{"id":3647,"date":"2021-04-04T16:39:10","date_gmt":"2021-04-04T16:39:10","guid":{"rendered":"https:\/\/vocilibereurss.fupress.net\/leuropa-letteraria\/"},"modified":"2021-12-23T20:56:43","modified_gmt":"2021-12-23T20:56:43","slug":"leuropa-letteraria","status":"publish","type":"post","link":"https:\/\/vocilibereurss.fupress.net\/en\/leuropa-letteraria\/","title":{"rendered":"L’Europa letteraria"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n
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Cover: “L’Europa letteraria”, year VI, 1965\/1, 33.<\/em><\/p><\/div>\n

Title of the magazine:
\n<\/em><\/strong>\u201cL\u2019Europa letteraria\u201d (Literary Europe)<\/p>\n

Start date:<\/em><\/strong> 1st<\/sup> January 1960<\/p>\n

End date:<\/em><\/strong> May-June 1965<\/p>\n

Place of publication:<\/em><\/strong> Rome<\/p>\n

Editorial committee:<\/em><\/strong> Giancarlo Vigorelli, Davide Lajolo, Domenico Javarone<\/p>\n

Main Collaborators:<\/em><\/strong> Domenico Javarone, Davide Lajolo, Aleksandr Tvardovskii, Evgenii Evtushenko<\/p>\n

Total number of issues:<\/em><\/strong> 26<\/p>\n

\u00a0Description:<\/strong>
\n<\/em>\u201cL\u2019Europa letteraria\u201d was founded on January 1st, 1960, in Rome by Giancarlo\u00a0Vigorelli<\/a>, who served as editor until 1965. During those five years, Vigorelli was joined first by co-director Domenico Javarone, and then by Davide Lajolo from issue 20\/21 of April-June 1963.
\nThe editorial and administrative offices were in Rome, initially located at 78, Via Micheli, moving in 1964 to 87, Via delle Muratte, and the following year to 11, Via Montanelli. The bimonthly journal published a total of 26 volumes with Edizioni Rapporti Europei (Editions with European Reports) from January 1960 to June 1965, when it ceased publishing.
\nFrom issue 3 of June 1960, the journal expanded to include the section\u00a0L\u2019Europa artistica\u00a0<\/em>(Artistic Europe) and from issue 9\/10 of June\/August 1961, the section\u00a0L\u2019Europa cinematografica\u00a0<\/em>(Cinematographic Europe) was added.\u00a0<\/em>Both these sections, which had their own cover pages and contained essays, articles, and reviews on artistic and cinematographic subjects, can be considered journals in their own right, so much so, that the last three issues of the magazine were published with the new title\u00a0L\u2019Europa letteraria, artistica e cinematografica<\/em>\u00a0(Literary, Artistic and Cinematographic Europe).
\n\u201cL\u2019Europa Letteraria\u201d was originally divided into four parts:\u00a0Testi (<\/em>Texts)<\/em>, which included prose, poetry, and critical essays;\u00a0Fatti e Idee\u00a0<\/em>(Facts and Ideas), which included articles on literature and art;\u00a0Letture\u00a0<\/em>(Readings), with reviews of new literary releases; and\u00a0Notiziario\u00a0<\/em>(News), which included the \u201cBulletin of the European Community of Writers\u201d (COMES) but which was discontinued after a few issues. These sections were later joined by\u00a0Testi e Galleria\u00a0<\/em>(Texts and Gallery) in\u00a0L\u2019Europa Artistica\u00a0<\/em>and\u00a0Testi e Primi piani (<\/em>Texts and Close-ups) in\u00a0L\u2019Europa Cinematografica.<\/em>
\n<\/em>The journal\u2019s contents were essentially based on the same anti-fascist principles as COMES with an editorial line that was progressive and pan-European which aimed at encouraging interaction between Western and Eastern European cultures by creating a space for debate among intellectuals. The journal\u2019s goal was to allow the \u201cso-called two Europes to know and recognise one another\u201d through the exchange of ideas (Vigorelli 1960: 8). According to Vigorelli<\/a>, men of culture needed to stop \u201cwasting time on monologues when dialogues are needed\u201d (ibid:<\/em>\u00a011) to establish peaceful relations between the different European countries. In order to facilitate a rapprochement between peoples, the journal included writing by Italian intellectuals such as Ungaretti, Pasolini, Moravia, Riccio, Strada<\/a>, and Luzi, as well as works in their original language or translation by intellectuals, writers, and artists from other European countries, such as Sartre, Hesse, Hemingway, Petrov and Evtushenko.
\nThe editor also aimed to promote exchange between Marxism and the bourgeoisie, since he believed that \u201cwriters, artists [\u2026] and men of culture, because they are inherently inclined towards unity, are not afraid of division or disagreement, and do feel lost between opposing ideologies\u201d (ibid.: 1<\/em>0). With these visions of unity in mind, the journal sought to bring together artists aligned with official Soviet culture, such as Kostantin Fedin or Aleksei Surkov with those on its fringes. One of the journal\u2019s main contributors was Aleksander Tvardovskii, whose progressive Soviet journal, \u201cNovii Mir\u201d, greatly influenced the editorial direction of \u201cL\u2019Europa Letteraria\u201d, which became the means through which the Italian public came to know the works of Anna Akhmatova, Boris Pasternak, Aleksandr Solzhenytsin, and Tvardovskii himself.
\nVigorelli<\/a> believed that continuous cultural confrontation was necessary to make \u201cthat ancient, and yet new, shared plant flourish\u201d (ibid.<\/em>) and to achieve a \u201cunification and connection of men\u201d (ibid.<\/em>).\u00a0The journal remained an extremely important channel for spreading and transmitting culture and for breaking down political and cultural barriers in Europe at a time when the channels of communication were \u00a0extremely fragile.
\nAs the years went by, however,\u00a0Vigorelli\u2019s<\/a> vision became increasingly problematic. The journal began to lose its influence with the advent of mass media, a phenomenon which was highlighted by Vigorelli in the last issues of the journal which, he said, was attempting to continue to wage its \u201cwar of ideas, a war whose weapon is criticism and whose victory is freedom\u201d (Vigorelli 1965: 186). The editor\u2019s battle cry was in vain and \u201cL\u2019Europa Letteraria\u201d was forced to close with issue 35 of May-June 1965.<\/p>\n

Notes:<\/strong><\/em>\u00a0The issues consulted in this study from \u201cL\u2019Europa letteraria\u201d (1960-1965) were found in the Central National Library of Florence. It was not possible to find issues 25, 28, or 29,\u00a0nor was it possible to consult the index of issue 26.<\/p>\n

Claudia Borrelli
\n<\/em><\/strong>[30th June 2021]\n

Translation by Claudia Borrelli<\/p>\n

Bibliography<\/em><\/strong><\/p>\n