In interwar Europe the polarised division into left and right went to the heart of personal identities. Tragic choices were made under extreme conditions. Faced with Hitler’s onslaught, one could not always afford to pick one’s allies. We may regard Stalinism with horror, and especially with the benefit of hindsight. If we today live in a democratic and peaceful Europe, we owe a “debt towards those who fought to build it” even if that leaves us with an uneasy complicity with Soviet communism. If all violent political struggles involve tragedy, some deserve more than distanced moral evaluation. Human rights and Holocaust consciousness, not politically compromised anti-fascism, are the new civic religion.Īgainst these apostles of anti-totalitarianism, Traverso sets himself to reinstating the old anti-fascist verities. Their anglophone counterparts are the new historians of the second world war, scholars such as Norman Davies and Timothy Snyder, who see in that conflict little more than a clash of dictatorships that made victims or perpetrators out of everybody who inhabited the “bloodlands”. From the 1970s a bevy of historians and intellectuals, many of them, such as François Furet, former communists, began to re-evaluate the entire epoch, criticising and historicising both fascism and anti-fascism and tracing their bloody struggle all the way back to the French revolution, which was recast as the origin of all modern ideological conflict. In Greece its reverberations could still be felt 70 years later in 2015 as Syriza vainly summoned the heroic memory of the partisans against the might of the eurozone.īut these days in France and Italy, anti-fascism has fallen on hard times. Cloaked in the mythology of the resistance and Popular Front anti-fascism, as well as the hidden histories of collaboration, it left a deep imprint on postwar political culture. He argues that a state of more or less open civil strife extended around the Mediterranean from the 1930s to the 1940s – from Greece and Yugoslavia to Italy, France and Spain. Traverso provides an unfamiliar perspective on these decades, one of European “civil war”. Politics became a matter of life and death. War and civil war merged, as partisans and their pursuers took hostages and made reprisals, German flamethrowers blasted the hillside and American bombers rained down fire. To break open our complacency, in his brilliant opening chapter Traverso plunges us into the blood-soaked history of his home region of Piedmont, where for two terrible years between 19 the Wehrmacht and their fascist henchmen fought a final stand against insurgent partisans and the overwhelming might of the allied armies. How can we understand the “age of extremes” (1914 to 1945) from a present – our present day in the west – that is in general terms allergic to “ideology” and convinced that “there is no alternative”? What happens when an anodyne and self-satisfied liberalism projects its values back into an earlier era of intense political struggle? Please inform before buying.Enzo Traverso’s provocative book, which first appeared in French nine years ago, poses a profoundly important question to modern history. Important notice: due to CITES export outside the EU of wood species like blackwood and kingwood is no longer possible. They can be made in plain wood or decorated with artificial ivory, artificial tortoise shell, artificial horn or silver.ĭepending on the model the flutes are available at modern pitch (A=440 Hz), baroque pitch (A=415 Hz) or low baroque pitch (A=392 Hz)Īll prices include a softcase and shipping by registered mail within the European Union.Īll flutes are delivered with a fingering chart and maintenance instructions.Īll flutes in the gallery are for sale and immediately available. Some flutes feature a screwcap and/or a register foot. They are provided with a brass or silver key fitted with a phosphor bronze or blue steel spring. Each and every flute I make is unique.Īll my flutes are made from a variety of well seasoned woods like African Blackwood, Mopane, Rosewood and Olivewood. I do not try to make copies of the originals but always incorporate some personal design into my work. Construction techniques and materials are based as close as possible to the original instruments. My flutes are based around Baroque and Roccoco one-keyed flutes including A.Grenser, C.Delusse, Beaulieu and G.A. Due to the pandemic it is no longer possible to try out and/or return flutes.
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