식민지 리비아 여성성에 투영된 이탈리아 파시즘의 이슬람 정책 연구 －페리코네 비올라의 <맞잡은 불기둥>중심으로－
Il rogo tra le palme of Augusta. P. Violà and Fascist ‘Politica Islamica’ in Colonial Libya
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This article takes into consideration in which Fascist Italy reckoned itself in relation to the southern Mediterranean, and specifically its perceptions of Muslim culture in Italian colonial Libya. Examining Augusta Perricone Violà1932 novel Il rogo tra le palme, it tells how Italian women writers allowed the ‘politica islamica’ that identified various Italian perception of Muslim-Italian relations at that time. Just as the ‘politica islamica’ supposed Italian relationships to Islam as a form of cooperation based upon shared values and the collective scope of a highly idealized Muslim-Italian society, female writers at this time also imagined new relations of Muslim-Italian cultural kinship. This perception of cultural commonality, which classified Italian discourses of the late 1920s and 1930s, can be seen in the way that Violà’s novel turns to Islam as an important allegorical source of Italian women’s self-fashioning. While past scholarship has focused on the way Italian fascist women emulated Muslim women as exemplary mothers, here it is argued that this novel offers a more dynamic cultural imaginary.
Abstract
This article takes into consideration in which Fascist Italy reckoned itself in relation to the southern Mediterranean, and specifically its perceptions of Muslim culture in Italian colonial Libya. Examining Augusta Perricone Violà1932 novel Il rogo tra le palme, it tells how Italian women writers allowed the ‘politica islamica’ that identified various Italian perception of Muslim-Italian relations at that time. Just as the ‘politica islamica’ supposed Italian relationships to Islam as a form of cooperation based upon shared values and the collective scope of a highly idealized Muslim-Italian society, female writers at this time also imagined new relations of Muslim-Italian cultural kinship. This perception of cultural commonality, which classified Italian discourses of the late 1920s and 1930s, can be seen in the way that Violà’s novel turns to Islam as an important allegorical source of Italian women’s self-fashioning. While past scholarship has focused on the way Italian fascist women emulated Muslim women as exemplary mothers, here it is argued that this novel offers a more dynamic cultural imaginary.
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