dealt with its traurnatizing aftennath. In this sense, Jean Améry and Primo Levi can be considered emblematic writers of the Holocaust as they both experienced the atrocities at Auschwitz first-hand. Yet, at the same time, even though the descriptions of the crimes cornrnitted at Auschwitz are clearly not identical, the NO authors are nonetheless closely paraileled in their wrihngs. They put forward two distinct and at thes radically divergent ways of 1 For example, one could point to the recent genocide attempts in various parts of coping with their Holocawt experience. The No authors also differ on how to ensure that one never brget the attempt to exterminate the Jewish race. Analyzing and cornparhg the works of Jean Améry and Primo Levi shed some light on the Auschwitz experience in generai and on the important yet different roles they assurned in making certain that their own survivai of the Holocaust was not in vain. In recent years the focus on the Holocaust has become obscured by competing fields of interest. Such ancillary topics that tend to blur the discussion are. for example. the question of Palestine and Israel, or the equation of the Holocaust with nurnerous other histoncal atrocities. These topics are ofien introduced at the expense of an analysis of or focus on the victims of the Holocaust. This response has concemed many survivors, but perhaps none has expressed his disrnay so publicly as Jean Arnéry. As an Auschwitz survivor and post-Holocaust philosopher, he recognized already early in the sixties the implications of linking the Holocaust to a contemporary agenda (bfind'sLhits, viii-ix). Améry consequently identifies what should be the crucial issue in any discussion regarding the Holocaust: namely, how to give testimony and how to bear witness. Likewise Primo Levi's desire to remember, conceived in terms of its future importance, is also the impetus behhd al1 of his texts. He is compelled to remember because memory has inscribed on him the details not only of Jewish victimization but also of Jewish resilience and swvival. An exclusively Holocaust culture continually fimis expression in film, Song, literature and politics. it keeps redacing in current debates over historical and contemporary events, and the vast literature of the Holocaust in German-speaking the world, Le., Kosovo, Ruwanda and East Timor- countries and in Itaiy constitutes an essential element of our history. Regardless of whether these Iiterary texts have received extensive attention or barely any at dl, they aptly offer a wide range of contrasting styles to convey the experiences of those who have lived through the most appalling genocide of the twentieth century. I began this work to determine the effects of the Holocaust on survivon, not only because I share a particular interest in Jewish history, but also because I felt a particular sympathy and curiosity for the sumivon themselves. This compelling personal interest reinforced my sense that 1 could try to undentand something of what is at stake in Holocaust testimony. 1 consequently began to examine how the victirns perceived themselves in relation to their experiences. The reason for choosing Améry and Levi as authon of the Holocaust is simple enough. Although originating from different countries and different backgrounds, they are both Iinked through their internent in Auschwitz. By observing and comparing their accounts, and through exarnining their lives and deaths, I shall attempt to reconstruct their Auschwitz experience and show how this has transformed their lives into a Iegacy on how to survive and bear witness. "Surviving the Holocaust: Jean Arnéry and Primo Levi" concentrates on these two Jewish writers who have survived. The opening chapter contains historical considerations that will attempt to account for the significance of Holocaust mernoin. It lays the groundwork for a generai understanding of Jewish life and culture in Austria and in Italy. Secondly, I will look in detail at Primo Levi, whose Holocaust related work Se qziesto è un uomo (Sumival in Awchwitz) is examined not so much for its ethical or moral implications but for the ways in which Levi was able to shape a uniquely Italian perspective on the Holocaust. Améry's theoretical work Jenseits von Schuld und Sühne (At the Mind's Limits) provides the centerpiece for chapter four. Here, 1 shall analyze not only the position of the intellectual in Auschwitz but also the entire set of pmblems Améry felt compelled to confiont during his life after the liberation: namely, the simultaneous necessity and impossibility of considering himself a Jew.
Load more

Recommended publications
  • Primo Levi's “Small Differences” and the Art of the Periodic Table
    1 Primo Levi’s “Small Differences” and the Art of The Periodic Table: A Reading of “Potassium” Murray Baumgarten Monday, August 8, 2011 The brief narratives that make up Primo Levi’s masterful account of a young man’s modern education take the reader through 21 elements of Mendeleev’s Periodic Table, from which the book takes its name. Each episode—Primo Levi calls them “moments”1 -- focuses on one element: we begin with Argon – the inert, noble gas echoing the passivity and accommodation of his Italian Jewish ancestors – and conclude more than 230 pages later with Carbon, whose ability to join with many other elements in what some have thought of as impure combinations, powers life, and generates the kinesthetic action of writing, with which the book concludes. Discourses of Science and of Art: The Two Primo Levis Playing the building blocks of the scientific elements against the personal experience of the narrator, Primo Levi constructs an interactive account. Here scientific analysis and technological know-how engage social observation and psychological 2 description—a combination discussed by several scholars – and noted in Rothberg and Druker’s account in Shofar. 2 The impact of the combination, as Pierpaolo Antonello notes, defines central features of the writing: “The kind of virtues that Levi fosters through his work in the lab” and seeks to lead the reader to engage are “multifold: his is a form of distributed, holistic intelligence, in which mental reasoning is combined with the sagacity of smell, touch, and the intuitiveness of the eye.” They build on the “other virtues .
    [Show full text]
  • Appendix: Einaudi, President of the Italian Republic (1948–1955) Message After the Oath*
    Appendix: Einaudi, President of the Italian Republic (1948–1955) Message after the Oath* At the general assembly of the House of Deputies and the Senate of the Republic, on Wednesday, 12 March 1946, the President of the Republic read the following message: Gentlemen: Right Honourable Senators and Deputies! The oath I have just sworn, whereby I undertake to devote myself, during the years awarded to my office by the Constitution, to the exclusive service of our common homeland, has a meaning that goes beyond the bare words of its solemn form. Before me I have the shining example of the illustrious man who was the first to hold, with great wisdom, full devotion and scrupulous impartiality, the supreme office of head of the nascent Italian Republic. To Enrico De Nicola goes the grateful appreciation of the whole of the people of Italy, the devoted memory of all those who had the good fortune to witness and admire the construction day by day of the edifice of rules and traditions without which no constitution is destined to endure. He who succeeds him made repeated use, prior to 2 June 1946, of his right, springing from the tradition that moulded his sentiment, rooted in ancient local patterns, to an opinion on the choice of the best regime to confer on Italy. But, in accordance with the promise he had made to himself and his electors, he then gave the new republican regime something more than a mere endorsement. The transition that took place on 2 June from the previ- ous to the present institutional form of the state was a source of wonder and marvel, not only by virtue of the peaceful and law-abiding manner in which it came about, but also because it offered the world a demonstration that our country had grown to maturity and was now ready for democracy: and if democracy means anything at all, it is debate, it is struggle, even ardent or * Message read on 12 March 1948 and republished in the Scrittoio del Presidente (1948–1955), Giulio Einaudi (ed.), 1956.
    [Show full text]
  • Rethinking Primo Levi
    Rethinking Primo Levi Primo Levi’s influence in the field of Holocaust studies cannot be underestimated, and the Ottawa conference provides an excellent opportunity to take stock of the effects. From Survival in Auschwitz (1947; 1958) to The Drowned and the Saved (1986), Levi’s writings have become authoritative canonical works of Holocaust literature, providing consistent reference points in our attempts to understand the Nazi camps. Levi’s acerbic account of the Dante-esque descent of the innocent to “the bottom”; his unflinching anatomy of that swift and brutal transformation he calls “the demolition of a man”; and his iteration of the first lesson of Auschwitz—“here there is no why”—have profoundly affected Holocaust scholarship. Indeed, terms and concepts in his work have provided scholars with a number of paradigms. These include the “gray zone,” Levi’s term for the range of compromised human behavior in the camp; Levi’s claim that “if the Lagers had lasted longer a new, harsh language would have been born, ”given that “free words” fail to account for the devastation of camp internment and torture; and his portrayal of “the Muselmänner” as the mute living dead—the “complete witnesses,” who cannot testify and in whose stead the survivors must therefore speak. Seeking to rethink such paradigmatic uses of Levi, this panel focuses on Levi as a writer and author of significant Holocaust texts, but also as a scientist; a writer of science fiction; a sexual being questioning his manhood; and a recorder and critic of the human condition broadly. Following Berel Lang’s 2013 biography of Levi, which proposes that we see Levi’s life as a series of tensions, we probe the“divided road” between his life as a pre-war scientist and a post-war writer; his personal and more global moral commitments; and his ambivalent feelings about his own Jewishness.
    [Show full text]
  • Homage to Alberto Moravia: in Conversation with Dacia Maraini At
    For immediate release Subject : Homage to Alberto Moravia: in conversation with Dacia Maraini At: the Italian Cultural Institute , 39 Belgrave Square, London SW1X 8NX Date: 26th October 2007 Time: 6.30 pm Entrance fee £5.00, booking essential More information : Press Officer: Stefania Bochicchio direct line 0207 396 4402 Email [email protected] The Italian Cultural Institute in London is proud to host an evening of celebration of the writings of Alberto Moravia with the celebrated Italian writer Dacia Maraini in conversation with Sharon Wood. David Morante will read extracts from Moravia’s works. Alberto Moravia , born Alberto Pincherle , (November 28, 1907 – September 26, 1990) was one of the leading Italian novelists of the twentieth century whose novels explore matters of modern sexuality, social alienation, and existentialism. or his anti-fascist novel Il Conformista ( The Conformist ), the basis for the film The Conformist (1970) by Bernardo Bertolucci; other novels of his translated to the cinema are Il Disprezzo ( A Ghost at Noon or Contempt ) filmed by Jean-Luc Godard as Le Mépris ( Contempt ) (1963), and La Ciociara filmed by Vittorio de Sica as Two Women (1960). In 1960, he published one of his most famous novels, La noia ( The Empty Canvas ), the story of the troubled sexual relationship between a young, rich painter striving to find sense in his life and an easygoing girl, in Rome. It won the Viareggio Prize and was filmed by Damiano Damiani in 1962. An adaptation of the book is the basis of Cedric Kahn's the film L'ennui ("The Ennui") (1998). In 1960, Vittorio De Sica cinematically adapted La ciociara with Sophia Loren; Jean- Luc Godard filmed Il disprezzo ( Contempt ) (1963); and Francesco Maselli filmed Gli indifferenti (1964).
    [Show full text]
  • Production, Myth and Misprision in Early Holocaust Cinema “L’Ebreo Errante” (Goffredo Alessandrini, 1948)
    Robert S. C. Gordon Production, Myth and Misprision in Early Holocaust Cinema “L’ebreo errante” (Goffredo Alessandrini, 1948) Abstract This essay examines the production, style and narrative mode of a highly significant, if until recently largely forgotten early Italian Holocaust film, Goffredo Alessandrini’s “L’ebreo errante” (“The Wandering Jew”, 1948), starring a young Vittorio Gassman and Valentina Cortese. The film is analysed as a hybrid work, through its production history in the disrupted setting of the post-war Roman film industry, through its aesthetics, and through its bold, although often incoherent attempts to address the emerging history of the concentration camps and the genocide of Europe’s Jews. Emphasis is placed on its very incoherence, its blindspots, clichés and contradictions, as well as on its occasionally sophisticated genre touches, and confident stylistic and formal tropes. These aspects are read together as powerfully emblematic of Italy’s confusions in the 1940s over its recent history and responsibilities for Fascism, the war and the Holocaust, and of the potential for cinema to address these profound historical questions. In the immediate months and years following liberation and the end of the war in 1945, the Italian film industry went through a period of instability, transition and reconstruc- tion just like the rest of the country, devastated and destabilized as it had been by the wars and civil wars since 1940, not to speak of more than two decades of dictatorship. 1 In parallel with the periodization of national politics, where the transition is conventionally seen as coming to an end with the bitterly fought parliamentary elections of April 1948, the post-war instability of the film industry can be given a terminus a quo at the emblem- atic re-opening of the Cinecittà film studios in Rome in 1948, following several years of 1 On the post-war film industry, cf.
    [Show full text]
  • The Other in the Works of Giorgio Bassani
    21. TRANSITIONAL IDENTITIES The Other in the Works of Giorgio Bassani Cristina M. Bettin The outcast is a central theme in Bassani’s narrative, which is set mainly in Ferrara, the small city in northern Italy where Bassani grew up. Fer- rara played a crucial role in Bassani’s work, as he explained in a 1979 interview: Io torno a Ferrara, sempre, nella mia narrativa, nello spazio e nel tempo: il ritorno a Ferrara, il recupero di Ferrara per un romanziere del mio tipo è necessario, ineliminabile, dovevo fare i conti con le mie radici, come fa sem- pre ogni autore, ogni poeta. Ma questo «ritorno», questo «recupero», ho dovuto cercare di meritarmelo davanti a chi legge, per questo motivo il recu- pero di Ferrara non avviene in modo irrazionale, proustiano, sull’onda dei ricordi, ma fornendo di questo ritorno tutte le giustificazioni, le coordinate, oltre che morali, spaziali e temporali, anche per dare poi, per restituire og- gettivamente il quadro linguistico e temporale entro il quale mi muovo. 1 Space and time are important elements in all his novels, which are some- what fictional, but somewhat realistic, especially in the use of historical events and geographical descriptions, such as those of Ferrara, with its streets, monuments, bars, and inhabitants, including the Ferrarese Jew- ish community. As a writer of the generation following the Fascist era, Bassani was greatly concerned with establishing a strong tie to a con- crete reality 2 and finding a proper language that would «establish a link with reality in order to express authentic values and reveal historical truth» 3.
    [Show full text]
  • Le Testimonianze Di Primo Levi E Di Giorgio Bassani Enzo Neppi
    Sguardi incrociati sulla condizione ebraica in Italia nel XX secolo: le testimonianze di Primo Levi e di Giorgio Bassani Enzo Neppi To cite this version: Enzo Neppi. Sguardi incrociati sulla condizione ebraica in Italia nel XX secolo: le testimonianze di Primo Levi e di Giorgio Bassani. Sarah Amrani, Maria Pia De Paulis-Dalembert (dir.). Bassani nel suo secolo, Giorgio Pozzi editore, pp.325-346, 2017. hal-02898125 HAL Id: hal-02898125 https://hal.archives-ouvertes.fr/hal-02898125 Submitted on 27 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. enzo nePPI Université Grenoble Alpes Sguardi incrociati sulla condizione ebraica in Italia nel XX secolo: le testimonianze di Primo Levi e di Giorgio Bassani Nati a distanza di soli tre anni in famiglie ebraiche colte 1 dell’Italia del Nord, Primo Levi e Giorgio Bassani hanno subito tutti e due le conseguenze della legislazione razziale a partire dal 1938 2 , e hanno entrambi meditato sulla condizione ebraica nel loro tempo, ma con sensibilità molto diverse, che si riflettono nelle loro opere 3 . La somiglianza delle situazioni che hanno affrontato dà un rilievo speciale alle loro diverse reazioni e rende il loro confronto particolarmente istruttivo.
    [Show full text]
  • Come Un Ministro Per La Cultura. Giulio Einaudi E Le Biblioteche Nel
    Chiara Faggiolani Come un Ministro per la cultura Chiara Faggiolani Come un Ministro per la cultura Giulio Einaudi e le biblioteche nel sistema del libro FIRENZE PRESUNIVERSITYS Biblioteche & bibliotecari / Libraries & librarians ISSN 2612-7709 (PRINT) | ISSN 2704-5889 (ONLINE) – 4 – Biblioteche & bibliotecari / Libraries & librarians Editor-in-Chief Mauro Guerrini, University of Florence, Italy Scientific Board Carlo Bianchini, University of Pavia, Italy Andrea Capaccioni, University of Perugia, Italy Gianfranco Crupi, University of Rome La Sapienza, Italy Tom Delsey, University of Ottawa, Canada Graziano Ruffini, University of Florence, Italy Alberto Salarelli, University of Parma, Italy José Luis Gonzalo Sánchez-Molero, Complutense University of Madrid, Spain Lucia Sardo, University of Bologna, Italy Giovanni Solimine, University of Rome La Sapienza, Italy La collana intende ospitare riflessioni sulla biblioteconomia e le discipline a essa connesse, studi sulla funzione delle biblioteche e sui suoi linguaggi e servizi, monografie sui rapporti fra la storia delle biblioteche, la storia della biblioteconomia e la storia della professione. L’attenzione sarà rivolta in particolare ai bibliotecari che hanno cambiato la storia delle biblioteche e alle biblioteche che hanno accolto e promosso le figure di grandi bibliotecari. The series intends to host reflections on librarianship and related disci- plines, essays on the function of libraries and its languages and services, monographs on the relationships between the history of libraries, the his- tory of library science and the history of the profession. The focus will be on librarians who have changed the history of libraries and libraries that have welcomed and promoted the figures of great librarians. Chiara Faggiolani Come un Ministro per la cultura Giulio Einaudi e le biblioteche nel sistema del libro FIRENZE UNIVERSITY PRESS 2020 Come un Ministro per la cultura : Giulio Einaudi e le biblioteche nel sistema del libro / Chiara Faggiolani.
    [Show full text]
  • Primo-Levi-The-Voice-Of-Memory
    THE VOICE OF MEMORY PRIMO LEVI Interviews, 1961-1987 Edited by M A R C 0 B E L P 0 L I T I and R 0 B E R T G 0 R D 0 N "Primo Levi is one of the most important and gifted writers of our time." -ITALO CALVINO The Voice of Memory The Voice of Memory Interviews 1961-1987 Primo Levi Edited by Marco Belpoliti and Robert Gordon Translated by Robert Gordon The New Press New York This collection © 2001 by Polity Press First published in Italy as Primo Levi: Conversazioni e interviste 1963-87, edited by Marco Belpoliti © 1997 Guilio Einaudi, 1997, with the exception of the interviews beginning on pages 3, 13, 23, and 34 (for further details see Acknowledgments page). All rights reserved. No part of this book may be reproduced, in any form, without written permission from the publisher. First published in the United Kingdom by Polity Press in association with Blackwell Publishers Ltd, 2001 Published in the United States by The New Press, New York, 2001 Distributed by W.W. Norton & Company, Inc., New York ISBN 1-56584-645-1 (he.) CIP data available. The New Press was established in 1990 as a not-for-profit alternative to the large, commercial publishing houses currently dominating the book publishing industry. The New Press operates in the public interest rather than for private gain, and is committed to publishing, in innovative ways, works of educational, cultural, and community value that are often deemed insufficiently profitable. The New Press, 450West 41st Street, 6th floor, NewYork, NY 10036 www.thenewpress.com Set in Plantin Printed in the
    [Show full text]
  • Download (1541Kb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77618 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Kate Elizabeth Willman PhD Thesis September 2015 NEW ITALIAN EPIC History, Journalism and the 21st Century ‘Novel’ Italian Studies School of Modern Languages and Cultures University of Warwick 1 ~ TABLE OF CONTENTS ~ Acknowledgements ………………………………………………………………………...... 4 Declaration …………………………………………………………………………………... 5 Abstract …………………………………………………………………………………….... 6 INTRODUCTION ………………………………………………………………………..... 7 - Wu Ming and the New Italian Epic …………………………………………………. 7 - Postmodern Impegno ……………………………………………………………….. 12 - History and Memory ……………………………………………………………….. 15 - Representing Reality in the Digital Age ………………………………………….... 20 - Structure and Organisation …………………………………………………………. 25 CHAPTER ONE ‘Nelle lettere italiane sta accadendo qualcosa’: The Memorandum on the New Italian Epic ……………………………………………………………………..... 32 - New ………………………………………………………………………………… 36 - Italian ……………………………………………………………………………….. 50 - Epic …………………………………………………………………………………. 60 CHAPTER TWO Periodisation ………………………………………………………….. 73 - 1993 ………………………………………………………………………………… 74 - 2001 ...........................................................................................................................
    [Show full text]
  • Six Centuries of Italian Books from the Baillieu Library’S Special Collections Libri: Six Centuries of Italian Books from the Baillieu Library’S Special Collections
    six centuries of Italian books from the Baillieu Library’s Special Collections Libri: six centuries of Italian books from the Baillieu Library’s Special Collections An exhibition held in the Leigh Scott Gallery, Baillieu Library University of Melbourne 17 June to 15 September 2013 curated by Susan Millard with assistance from Tom Hyde. Published 2013 by the Special Collections Level 3, Baillieu Library The University of Melbourne Victoria 3010 Australia 03 8344 5380 [email protected] www.lib.unimelb.edu.au/collections/ special/ Copyright © the authors and the University of Melbourne 2013 All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author. All reasonable effort has been made to contact the copyright owners. If you are a copyright owner and have not been in correspondence with the university please contact us. Authors: Susan Millard and Tom Hyde Design: Janet Boschen Photography: Lee McRae ISBN 978 0 7340 4850 9 Cover: Owen Jones, The grammar of ornament, London: Day and son, 1856 (details). Leon Battista Alberti, Della Statua [Pittura] di Leon Battista Alberti, 1651 (details) Right: Marc Kopylov, Papiers dominotés italiens, 2012 Far right: Owen Jones, The grammar of ornament, 1856 FOREWORD ACKNOWLEDGEMENTS What could be better than an I would like to acknowledge the early input of Kylie King, who exhibition of Italian books to be threw some very interesting ideas included in Rare Book Week into the mix, but had to withdraw with the theme ‘A passion for from the project. A big thank you to books’? Our recent purchase of Tom Hyde, who has put time and the Hypnerotomachia Poliphili, effort into the selection, installation an early printed book with and writing of text for the exhibition; it has been great working with exceptional woodcuts, printed him.
    [Show full text]
  • Srivastava N. Frantz Fanon in Italy: Or, Historicizing Fanon
    Srivastava N. Frantz Fanon in Italy: Or, Historicizing Fanon. Interventions: International Journal of Postcolonial Studies 2015, 17(3), 309- 328. Copyright: This is an Accepted Manuscript of an article published by Taylor & Francis in Interventions: International Journal of Postcolonial Studies on 17/12/2014, available online: http://dx.doi.org/10.1080/1369801X.2014.991419 Date deposited: 25/02/2016 Embargo release date: 17 June 2016 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence Newcastle University ePrints - eprint.ncl.ac.uk Frantz Fanon in Italy: or, Historicizing Fanon Neelam Srivastava, Newcastle University (UK) Abstract This introduction to the special issue on “Frantz Fanon in Italy” provides an overview of Frantz Fanon’s influence on Italian intellectual and political life, with especial focus on the significant impact his writings had on the renovation of the Italian left in the 1960s, as well as highlighting the continuities between Italian anti-fascism and anti-colonialism. Fanon’s Italian reception is interesting for postcolonial scholars in that it that differs from the Anglo-American tradition of Fanonian scholarship, and reveals a “pre-postcolonial” Fanon, prior to his revival through the “symptomatic readings” of Homi Bhabha, Stuart Hall and other theorists in the 1980s. I also discuss the editorial history of Fanon’s publication in Italian; Italy was the first country after France in which Fanon’s work appeared, and Giovanni Pirelli’s 1971 edition of Fanon’s writings, Opere scelte, is possibly the only anthology that presents a selection of essays culled from Fanon’s different texts.
    [Show full text]