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THE RED SHADOWS, THE GHOSTS OF COMMUNISM

THE RED SHADOWS, THE GHOSTS OF COMMUNISM

published by Radicalweb

Citto Maselli is a singular figure of the intellectual and filmmaker, a man of outgoing personality and bright, split between art and politics. In fact, in addition to works created by the often highly political content (from The suspect in the Third Millennium Chronicles, but they did some), has traveled Maselli, parallel with the director, that relevant political career has led not only to play leading role in Italy and Europe in the organizations of the filmmakers, but also, if I think only one of the directors, to sit in the National Direction of a party, the Communist Refoundation.

The Stagecoach , out of competition at the Venice and just come out in the home video, it should be considered in the light of policy author, activist and leader of his being a Communist. The film, excellently played by a colorful cast that stand out and Ennio Fantastichini Luca Lionello, opens with a strong and beautiful, openly inspired by the works of one of the greatest Italian painters of the '900, Titina Maselli, sister of the author . Francis (City) Maselli is an intellectual who was born into a family of intellectuals, he is inspired, already in clothing, the figure of Professor Sergio Siniscalchi (played by an extraordinary Roberto Herlitzka), the protagonist of the film.

The story revolves around a community center. And 'Here we meet Siniscalchi preach the "recovery irrationality. " Maliciously, it makes me look that only an irrational recovery can be appreciated today, Marxist philosophy. Not surprisingly, today the largest communist intellectual, in all likelihood, the refined scholar Alberto Asor. The only possible common, today, communism is a "sentimental": there are now Marxist economists of any relevance, simply because decades, centuries of economic thought (and philosophical) have demolished the liberal anti-scientific Marxism and tragic.

Siniscalchi, the protagonist of the film is, as a city, an intellectual really free and out of the box: It is proposed to recover the idea Houses of Culture André Malraux. This second recovery is nothing short of amazing, if one recalls the amount of insults that Malraux, an intellectual and uncomfortable Gaullist, he received in his life from the Marxist left. Maselli knows perfectly well and proves an accomplice of his protagonist: the last half hour is in fact a real dismantling of the communist ruling class. Let's fashionable architect (Fantastichini) who did so angry Massimiliano Fuksas, the young party official from the center of society, from intellectuals isolated and uncommunicative, to the Parliamentary cialtroneria (a "cameo" by Ricky Tognazzi). The finish is

merciless and hopeful at the same time. The center was ultimately the real protagonist of the film, is now closed. Three young men are close to the old abandoned building, they begin to take measures and think of something new. The metaphor is clear, but I can agree only in part.

Surely the political, social, civic, cultural and formed the extreme left must aspire to a profound renewal. But I am convinced that it will be impossible if, as in the film, is expected to restructure the "old house": if you do not get rid of Marx and Engels, the Communist left today will remain marginal and sectarian, increasingly distant from the heart of society's problems .

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The second artist Camus, Discourses of Sweden


"Personally , I can not live without my art. But I never place art above all. If you need me on the contrary, the thing that separates me from anyone and allows me to live, as they are, with everyone. In my eyes, art is not a solitary joy. It 's a way to excite the greatest number of men offering privileged picture of common joys and sufferings. Obliges the artist not to isolate itself, it defers to the more humble and universal truth. And the one who often has chosen for itself the fate of artist because she felt different, soon learns that not nourish his art, and its difference, confessing that his similarity to all.
The artist is forged in this ongoing back and forth between self and others, halfway to the beauty that can not avoid and the community to which they can not tear. E ' because the real artists do not despise anything; undertake to understand rather than judge. And, if a party must take in this world, can only be to a society where, according to the great words of Nietzsche, not the judge will rule over, but the creator, whether material or intellectual .

Albert Camus , Discours de Suède ,
Editions Gallimard , 1958 (my translation)

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Christ Stopped at Eboli, a method empathic

Christ Stopped at Eboli is an old book from the content and method have not yet passed. I looked after crossing the Lucania sunburnt, I found it to deepen the impressions were born from the visions of the lost world of De Seta, I used to think about what I said from Orgosolo .

I convince myself that I have the right book dall'incipit the first page where Levi describes the world as it prepares to commemorate: "a world close in pain and uses, denied the story and the state, eternally patient, that my land without comfort and sweetness, where the peasant lives in poverty and remoteness, its civilization building, on a dry soil, in the presence of death "(p.1).

emerges the impression of entering a tough world, in a society still and always the same property in itself, divorced from the rest of the world, which ignores what is the history:

"The seasons pass on fatigue country, today as three thousand years before Christ, no human or divine message is addressed to this poverty refractory. We speak a different language: our language here is incomprehensible "(page 2).

incipit A film that reminds me of De Seta, Bandits in Orgosolo , which made the images with what Levi has made with writing: to capture and describe hidden and unknown worlds that have represented the most real life for centuries. The difference between the two lies in the nuances that Levi is able to convey more attention thanks to the use of writing, compared with the visual poetry of De Seta which calls more attention of the viewer. The images are so beautiful and poetic gestures so fast and skilful, that could make the viewer forget the conditions surface of the life of loneliness, struggle and respect for nature, the burning sun, his back to pieces, the ancestral hunger, calluses on hands

" their time is measured over those of the seasonal migration, the research on the pasture, water . The soul of these men has remained primitive. What is right for their law, not for that of the modern world. For they count only the bonds of family, community. Everything else is unintelligible, hostile . The state also is present with the Police, prisons. "

immediately presents the factors that unite the peasant culture of Levi and De Seta: the same hostility For institutions, the State and its repressive methods, the different conception of time measured by the nature and the existence of other laws and values \u200b\u200balien to the modern world the intimate relationship with nature, in conflict, and at the mercy of it, the strong bonds of community, the closure and perpetual immobility. Conditions that helped shape has always been a civilization that was reproduced in different longitudes similarly, up to that modernity has not knocked on the door. Ancient civilizations and cultures today go largely lost.

In describing that country world through its daily life, details the lives, customs, landscapes and nature, Levi is still useful today to retain some parts of the world that even "magic" and charming it was hard, ruthless, like nature very human. We need today to not forget where we came from and where we want to go, not to forget that the way the mountain was abandoned for that of the city also to study, that technology has solved more problems than it has created, which is obscurantist and dangerous to look at old models to solve current problems and future, without thinking about the necessary adjustment without projecting them in today.

But beyond the historical and literary value, the book is of great relevance for the Method emphatic that exploiting the literary prose can us to understand the meaning of another civilization. The way it was another world.

Christ Stopped at Eboli is a book that has stood the test of time for its ability to generate and see sense. Levi's ability to tell a company, which is rural, but that could have been any other that you enter in silence, with eyes open with wonder and sincere sympathy. Not a neutral narrator, but empathetic actor with intent, and the thickness of describing life from the individual lives.

E 'dirty hands and a lot more, is a living, live with-in a family, a place, a city, town. Not the report fleeting, but the desire to understand and share first. Then eventually tell. But the first need is to feed on other lives of intellectual curiosity and not for literary ambition. In the work of Levi

the search for objectivity derives from the empathetic relationship that is established with the farmers, can do (I) Nare the multiplicity of points of view exist, tell all the aspects, to travel in order to have a set of skills that bring out the special sense, the path, the mechanisms, the traces of the interactions of the world. Not to highlight a unique perspective on the world but to understand the interaction of all points of view between them.

As Calvin says, "this man who always says and puts himself at the center of every story, that always brings forth its presence around the extraordinary meetings, then the writer is more devoted to property, the objective world, to people. His method is to describe with respect and devotion to what he sees, with a scruple of loyalty that makes him special and multiply adjectives. His writing is a mere instrument of his love affair with this world, and this fidelity to the objects of his representation.

Such a method applied to a thousand stories-lived, and autobiographical shows the typical characteristics that unite us, the common denominator of all the individuality

"The discovery that I had blood ties to this earth seemed to nicely fill in their eyes, a gap. The see me with a sister moved one of their deepest feelings: that of kinship, that where there is no sense of state or religion, shall, with so much greater intensity than the place. It is not the institution of the family iare , social constraints, legal and sentimental, but the sense of sacred mystery and magic of a community .[...] The women greeted us and covered us with blessings: - Benedict the womb that brought you! - Blessed are the breasts that nursed you! -The old toothless on the doors for a moment ceased to spin wool, to murmur their sentences:-Friar and thickness, core and core -. Luisa, who had brought with him his natural and rational town atmosphere, never ceased to wonder at such a strange enthusiasm for the fact, so simple, I had a sister. "

This mode also uses to describe anecdotes to describe the harmony and the string of things that express, in their path, the ambiguous meaning of an era, its complexity, you can tell the world from a story in relation to many others, and drawing the ' objectivity the world thus generated can appreciate the uniqueness of each story. That the reader is placed in a dual perspective of a life singularizes becomes unique, and a universality of experience that is structured in the lives special.

To conclude with the words of Sartre:

"But every time, behind the irreducible singularity of the fact told, one can see a whole world - our world - as it is expressed and realized in the quality of fugitive presence immediately vanished. I will give this the name sense, as opposed to meanings. The sense, or the incarnation of all in each part, this is what gives the speeches of Charles Levi an inimitable charm.

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Wedding French 1 / 2

Arthhur and Gabriela are young and my coetani , and for that, as happens in such important events are also a mirror . A transnational mirror of their life courses, whose comparison is inevitable.

Arthur and Gabriela have twenty-five years, children and future representatives middle-class French, both grew up in Strasbourg, Alsace, both moved to Paris to study and then to work: he a journalist in Europe 1 , her role of teacher in elementary school. Workers, educated, aged 25, first married. Rare thing in Italy today for a young couple psychologically "precarious" while in France thanks to very strong family policies, job insecurity and the absence of contractual practice is widespread mentality and get married, have children and live with due carefree 's youthful enthusiasm. Lightly, without noise and astonishment of others, but with the feeling of the glamor of adventure and discovery.

This is a ceremony practiced agile and fun, informal, not at all moving, participatory, open also to the crazy lady in passing, as if it were staged, and perhaps in the end, it was not. A marriage celebrated according to the French secular ritual, spirit and Republican campaign, the vice mayor of the 5th district of Paris. In the shadow of the Pantheon , a toneless voice from the official end formalized in a ceremony that had the spirit of cabaret.


Something very different from the heavy and long ceremonial Italian, which often provides families with the announcement a year in advance to help them accept the idea, an intermediate stage represented by the promise of engagement (in extreme cases ), and immense energy spent on gifts and organizational formalities , with related costs, which discourage anyone to get an idea captivating life as a couple, traveling to do into the future.

Arthur and Gabriela have decided to get married only two months earlier, in late summer of the year will be about as good and said that it is enough to make cards Mairie, a round of e-mails to friends and to inform families of decision .


One way of doing things light, even lighter as was the attitude in accepting from friends and relatives. Reactions so relaxed that I do claim the dream of a revolution of the spirit light, weighed down by fears of an uncertain future that no one can lighten and a reluctance to take steps in new directions as reported risky and slippery paths on which slide. There is afraid to move, afraid to change, there is a conservatism that goes right to the bone and avoids indefinite choices and risks that will determine our future. In Italy and Arthur Gabriel had shown courage.


materialized the miracle Republican through the creation of the neo-nuclear family, the day was divided into two: lunch with relatives and witnesses, and in the evening a party at home with friends invited to bring a drink. A wedding without stress, without photographers invasive and oppressive, not around the table to exchange a word with everyone, no cake to be cut, but only a big party to share with others. Dear friends, acquaintances and posted. Graduation party in style.


a time when it was exorcised collective mind substantial step toward maturity coincides with the end of the studies, the beginning of the work being Independent . A moment of generational transition , in which for a moment of extreme lucidity I reviewed in an attempt to exorcise them, attitudes and situations adolescent .


Like watching an old photograph of resurface the old memory dormant feelings and never forgotten in the midst of celebration, arms shake up the mirror I saw the passing of time, grows, evolves. To illuminate the room, like a light of Caravaggio, a contrast of Salgado, a clearing of Hopper, the songs of my twelve or thirteen years, from Spice Girls to Aqua !

Compilation revivals -nineties sound that awakens the memory made me think about the past and the collective witness that we were living.


In fact, if you need a party to celebrate not just taken a step that must be exorcised and shared with those who have gone through your same path that can be universally accepted? And first and foremost by the parties concerned.

A wedding, a ritual that materialize needs to be public, social, celebrated. And 'thanks to the role of witnesses, or friends, that ratification and validation that time: the event becomes a real and effective precisely because shared, but only if it remained between the two spouses would the risk of preserve a fleeting promise.

A step that does not leave indifferent, but which also touches on a tribal feelings, before they received and now shared by those who took part. A state of mind before they matured because immersed in a flow in one dimension and perceived only by those who had already passed.

A party that is an 'outsource , a cry of departure, the whistle of a train to a new maturity lived as the hair of the beard only now cured, a hug longer, an alarm is not delayed. Life is exploding in all directions in which melt channels slipping to the foot of stories that we ourselves have created. Nothing is destroyed and nothing is created, everything is transformed, and is no less life is now taking shape.

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I am I am Gabriela Arthur