La Voce

from Wikipedia, the free encyclopedia
Title page of La Voce in March 1911

La Voce (Eng. "The Voice") was an Italian magazine for literature, politics and current affairs, which appeared as a weekly newspaper until 1913 and then every two weeks. It was founded on December 27, 1908 by Giuseppe Prezzolini in Florence and appeared in various editorial lines until December 31, 1916.

The history of the magazine can be divided into four phases:

prehistory

The magazines Leonardo (1903–1907), Hermes (1904–1906) and Il Regno (1903–1906) , which were also published in Florence, are regarded as forerunners of La Voce : With Leonardo , Prezzolini and Papini propagated the politically ambitious literary type (“letterato -ideologo ”) based on the models of the universal genius Leonardo da Vinci and the philosopher Nietzsche , albeit with an anti-democratic- nationalist orientation. Hermes and Il Regno were papers by the critic Giuseppe Antonio Borgese and the nationalist (and later fascist) Enrico Corradini, committed to a thenunzianesischen aestheticism .

1908 to 1912: Prezzolini and Salvemini

On December 27, 1908, the first edition of La Voce appeared with the programmatic manifesto “La nostra promessa” (Eng. “Our promise”), in which the initiators of the magazine announced the ethical character of the spiritual life (“l'eticità della vita intellettuale ”), d. H. to liberate the culture of the still young Italian nation from the upper-class , aesthetic saturation of Gabriele D'Annunzio and his followers and to sensitize them politically and socially again to a high degree. Based on a moralistic self- image of the cultural workers and intellectuals , which brings their responsibility as social masterminds, visionaries and educators back to the center, Prezzolini, Salvemini and their renowned colleagues ( Croce , Amendola , Cecchi , Murri and Einaudi ) committed themselves on the one hand to a new one Art and literature (against the purely formalistic “l'art pour l'art”) and, on the other hand, for social reforms: above all in the education system, with the introduction of universal suffrage and with the consideration of the southern Italy question (“questione meridionale”). The so-called Vociani therefore sought, on the one hand, to deal with the then dominant Dannunzianesimo and, on the other hand, with the reform policy of the Giolitti government, which was perceived as too moderate .

When Italy reinforced its colonialist claims in November 1911 and conquered Libya , there was a break between Prezzolini, who advocated the war of conquest in the sense of a "national obligation", and Salvemini, who vehemently opposed it and subsequently launched his own magazine ( L ' Unità ) published.

1912 to 1913: Papini

During the dispute over the eminently political question of participation in the war, Prezzolini temporarily withdrew from the editorial office in 1912 and - under Giovanni Papini's leadership - a return to "pure" literature without direct social references: According to Papini's announcement from the beginning of 1912 in the article Nuovi intenti ( New Resolutions ) opens the magazine to the publication of all forms of poetic articulation, i. H. also of diary entries, fragments and sketches. The new thrust of “fragmentism” and “autobiographicalism” thus consciously refuses to create a pre-cut, holistic concept and sets the artist's subjective impression against the objective representation of reality in naturalism . The literary attempts that arise in this context show a clear similarity to Expressionism and are therefore often referred to as espressionismo vociano . In this phase, which lasted until the end of 1913, thanks to La Voce , a broader Italian readership was also able to read non-Italian (mainly French ) authors for the first time: Mallarmé , Gide , Claudel , Ibsen and others. a.

1914: Prezzolini

After Papini had fully embraced Futurism and the magazine Lacerba , Prezzolini took over the editorial management again on January 13, 1914 and only published the magazine every two weeks. He committed himself and La Voce to a "militant idealism " (with the subtitle "Rivista dell'idealismo militante"), based on the philosophical school of Benedetto Croces and Giovanni Gentiles . However, he increasingly changed their approaches, referring to Henri Bergson and Georges Sorel , in order to delve into completely irrational argumentation aids in favor of interventismo , the advocacy of Italy's participation in the First World War . When he left the editorial staff towards the end of the year to join Mussolini's newly founded magazine Il Popolo d'Italia , Giuseppe De Robertis took over the reins and the paper changed its face for the third time.

1914 to 1916: De Robertis

De Robertis adjusted La Voce again according to purely literary claims and published the utterly apolitical organ with a white title page, which is why it was soon referred to as La Voce Bianca . The literary criticism he pursued was based exclusively on the poet's individual words ( interpretation inherent in the work ) and pursued the idea of ​​a poem that had to be completely free of historical framework conditions and rhetorical-intellectual obstacles. De Robertis saw this in the formula of “fragmentism”, i.e. H. best realized in fragmentary forms of expression, to which in the following the hermetic poetry ( Ungaretti , Montale et al.) is linked.

Many writers who became important in the subsequent interwar period became known to a wider audience through their publications on the pages of Voce Bianca (e.g. Ungaretti, Palazzeschi , Campana , Govoni , Bacchelli and Cardarelli ). As in the previous phases of the magazine, La Voce united the most diverse positions and interests, so that the persecutors and persecutors of the fascist era that began six years later came together in the heterogeneous ensemble of numerous editors and authors . With the issue of December 31, 1916, La Voce finally stopped its publication.

Most important collaborators and authors

Giovanni Amendola , Guillaume Apollinaire , Riccardo Bacchelli , Antonio Baldini , Giovanni Boine , Massimo Bontempelli , Dino Campana , Vincenzo Cardarelli , Emilio Cecchi , Paul Claudel , Benedetto Croce , Giuseppe De Robertis , Guido De Ruggiero , Luigi Einaudi , Luciano Folgore , Paul Fort , André Gide , Corrado Govoni , Henrik Ibsen , Giuseppe Lombardo Radice , Stephane Mallarme , Romolo Murri , Arturo Onofri , Aldo Palazzeschi , Giovanni Papini , Charles Peguy , Giuseppe Prezzolini , Clemente Rebora , Romain Rolland , Umberto Saba , Gaetano Salvemini , Alberto Savinio , Camillo Sbarbaro , Renato Serra , Scipio Slataper , Ardengo Soffici , Giani Stuparich , Giuseppe Ungaretti , Giorgio Vigolo

literature

in chronological ascending order

  • Carlo Martini: «La Voce». Storia e bibliografia . Nistri-Lischi, Pisa 1956.
  • Giuseppe Prezzolini: Il tempo della "Voce". Milan & Florence 1960.
  • "La Voce" (1908-1914) . (Ed .: Angelo Romanò) Einaudi, Turin 1960 ( La cultura italiana del '900 attraverso le riviste . Vol. 2).
  • «Lacerba». "La Voce" (1914-1916) . (Ed .: Gianni Scalia) Einaudi, Turin 1961 ( La cultura italiana del '900 attraverso le riviste . Vol. 4).
  • "La Voce" 1908–1916 . (Ed .: Giansiro Ferrata) Landi, San Giovanni Valdarno / Rome 1961.
  • «L'Unità». «La Voce» politica (1915) . (Ed .: Francesco Golzio / Augusto Guerra) Einaudi, Turin 1962 ( La cultura italiana del '900 attraverso le riviste . Vol. 5).
  • Romain Rolland et le mouvement florentin de “La Voce”. Correspondance et fragments du Journal . (Ed .: Henri Giordan) Albin Michel, Paris 1966.
  • Emilio Gentile: "La Voce" e l'età giolittiana . Pan, Milan 1972.
  • Achille Bellanca: "La Voce" e la crisi del romanzo del primo Novecento . Uber, Rome 1973.
  • Amendola e "La Voce" . (Ed .: Giuseppe Prezzolini) Sansoni, Florence 1974
  • Giorgio Baroni: Trieste e «La Voce» . Is. Propaganda Libraria, Milan 1974.
  • "La Voce" 1908–1913. Cronaca, antologia e fortuna di una rivista . Ed .: Giuseppe Prezzolini. Rusconi, Milan 1974.
  • Umberto Carpi: «La Voce». Letteratura e primato degli intelletuali. Bari 1975.
  • Romano Luperini: Gli esordi del Novecento e l'esperienza della "Voce". Roma & Bari 1976.
  • Luisa Mangoni: Le riviste del Novecento. In: Letteratura italiana. Volume 1: Il letterato e le istituzioni . Einaudi, Turin 1982, pp. 945-960.
  • Giorgio Luti: Firenze corpo 8. Scrittori, editori e riviste nella Firenze del Novecento . Vallecchi, Florence 1983.
  • Giuseppe Marchetti: «La Voce». Ambience - opera - protagonists . Vallecchi, Florence 1986.
  • Neria DeGiovanni, Pier Riccardo Frigeri: Itinerari francesi de “La Voce” di Prezzolini . Is. Editoriali e Poligrafici Internazionali, Pisa 1998.
  • Umberto Carpi: «La Voce». Letteratura e primato degli intellettuali . Ed. Pensa MultiMedia, Lecce 2003.

Web links