The Holocaust in Italian Culture, 1944-2001

法西斯意大利是希特勒极权主义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，尽管历史学家们对法西斯极权主义从一开始就具有或不具有种族主义本质的程度存在分歧。法西斯意大利也是纳粹德国的主要欧洲盟友，因为纳粹德国对欧洲犹太人进行了种族灭绝，并负责在被占领地区实施反斯拉夫和反犹太政策；尽管意大利官员——包括墨索里尼本人在内——在战争初期做了很多事情来阻挠驱逐进程。1943年之后，这种既作为合作者又作为破坏者的复杂身份，随着墨索里尼的倒台，意大利退出轴心国，分裂成两部分，中部和北部被德国占领（在墨索里尼复党后的帮助下），内战或游击抵抗战争愈演愈烈，这种情况变得更加明显。德国现在开始驱逐数千名在意大利避难的意大利犹太人和其他犹太人（主要是奥斯维辛集中营）；还有成千上万的抵抗战士（主要是毛特豪森及其周围的集中营）；以及成千上万的意大利义务兵（送往各种拘留营）。现在，意大利人成了纳粹暴力的全部受害者，尽管北方的残余法西斯国家也是驱逐和屠杀的积极肇事者，前法西斯国家的种族官僚主义仍然存在。这段错综复杂的历史给意大利留下了一大堆悬而未决的问题，包括它自己、它的历史责任和战后的未来。最初，在意大利和其他地方，后来被称为大屠杀的事件并没有从战争和法西斯政权的历史和遗产的泥潭中分离出来；但一旦这个提炼过程开始，大屠杀也会给意大利和意大利人的政体和集体认同带来深刻而令人不安的问题，带来层层复杂和艰巨的挑战。《意大利文化中的大屠杀，1944-2001》旨在通过文化的视角审视战后意大利大屠杀的进展，追溯这一缓慢但密集且具有深刻启发性的事件。它着眼于广泛的文化文物、事件和实践、证言和小说作品、电影、艺术和建筑、纪念碑、纪念馆和纪念活动、歌曲、电视专题和纪录片、史学、出版史、公共辩论和新闻。在某种程度上，这是为了强调意大利出现的重要大屠杀表现语库的绝对范围和惊人的财富，包括普里莫·列维、乔治·巴萨尼和纳塔莉亚·金兹伯格的作品，以及诸如《芬兹-康蒂尼花园》（德·西卡，1970年）、《七美人》（沃特姆·<e:2>勒，1974年）和《美丽人生》（贝尼尼，1997年）等电影。但更重要的是，这些材料被深深嵌入当地的背景中，与意大利历史、法西斯和战后时代的文化有着鲜明的变化或坐标。因此，关于意大利大屠杀的讨论被证明掩盖和篡改了一些关键问题，例如：法西斯主义、反法西斯抵抗运动及其遗产、民族特征、冷战政治、教会的作用、欧洲认同、移民和多元文化主义。因此，大屠杀成为理解意大利自身形象的母体；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。这本书将由这个项目产生，旨在为历史学和文化史的大而重要的领域做出重大贡献，这些领域包括大屠杀、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。

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.