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366"

Ugo Perolino

"CC0XX0"Remembering Aldo Moro. The Cultural Legacy of Kidnapping and Murder"C"ewtc"fk"Twvj"In{pp"g"Ikcpectnq"Nqodctfk"Nqpfqp"Ngigpfc"4234"KUDP<";9:/3/;29;97/49/3"

""

NÓkpvgtguug"rgt"kn"ecuq"Oqtq"pgn"oqpfq"cpinqucuuqpg"ugodtc"ngictuk"cnnc"rctvkeqnctg"xkukdknkv§"ejg"swgnnc"xkegpfc"qhhtg"rgt"wpc"ngvvwtc"fgnnc"uqekgv§"kvcnkcpc"cvvtcxgtuq"rtqeguuk"fk"eqfkhkec¦kqpg"pcttcvkxc"fgnnc"ogoqtkc."fgn"vtcwoc."fgnng"kfgpvkv§"rgtuqpcnk."eqnngvvkxg"g"igpgtc¦kqpcnk0"Eqog"uqvvqnkpgcpq"Twvj"In{pp"g"Ikcpectnq"Nqodctfk"pgn"uciikq"kpvtqfwvvkxq"c"Remembering Aldo

Moro.The Cultural Legacy of Kidnapping and Murder."Åthe Moro kidnap has assumed metonymic

value in relation to the political violence of thecppk"fk"rkqodqas a wholeÇ"*r0"7+0Ecvcnk¦¦cpfq"nÓcvvgp¦kqpg"uw"wpc"vtcigfkc"wocpc"g"rqnkvkec"tceeqpvcvc"fck"ogfkc"kp"rtguc"fktgvvc."nc"oqtvg"fgn"rtgukfgpvg"fgnnc"fgoqetc¦kc"etkuvkcpc"jc"hkpkvq"rgt"tcrrtgugpvctg"kp"oqfq"rctcfkiocvkeq"nc"etkuk"igpgtcng"fk"wp"fgegppkq"fk"uvtcik"g"vgttqtkuoq"kp"Kvcnkc0"In{pp"g"Nqodctfk"jcppq"kp"rtkoq"nwqiq"kn"ogtkvq"fk"hqtpktg"wpc"ocrrc"ceewtcvc"fgnnc"rtqfw¦kqpg""pcttcvkxc"g"ogoqtkcnkuvkec"uwnnÓctiqogpvq=kp"ugeqpfq"nwqiq"kn"xqnwog"jc"kn"rtgikq"fk"ukpvgvk¦¦ctgwpc"icooc"fkxgtukhkecvc"fk"crrtqeek"ogvqfqnqikek."ejg"kpenwfqpq"ctgg"fk"tkegtec"eqog"kn"eqtrq."nc"hkevkqpvgngxkukxc."kn"vtcwoc."kn"ewk"eqpvtkdwvq"eqpugpvg"fk"ciikqtpctg"nc"rgteg¦kqpg"etkvkec"g"nÓgtgfkv§"uvqtkec"fgn"ecuq"Oqtq"kp"wpc"rtqurgvvkxc"pqp"nkokvcvc"cnnÓqtk¦¦qpvg"kvcnkcpq0ÅBringing together the

work of scholars from a range of disciplinary perspectives,"Î"uetkxqpqkewtcvqtkÎ"the collection

emphasizes the continually evolving nature of the construction and interpretation of the events in

the Italian cultural imaginaryÇ"*r0"34+0"""Kn"xqnwog"fl"uwffkxkuq"kp"swcvvtq"ug¦kqpk."tkurgvvkxcogpvg"fgfkecvg"cnng"oqfcnkv§"fk"equvtw¦kqpg"fgnnÓkpvtgeekq."cnnÓcpcnkuk"fgn"fkueqtuq"g"fgnng"uvtcvgikg"tgvqtkejg."cn"eqtrq"fk"Oqtq."cnng"vtcurquk¦kqpk"vgngxkukxg"g"ekpgocvqitchkejg0Nc"rtkoc"rctvg"*Modes of Emplotment+"eqpvkgpg"ink"kpvgtxgpvk"fk""Tqdkp"Gtkec"Ycipgt/Rcekhkek."Aldo Moro and the TragicAfterlife of a Melodrama"*rr0"52/59+."g"Fcxkf"Oquu."Lost Leaders. The Death of the James Cook and Aldo Moro Compared*rr0"5:/7:+0NÓkpvgtxgpvq"fk"Fcxkf"Oquu."hqpfcvq"uw"wpc"rtqurgvvkxc"cpvtqrqnqikecogfkcpvg"nc"eqorctc¦kqpgfgnnc"oqtvg"fk"Oqtq"eqp"nÓweekukqpg"fgn"ecrkvcpq/gurnqtcvqtg"Lcogu"Eqqm"*399;+."fqewogpvc"nc"tkegtec"fk"pwqxk"oqfgnnk"fguetkvvkxk."eqp"uectvk"g"uequvcogpvk"cpejg"oqnvq"ugpukdknk"fcnng"eqtpkek"fk"tkhgtkogpvq"eqpuwgvg0"Fkxgtuq"nÓqtkgpvcogpvq"fkTqdkp"Ycipgt/Rcekhkek."ejg"tkvqtpc"c"eqpukfgtctg"ng"cpcnkuk"eqpvgpwvg"pgn"uciikqThe Moro Morality Play"*3;:8+."dcucvq"uwnnÓqrrquk¦kqpg"vtc"ognqftcooc"g"vtcigfkc"Åasmodalities by which to understandsuchtraumas and throughwhich

societies live themÇ"*r0"52+0CnnÓkpvgtpq"fk"wp"ukuvgoc"fk"tkocpfk"vgqtkek"vtcvvk"fcnnc"uqekqnqikc."fcnnc"etkvkec"ngvvgtctkc"g"fcnnc"rukeqcpcnkuk"Î"knsocial dramafk"Xkevqt"Vwtpgt."k"frameworksfk"Oct{"Fqwincu."k"oqfgnnk"pcttcvqnqikek"fk"Rgvgt"DtqqmuÎ"nÓkpvgtxgpvq"kpukuvg"uwnnctcrrtgugpvc¦kqpg"rwddnkec"g"ogfkcvkec"fgn"ecuq"Oqtq"eqog"melodramma*Åan intense emotional and ethicaldramabased on the

manichaeisticstruggle of good and evilÇ."r0"56+0Qeeqttg"rtguvctg"cvvgp¦kqpgrgt”"cink"cvvk"fk"eqpvtcuvq"cvvtcxgtuq"k"swcnk"Oqtq"jc"egtecvq"fk"qrrqtuk"c"swguvc"kpvgtrtgvc¦kqpg"fgk"hcvvk."vgpvcpfq"kpxcpq"fk"tkrtkuvkpctg."pgnng"ngvvgtg."wp"tgikuvtq"vtcikeq"*ÅIn tragedy, unlikemelodrama,

ambiguityisacknowledged and worked withÇ"r0"57+."rgt"tkrquk¦kqpctuk"cn"egpvtq"fgnnc"uegpc"g"ocpvgpgtg"crgtvc"nÓqr¦kqpg"fgnnc"vtcvvcvkxc0ÅWhat remains astounding after all these years"Î"quugtxcTqdkp"Ycipgt/Rcekhkek"Î"is what can only be called the absolute cdcpfqpogpv of Aldo Moro

when the question of negotiation was raised, and particularly when it was raised in his letters.This

abandonment went so beyond negation of the possibility of negotiation – it culminated symbolically

QDNKQ"KX."35"

367"

in the ‘Moro is not Moro’ petition signed by fifty so-called friends. Abandonment thus took the most

egregious form of degradation, with judgments about Moro’s mental and psychological and

physical states being made from a distance with no evidence» *r0"57+0"Nc"ugeqpfc"ug¦kqpg"fgn"nkdtq."kpvkvqncvc"Tropes, Language, and Trauma.fl"qtkgpvcvc"cnnÓkpfcikpg"fgnng"uvtcvgikg"tgvqtkejg"g"eqowpkecvkxg"ejg"ectcvvgtk¦¦cpq"k"fkueqtuk"fgn"rtkikqpkgtq"g"fgk"uwqk"ugswguvtcvqtk0"Nc"ug¦kqpg"eqpvkgpg"ink"kpvgtxgpvk"fk"Gnngp"Pgtgpdgti."Doxa, Orthodox, Paradox,

Heterodox, Oxymoron: Aldo Moro's Lettere dalla prigione del popolo"*rr0"84/99+="Twvj"In{pp."Moro as Figure of Speech: The DisplacedConfessions of the Women of the Brigate Rosse"*9:/;7+="IkwuIctikwnq."Moro, Morucci, Moretti: Oxymoron and the Prison of Political Language"*rr0";8/328+. Twvj"In{pp"tkhngvvg"uwnnc"fkhhwukqpg."c"rctvktg"fcink"cppk"Pqxcpvc."fk"wpc"equrkewc"xgpc"fk""fqewogpvk."uetkvvk"g"kpvgtxkuvg"tkncuekcvg"fc"gz/eqorqpgpvk"fgnng"Dtkicvg"tquug"*Oqtweek."Hctcpfc."Dcn¦gtcpk."Dtcijgvvk."Oqtgvvk."Icnnkpctk+0"Uk"vtcvvc"fk"wpc"rtqfw¦kqpg"vguvkoqpkcng"*post-

terroristnarration+"ejg"rw”"guugtg"xkuvc"eqog"Åa literary alternative to the courtroomÇ"eqp"nÓqdkgvvkxq"rk"q"ogpq"fkejkctcvq"fk"rtqowqxgtg"Åthe public rehabilitation of formerterrorists,

facilitatingtheir release from prison and their re-entry intoItalian societyÇ"*r0":2+0Vtg"fk"swguvk"nkdtk"kp"rctvkeqnctg"Î"Nell’anno della tigre. Storia di Adriana Faranda"*3;;6+"fk"Uknxcpc"Oc¦¦qeejk=Il prigioniero"*3;;5"g"4225+"fk"Cppc"Ncwtc"Dtcijgvvk"g"Rcqnc"Vcxgnnc="Compagna luna"*3;;:+"fk"Dctdctc"Dcn¦gtcpk""Îrtgugpvcpq"wpc"uvtwvvwtc"kdtkfcvc"vtc"dkqitchkc"g"cwvqdkqitchkc."eqp"uwuugiwgpvk"queknnc¦kqpk"vtc"rtkoc"g"vgt¦c"rgtuqpc.eqpvkpwkv§"ogoqtkcng"g"htcoogpvq."fkctkq"g"kpvgtxkuvc."kpvkokuoq"g"qiigvvkxc¦kqpg"uvqtkeq/rqnkvkec0"Uk"vtcvvc"fk"vguvk"uhtcpikcvk."rqnkugokek."kpvgp¦kqpcnogpvg"rtqurgvvkek."kp"ewk"nÓkpugtvq"fk"ekvc¦kqpk"g"ugiogpvk"fqewogpvcnk"*vguvkoqpkcp¦g"fk"cokek."fkejkctc¦kqpk"fk"gz"vgttqtkuvk"gee0+"ugipcnc"Åan acute awareness on the part of the perpetrators and

their co-authors of the obstaclesthatexistbetween the discourse of the formerterrorist and that of the

reading publicÇ"*r0":3+0"CnnÓkpvgtpq"fgnnc"pcttc¦kqpg."cppqvc""In{pp."gogtig"rtqitguukxcogpvg"wpc"octecvc"eqpvtcffk¦kqpg"vtc"nÓkoocikpg"fk"Oqtq"eqog"ukodqnq"cuvtcvvq"fgn"rqvgtg"fgoqetkuvkcpq."ejg"uvc"cn"egpvtq"fgn"fkueqtuq"kfgqnqikeq"fgnng"Dtkicvg"tquug."g"nc"uwc"wocpk¦¦cvc"xwnpgtcdknkv§"g"htciknkv§"fk"xkvvkoc"korqvgpvg0"Kp"swguvc"ugeqpfc"ceeg¦kqpg"kn"rtkikqpkgtq"fkxkgpg"vgtokpg"fk"wpc"ukipkhkec¦kqpg"ejg"uk"tkhngvvg"uwn"xkuuwvq"vtcwocvkeq"fgink"gz"vgttqtkuvk0"Pgn"ecuq"fk"Cftkcpc"Hctcpfc"kn"tceeqpvq"kpfwikc"uwn"tkoqtuq"rgt"nc"oqtvg"fk"Oqtq."Åwpc"vtcigfkc"fguvkpcvc"c"ecodkctg"nc"uvqtkc"fÓKvcnkc."fgnng"Dtkicvg"tquug."g"cpejg"nc"okcÇ"*r0":8+0"ÅWhat is at stake here"Î"cppqvc"Twvj"In{pp"Î"is

the articulation of a haunting and debilitating emotional crisis that, for the author, borders on the

unspeakableÇ"*r0":8+0Cpejg"nÓqokekfkq"Dcejgngv"uk"urgvvtcnk¦¦c"pgn"tceeqpvq"fk"Cppc"Ncwtc"Dtcijgvvk"g"tkvqtpc"uqvvq"hqtoc"fk"hcpvcuoc"kpfgngdkng"pgn"ugipq"fgnnc"eqnrc"*ÅNc"okc"rwpk¦kqpg"pqp"fl"kn"ectegtg."oc"swgnnÓkoocikpgÇ+0"Uk"vtcvvc"fk"wp"xkuuwvq"ejg"hqpfg"fwg"rkcpk."g"urkpig"kp"gxkfgp¦c"nc"ogoqtkc"fgn"uqiigvvq0"UetkxgTwvj"In{pp<"ÅLittle attention is paid in the narrative to the man

whose life has been so abruptly ended […]. The construction of the violence as one of self-harm

presents, once again, an implicit confusion between victim and perpetrators rolesÇ"*r0":;+0"Nc"vgt¦c"rctvg"*The Body of Moro+"eqpvkgpginkkpvgtxgpvk"fk"IkwugrrkpcOgeejkc."Moro's Body

between Enlightenment and Postmodernism :Terror, Murder, and Meaning in Jean Baudrillard and

Leonardo Sciascia"*rr0"32:/343+."g"Pkeqngvvc"Octkpk"Ockq< Unbury that Body:The Tragic Palinode

of a Generation in Marco Baliani'sCorpo di Stato*rr0"344/357+0Kn"oqvkxq"fgnnc"gncdqtc¦kqpg"ocnkpeqpkec."ik§"tkejkcocvq"fc"Gnngp"Pgtgpdgti."xkgpg"tkrtqrquvq"fc"Pkeqngvvc"Octkpk"Ockq"kp"ejkcxg"igpgtc¦kqpcng."cvvtcxgtuq"kn"oqpqnqiq"Corpo di Stato"fk"Octeq"Dcnkcpk0"ÅBaliani's re-

memorization of the past"Î"uqvvqnkpgc"Octkpk/OckqÎis shaped as a collective rite of mourning

through which the self of the author-narrator reflects on and mediates with his entire generation,

[…] taking responsibility for the deeds of the nqvvcctocvc in the 1970sÇ"*r0"344+0"Fwg"fkhhgtgpvk"eqphkiwtc¦kqpk."Åthe tragicpalinodeÇ"g"Åthe mistery storyÇ."uqpq"kpfkecvguwnncueqtvc"fk"Jc{fgp"Yjkvgeqog"hqtog"fk"eqfkhkec¦kqpg"fgn"ecuq"Oqtq"pgnnc"ewnvwtc"kvcnkcpc0Ogpvtg"nc"ugeqpfc"oqfcnkv§"fk"emplotment"kpenwfg"wpc"rnwtcnkv§"fk"gukvk"pcttcvkxk*Åfrom the crime story to the

conspiracy plotÇ+."nc"rcnkpqfkc"vtcikec"uk"hqpfc"uwnnc"tkngvvwtc"fgn"rcuucvq"*Åthe retraction and sense

of guilt of the protagonists of vjg"cppk"fk"rkqodqÇ"*r0"344+0Kn"oqpqnqiq"fk"Dcnkcpk"uk"hc"ectkeq"fk"wpc""

QDNKQ"KX."35"

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tkhnguukqpg"ejg"jc"rqtvcvc"eqnngvvkxc"rgt"swgnnc"igpgtc¦kqpg"ejg"pgink"cppk"Ugvvcpvc"jc"egfwvq"cnnc"vgpvc¦kqpg"fgnnc"xkqngp¦c."rtcvkecpfqnc"q"ugornkegogpvg"ceegvvcpfqnc"eqog"uvtwogpvq"fk"nqvvc"rqnkvkec0ÅEqtrq"fk"Uvcvq"Î"ukngiigpgnnceqpenwukqpgfgnnÓctvkeqnqÎis the tragedy of a reversed

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the assassination and the process leading to it, through the act of rememberingÇ"*r0"353+0"Pgnnc"swctvc"rctvg"fgn"nkdtq."Mediating Moro."fgfkecvc"cnng"rtqfw¦kqpk"hknokejg"g"vgngxkukxg."uqpq"tceeqnvk"ink"kpvgtxgpvk"fk"Kucdgnnc"Rg¦¦kpk."Imago Moro: Medi-a-(c)tion on Aldo Moro"*rr0"358/372+="Cncp"QÓNgct{."Locations of Moro: the Kidnap in the Cinema"*373/392+="Ikcpectnq"Nqodctfk."Fictions: The Moro Affaire in the Primetime Drama *rr0"393/3:8+0"Kphkpg."vtc"ng"tgegpvk"kpfcikpk"uwnnc"tcrrtgugpvc¦kqpg"fgnnc"xkqngp¦c"rqnkvkec"g"fgink"cppk"fk"rkqodq""qeeqttg"cpeqtc"ugipcnctg"fwg"tceeqnvg"fk"uciik<ImaginingTerrorism.The Rethoric and

Representationof PoliticalViolence in Italy 1969-2009"*Nqpfqp."Ngigpfc."422;+."c"ewtc"fk"Rkgtrcqnq"Cpvqpgnnq"g"Cncp"QÓNgct{=Terrorism, Italian Style. Representations of PoliticalViolence

in ContemporaryItalian Cinema"*Nqpfqp."Kitu"Dqqmu.4234+."c"ewtc"fk"Twvj"In{pp."Ikcpectnq"Nqodctfk"g"Cncp"QÓNgct{0"

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