“The opposite of truth is not a lie, but fiction.” This is how the Italian poet and academic Paolo Vallizio opened his last article in the Italian newspaper “Il Sociedario” on December 14, which he dedicated to the ongoing war in Palestine.
In it, Falicio says that we need to think about the meaning of truth in its fullest sense, which puts us before a general structure that turns it into a narrative. “Truth is a concrete, concise, direct concept, and it is difficult to understand or avoid it.”
The professor of Italian literature at Columbia University says that every narrative is an artificial work, full of pitfalls, moving between “what is said” and “what is not said”, and thus “narrative is almost a Has become a medical childish myth, or another political-ideological ploy.”
The Italian author asks, “What, then, is the way to avoid nihilism in this proposal?” Then he answers us, saying: “Let us return the word “truth” to a smaller form than “truth”, so that we can accept that it is essentially subjective and exploratory; and let us for a moment Try to listen to those who work in the field of narratology, such as novelists, poets, thinkers and literary critics, these almost invisible analysts of society show us (in their practices (as well as in their analyses)) that in every novel the narrative The techniques, despite their complexity, are not employed for the author's perverted pleasure of complicating matters, but because they are a reflection of human life.
Politics in the form of advertisements
The author further quotes the Italian critic Giorgio Linguaglossa: “Linguaglossa recently wrote on a blog that foreign policy has today become advertising. Therefore, poetic discourse that seeks to represent foreign policy topics can only be found in advertisements. Can adopt the language of.
Here Falcio pauses to object: “One might immediately object on the grounds that authentic poetic speech is not a speech that is 'concerned with foreign policy' so that it becomes an imitation of the style of advertising; but this sudden excitement “Makes you think about the whole issue, especially in these times.”
Here, Valesio, and LinguaGlossa behind her, put us before the dilemma of the fluidity of genres of writing in the post-modern era, in which the boundaries between “woman” and intuitive concepts in the field of social sciences have become invisible. “Dude,” skips the boundaries between a prose poem and a newspaper article.
This makes us realize that we are facing a new complexity that is not a reflection of the natural structure of life that the narrative plot seeks to emulate, but an artificial state of turmoil and overlapping of meanings leading to a distortion of the concept. She has arrived. Of “Truth” Itself in the Post-Modern Age.
The era that the world entered after the collapse of the Soviet Union (and there are historians who define it after the attacks of September 11, 2001) produced a media discourse that shifted from reporting facts to conveying narratives. Changed, not without confusion and confusion. The state of discourses that overlap with each other in the mind of the recipient.
This is due to the fusion of concepts and the indeterminacy of meaning with the concept proposed in deconstructive theory by the French philosopher Jacques Derrida and explained by Chris Parker in the “Dictionary of Cultural Studies”: “There is no primary source of meaning, no transparent meaning. In which there is intrinsic presence, but rather meaning is always slipping under a series of signifiers.” “Designed to make the meaning clear.”
In the case of narratives associated with the Palestinian-Israeli conflict, we found a review of a book published on November 18 on the Amazon platform, in its second edition last November by Italy's large Feltrinelli publishing house, titled “Hamas : From Resistance to Dictatorship” by Italian journalist Paola Caridi.
Caridi says: “…I have to admit that the structure of this book is very intriguing. What is the reason for this urgent need to imagine all the events in a novelistic way or to necessarily include emotional or philosophical elements in the text? Does it make the text more interesting, or perhaps show the author to be very knowledgeable?
She adds, “It distracts from its primary goal, which is to explain something, whether it's the origins of Hamas or the history of this organization. Frankly, after eagerly awaiting the release of this work, I A bit disappointed. I was expecting a clear, well-written text that, above all, explains the reasons for Hamas's establishment, growth, and success.
The Italian journalist goes on to confirm that she “could not understand her head from her feet” in the book: “(…) the inclusion of literary images and “poetic” and emotional moments, similar to a novel. Usage doesn't help the reader.”
messing with popular narrative
The truth is that Italians at all levels of reception, from great writers like Paolo Vallizio to ordinary readers to social media users, are beginning to show clear discomfort with narrative and poetic exaggeration and excessive borrowing from novelistic writing techniques to journalistic reports. .
It exploded at the beginning of Operation Al-Aqsa Flood, when the HuffPost Italia website published a report on Israelis killed in a Gaza cover ceremony on 7 October, with the headline: “I love you…the last words she Reactions on HuffPost's Facebook platform mocked the style of the report: “Here we started with drama and put sad music in the background of the video.”
Many scenes drawn from romantic films and other dark tragic plots have become the basis of media discussion on foreign policy in the West, and no Italian political event is now devoid of emotional “monologues” in the style of Shakespeare's plays. , which the journalist or political commentator resorts to to defend his narrative. Which puts their performance in Muharraq in focus at the expense of the truth they represent.
Here, former British diplomat Craig Murray in an interview with Al Jazeera Mubasher drew the observer's attention to the fact that the strength of South Africa's defense before the International Court of Justice was the presentation of pure facts and facts contrary to Israel's petition. , which was based on emotions and feelings. “They don't expect the court to believe them, but rather their plea.” “It was directed at his supporters and propaganda.”
Murray said in his statements before the court that: “South Africa's case is stronger because it did not use metaphors (…) and did not aim for shock, drama or emotion.”
Thus, we find that Falzio in his article calls for putting things in perspective, explicitly calling for the construction of a theater between Ramallah and Tel Aviv in which the plays “Romeo and Juliet” or “Juliet and Romeo” will be shown. We will not adopt the techniques of tragedy to serve a political agenda, instead learning directly and honestly from the literary texts of contemporary editions of Shakespeare's play and its accompanying feminist theory, says Falzio in this matter. But disagree.
The truth is that the use of “show” techniques in the war and crime news market has begun to provoke the anger of Western audiences in recent years, and turned into a cinematic theme with Italian actor Maccio Capatonda in the film “Murder In”. Has gone. The Italian Style” (2017), a comedy film that tells the story of the making of a president. A small municipality with 16 people committed a murder in their town in order to attract national media attention to the town, and tourists. Revive investments.
The emotional approach of dramatizing human tragedies and turning them into spectacle material has also become a theme described by Italian writer Salvatore Dama in his novel “Sometimes I Exaggerate” (2021), where Dama uses artificial tears and an orchestra. He has described artificial applause as a tool of contemporary media, and these are all movements that no longer attract Western recipients, which has been lost. There is truth in all these artificial descriptions.
Interestingly, this approach finds a major incubator especially in feminist movements, not only because of the ease of summoning tears and emotions in its context, but also because of the structural fluidity that surrounds this social theory, and with it “gender theory,” which enables it to be employed and incorporated into any narrative.
The same thing is seen in Simone Bellone, a former senator in the Italian parliament, who is considered one of the most prominent opponents of gender ideology in Italy, but he is also one of the biggest supporters of Israel, so whenever the murder rate rises Due to the increasing incidents in Gaza and the lack of opportunities to cover the daily massacres, we see them appear on our pages on social media platforms. Along with photos of demonstrations in support of Palestine in Italy with the participation of feminist and transgender associations waving gay flags, we found Bellone reminding Italians that those who are unable to distinguish between women and men He also wants to teach us the difference between the attacker and the attacked.
All of this is in an effort to intertwine the incompatible narratives of both sides (Billon supporting Israel, and the gay unions supporting Palestine), so that through a process of shuffling the cards, each tells its own narrative. Could maintain. In Vallizio's words, taking advantage of the slippery nature of the narrative, confusing the mind of the recipient, who tolerates the introduction of new details every day. To fulfill the narrator's own goals. All this in exchange for the rigor, impartiality, brevity and directness of the truth.
However, what we notice is a change in the Western popular mood towards narratives and their awareness of their elusive and elastic nature, which has set them on a quest for the naked truth or pure facts, as Craig Murray puts it. , but rather truth in its fullest sense. Paolo Valesio in his article recalls Pilate from the Gospel of John, the Roman governor whom Nietzsche considers the most important critical voice. In the New Testament, who stood before Jesus Christ and asked, “What is truth?” This happened when the Jews handed him over to be killed, but after a short conversation with Christ he came to them and said, “I do not find a single fault in him.”
Pilate's essential question: “What is truth?” We find it ringing again in the ears of the Westerner whenever narratives are filled with details that deviate from the truth, leaving him lost among the details and slips between which he finds the thread of truth and the debris of countless characters and scenes. Have to feel. Nihilistic novels that are based on an idea with essentially uncertain meaning.
All of this is in light of the Western ban on speeches by the Palestinian resistance, whose media spokesmen are keen to present precise, direct and concise statements in the classic rhetorical style, in which they appeal with the same firmness and consistency every time. Truth in its full sense, addressed “to the Palestinian people, to the people of the Arab and Islamic State, and to all the free peoples of the world.” It seems as if He says: “Everyone who is true listens to My voice.”