Abstract
Garibaldi epitomizes the Italian Risorgimento also on an iconographical level. With particular reference to Sicily in the 20th century, this article aims at analyzing first some aspects of an often thaumaturgical Garibaldi figure within subaltern culture, chiefly through handcrafts, political tattoos, painted scenes pertaining to the traditional puppet theater, as well as to ornate carts. All these contexts show a dense circulation between “high” and “low” culture. The elections for the regional parliament in 1947 were characterized by the massive use of Garibaldi in the frame of Communist propaganda too. Here we try to shed light on this strategy and the related iconographic choices. In the celebrations for the victory of the political left, the sacred dimension of Garibaldi’s mythic status is evident; his image is carried around during St. Joseph’s festival too.
Published Version
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