Friday 7 November 2008
THE RIGHT OF CULTURE IN ITALY
often happens in Italy to hear quite critical judgments about the "right culture" and to support its substantial non-existent or at least inferior to the so-called "cultural left" of Marxist-progressista.Questo real ideological bias has found its ultimate expression in a statement of Norberto Bobbio, the intellectual left, but with so-called liberal left-wing sympathies, who said and wrote that there is a culture of destra.E 'easy to refute such claims as the result of ignorance or bad faith. The great international culture of the contemporary world is usually not a socialist or Marxist. Remaining to Italy in the twentieth century only the three largest Italian philosophers, Croce, Gentile and Evola, all three were right, as it was the greatest economist of the right ever of our country, the liberal and royalist Luigi Einaudi. The major Italian writers active in the nineteenth century Pirandallo, Svevo, D'Annunzio, were all supporters of fascism, as well as famous people operating in various fields, from Marconi to Mascagni. An exhaustive list of illustrious authors classified in one of the many souls of the "right", be it liberal, conservative, national, traditional and so on., It would be too long for this site, and would not even be complete. Suffice it to say that the intellectual richness of the past centuries Italy visibly contrasts with the low average level of the historical period of the last 60 years, culturally dominated by the idea left. The reason for this paradox is that the "right" there are neither men nor the ideas and ideals, but the means and opportunity to express them. In Italy cultural power for decades is being monopolized by the Marxist left, both in universities and publishers, both in journalism (Marcello Veneziani wrote a book about it, "The Eskimo in the newsroom," explaining how journalists of left have obtained a considerable degree of autonomy and independence before its publishers themselves, be reduced to enable it to perform its propaganda), and even in apparently less important areas such as cinema and music. This proper use of places of power of culture is probably the result of two main causes. The first is the implementation by the PCI-PDS of a clear strategy, which had already been outlined by Gramsci and explicitly theorized that the establishment of a "hegemony" (this is the specific terms used) by the Marxists in cultural field, in order to inculcate its principles to society. It 's so happened that the left parties used money, men, pressure instruments of all kinds, to be able to let their representatives and supporters of cultural institutions of all levels, universities nursery schools, publishing houses with those recordings. In this, their work was much favored by the unions of the Triple Alliance (CGIL, CISL and UIL), capable of gaining the consent of a wide range of teachers and professors universitari.La second reason is that the above operation, carried out based on a real strategy, adequately funded and well guided from above, has not been matched by any of the rights adequate replication: conservative Catholics, liberals, MSI occurred before the split to unity Marxist ideological opponent. In addition, the Catholic Christian Democrats, despite having governed Italy for almost 50 years, did not understand really the importance of culture in its political work, while liberals and MSI, too weak the first, definitely excluded the latter, they could not with their own efforts to respond to the systematic campaign of employment and promotion of the cultural left marxista.Il result is that the abundance of talent and ideas of the Right has not paid adequate visibility, while a fundamental monotony and poverty of the conflict has left a very wide spread of their beliefs. To bring a case in point, a work regarded as the greatest Italian novel of the twentieth century, "The Leopard" by Tomasi di Lampedusa, a real masterpiece imbued with the spirit conservative monarchist and Catholic, he found, while its author was alive, only one publisher willing to publish it. When it was finally published, it was the Press, the publisher of the left par excellence, who tried to passed off as a text content rivoluzionario.Accade so, even today, that certain professions such as university professors or journalists, are much more easy to follow for those who profess the left, which is not an apolitical, and are often closed to those who stated views on the right. Inside there are strong guilds of faith "progressive", which tend to aggregate members of their own ideas and to exclude the problem posed altri.Il this situation is not only of justice, being such a profoundly unjust discrimination, but also of politics, as the Italian left controls the media and cultural power disproportionate to help spread the ideas of the political party of reference.
Posted by Marco De Turris at 21:35
THE RIGHT OF CULTURE IN ITALY
often happens in Italy to hear quite critical judgments about the "right culture" and to support its substantial non-existent or at least inferior to the so-called "cultural left" of Marxist-progressista.Questo real ideological bias has found its ultimate expression in a statement of Norberto Bobbio, the intellectual left, but with so-called liberal left-wing sympathies, who said and wrote that there is a culture of destra.E 'easy to refute such claims as the result of ignorance or bad faith. The great international culture of the contemporary world is usually not a socialist or Marxist. Remaining to Italy in the twentieth century only the three largest Italian philosophers, Croce, Gentile and Evola, all three were right, as it was the greatest economist of the right ever of our country, the liberal and royalist Luigi Einaudi. The major Italian writers active in the nineteenth century Pirandallo, Svevo, D'Annunzio, were all supporters of fascism, as well as famous people operating in various fields, from Marconi to Mascagni. An exhaustive list of illustrious authors classified in one of the many souls of the "right", be it liberal, conservative, national, traditional and so on., It would be too long for this site, and would not even be complete. Suffice it to say that the intellectual richness of the past centuries Italy visibly contrasts with the low average level of the historical period of the last 60 years, culturally dominated by the idea left. The reason for this paradox is that the "right" there are neither men nor the ideas and ideals, but the means and opportunity to express them. In Italy cultural power for decades is being monopolized by the Marxist left, both in universities and publishers, both in journalism (Marcello Veneziani wrote a book about it, "The Eskimo in the newsroom," explaining how journalists of left have obtained a considerable degree of autonomy and independence before its publishers themselves, be reduced to enable it to perform its propaganda), and even in apparently less important areas such as cinema and music. This proper use of places of power of culture is probably the result of two main causes. The first is the implementation by the PCI-PDS of a clear strategy, which had already been outlined by Gramsci and explicitly theorized that the establishment of a "hegemony" (this is the specific terms used) by the Marxists in cultural field, in order to inculcate its principles to society. It 's so happened that the left parties used money, men, pressure instruments of all kinds, to be able to let their representatives and supporters of cultural institutions of all levels, universities nursery schools, publishing houses with those recordings. In this, their work was much favored by the unions of the Triple Alliance (CGIL, CISL and UIL), capable of gaining the consent of a wide range of teachers and professors universitari.La second reason is that the above operation, carried out based on a real strategy, adequately funded and well guided from above, has not been matched by any of the rights adequate replication: conservative Catholics, liberals, MSI occurred before the split to unity Marxist ideological opponent. In addition, the Catholic Christian Democrats, despite having governed Italy for almost 50 years, did not understand really the importance of culture in its political work, while liberals and MSI, too weak the first, definitely excluded the latter, they could not with their own efforts to respond to the systematic campaign of employment and promotion of the cultural left marxista.Il result is that the abundance of talent and ideas of the Right has not paid adequate visibility, while a fundamental monotony and poverty of the conflict has left a very wide spread of their beliefs. To bring a case in point, a work regarded as the greatest Italian novel of the twentieth century, "The Leopard" by Tomasi di Lampedusa, a real masterpiece imbued with the spirit conservative monarchist and Catholic, he found, while its author was alive, only one publisher willing to publish it. When it was finally published, it was the Press, the publisher of the left par excellence, who tried to passed off as a text content rivoluzionario.Accade so, even today, that certain professions such as university professors or journalists, are much more easy to follow for those who profess the left, which is not an apolitical, and are often closed to those who stated views on the right. Inside there are strong guilds of faith "progressive", which tend to aggregate members of their own ideas and to exclude the problem posed altri.Il this situation is not only of justice, being such a profoundly unjust discrimination, but also of politics, as the Italian left controls the media and cultural power disproportionate to help spread the ideas of the political party of reference.
Posted by Marco De Turris at 21:35
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