La Voce (magazine)

La Voce (meaning the Voice in English)[1] was an Italian literary magazine which was published in Florence between 1908 and 1916.

For the Italian newspaper, see La Voce (newspaper).

La Voce
Editor-in-chiefGiuseppe de Robertis
Former editorsGiuseppe Prezzolini
CategoriesLiterary magazine
FrequencyWeekly
PublisherFirenze
FounderGiuseppe Prezzolini
Year founded1908
Final issueDecember 1916
CountryItaly
Based inFlorence
LanguageItalian
ISSN1722-7798
OCLC470423977

History and profile

La Voce was established as a weekly cultural review by Giuseppe Prezzolini, an anti-conformist Italian author, in 1908.[2][3][4] Prezzolini was also co-founder another literary magazine, Leonardo.[3] La Voce was based in Florence[5] and Giovanni Papini was also functional in its establishment.[6][7]

Prezzolini stopped his writings in the magazine in 1912 due to disagreements with other significant contributors, including Papini, over Italy's intervention in the Libyan war.[8] He also resigned from the magazine as editor-in-chief which he held between 1908 and 1913.[9][10] In addition, Papini left the magazine in 1913.[8]

Prezzolini was succeeded by Giuseppe de Robertis as editor-in-chief and from December 1914 to December 1916 Robertis directed the magazine.[11]

Soon after its inception La Voce appeared as the most influential forum for dissents in Italy to discuss "social problems created by the new forms of human coexistence in the new industrial world."[12] The early contributors to the magazine considered poetry as a social commitment and moral responsibility.[3] Its ultimate goal was to produce involved readers having social awareness.[13] To this end La Voce employed a language and approach that would welcome all classes.[13]

Until 1914 the magazine exclusively focused on philosophical, ethical and political affairs[2] in addition to literary content.[14] During the period between 14 December 1914 and 31 December 1916 the magazine was published with the title of La Voce Bianca.[9] The content of the magazine also changed and it became a pure literary review using the motto, know how to read.[2] The writers of the magazine at that time commonly produced poetic or prose fragments.[15] It was closely allied with futurists[7] which it had rejected until 1913 when Papini left.[12]

Italian writer and poet Vincenzo Cardarelli and Ardengo Soffici were among the regular contributors to the magazine.[10][16] The other significant contributor was Benito Mussolini.[17]

The magazine ceased publication in December 1916 after eighteen issues.[2][9]

Le Voce was modelled by German expressionist magazine Der Sturm which was started in 1910.[12]

gollark: I was unironically considering this.
gollark: Yes, trueish probably.
gollark: Presumably because the shorter relationships are easier to learn and world models are harder to infer than simpler language factoids.
gollark: GPTous entities have a tendency to say things which are linguistically sensible, but which don't really match human knowledge of what the real world is like, and to lack coherence over longer distances.
gollark: GPT-1 maybe, I never actually interacted with it.

See also

References
  1. "Letter from Giuseppe Prezzolini to Federico Comandini 18 July 1915". British Library. Retrieved 2 November 2014.
  2. Joseph Cary (16 October 1993). Three Modern Italian Poets: Saba, Ungaretti, Montale. University of Chicago Press. p. 10. ISBN 978-0-226-09527-1.
  3. Lawrence R. Smith; Alison Smith (27 July 1981). The New Italian Poetry, 1945 to the Present: A Bilingual Anthology. University of California Press. p. 9. ISBN 978-0-520-04411-1.
  4. Jane Fortune (21 November 2013). "Stirring ideas". The Florentine (193). Retrieved 2 November 2014.
  5. Michela Rosso (2016). "Il Selvaggio 1926–1942: Architectural Polemics and Invective Imagery". Architectural Histories. 4 (1). doi:10.5334/ah.203.
  6. Morton Levitt (2002). Joyce and the Joyceans. Syracuse University Press. p. 182. ISBN 978-0-8156-2930-6.
  7. Michael Curtis (1959). Three Against the Third Republic: Sorel, Barrès and Maurras. Transaction Publishers. p. 27. ISBN 978-1-4128-4346-1.
  8. Peter Brooker; Sascha Bru; Andrew Thacker; Christian Weikop (21 February 2013). The Oxford Critical and Cultural History of Modernist Magazines: Volume III: Europe 1880 - 1940. Oxford University Press. p. 467. ISBN 978-0-19-965958-6.
  9. Peter Brooker; Sascha Bru; Andrew Thacker; Christian Weikop (21 February 2013). The Oxford Critical and Cultural History of Modernist Magazines: Volume III: Europe 1880 - 1940. Oxford University Press. p. 468. ISBN 978-0-19-965958-6.
  10. Lawrence Rainey; Christine Poggi; Laura Wittman, eds. (2009). Futurism. An Anthology (PDF). New Haven and London: Yale University Press. ISBN 978-0-300-08875-5. Archived from the original (PDF) on 1 February 2012.
  11. Peter Brooker; Sascha Bru; Andrew Thacker; Christian Weikop (21 February 2013). The Oxford Critical and Cultural History of Modernist Magazines: Volume III: Europe 1880 - 1940. Oxford University Press. p. 528. ISBN 978-0-19-965958-6.
  12. Douglas Brent McBride (2006). "Expressionism, Futurism, and the Dream of Mass Democracy". Studies in 20th & 21st Century Literature. 30 (2). doi:10.4148/2334-4415.1636. Retrieved 2 November 2014.
  13. Laura A. Salsini (Summer 2013). "Ann Hallamore Caesar, Gabriella Romani, and Jennifer Burns". Italica. 90 (2). Retrieved 23 November 2014. – via Questia (subscription required)
  14. Mark Gilbert; Robert K. Nilsson (19 September 2007). Historical Dictionary of Modern Italy. Scarecrow Press. p. 356. ISBN 978-0-8108-6428-3. Retrieved 2 November 2014.
  15. Santo L. Aricò (1 January 1990). Contemporary Women Writers in Italy: A Modern Renaissance. Univ of Massachusetts Press. p. 91. ISBN 0-87023-710-1.
  16. Encyclopedia of Italian Literary Studies: A-J. Taylor & Francis. 2007. p. 387. ISBN 978-1-57958-390-3.
  17. Emilio Gentile (July 1998). "The Struggle for Modernity: Echoes of the Dreyfus Affair in Italian Political Culture, 1898-1912". Journal of Contemporary History. 33 (4). Retrieved 17 March 2015.
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