Fabio Guidali

Between the 1960s and the 1970s, Marxism reached its maximum success in Italy, but that phase also corresponded to the crisis of the Italian Communist Party’s cultural hegemony, challenged by both the attacks coming from the New Left and innovative readings of Marx’s works. Marxist historicism, on which the Italian Communist Party had based its cultural policy after the the Second World War, consequently suffered heavy attacks. This article illuminates one of the responses to historicism’s decline, providing an account of the book series La Scienza Nuova, issued by the publishing house Dedalo in Bari and edited by the communist intellectual Mario Spinella, who was able to remain loyal to his party demonstrating, at the same time, cultural autonomy. Also grounding on archival documents, the article posits that Spinella’s aim was to attract New Left readers by selecting books on topics and by authors that were in fashion in Italy and abroad, but incorporating them into a theoretical framework based on Marxist historicism, in order to preserve the latter in an evolving cultural environment.

ABSTRACT The article deals with the early career of the literary critic Alberto Asor Rosa, one of the founders of the operaismo movement, a Marxist tendency advocating the management of factories by workers through bottom-up councils. It outlines the role he assigned to literature and culture, investigating his criticism first against the non-revolutionary cultural politics of the Italian Communist Party, notoriously through his book Scrittori e popolo and his writings for the periodical classe operaia, then identifying a transition from a destructive approach against any culture based on values to the use of cultural disciplines purely as techniques. The article posits that this instrumental understanding of culture depended on Asor Rosa’s political choice to take the perspective of the working class, in order to use culture itself for social analysis. In the second half of the decade, contributing to the periodicals Angelus novus and Contropiano, he still considered culture ineffective as a way towards revolution, but he began to value the great works of ʻbourgeois’ literature for their ability to penetrate the middle-class spirit and undermine capitalist society. The article concludes that, despite his changing idea of culture, Asor Rosa’s opinions on the intellectual’s task fit the traditional concept of it.

ABSTRACT Quaderni piacentini, set up in 1962 by Piergiorgio Bellocchio and Grazia Cherchi, was probably the most iconic leftist periodical in Italy before 1968. Its criticism against both the Italian Communist Party for its non-revolutionary policy and the reformist centre-left coalition, its uncompromising ethics, and its exploring into non-orthodox Marxist approaches made it representative of the intellectual New Left in Italy, against the background of advanced industrialization. This article explores the changing perception of the role of intellectuals in society from classic forms of an elitist political involvement to the desired identification with the masses. It argues that between the two different ways to approach culture that intersected in Quaderni piacentini and characterized the debate around 1968, namely the one expressed by Franco Fortini – advocate of the function of intellectuals and of the use of literature for political purposes – and the one supported by Alberto Asor Rosa – convinced of the need for a self-destruction of traditional ʻbourgeois' disciplines – the periodical tended to side with the former, in order to keep culture a credible and legitimate tool for militancy.