The Holocaust in Italian Culture, 1944-2001

法西斯主义的意大利是希特勒极权种族国家的典范和起源，并从1938年开始采用了后者的许多种族主义法律，尽管历史学家对法西斯极权主义从一开始就有多大程度的种族主义或不是本质上的种族主义存在分歧。法西斯主义的意大利也是纳粹德国在欧洲的主要盟友，因为纳粹对欧洲犹太人进行了种族灭绝，并负责在被占领地区执行反斯拉夫和反犹太主义政策；尽管意大利官员--直到墨索里尼本人--在战争早期阻碍了驱逐出境的进展。1943年后，随着墨索里尼倒台，意大利退出轴心国，发现自己一分为二，被德国占领(在修复后的墨索里尼的帮助下)，中部和北部被德国占领，内战或党派抵抗战争肆虐，这种本已复杂的身份--部分是合作者，部分是破坏者--变得更加复杂。德国现在开始驱逐在意大利避难的数千名意大利犹太人和其他犹太人(主要是到奥斯威辛集中营)，以及数万名抵抗战士(主要是到莫托森及其周围的集中营)，以及数十万名意大利应征士兵(到各种拘留营)。现在，意大利人成了纳粹暴力的全部受害者，尽管北部残存的法西斯国家也是驱逐和屠杀的活跃肇事者，这个前法西斯国家的种族官僚机构仍然存在。这段错综复杂的历史给意大利留下了一个巨大的包袱，关于它自己、它的历史责任和战后的未来，都是悬而未决的问题。起初，在意大利和其他地方一样，后来被称为大屠杀的事件并没有被视为战争和法西斯政权的历史和遗产泥潭中的一个独立事件；但一旦这个升华过程真的开始，大屠杀也将给意大利和意大利人的政治和集体身份带来深刻而令人不安的问题，层层复杂和令人生畏的挑战。《意大利文化中的大屠杀，1944-2001》旨在通过文化的视角，追溯战后与意大利大屠杀的缓慢、密集和具有深刻启发性的遭遇的进展。它着眼于广泛的文化手工艺品、事件和做法、证词和小说作品、电影、艺术和建筑、纪念碑、纪念碑和纪念活动、歌曲、电视特写和纪录片、历史学、出版史、公共辩论和新闻业。在某种程度上，这是为了强调意大利出现的重要大屠杀代表性作品的广泛范围和令人惊讶的丰富，包括Primo Levi、Giorgio Bassani和Natalia Ginzburg的作品，以及电影《Finzi-Contini花园》(de Sica，1970)、《七个美丽的人》(Wertmüler，1974)和《美丽的生活》(Benigni，1997)。但更重要的是，这些材料被呈现为深深植根于当地背景，具有与意大利历史以及法西斯和战后时代文化截然不同的曲折或坐标。因此，有关意大利大屠杀的言论掩盖和左右了关键问题，仅举几例：法西斯主义、反法西斯抵抗运动及其遗产、民族性格、冷战政治、教会的作用、欧洲身份、移民和多元文化主义。因此，大屠杀是理解意大利自身形象的一个母体；相反，意大利的案例以启发性的方式重塑了大屠杀这一普遍现象对历史和代表性构成的许多核心挑战。这本书的目的是对关于大屠杀、意大利现代历史和文化以及更广泛的文化和集体记忆问题的广泛而重要的历史学和文化史领域做出重大贡献。

Fascist Italy was the model and origin for Hitler's totalitarian racial state and adopted many of the latter's racist laws from 1938, although historians disagree as to how far Fascist totalitarianism was or was not inherently racist from the outset. Fascist Italy was also Nazi Germany's prime European ally as the genocide of European Jews was undertaken and was responsible for administering anti-Slavic and anti-Semitic policy in occupied regions; although Italian officials - up to and including Mussolini himself - did much to frustrate the progress of deportations in the early period of the war. After 1943, this already complex status - as part collaborator, part saboteur - was made notably more so as Mussolini fell, Italy withdrew from the Axis and found itself split in two, occupied in the centre and North by Germany (with the help of a restored Mussolini), with a civil war or partisan Resistance war raging. Germany now started deporting thousands of Italian Jews and other Jews who had taken refuge in Italy (mainly to Auschwitz); and also tens of thousands of Resistance fighters (mainly to concentration camps in and around Mauthausen); and hundreds of thousands of Italian conscripts (to various internment camps). Now Italians were victims of the whole gamut of Nazi violence, although the rump Fascist state in the North was also active perpetrator of deportations and massacres and the racial bureaucracy of the former Fascist state was still in place.This tangled history left Italy with an immense baggage of unresolved questions about itself, its historical responsibilities and its future after the war. Initially, in Italy as elsewhere, what was later termed the Holocaust did not separate itself out as a discrete event within the mire of the war's and the Fascist regime's history and legacy; but once that distillation process did begin, the Holocaust too would pose deep and troubling questions to the polity and collective identity of Italy and Italians, with layer upon layer of complexity and daunting challenge. The Holocaust in Italian Culture, 1944-2001 aims to trace the progress of that slow, but dense and profoundly illuminating postwar encounter with the Holocaust in Italy by examining it through the lens of culture. It looks at a wide range of cultural artefacts, events and practices, at works of testimony and fiction, at cinema, art and architecture, at monuments, memorials and commemorative events, at songs, television features and documentaries, historiography, publishing history, public debate and journalism. In part, this is to underscore the sheer range and surprising wealth of the corpus of important Holocaust representations to have emerged from Italy, including work by Primo Levi, Giorgio Bassani and Natalia Ginzburg, and films such as The Garden of the Finzi-Contini (De Sica, 1970), Seven Beauties (Wertmüller, 1974), and Life is Beautiful (Benigni, 1997). But more than this, the material is presented as deeply embedded in the local context, with inflections or coordinates that are distinct to Italian history and to the culture of both the Fascist and the postwar eras. Thus, talk of the Holocaust in Italy is shown to mask and modulate key questions about, to name a few: Fascism, the anti-Fascist Resistance and its legacies, national character, Cold War politics, the role of the Church, European identity, immigration and multiculturalism. The Holocaust, then, emerges as a matrix for understanding Italy's image of itself; and, conversely, the Italian case reshapes in illuminating ways many of the central challenges to history and representation posed by the general phenomenon of the Holocaust.The book that will result from this project aims to make a major contribution to large and important fields of historiography and cultural history on the Holocaust, on modern Italian history and cultureand on questions of cultural and collective memory more generally.