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Critical theory and the affective turn
Simon Mussell

, ‘Close but not Deep: Literary Ethics and the Descriptive Turn’, New Literary History 41 (2010):  371–​91; Sharon Marcus, Heather Love, and Stephen Best, ‘Building a Better Description’, Representations 135/​1 (2016):  1–​21. In relation to description, one could also include Franco Moretti’s recent work on ‘distant reading’, which also turns away from humanistic or hermeneutical readings of individual texts, focusing instead on large data sets that combine scientific and social-​ scientific methodologies to identify systematic patterns in literary texts across time and

in Critical theory and feeling
Piero Garofalo, Elizabeth Leake and Dana Renga

homegrown heroes.61 Recall the scene from Nanni Moretti’s film Aprile (1998):  when Silvio Berlusconi wins the election, the 25 April memorial celebrations suddenly gain real relevance. The nation, as Emilio Gentile reminds us in La grande Italia, only came back into view in the mid-​ 1990s.62 Berlusconi’s ascent to power in 1994 and the subsequent renewed interest in Fascist strategies for suppressing dissent –​and their contemporary correlatives –​ changed the national discourse about internal exile yet again, offering a new declension of the legacy of Fascism and an

in Internal exile in Fascist Italy
Piero Garofalo, Elizabeth Leake and Dana Renga

Williams, ‘too late’ and ‘the quest for connection is always tinged with melancholy’. Williams borrows from Franco Moretti to argue that the tears so common to the melodramatic mode come when the characters finally realise what the audience knew all along, and when their desire is ‘recognized as futile’.28 Mourning for Pavese’s lost love (if only he had arrived one day earlier!) takes precedence over the experience of internal exile, which for him, the documentary implies, was fruitful in both politics and prose. Prima che il gallo canti, the only feature film made on

in Internal exile in Fascist Italy