Abstract
This paper examines the aesthetic and ideological components of style in order to map Fabrizio De André’s role as an intellectual in post-World War II Italy. I argue that the ideological and aesthetic components of style are in fact essentially connected. My reading of the ideological implications of style will be informed by Edward Said’s definition of the intellectual, whereas the aesthetic characteristics of style will cover the features voice, articulation, and accent. The aim, thus, is to show that style is not simply an arbitrary aesthetic manifestation, but is rather an expression of individuality, of a physical body placed in specific space–time coordinates. As a consequence, style becomes the indirect expression of a mind, of thoughts and ideas. To illustrate this hypothesis, the last part of the article focuses on a specific example of Fabrizio De André’s work, the album Storia di un impiegato.
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