Abstract
This chapter analyzes representations of compassion in Ginzburg’s Family Sayings, examining her father’s unemotional detachment and occasionally violent conduct. The author highlights the negative consequences of such behavior for others and suggests both self-criticism and depth of the Fascist culture’s influence on society. The author’s portrayal of the compassion offered by both Uncle Cesare and Adriano illustrates a model of male identity that values emotional consideration and compassionate responses, thus challenging gender stereotypes. By inquiring the connection between men and action or violence, Ginzburg opposes one of the myths of Fascist gender differences. This examination demonstrates how neorealist artists promote individuals’ emotional ability in order to reach understanding, control, and, thus, mental well-being, which are necessary qualities to promote a positive way of living for all individuals.
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- 1.
Some examples of Ginzburg’s works reflecting such commitment are Le voci della sera, Lessico famigliare, Mai devi domandarmi, “È davvero una servitù? Essere donna,” and “Ti ho sposato per allegria.”
- 2.
Maria Montessori, the first woman in Italy to qualify as a physician, developed a pedagogical theory based on methods drawn from medicine, education, and anthropology.
- 3.
For an examination of Ginzburg’s critique of patriarchal authority, see James M. Fortney.
- 4.
See both Michele Rago and Giancarlo Vigorelli.
- 5.
For a more complete explanation of il confino, see Sodi, Introduction xii.
- 6.
For elucidation of this contradiction, see De Grazia, How Fascism Ruled Women: Italy, 1922–1945, 81.
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Milli Konewko, S. (2016). Compassion in Ginzburg’s Depictions of Family Relationships. In: Neorealism and the "New" Italy. Italian and Italian American Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-52416-4_11
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DOI: https://doi.org/10.1057/978-1-137-52416-4_11
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