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The leaders of Azione Cattolica had already demonstrated in those years particular care regarding the vocational development of young people, spotted emerging talent and guided them toward various modes of expression. This occurred even in the planning phase of the magazine, when Sebastiano Craveri was contacted by Prof Emilio Giaccone of Azione Cattolica and was invited to help to outline the format of the first issues and gave to the public the beloved Zoolandia series, which, with some thirty issues, would continue until There are also persons such as cartoonists, Antonio Canale and Raffaele Paparella Gaetano Strazzulla15 is of the opinion that the resumption of the weekly after the first rather unsatisfactory year is due to the texts of Bonelli.
To this group of original employees, young potential talent would soon be added. This is the story of Gianni De Luca , who joined the editorial staff of the weekly while still at school and took some drawings to the editor in chief, Pier Costante Righini. He attended this school entirely informally for six years before being able to publish his first strips in Moreover, the story of Lino Landolfi was not so different. Strazzulla, Enciclopedia del fumetto, Firenze, Sansoni, , p.
However, the true champion of the group was Benito Jacovitti The young, imaginative and sarcastic man was not required to spend a period of apprenticeship, as did his peers. At the end of , he published the cartoon, Pippo e gli inglesi [Goofy and the British], with a message which was decidedly anti-British and, therefore, not unpopular with fascism but, at the same time, with decidedly sarcastic and fundamentally sacrilegious sections as regards the dramatic nature of events.
With this character, which came out a little on the sly, Jacovitti inaugurated the fun series of strips called il ciclo dei 3P [the cycle of the 3Ps] of which the main characters were the popular Pippo, Pertica and Palla The editorial style, which began with this group of young collaborators eager to experiment through comics, became a distinguishing feature of the magazine even after World War II. One might say that this generation of cartoonists, born in the twenties, was enriched by the editor in chief Red Cap , Domenico Volpi , who was appointed in by the following director Carlo Carretto Volpi became an indispensable, ideational mind of the golden age of the magazine throughout the s.
Within the cultural climate and significant human relationships which began at the end of the s, a new school of Italian comics was being organized, which managed to create an empathetic relationship with its readers, even by virtue of the generation gap it contained. In those years, young people wrote and drew for young people and, without denying the educational asymmetry that separated them from their readers because of the cultural recommendations of the comics they created, they were certainly in a position of proximity regarding the emerging educational needs of young people, and they were able to respond to them in creative ways.
Sometimes he uses the pseudonym, Procopius, the same name as one of his best known characters. Boschi, L.
Gori, A. See Radiovitt presenta: Alberto Manzi, n. Here, one enters an area of difficult historiographical exploration because the documentary sources are fragmentary from the small amount of available objective evidence because it is often circumscribed to the retrospective testimony of people of culture. Indeed, the most talented reproduced drawings of their paper heroes on their desks Within the limits of the subjectivity of the testimonies one perceives, however, early majority approval among the readers towards the GIAC weekly that, perhaps, far beyond the expectations of its founders, was able to garner even the support of smaller children who were vividly drawn to new stimuli, and which could involve a diverse audience by social background and education.
The magazine — a gathering place for young people The joyful, informal and experiential atmosphere of the editorial office is the expression of pedagogical activism fielded in the s by Catholic Action in 21 U.
The President of GIAC, Luigi Gedda, in office from , was a firm believer in this policy and, emphasizing the enterprise and the dynamic design of an individual boy, he tried to mature in every young person the awareness of his role in society and, when the political climate of the post-war period allowed it, sought to promote the active participation of each person in the political, cultural and social life of the country.
Without offering opportunities for direct confrontation with fascism, the magazine actually prepared a breeding ground for readers and contributors who were able to look at a cultural proposition that could be developed after the immediate post-war period. Riding this wave, there was a gradual construction of a network of subscribers in cohesive groups and of loyal propagandists.
Pazzaglia ed. The organization of the groups became organic authoritarian starting in October, with the birth of the Opera Nazionale Balilla that prepared the dissolution of various youth organizations established in January, This provision, for example, established the dissolution of scouting.
The only association excluded from this measure was Catholic Action. See N. At the same time it allowed the perception of the vertical tension towards the achievement of ever-higher goals regarding spirituality and personal maturity. Reader loyalty was also structured through specific language and slang, which increased internal cohesion and identified a channel of communication for mutual recognition between subscribers. Familiar fascist expressions were adopted but far removed in meaning from this line of reasoning.
The liberal line favoured individual education in cultural, emotional and moral terms. A significant change is perceived only in the s under the leadership of Giovanni Mosca. Despite holding a conservative line and a nostalgia in the best traditions of the magazine with regards to the paper heroes of the early decades, he felt the need to engage in empathetic dialogue with the readers and, armed with his charisma, he successfully reactivated the advice column calling it, Il direttore risponde [The Editor Replies].
These 26 P. Pallottino ed. Ascenzi, M. Di Felice, R. Tumino, Santa Giovinezza.
Lettere di L. Bertelli e dei suoi corrispondenti, Macerata, Alfabetica, The genre of adventure crosses most of the narratives presented by the magazine, not only because of the period in history, but also with regard to the audience who were mostly teenage males and at whom the material was targeted.
As for comics that represent the distinctive characteristic of the magazine, the adventure comes to life in various forms. The style is imaginary and sarcastic, the stories are of twentieth century war and combat, and go as far as embracing the historical narrative. In all these diverse narrative situations there remains a strong connection to the present moment experienced by young readers and the narrative is not just an opportunity to escape, but remains anchored to a complex reality because it is characterized by imperial war, firstly in Ethiopia and Spain, and only then in the national territory.
In these scenarios, the comics display action and battles, but at the same time provoke subtle reflection, highlighting simply and effectively the values of honesty, justice and respect for human dignity. In this regard, the tireless output may be of interest of Sebastiano Craveri who, from the first issue drew the comic panel, Zoo — Film28, which later became the Zoolandia series portraying imaginary and high-spirited anthropomorphization of animals outside of the emerging framework of the Disney stable of characters, as characterized by a network of friendships between equals and not by certainty of parental relationships in an eternal and indistinct present.
The cycling competition sets the scene for likeable animals who take turns in the victory of the seven stages, not only in personal skill, but also in lending support to friends30, for acts of generosity that unknowingly reap rewards31, the sudden chase of a mouse which leads directly to the finish line32, for an accident that becomes a source of victory33, and for a disguise that frightens the opponent In this way, the competition does not become adversarial superiority in terms of physical performance.
The race is experienced as joyful participation, and the end result also sees the emergence of inner qualities, which find a mode of expression and one is presented with the smile of victory. From this perspective, winning does not mean overwhelming or even leaving out the opponent. The Christian, educational ideal to create unity and not hostility or exacerbated individualism is clearly visible in this strip from the messages and spirit that are far removed in substance from those espoused by fascism in those years.
This is in spite of the language play regarding the duplicity of interpretation, which was often only superficially accessible to the dominant ideology.
See S. See, S. Caesar was the only foreign author of German origin on the editorial staff who made his debut on the weekly in and became a big hit with this character from an evocative name: the glories of ancient Rome enhanced with regards to propaganda from fascism38 coexist, firstly in the military dedicated to the defence of the nation in various Spanish and Ethiopian conflicts and then with the entry of Italy into the war, in a variety of air and terraqueous missions.
The comic strip entitled cineromanzo, published between the summer and autumn of , symbolically marked the entry of Italy into World War II and reinforces the exhortation to victory published in the weekly as a direct call to readers to support the soldiers committed to the front through unity and prayer At the same time his transition is suggestively evoked through his human happiness as a newlywed. He can barely spend a few days on honeymoon with his wife, Isa, before suddenly having to return to fight again because of the declaration of war on France and England proclaimed by Mussolini The joy of suffering and private life survives as an unaffected allusion, but is nevertheless subordinated, without hesitation or fear, to the civilian duty to fight for the victory of the Fatherland.
It is interesting that the hero of the air reaches the war zones with extraordinary feats together with his wife, bound in turn to serve the nation as a Red Cross nurse The sharing of the mission is natural and immediate, not the result of confrontation.
Despite the focus being 38 On the issue of the literary decline for children regarding propaganda of the exaltation of imperial Rome. See R. Preziosi, Il Vittorioso, cit. Pietre simili sono contenute in uno scomparto segreto dell'amuleto ritrovato dal ranger.
Si tratta delle principali armi di cui fanno ampio uso i seguaci di Tulac , un discendente degli antichi aztechi, responsabile del traffico d'armi organizzato dal losco El Dorado e dai suoi desperados. Tulac ha come obiettivo la liberazione del Messico dalla presenza dei bianchi.
L'avventura si conclude nel successivo episodio Il signore dell'abisso.
Tex e Carson chiedono aiuto ai Rurales : scoprono l'origine delle pietre verdi che vengono raccolte all'interno di una tetra e profonda caverna dal raccapricciante Signore dell'abisso e, grazie all'aiuto di Kit Willer e di Tiger Jack sopraggiunti a dar loro manforte, sventano i loschi piani di Tulac e dei suoi seguaci. Tex ha a che fare con un mostruoso lupo mannaro , che semina morte fra i popoli apaches. Mentre questi, Eusebio ed il villaggio apache subiscono le aggressioni del Diablero, Tex e i pards giungono in loro aiuto, accompagnati da un ufficiale dell'esercito, che perde la vita nel tentativo di fermare il licantropo.
Il licantropo era un giovane indio, Guaimas, fratello di Mitla: la sua mutazione era dovuta a una bevanda preparata dalla diablera, infusa con uno strano intruglio ricavato da un fiore che cresce solo all'interno di un tempio abbandonato. Tolto di mezzo il fratello, i pards si mettono all'inseguimento della diabolica nemica, che muore morsa da un serpente nel tempio dove era entrata per procurarsi un altro di quei fiori dagli strani poteri.
La soluzione al temibile pericolo arriva casualmente: lo studioso scopre che il diabolico animaletto scompare letteralmente se viene a contatto con l' alcol. I quattro pards sono a Pilares ospiti di El Morisco, quando un affannato cugino di Eusebio, Tonito, chiede rifugio nella sua casa.
El Morisco, analizzando una strana "compressa" sommunistrata agli adepti della cricca, scopre che contiene un potente alcaloide: attraverso la droga i boss dell'organizzazione soggiogano i Locos.
I De Rosales hanno la loro base logistica in un inaccessibile castello nella paludosa laguna di Los Patos, vigilata anche dagli Yaqui di Quemado, che estraggono da un fiore l'intruglio allucinogeno.
Giunti sul luogo albo Nel covo dei banditi e nelle prime pagine del successivo , Aquila della Notte convince a suon di dinamite gli Yaqui a rompere l'alleanza con i De Rosales. Sempre con la dinamite, Tex ed i pards fanno saltare in aria un piccolo cono vulcanico , situato su un isolotto contaminato da strani vapori venefici, su cui crescono i fiori della pazzia. In seguito i rangers si recano al Castillo, dove sorge il covo dei rapinatori.
El Morisco, anch'esso egiziano e studioso della cultura e della storia dei suoi avi, annulla un terribile sortilegio che prevede il risveglio di antiche mummie. Mette in atto il suo folle piano: la notte, con un sortilegio, trasforma delle statuette d'argilla in terribili bestie, capaci di aggredire ferocemente chiunque attraversi la loro strada.
El Morisco chiama in suo aiuto Tex , Carson ed il suo fido maggiordomo Eusebio: tutti partono verso la Sierra per fermare Rakos. Nell'albo successivo, il n. Consapevole del pericolo, Rakos cerca di fermare i ranger e lo scienziato, muovendo contro di loro una mandria impazzita di grossi animali africani che distrugge la casa del Morisco. Ormai il sole sta per sorgere e con esso Rakos perde il suo potere: egli stesso, rabbioso, distrugge la mandria che aveva creato. Vinta la difesa degli indiani Yaqui al servizio del sacerdote e di una strana specie di aggressivi babbuini, penetrano nella stanza del sarcofago.
Chinatosi sulla mummia di Rakos, El Morisco strappa la fascia che ne copre la fronte urlando il nome di Sokar. La mummia si riduce in polvere e lo spirito di Rakos vaga per la Sierra in cerca di vendetta. El Morisco affronta uno dei nemici mortali di Tex, il diabolico Yama , figlio di Mefisto. Lo scontro si chiude in un sostanziale pareggio, ma il sapiente egiziano dimostra cognizioni in materia di occultismo, tali da metterlo in grado di rivaleggiare con il malvagio avversario. Si propone come nuovo nemico di Yama e fornisce agli amici ranger degli speciali anelli magici, che li proteggeranno dai continui attacchi dello stregone.