Despite an outpouring in recent years of history and cultural criticism related to the Holocaust, Italian women's literary representations and testimonies have not received their proper due. This project fills this gap by analyzing Italian women's writing from a variety of genres, all set against a complex historical backdrop.
Honorable Mention for the 2019 American Association for Italian American Book Prize (20-21st Centuries) Allied Encounters uniquely explores Anglo-American and Italian literary, cinematic, and military representations of World War II Italy in order to trace, critique, and move beyond the gendered paradigm of redemption that has conditioned understandings of the Allied–Italian encounter. The arrival of the Allies’ global forces in an Italy torn by civil war brought together populations that had long mythologized one another, yet “liberation” did not prove to be the happy ending touted by official rhetoric. Instead of a “honeymoon,” the Allied–Italian encounter in cities such as Naples and Rome appeared to be a lurid affair, where the black market reigned supreme and prostitution was the norm. Informed by the historical context as well as by their respective traditions, these texts become more than mirrors of the encounter or generic allegories. Instead, they are sites in which to explore repressed traumas that inform how the occupation unfolded and is remembered, including the Holocaust, the American Civil War, and European colonialism, as well as individual traumatic events like the massacre of the Fosse Ardeatine and the mass civilian rape near Rome by colonial soldiers
This Holocaust memoir began with an album of photographs, one of the few family possessions that survived WWII. After his mother's death the album passed on to Paul Davidovits, who became keenly aware that he was now the only person alive who recognized the people in the photographs, remembered how they were interconnected, knew about their journey through life. Davidovits now tells the stories of the inhabitants of this lost world, guiding us through his own childhood. He evocatively portrays the harrowing and traumatic unfolding of history, but also lingers on poignant moments of love, bravery, generosity and humor. Davidovits' stories are unique and finely honed, and while highly personal, their vivid depiction of survival and the determination of the human spirit - even in the face of barbarity and seemingly insurmountable odds - is universal and will remain relevant to every generation.
This book analyzes the role and function of an Italian deportation camp during and immediately after World War Two within the context of Italian, European, and Holocaust history. Drawing upon archival documents, trial proceedings, memoirs, and testimonies, Herr investigates the uses of Fossoli as an Italian prisoner-of-war camp for Allied soldiers captured in North Africa (1942-43), a Nazi deportation camp for Jews and political prisoners (1943-44), a postwar Italian prison for Fascists, German soldiers, and displaced persons (1945-47), and a Catholic orphanage (1947-52). This case study shines a spotlight on victims, perpetrators, Resistance fighters, and local collaborators to depict how the Holocaust unfolded in a small town and how postwar conditions supported a story of national innocence. This book trains a powerful lens on the multi-layered history of Italy during the Holocaust and illuminates key elements of local involvement largely ignored by Italian wartime and postwar narratives, particularly compensated compliance (compliance for financial gain), the normalization of mass murder, and the industrialization of the Judeocide in Italy.
From interpretations of the Holocaust to fascist thought and anti-fascists' responses, this book tackles topics which are rarely studied in conjunction. This is a unique collection of essays on a wide variety of subjects, which contributes to understanding the roots and consequences of mid-twentieth-century Europe's great catastrophe.
This volume explores a variety of iconic female characters in Italian literature, art and film who depict distinct representatives of female identity within this national culture. The contributors here apply various methodologies to characterize the evolution of women’s identity and their representation in such expressive modalities, drawing from literature, film, drama, history, the humanities, media and cultural studies. Cross-genre, cross-cultural, and cross-national explorations are also utilised here in order to underline the multifaceted ways in which de facto female characterization occurred.
This edited volume is the first to propose new readings of Italian and transnational female-authored texts through the lens of Trauma Studies. Illuminating a space that has so far been left in the shadows, Trauma Narratives in Italian and Transnational Women’s Writing provides new insights into how the trope of trauma shapes the narrative, temporal and linguistic dimension of these works. The various contributions delineate a landscape of female-authored Italian and transnational trauma narratives and their complex textual negotiation of suffering and pathos, from the twentieth century to the present day. These zones of trauma engender a new aesthetics and a new reading of history and cultural memory as an articulation of female creativity and resistance against a dominant cultural and social order.
The relations between memory and history have recently become a subject of contention, and the implications of that debate are particularly troubling for aesthetic, ethical, and political issues. Dominick LaCapra focuses on the interactions among history, memory, and ethicopolitical concerns as they emerge in the aftermath of the Shoah. Particularly notable are his analyses of Albert Camus's novella The Fall, Claude Lanzmann's film Shoah, and Art Spiegelman's "comic book" Maus. LaCapra also considers the Historians' Debate in the aftermath of German reunification and the role of psychoanalysis in historical understanding and critical theory. In six essays, LaCapra addresses a series of related questions. Are there experiences whose traumatic nature blocks understanding and disrupts memory while producing belated effects that have an impact on attempts to address the past? Do some events present moral and representational issues even for groups or individuals not directly involved in them? Do those more directly involved have special responsibilities to the past and the way it is remembered in the present? Can or should historiography define itself in a purely scholarly and professional way that distances it from public memory and its ethical implications? Does art itself have a special responsibility with respect to traumatic events that remain invested with value and emotion?