La Voce
Editor-in-chiefGiuseppe de Robertis
Former editorsGiuseppe Prezzolini
CategoriesLiterary magazine
FrequencyWeekly
PublisherFirenze
FounderGiuseppe Prezzolini
Founded1908
First issue20 December 1908
Final issueDecember 1916
CountryItaly
Based inFlorence
LanguageItalian
ISSN1722-7798
OCLC470423977

La Voce (Italian: the Voice) was an Italian weekly literary magazine which was published in Florence, Italy, between 1908 and 1916. The magazine is also one of the publications which contributed to the cultural basis of the early forms of Fascism.[1] It also contributed to the development of the concept of Europeanism.[2]

History and profile

La Voce was established as a weekly cultural review by Giuseppe Prezzolini, an anti-conformist Italian author, in 1908.[3][4] Prezzolini was also co-founder of another magazine, Leonardo.[4] La Voce was based in Florence,[5][6] and Giovanni Papini was functional in its establishment.[7][8] The first issue of La Voce appeared on 20 December 1908.[9]

Prezzolini stopped his writings in the magazine in 1912 due to disagreements with other significant contributors, including Papini, over Italy's intervention in the Libyan war.[10] He resigned from the magazine as editor-in-chief, a post which he held between 1908 and 1913.[10][11] Papini also left the magazine in 1913.[10] Prezzolini was succeeded by Giuseppe de Robertis as editor-in-chief who held the post from December 1914 to December 1916.[10]

Soon after its inception La Voce appeared as the most influential forum for dissenters in Italy to discuss "social problems created by the new forms of human coexistence in the new industrial world."[12] The early contributors of the magazine considered poetry as a social commitment and moral responsibility.[4] The ultimate goal of the magazine was to produce involved readers having social awareness[13] and to improve spiritual unity of all Italians.[14] To this end La Voce employed a language and approach that would welcome all classes.[13] Sigmund Freud's theories on sexuality were first introduced to Italians by the magazine via an article by Roberto Assagioli published in 1910.[9]

Until 1914 La Voce exclusively focused on philosophical, ethical and political affairs[3] in addition to literary content.[15] During the period between 14 December 1914 and 31 December 1916 the magazine was published with the title La Voce Bianca.[10] The content of the magazine also changed, and it became a pure literary review using the motto, "know how to read".[3] The writers of the magazine at that time commonly produced poetic or prose fragments.[16] It became closely allied with futurists[8] which it had rejected between its start and 1913 while Papini was one of the contributors.[12]

La Voce ceased publication in December 1916 after eighteen issues.[3][10]

Contributors

Italian writers and poets Vincenzo Cardarelli, Ardengo Soffici, Clemente Rebora, Giovanni Amendola and Alessandro Casati were among the regular contributors to the magazine.[11][17][18] Of them Ardengo Soffici published articles on the Paris art scene focusing on Gustave Courbet, Henri Rousseau, Pierre-Auguste Renoir and Pablo Picasso. The topics of his articles also included Impressionism, work by Arthur Rimbaud and French avant-garde poetry.[19]

Another significant contributor was Benito Mussolini,[20] who published articles before World War I when he was a socialist.[21] French thinker Georges Sorel also collaborated with Le Voce.[22] Roberto Longhi was a regular contributor between 1912 and 1916 who published very radical essays.[23]

Legacy

Le Voce became a model for the German expressionist magazine Der Sturm which was started in 1910.[12] Solaria, an Italian magazine established in 1926, was also influenced from La Voce.[24]

See also

References

  1. ↑ Maciej Urbanowski (2011). "Stanisław Brzozowski and fascism". Studies in East European Thought. 63 (4): 308. doi:10.1007/s11212-011-9152-0. S2CID 154920326.
  2. ↑ Daria Ricchi (2021). "'Andare verso il popolo (Moving Towards the People)': Classicism and Rural Architecture at the 1936 VI Italian Triennale". Architectural Histories. 9 (1). doi:10.5334/ah.451.
  3. 1 2 3 4 Joseph Cary (1993). Three Modern Italian Poets: Saba, Ungaretti, Montale (2nd ed.). Chicago: University of Chicago Press. p. 10. ISBN 978-0-226-09527-1.
  4. 1 2 3 Lawrence R. Smith; Alison Smith (1981). The New Italian Poetry, 1945 to the Present: A Bilingual Anthology. Berkeley, Los Angeles, CA; London: University of California Press. p. 9. ISBN 978-0-520-04411-1.
  5. ↑ Michela Rosso (2016). "Il Selvaggio 1926–1942: Architectural Polemics and Invective Imagery". Architectural Histories. 4 (1). doi:10.5334/ah.203.
  6. ↑ Simonetta Falasca-Zamponi (1997). Fascist Spectacle The Aesthetics of Power in Mussolini's Italy. Berkeley and Los Angeles, CA; Oxford: University of California Press. p. 31. ISBN 978-0-520-20623-6.
  7. ↑ Corinna del Greco Lobner (2002). "D'Annunzian Reverberations in a Rejection Slip: Joyce and "Daniele Defoe"". In Morton P. Levitt (ed.). Joyce and the Joyceans. Syracuse, NY: Syracuse University Press. p. 182. ISBN 978-0-8156-2930-6.
  8. 1 2 Michael Curtis (1959). Three Against the Third Republic: Sorel, Barrès and Maurras. New Brunswick, NJ; London: Transaction Publishers. p. 27. ISBN 978-1-4128-4346-1.
  9. 1 2 Anna Baldini (2018). "Allies and Enemies: Periodicals as Instruments of Conflict in the Florentine Avant-garde (1903–15)". Journal of European Periodical Studies. 3 (1): 11, 14. doi:10.21825/jeps.v3i1.8103. S2CID 158629464.
  10. 1 2 3 4 5 6 Francesca Billiani (2013). "Political and Aesthetical Transgressions: Some Florentine Reviews à la Mode: Il Marzocco, Il Regno, Hermes, Il Leonardo, and La Voce". In Peter Brooker; et al. (eds.). The Oxford Critical and Cultural History of Modernist Magazines. Vol. III. Oxford: Oxford University Press. pp. 467–468. ISBN 978-0-19-965958-6.
  11. 1 2 Lawrence Rainey; Christine Poggi; Laura Wittman, eds. (2009). Futurism. An Anthology. New Haven, CT; London: Yale University Press. ISBN 978-0-300-08875-5. JSTOR j.ctt1nq4q3.
  12. 1 2 3 Douglas Brent McBride (2006). "Expressionism, Futurism, and the Dream of Mass Democracy". Studies in 20th & 21st Century Literature. 30 (2). doi:10.4148/2334-4415.1636.
  13. 1 2 Laura A. Salsini (Summer 2013). "Book review". Italica. 90 (2).
  14. ↑ MacGregor Knox (March 1984). "Conquest, Foreign and Domestic, in Fascist Italy and Nazi Germany". The Journal of Modern History. 56 (1): 9. doi:10.1086/242619. S2CID 143473662.
  15. ↑ Mark Gilbert; Robert K. Nilsson (2007). Historical Dictionary of Modern Italy. Lanham, MD: Scarecrow Press. p. 356. ISBN 978-0-8108-6428-3.
  16. ↑ Santo L. Aricò, ed. (1990). Contemporary Women Writers in Italy: A Modern Renaissance. Amherst, MA: University of Massachusetts Press. p. 91. ISBN 0-87023-710-1.
  17. ↑ Gaetana Marrone, ed. (2007). Encyclopedia of Italian Literary Studies: A-J. New York; Abingdon: Routledge. p. 387. ISBN 978-1-57958-390-3.
  18. ↑ Enrico Riccardo Orlando (2018). ""The Profound Beauty is Greatness": Itinerary in Giovanni Boine's Aesthetics". In Harald Hendrix; Philiep Bossier; Claudio Di Felice (eds.). The Idea of Beauty in Italian Literature and Language. Leiden: Brill. pp. 205, 208. doi:10.1163/9789004388956_013. ISBN 9789004388956. S2CID 194665211.
  19. ↑ Walter L. Adamson (2004). "Modernism in Florence: The Politics of Avant-Garde Culture in the Early Twentieth Century". In Luca Somigli; Mario Moroni (eds.). Italian Modernism: Italian Culture between Decadentism and Avant-Garde. Toronto; Buffalo, NY; London: University of Toronto Press. p. 226. ISBN 9781442623385.
  20. ↑ Emilio Gentile (July 1998). "The Struggle for Modernity: Echoes of the Dreyfus Affair in Italian Political Culture, 1898-1912". Journal of Contemporary History. 33 (4): 497–511. doi:10.1177/002200949803300402. S2CID 154027605.
  21. ↑ Philip Morgan (2004). Italian Fascism, 1915–1945 (2nd ed.). London: Palgrave Macmillan. p. 19. doi:10.1007/978-0-230-80267-4. ISBN 978-1-4039-3251-8.
  22. ↑ Jack J. Roth (March 1967). "The Roots of Italian Fascism: Sorel and Sorelismo". The Journal of Modern History. 39 (1): 37. doi:10.1086/239996. S2CID 144762665.
  23. ↑ Laura Moure Cecchini (2019). "Baroque Futurism: Roberto Longhi, the Seventeenth Century, and the Avant-Garde". The Art Bulletin. 101 (2): 31. doi:10.1080/00043079.2019.1527641. S2CID 194289254.
  24. ↑ Vanessa Santoro (2019). Fashioning sensibility: emotions in Gianna Manzini's fashion journalism (MA thesis). University of Glasgow. p. 21.
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