11118.10. La cultura della crisiAnc

111
18.10. La cultura della crisi
Anche per la cultura europea, gli anni 1920 e '30 furono anni di crisi e
di mutamenti profondi.

222
Si accentuarono in questo periodo i fenomeni di
disgregazione e di perdita dell'unità che già si erano delineati negli anni
precedenti il primo conflitto mondiale.

333
Le maggiori scuole di pensiero
sorte dopo la guerra (il neopositivismo e la fenomenologia, esistenzialismo, lo spiritualismo cattolico e le varie correnti del marxismo) avevano
metodologie e interessi molto distanti fra loro e procedettero ciascuna
per proprio conto senza molto influenzarsi vicendevolmente.

444
Un discorso analogo si può fare per la letteratura, per le arti figurative,
per la musica.

555
Proseguì in questi anni la tendenza alla rottura delle forme canoniche e la ricerca, a volte esasperata, di nuovi moduli espressivi.

666
Continuò la stagione delle grandi correnti d'avanguardia, che trovarono un pubblico più ampio e disponibile che in passato in una società delusa e disorientata come quella postbellica.

777
Ai movimenti già affermatisi prima della guerra (estrattismo e il cubismo, A futurismo e Espressionismo) se ne
giunsero altri nuovi come il surrealismo, lanciato nel 1924 da un gruon A'
intellettuali francesi (André Breton, Louis Aragony PaulÉluard) che vedev
no nell'arte l'espressione delle tendenze profonde dell'inconscio e predici
vano, nel campo culturale come in quello politico, la lotta contro ogni forma
di convenzione borghese.
888

Ma nessuna di queste correnti giunse ad affermarsi sulle altre, nessuna può essere scelta come particolarmente rappresentativa di un'epoca e di una temperie culturale.

999
Non è forse un caso se due
fra le maggiori personalità dell'epoca rispettivamente nel campo pittorico e
in quello musicale, Fabio Picasso e IgorStravinskij, non si identificarono con
una sola corrente d'avanguardia, ma piuttosto le attraversarono e le utilizzarono tutte con straordinario eclettismo.

10101010
Consideriamo anche i grandi capolavori della narrativa apparsi nel periodo fra le due guerre: gli ultimi volumi
della Ricerca del tempo perduto di Marcel Proust uscirono a guerra appena
terminata, come molti dei racconti e romanzi di Franz Kafka-, YUlisse di]ames Joyce è del 1922, La Montagna incantata di Thomas Mann del 1924,
mentre LUomo senza qualità di Robert Musil fu pubblicato all'inizio degli
anni '30.

111111
Queste opere hanno fra loro poco di simile, salvo il fatto di rappresentare i problemi e le angosce dell'uomo del XX secolo, di espnmere in modi molto diversi (ora restando, come Mann, nel solco della tradizione del romanzo ottocentesco, ora forzando, come Joyce, strutture letterarie e convenzioni linguistiche) la rottura dell'universo borghese che avév a fatto da
sfondo e da sostrato alla grande narrativa del secolo XIX.

121212
Un ulteriore elemento di crisi e di disgregazione della cultura europea
di questi anni fu indubbiamente rappresentato dalle divisioni politico ideologiche.

131313
Anche se le loro opere non recavano spesso alcuna traccia visibile delle vicende sociali contemporanee (e apparivano invece come distaccate e ripiegate sulla sperimentazione formale e sull'introspezione psicologica), letterati e artisti furono fortemente coinvolti nelle grandi contrapposizioni fra liberalismo borghese e comunismo marxista, fra fascismo e democrazia.

141414
L'impegno politico non era certo io una cosa nuova per gli intellettuali europei.

151515
Ma ciò che accadde negli anni fra le due guerre fu un fenomeno più esteso e più carico di implicazioni.

161616
Gli intellettuali furono chiamati sempre più spesso non solo a testimoniare, ma a parteggiare apertamente, a prendere posizione mi singoli problemi (fu allora che si diffuse
l'uso dei pubblici manifesti e degli appelli firmati da personalità della cultura); furono mobilitati, e spesso utilizzati spregiudicatamente, da partiti e
governi; si divisero secondo Iinee di contrapposizione che ricalcavano gli
schieramenti politico-ideologi ci: se la cultura liberale aveva i suoi maggiori
punti di riferimento in Benedetto Croce e in Thomas Mann, se i comunisti
potevano vantare illustri «compagni di strada» come Picasso e Gorkij, André Gide e Romain Rolland, anche la desira autoritaria poteva mettere in
campo personaggi prestigiosi: i filosofi Giovanni Gentile e Martin Heidegger (uno dei padri dell'esistenzialismo), il giurista e politologo tedesco Cari
Schmitt, il poeta americano Ezra Pound, per citare solo i più noti.

171717
Parve a molti che gli intellettuali, lasciandosi coinvolgere così a fondo nelle contese politiche, tradissero in qualche modo la loro missione, che abdicassero al loro ruolo di guida delle coscienze per adattarsi a quello di propagandisti.

181818
Divisa e lacerata dalla radicalizzazione ideologica e politica, la cultura
europea subì anche in modo diretto e drammatico le conseguenze dell'avvento dei regimi totalitari.

191919
Se la dittatura staliniana provocò la scomparsa
fisic

結果 (英語) 1:

11118.10. The culture of crisisEven for European culture, 1920 's 30 years were years of crisis andprofound changes.222 It emphasized during this period, the phenomena ofdisintegration and loss of unity that had already outlined in the yearsprior to the first world war.333 Major schools of thoughtfate after the war (the neo-positivism and Phenomenology, Existentialism, spiritualism and the various currents of Marxism Catholic) hadmethods and interests very far apart and they proceeded eachon its own behalf without much influence each other.444The same can be done for literature, the Visual Arts,for music. 555He continued in these years a tendency towards disruption of canonical forms and research, sometimes exasperated, new forms of expression. 666Continued the season of great currents of avant-garde, who found a wider audience and available than in the past in a society disappointed and confused as the postwar period. 777The movement already established before the war (designing and field skills and Cubism, Futurism and Expressionism)other new arrived as surrealism, launched in 1924 by a gruon to 'French intellectuals (André Breton, Louis Aragony PaulÉluard) vedevno deep trends in art expression of the unconscious and sermonscompartment, in the cultural field as in politics, the fight against all formsbourgeois Convention. 888But none of these currents came to establish itself over the others, none can be chosen as particularly representative of an era and a cultural climate.999 Isn't it a coincidence that twoamong the major personalities of the time respectively in the field of painting andthat musical, Fabio Picasso and IgorStravinskij, not identified withone current avant-garde, but rather the crossed and used it all with remarkable eclecticism. 10,101,010We also consider the great masterpieces of fiction appeared in the interwar period: the last volumesin search of lost time by Marcel Proust went forth to war justOnce, as many of the short stories and the novels of Franz Kafka-, YUlisse] ames Joyce is of 1922, the magic mountain by Thomas Mann of 1924,While the man without qualities by Robert Musil was published at the beginning of theyears ' 30. 111,111These works have among them just like that, except to represent the problems and anxieties of man of the 20th century, espnmere in very different ways (now remaining, as Mann, in the tradition of the 19th-century novel, now forcing, as Joyce, literary structures and linguistic conventions) rupture of the bourgeois universe that avév made bybackground and substrate to the great nineteenth-century fiction.121,212A further element of crisis and disintegration of European cultureof these years was undoubtedly the political ideological divisions. 131,313Although their works were often no visible trace of the contemporary social events (and appeared instead as detached and fall back on formal experimentation and on psychological introspection), writers and artists were heavily involved in major clashes between Marxist communism and bourgeois liberalism, between fascism and democracy. 141,414The political commitment was certainly not a new thing for European intellectuals.151,515 But what happened in the years between the two world wars was a broader phenomenon and more laden with implications.161,616 The intellectuals were increasingly not only to witness, but to side openly, to take a stand that individual problems (me spreadthe use of official posters and appeals signed by personalities of culture); were mobilized, and often used unscrupulously, by parties andGovernments; divided according to Lines of opposition that reflected thepolitical parties-ideologues there: If the liberal culture had its mainlandmarks in Benedetto Croce and Thomas Mann, if the Communistsboasted distinguished «companions» as Picasso and Gorky, André Gide and Romain Rolland, even the authoritarian desira couldfield characters: Giovanni Gentile philosophers and Martin Heidegger (one of the fathers of Existentialism), German jurist and political scientist DearSchmitt, the American poet Ezra Pound, to mention only the most famous. 171,717It seemed to many that the intellectuals, leaving political contentions so thoroughly involved in tradissero somehow their mission, which they abdicated their role of guidance of consciences to fit that of propagandists.181,818Divided and torn by ideological and political radicalisation, culturea direct and dramatic European also suffered the consequences of the advent of totalitarian regimes. 191,919If the Stalinist dictatorship caused the disappearancefisic

結果 (英語) 2:

111
18.10. The culture of the crisis
also for the European culture, the 1920s and '30s were years of crisis and
profound changes. 222 is accentuated at this time of the phenomena of disintegration and loss of unity that already had outlined in the years preceding the First World War. 333 The major schools of thought arose after the war (neo-positivism and phenomenology, existentialism, the Catholic spiritualism and the various currents of Marxism) had methodologies and interests very distant from each other and each proceeded on its own without much influence each other. 444 A similar argument can be done to literature, to the fine arts, for music. 555 went on in recent years the tendency to rupture of canonical forms and research, sometimes exasperated, of new forms of expression. 666 continued the season of the great avant-garde currents, they found a wider audience and available than in the past in a society disillusioned and disoriented as the post-war. 777 The movements already established themselves before the war (estrattismo and Cubism, Futurism and Expressionism A) if they others came as new surrealism, launched in 1924 by a gruon A ' French intellectuals (André Breton, Louis Aragony PaulÉluard) that vedev no art expression of the profound tendencies of the unconscious and speak in vain, in the cultural field as in that political, the fight against all forms of bourgeois convention. 888 But none of these currents came to establish itself on the other, none of them can be chosen as particularly representative of an era and a cultural climate. 999 Is not it a coincidence that two among the major personalities of the time, respectively, in painting and in the music, Pablo Picasso and IgorStravinskij, not identified with one current avant-garde, but rather ran through and used them all with eclecticism. 10101010 Consider also the great works of fiction appeared in the period between the wars: the last volumes of Search of Lost Time by Marcel Proust went out to war just ended, as many of the stories and novels of Franz Kafka-, of Ulysses] ames Joyce, 1922, The Magic Mountain by Thomas Mann 1924, while the man without qualities by Robert Musil was published at the beginning of the 30s. 111111 These works have each other just like that, except that of representing the problems and anxieties of man of the twentieth century, of espnmere in very different ways (time remaining, as Mann, in the tradition of nineteenth-century novel, now forcing, like Joyce, literary structures and linguistic conventions) breaking bourgeois universe which were upon in fact from background and from substrate to the great narrative of nineteenth century. 121212 A further element of crisis and disintegration of European culture of these years was undoubtedly represented by the political ideological divisions. 131313 Although their work did not bear often no visible trace of the contemporary social affairs (and they were appearing as detached and folded on formal experimentation and psychological introspection), writers and artists were heavily involved in major conflicts between bourgeois liberalism and Marxist communism, between fascism and democracy. 141414 Political commitment I was not a new thing for European intellectuals. 151515 But what happened in the years between the wars was a phenomenon larger and more loaded with implications. 161616 intellectuals were increasingly called upon not only to testify, but to openly take sides, to take a stand I individual problems (it was then that spread the use of public appeals and posters signed by representatives of culture); They were mobilized, and often used unscrupulously, by parties and governments; split second lines break of opposition that reflected the political and ideological camps there: if the liberal culture had its major landmarks in Benedetto Croce and Thomas Mann, if the Communists could boast illustrious "companions" as Picasso and Gorky, André Gide and Romain Rolland, also Desira authoritarian could put in the field prestigious personalities: the philosopher Giovanni Gentile and Martin Heidegger (one of the fathers of existentialism), the German political scientist and jurist Carl Schmitt, the American poet Ezra Pound, to name only the best known. 171717 It seemed to many that intellectuals, getting involved so deeply in political contests, somehow betray their mission, who should resign their leadership role of conscience to fit to propagandists. 181818 Uniform and torn ideological radicalization and political culture in Europe also suffered a direct and dramatic consequences of the advent of totalitarian regimes. 191919 If the Stalinist dictatorship caused the disappearance fisic

結果 (英語) 3:

111
18.10. The culture of crisis
also for European culture, the years 1920 and '30 were years of crisis and
of radical changes.

222
accentuarono in this period the phenomena of
disintegration and loss of the unit had already been outlined in the years
preceding the first world war.

333
The major schools of thought
arose after the war (the neopositivismo and phenomenology,Existentialism, Catholic spiritualism and the various currents of Marxism) had
methodologies and interests very distant from each other and walked each
for own account without much influences mutually.

444
A similar reasoning can be made for literature, for the figurative arts,
for music.

555
Continued in these years the tendency to breakage of the canonical forms and research, at times exasperated new expressive forms.

666
continued the season of great currents of avant-garde, who found a wider audience and available than in the past in a society disappointed and disoriented as the postwar.

777
To movements already emerged before the war (estrattismo and the Cubism, Futurism and Expressionism) if ne
came other new as the surrealism, launched in 1924 by a gruon A'
French intellectuals (Andre Breton, Louis Aragony PaulÉluard) that vedev
no in the art expression of deep trends of the unconscious and predici
compartment, in the cultural field as in politicsThe fight against every form
Convention Borghese.
888

but none of these currents came to assert itself on the other, none of them can be selected as being particularly representative of an epoch and a cultural atmosphere.

999
is not perhaps a case if two
among the more famous personalities of the time respectively in the field of painting and
in music, Fabio Picasso and IgorStravinskij,Do not identified with
only one current state-of-the-art, but rather the crossed and used all with extraordinary eclecticism.

10101010
consider also the great masterpieces of the narrative appeared in the period between the two world wars: the latest volumes of
search of lost time by Marcel Proust went forth to war just
finished,As many of the stories and novels of Franz Kafka-, YUlisse of]ames Joyce is 1922, The Enchanted Mountain of Thomas Mann 1924,
while man without qualities of Robert Musil was published at the beginning of
years '30.

111111
These works have among their little similar, except to represent the problems and anxieties of the men of the twentieth century, espnmere in very different ways (now remaining,As Mann, in the tradition of the nineteenth-century novel, now forcing, as Joyce, facilities literary and linguistic conventions) the breakage of the universe borghese avév that in fact by
background and from the substrate to the great narrative of century XIX.

121212
a further element of crisis and disintegration of the European culture
These years was undoubtedly represented by political divisions ideological.

131313
even if their works are not travelled often no visible trace of events of contemporary social (and appeared instead as detached and folded on the formal experimentation and on the psychological introspection),Writers and artists were heavily involved in large contrasts between bourgeois liberalism and Marxist communism, between fascism and democracy.

141414
the political commitment was not sure i a new thing for European intellectuals.

151515
but what happened in the years between the two world wars was a phenomenon more extensive and more load implications.

161616
The intellectuals were called increasingly not only to witness, but siding openly, to take a position i individual problems (it was then that spread
the use of public posters and the appeals signed by personalities of culture); were mobilized and often used unscrupulously, by parties and
governments;They divided according Iinee confrontation that ricalcavano the
political factions-ideologues there: if the liberal culture had its major
points of reference in Benedetto Croce and Thomas Mann, if the Communists
could boast distinguished "Compagni di strada" as Picasso and Gorkij, André Gide and Romain Rolland, even the authoritarian wish could put in
field prestigious characters:The philosophers Giovanni Gentile and Martin Heidegger (one of the fathers of existentialism), the jurist and political scientist German Dear
Schmitt, the American poet Ezra Pound, to mention only the most known.

171717
seemed to many that the intellectuals, letting themselves be involved so deeply into the political strife, tradissero somehow their mission,That abdicassero to their role as a guide of consciences to adapt to that of propagandists.

181818
divided and torn by ideological radicalisation and politics, culture
Union underwent even in a direct manner and the dramatic consequences of the advent of totalitarian regimes.

191919
If the stalinist dictatorship provoked the disappearance
fisic