Camerata Corto Maltese?
A recent cartoon controversy within the world focused on the interpretation made by CasaPound, the center of the "new right", u no the most important Italian comic characters, the Corto Maltese (1967) by Hugo Pratt, with a lecture entitled, precisely, "Camerata Corto Maltese", obviously with the excuse of provocation. This naturally aroused the irritation of the reactions of critics and employees of Pratt comic aligned to the left, mentioning all the steps that make it logically irreducible Corto Maltese to fascism: the clash with the Fascists in Venice in Fable (and therefore with great respect for cultural D'Annunzio ... ) To the relationship with Stella in a fascist Lieutenant African adventure. We also recall the posters made by Pratt-strength for celebrations and numerous statements of progress in various interviews.
course, is opposed by the right "spirit" idealistic work against the apparent hard fact: in addition to membership of Pratt to a fascist family (his grandfather founded the Venetian beams ...) and its initial , X Mas giovanilissima membership, it evokes his fascination with the split and insisting that Corto Maltese, while attacker hours, is divided and passed Sailor, then subscribed to a militaristic dimension.
prattiane Leaving aside the biographical notes (which, speaking of his character, do not mean anything) due to a Corto Maltese political affiliation is not, however, as has been pointed out in the interesting debate online, cartoon adventure shows in so undeniable a structure in itself anti-progressive: the hero, to work, must almost invariably resolve the situation so impulsive and so violently, however, substantially, according to a scheme of values \u200b\u200bthat comes from a popular novel of romantic idealism , survived in the modern comic strip that has more often than the legacy.
not Corto Maltese only no exception, but as noted above some French critics is particularly available as a resolution to the murder of situations, even when it does not seem strictly necessary and to meet the requirement of justification is limited to a mocking grin, "Why are bad." Under the apparent progress, then, Corto Maltese is a principle more destructive than it would be willing to accept.
no coincidence that during the debate, there were those who showed (Alessandro Di Nocera) as the right may be regarded as a model, in figures compiled by Frank Miller, whose speech is comic, at least superficially, apparently right (at a deeper level, of course, you should take a more articulate discourse on irony in milleriana to stage his avengers masked granite).
The statement is certainly acceptable, but the curious thing is that Pratt Miller identifies its main stylistic reference both for the trait that, in reality, even the hyperkinetic violence stories. In addition to dedicated "Silent Night" Cycle of Sin City, indeed, appointing "Corto Maltese" the islet claimed by the U.S. and USSR that can trigger the nuclear holocaust in Batman (where Reagan is fucked up as an incompetent coward, reflecting the difficulty to frame a literary work into rigid political categories.)
Above all, the thing that I think has been overlooked in the debate is the deeply esoteric dimension of Corto Maltese, its continuing to be suspended between this world and the fantasy, which often becomes a human being as a sample when it is evoked by Puck, Merlin, Morgana and Oberon to defend Britain against the German invaders. In his substantial irreducibility to the purely human and non-registered is probably also the reason for that stretch of some cruel indifference to ordinary mortals that has perhaps attracted the proofreaders fascists, beyond its proper understanding, good-natured than ignoring with irony the same tight-Masonic brotherhoods which belonged to Pratt but with conviction, when asked if he was a Freemason preferred to be called with a contemptuous smile a "Free Sailor."
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