Mario Alicata

Alicata, Mario

 

Born May 9, 1918, in Reggio di Calabria; died Dec. 6, 1966, in Rome. Figure in the Italian workers’ movement, publicist, literary critic. In 1940 he graduated from the faculty of literature of the University of Rome. That same year he joined the Communist Party of Italy (PCI). During 1940–42 he was one of the leaders of the PCI’s underground organization in Rome. During 1943–45 he was an active participant in the Resistance. During 1943–44 and 1960–66 he was chief editor of the central organ of the PCI, the newspaper Unita. From 1946 he was a member of the central committee, in December 1956 he became a member of the leadership, and from 1966 he was a member of the Politburo of the PCI. After World War II he served as a deputy in all sessions of parliament. He was the author of research on the workers’ movement and the “Southern question.” As a literary critic, he worked mainly on problems of realism and neorealism in contemporary Italian literature.

WORKS

Scritti letterari. Milan, 1968.
La battaglia delle idee. [Rome, 1968.]
In Russian translation:
“Legenda ob Ulenshpigele.” Inostrannaia literatura, 1967, no. 8.

REFERENCES

“Otvetstvennosf intelligentsii.” Inostrannaia literatura, 1959, no. 5.
“Diskussiia o realizme ν Italii.” Inostrannaia literatura, 1959, no. 9.

G. D. BOGEMSKII

References in periodicals archive ?
Other beneficiaries of government support included Corrado Govoni (whose son was later killed by the Nazis at the Fosse Ardeatine), Corrado Alvaro, Gianna Manzini, and Paola Masino (who was forced however, to make humiliating changes in some of her writings), plus such later left-wing militants as Alfonso Gatto, Carlo Cassola, and Mario Alicata.
At times, Klopp seems to embrace this phenomenon of intertextuality; in one example, he connects twentieth-century prisoner/authors Rodolfo Morandi and Mario Alicata with their Risorgimento predecessors by way of the recurrent theme of conversion (161-62); at other times, he censures it, as indicated by his summation of the Spielberg patriots' "squabbles," "bickering," "rewriting, refutation, and repudiation of one another" (66); and in several instances, he concludes that prisoner/authors are de facto "captives of the intertextual tradition of prison writing" (36; also 29, 37, 118-19).
Quoting extensively from the journal, Vitti demonstrates how De Santis's articles and those he co-authored with Mario Alicata particularly illustrate this goal.