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And you let it burn. E l'hai lasciata bruciare. Sang off-key in my chorus.

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Eri la voce stonata nel mio coro. I saw the signs and I ignored it. Ho visto i segnali e li ho ignorati. Rose-colored glasses all distorted. Vedevo tutto con gli occhi dell'amore. Set fire to my purpose. Hai appiccato il fuoco ai miei propositi. And I let it burn. E li ho lasciati bruciare. You got off on the hurtin'. Ti piaceva tanto il dolore. When it wasn't yours, yeah. Che non era il tuo, yeah. We'd always go into it blindly. Ci lasciavamo trasportare ciecamente. I needed to lose you to find me. Dovevo perderti per trovarmi.

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This dancing was killing me softly. Questa danza mi uccideva dolcemente. I needed to hate you to love me, yeah.

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Dovevo odiarti per amarmi, yeah. To love, love, yeah. Per amare l'amore, yeah. To love, yeah. I needed to lose you to love me, yeah.

Dovevo perderti per amarmi, yeah. I needed to lose you to love me. Dovevo perderti per amarmi. I gave my all and they all know it.

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Ho dato tutta me stessa e tutti lo sanno. You turned me down and now it's showing. At the opposite end of the military and cultural hierarchy, the common soldier could either resort to a more or less awkward travesty of the conventional patriotic vocabulary, possibly in order to trick a nit-picking postal censorship, or write in his dialect, depending on the addressee a close relative, a person of high standing or his employer. Proportions varied according to the addressee. Even in Italy, the unprecedented facts of total mobilisation, resulting in the sudden disappearance of the entire adult male population, frequently undermined, and occasionally subverted, the balance of power between genders.

Compared to European patterns, the emancipation of women in the workplace and their enfranchisement from the guardianship of the paterfamilias were slower and ephemeral: the economy was conservative, and female education was too imperfect to allow women to hold their own at all professional levels. At any rate, the exceptional liberty women enjoyed far from the domestic hearth was reason enough for concern, especially when peasant families were involved. For an excellent survey on the impact of the First World War on the position of women in its different forms cf.

II Turin: Einaudi, , 35— Either way, mail from the front was closely scrutinised by an all-pervading system of censorship that was set up in the early days of the war and gradually improved as the months passed. However, this was the first time in history that a majority of Italians were confronted with reading and writing as habitual activities: more than two billion letters and postcards were posted from the frontlines, a billion and a half to the front, and nearly three hundred million travelled between war zones.

This was nothing like the ten billion letters and cards exchanged by the French, or the thirty billion posted by Germans, to say nothing of British troops, but they stand as a proof of the massive shift towards literacy that was one of the major consequences of the Great War. This is one of the most tangible indicators that the conflict induced a homogenisation and modernisation of perceptions and behaviours, although by no means the only one.

One exception was the anthology of letters from the front edited by Antonio Monti in Italian Narratives of the First World War, —68 about his most elementary needs, child rearing, or the well-being of his cattle. They were either illiterate, that is incapable of leaving a written legacy, or at best only interested in family, friends, and personal matters.

Letters, diaries and memoirs, most of them as yet unpublished, were now cited as evidence of attitudes of protest, desertion and rejection of the rhetorical codes and patriotic justifications of war. The autobiographical legacy and the behaviour of a population in arms that had been largely hostile to intervention and anxious to escape armed confrontation were imbued with refusal.

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However, its unity was guaranteed by the common social and cultural background of the authors, their rank in the military hierarchy, and, more specifically, recurring themes and catchwords. Authorised speakers on behalf of the war were, first and foremost, educated witnesses, self-aware soldier-writers who published their recollections in the form of diaries and memoirs, occasionally novels. In a recent essay, Enrica Bricchetto has attempted a systematic census of Italian intellectual productions on the subject of the period to , indicating, in —40 alone, about 1, texts.

Many of the works mentioned in that census, especially those published between and the early s, belong to the genre of the political or military polemical works, or are memoirs by diplomats and politicians. Under close inspection, the relatively small group of books about the First World War which were best sellers until the s reveals that the majority of the works are memoirs and journals less frequently novels and poems set in the front lines, focusing on the experience and memory of the fighting see Table These sources are not entirely dependable. For one thing, they only record publications of which a legal copy is stored in either of the two national libraries, and therefore largely ignore the work of local typographers, self-published books and any book that for any reason is not a part of the Sistema Bibliografico Nazionale.

Italian Literature of the Great War: Works with two or more editions — Italian Literary Texts on the Great War — Source: Survey of autobiographic texts devoted to the Great War, published in Italy between and , based on the Bibliografia Nazionale Italiana. So, Italian war literature can be aptly defined as the class of those texts that deal exclusively or for the most part with experience at the front either in prose or verse , their authors being for the most part traditional eyewitnesses in uniform deployed on the advanced lines.

Others had not fought in the trenches, but had shared the anguish and misery of veterans at the front, and had reasons to consider life in the war zone as a pivotal chapter of their autobiography.

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This subgroup includes nurses in advanced field hospitals, military chaplains, higher officers and generals not necessarily involved in the actual fighting. Participation in the actual fighting and exposure to the possibility of dealing death or being killed are a fundamental threshold experience.

Italian Narratives of the First World War, —68 source of an authentic social memory of war. On the one hand, indisputably, memoirs and diaries were the dominant form of European war narratives in the aftermath of and would continue to be for two decades afterwards.

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More often than not, the repulsive realities of life and death in the trenches are compensated for with stylistic refinement a case in point could be the euphemistic tropes found in the memoirs of British soldiers-writers. Or, alternatively, the atrocities of modern warfare are attenuated through recourse to a heroic-chivalric imagery that trivialises tragedy and allows the construction of a heroic image of the self.

Between and the s, this production progressively dwindled. As the book market was no longer subject to state control, the narrations of the conflict began to change, both in their ideological underpinnings and their practical purposes. It is true that soldier-writers who had spent the greatest part of the conflict in a trench, among a small group of comrades, might really have experienced this. Together with Pinocchio, Cuore remained the most widely read Italian novel until the aftermath of the Second World War: the impact and persistence of its stereotypes can hardly be overrated.

Italian Narratives of the First World War, —68 not, formulas and commonplaces trumped direct accounts based on experience. Are we brothers? Most definitely so. Some of us are reluctant, seedy, slow, stubborn, unco-operative, but what does it matter?

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So are brothers in this imperfect world. For a grouchy or diffident comrade, dozens greet me with a hearty smile when they see me. What we have in common is stronger than any difference, there is no need to look any further. We will be walking down the same road and heading for the same goal: how can anything else matter? One step, one breath, one pace, one fate. After the first miles of march, all differences will be shed, drop by drop, like sweat.

Marching together. Italian war historiography has shown comparatively little interest in the persistence and renewal of such stereotypes of masculinity in times of war. The history of women, by contrast, has received much greater attention. The progressive de-masculinisation of society, as more and more young men were sent to the front, allowed an unprecedented number women to seek employment beyond traditionally feminine professions such as teaching. The production of visual material connected with the Great War was immense and as diverse as postcards, advertisements, photographic books and illustrated periodicals , yet women are invariably depicted as either consoling and devout, or seductive and available.

Italian soldiers who sang the praise of military life and the virtues of frank comradeship as a shelter against the chaos and horror of modern warfare were rarely supporters of the nationalist party: after the war they frequently distinguished themselves as anti-Fascist militants. A vita nuova, a new life that would at long last afford them the right to be regarded and, more crucially, to look upon themselves as fully-fledged men. He had filed a request to be sent to the front and was mobilised in the alpine battalion Val Cismon.

When I enter the tiny room full of pipe smoke, I immediately recognise the pointed beards of the major and the captain-doctor, sitting at a small table. Men who have travelled to the outer reaches of life and lived to tell the tale.