LANDELA
NjengoStefano kaSorrentino, uJuan Claudio de Ramón uphethe ibrifcase enazo zonke izitshixo, izitshixo kunye neepeki ezivula iibhotwe zaseRoma. Kwaye bephethe ngesandla, babhalisa ii-portals zesixeko apho kungekho gumbi okanye i-alley efihliweyo ngokusisigxina emehlweni omfundi, otyhila amaphepha ale ncwadi ngokuzonwabisa okucothayo kwabo bangathanda ukuba ingapheli. Esi sisincoko 'Messy Rome. Isixeko kunye nabanye', ihlelwe nguSiruela.
Isixeko yiRoma, kwaye enye ijongwe nguJuan Claudio de Ramón. Indibaniselwano yazo zombini idala ubuhle bale ncwadi. U-Ignacio Peyró unyanisile kwintshayelelo xa eqinisekisa ukuba le ncwadi izalisekisa zonke izithembiso zayo.
Kwaye yenza njalo, ngokuchanekileyo, ngaphandle kokuthembisa nantoni na. Iprozi kaJuan Claudio de Ramón ikhuliswe kwaye i-erudite, kodwa izenzekela ngokwaneleyo ukuba iziphikise okanye ifumane ubuhle obandakanyiweyo kwiindawo ezibuthuntu nezimdaka zesixeko azipholishayo ngelaphu lokufuna ukwazi kunye netalente yakhe.
Kwinto ephethe izitshixo zeSan Pedro, ndithini, yeSorrentino: ukuze kungabikho nto ingaqhelekanga kumfundi. Ukuze iRoma ayibumbayo ithwale iinyawo zakhe eludakeni olutsha lwemimangaliso. Kula maphepha uJuan Claudio de Ramón wayeziphatha njengomhlali kunye nomntu odlulayo. Sadibana kwibhayografi yakhe kunye neyethu. Ukuhamba kwakhe noMagda, inkosikazi yakhe, ubukho obumnandi nobudibeneyo; ubuthathaka babantwana bakhe kwiindawo ze-ayisikrimu zaseRoma okanye iihambo zabo bamtyelelayo.
Zoba imephu yobuqu yesixeko. Ukususela kwisithili se-EUR, esibonisa "isixeko esasingekho", "iofisi yepropathi elahlekileyo ye-fascism" ukuya kwi-cementification yezinye iindawo zayo; ukusuka kwi-Excelsior ye-Via Veneto, ihotele ye-'La Dolce Vita ', apho ufuna ukukholelwa ukuba kunjalo, kwii-cafes ze-Rosati, i-Carano okanye i-Strega, i-specters kunye ne-evocations ye-post-war yaseRoma ebonakala ikhululekile kwimibono. kwabo bayichazayo .
Ibaliswa nguJuan Claudio de Ramón, de kwasekwa isiseko sesixeko iba yintsomi. Ingcuka yeCapitoline ethathwe kumfanekiso wakhe oqingqiweyo. UJuan Claudio de Ramón unencasa entle yokungahlawulisi i-inks ngokuchasene ne-gentrification okanye ukhenketho oluninzi, kuba apho abanye babona isiphithiphithi, ufumana ubuhle obuyimfihlo obubonakala kwilitye ngalinye lelitye, ngokungathi wayelinde iinkulungwane ukuba ayifumane. Maninzi amaRoma kule ncwadi njengoko ekhona amaxesha: ibali loyilo kunye neplastiki, into ephuma kwezopolitiko kunye neemvakalelo, umdyarho wokhutshelo olubhalwe kakuhle.
URamon ubalisa ngokubulawa kuka-Aldo Moro ngomsindo, uyenza ngokungathi kukho into yakhe ekhoyo kwelo bali, kuba kukho. Uyichaza iVatican njengokuqhubeka komoya waseRoma, isakhiwo esiguqula ubukhosi obudala bezinto eziphathekayo bube bubukhosi bokuziphatha. Iqala ngenkcazo yendlu ye-Renaissance yentsapho yaseSpain kwaye iphelela eRoma kaMaría Zambrano kunye noRamón Gaya, bobabini abasondeleyo kunye nabasondeleyo, njengebrashi, intlungu okanye ubuhlobo. Usebenzisa amazwi omzobi xa ethetha ngeTiber, umlambo onaba “njengengalo ediniweyo yobawo odiniweyo nowonqenayo”. Kwaye umfundi uphela ethandana no-Anita Garibaldi, i-guerrilla kunye nomfazi kaGaribaldi, ngaphezu komvukeli ngokwakhe. Ngaphandle kwamathandabuzo, uJuan Claudio de Ramón unazo zonke izitshixo ezivula iibhotwe zaseRoma. Yaye le ncwadi iyayingqina loo nto.
