Punching the ground with the local "probe": the cultural work of Antonello Ricci
Alberto Prunetti
Luciano Bianciardi scholar contended fiercely against the provincialism of local scholars, whom he called in a negative sense "archaeologists" and "medieval." Attacked them fiercely in the opening pages of Cultural work and said to them abandoning the background buzz of Grosseto to follow a new publishing project in Milan of the alleged "economic boom". He stood with one foot stuck in the province and another in the jet-set of the intellectual mainstream, earning the hatred of one and the other evil and waging a bitter life, full of brandy and bad guilt. Most
His accusations against the "city" were justified. And they are even now, at a time when "local" means something worse than the time of Bianciardi.
If still in the sixties localism could be interpreted as a point of view capable of grasping the real country, today the risk is that this term would be a representation of reality, community and identity, falsely turned in on itself. The one and the other perspective, suffer from some aberration, but the myopic astigmatism and focus of those who see with vivid colors just is not a sufficient reason to jettison the prospect closer - macro photography as it is called in the jargon - of who writes with the eye immersed in the room. It would therefore be a pity to give local studies wer leaguers who invent languages \u200b\u200band traditions, or the charlatans who propagate delusions and theosophical mysticism strapaesani.
A scholar who defends the value of cultural work in the province with the rigor of the old mole, and the optimism of humanity and the Viterbo Antonello Ricci (pictured). Studied at the school of folkloric studies and literary criticism, deconstructive semiotics compound with a look on the province that is more than one anthropologist who dell'autodidatta. One foot in high school (the teacher that everybody knows), one in academia (he is graduating from the University of Tuscia) Antonio Ricci is the guy who writes articles on friends' computers - its always broken - and that gets an idea of \u200b\u200bthings mumbling his cigar into the coat with long walks at night inside the walls of Viterbo. In a city that was once the "I Vitelloni" (set in the magnificent film by Fellini) and now feels increasingly tight squeeze the bite of the Right, Ricci continues to the obstinate and contrary to his intellectual activity: writing essays on fascism Viterbo, then plot plays that he staged with a group of actors self-taught, following the script down in the verses, and while rummaging in the archives, interview elders, rewrite their memories. He continues to walk on those streets Black Viterbo, a provincial town, which became the capital only for smart convenience of twenty years and that the leader has always returned to the beam and gratitude. A beautiful city, however, that in the night walks to the side of the Ricci opens like the pages of a novel (Ricci is also the author of a guide to Viterbo fact that should be read as a literary work rather than as a technical publication).
then summarize some passages of the bibliography of Antonio Ricci:
_ 1932, novel metric (David Ghaleb Editore, 2009): the characters of a story in rhyme: Gemma, a proud country to which the Fascists killed a son, Valerio , a child who one day stumbles and rolls between the legs of a director who is filming a movie in Viterbo fascist ("Old Guard" of Blasetti), Edward, a blacksmith thirty runners and anti-fascist, in love with a girl called Libertarian, screaming her name while you are training every morning at dawn and that when cutting the finish line first greets a clenched fist, making the leaders angry. And then my grandfather Olindo, old and a bit 'rung, horseman retired Valerio tells of when he was a cowboy in Maremma and how Buffalo Bill defeated in the historic battle between cowboys and cowboys Maremma.
_ Sottoassedio (David Ghaleb publisher, 2009) is a play in three acts devoted to the conflict that opposed the anti-fascists in 1921-22 and Viterbo blacks squad, said in a choir from a number of characters: miners, poets arm, the fascists, the daring of the people. Almost a Greek tragedy set against the backdrop of lava stone, volcanic stone used in its construction Viterbo.
_Mezz'al Duce and midfield Beam (Malavoglia, 2003), an essay that weaves oral history and cultural anthropology to address the issue of consent to the myth of Mussolini's fascist regime and country in memory of Lazio. An interesting work conducted through the use of oral memory in the interview with old witnesses of two decades, through the graffiti of the time, eighth in extemporaneous rhyming poetry and jokes policies.
_Stoffa strong Maremma (Manzanita, Vecchiarelli, 2001) and Making rows (Alternative Press, 2003) in these essays the Ricci has collected a series of articles on the eighth rhyme in Maremma, a form of poetry in heroic verse tank farm that is rising (and here is gathered the strength and adaptability of certain local phenomena far from ephemeral) and now sees boys in the province of Grosseto alternate, both in the public in the boxes where you do the rhyme, the old pensioners.
_ A special mention goes to the work of Ricci curatorship of pseudo-autobiographical memories of semi-illiterate artisans who have practiced trades almost disappeared in the border area between Grosseto and Viterbo to the potter to Carbonaro a sample of the illegality of Maremma, the grave robbers, or the guy who was commissioned by night in search of Etruscan vases in the tombs scattered in the countryside, often digs heels of officers in groundwater exploration night. Memories, curated by Antonello, tell the biography of Peter Bozzini, a romantic grave robbers, so good with the "pin" that the Superintendent of Cultural Heritage in the seventies offered to "buy" and make him work alongside teachers and students, so as not to have him as a competitor in the excavations. This book of memoirs, editing by Ricci, titled Bury me with the pin. Autobiography of a kind grave robbers (Alternative Press, 2003) (the probe is a probe of iron, a frugatoio variable length, generally equipped with handlebars, with which the grave robbers, hitting the ground, "felt" - some say mystical - the discontinuities of the subsoil and identify the chambers 'Etruscan tombs of the air, using traditional techniques that archaeologists are struggling to explain).
are only a few essays on the volcanic front which extends the search for Antonello Ricci, rooted like heather on the ground around Viterbo tuff but leads to the struggle for the defense of public space and political (eg the park 's Arcionello, air protection of 400 hectares near the city walls on which gravitate predatory ambitions against which Antonello agrees with tireless activism), more and more compressed in the room who sees and makes particular area of \u200b\u200binterest and exclusive self-identification and community. If the memory of anti-and subjugated cultures do not vanish in an era of mass-cultural oblivion, thanks in part will be resistant to certain grave robbers as Antonio Ricci, who continue to test the local terrain with their probe, in constant search of stories submerged to share.
www.carmillaonline.com
