Modern Italy最新文献

Italy's prison overcrowding became world news in early March 2020, when the COVID-19 outbreak sparked riots in prisons across the country, causing the death of 13 inmates. As a crisis narrative, the COVID-19 pandemic made visible the deep, ongoing crisis of Italy's prison system and disclosed new conditions for critical thought on the restorative potential of the penitentiary system. This article first describes the impact of COVID-19 on Adriano Sofri's ‘no prison’ writings, starting from his column in Il Foglio on the prison uprisings in March that followed the announcement of the anti-COVID measures; it subsequently analyses the Italian response to the pandemic from an internal, practitioner-led perspective. By offering both a dialectic and an immanent perspective, it aims to develop new ways of understanding the detention system and enhance the social credibility of the penitentiary system in Italy beyond the constraints of COVID and the emergency logic.

This article explores the socio-ecological impacts of Fascist hydropower extraction in the Alpine valleys of Italy, focusing on the Toce river basin during the interwar period. It investigates the conflicts between local communities and hydropower initiatives by private energy companies under Fascism, thereby revealing the regime's communication strategies rooted in its political ecology. By analysing newspaper articles, propaganda outlets and communal archival documents, the study uncovers statal and local perspectives on infrastructure development and its enduring consequences. How the political ecology of Fascism in a high-altitude hydropower construction site became an expression of Fascist modernity will thereby be shown. Despite objections from valley inhabitants, Fascist hydropower projects persisted, perpetuating socio-ecological inequalities after 1945. Even postwar efforts for compensation failed to address the long-lasting impacts on mountain communities. This research reveals the intersection of political ecology and modernist infrastructure development in Mussolini's Italy, and thus also highlights the legacies of Fascist resource extraction policies on the country's peripheral Alpine regions.

The political messaging of Leoluca Orlando, who served five terms as mayor of Sicily's capital, Palermo (most recently, until 2022), articulates a cosmopolitan vision of local identity. Orlando seeks to emphasise Palermo's ‘tolerant’ values, invoking the city's history to foster this image, as well as using a variety of rhetorical strategies. He portrays Palermo as having a true ‘essence’, which is necessarily multicultural. I analyse Orlando's pronouncements on his official Facebook page, as well as observing his audience's reactions to his messaging, both supportive and critical. I examine how Orlando articulates the narrative that Palermo has historically been a ‘mosaic’ of various cultural influences, proposing that the contemporary city is the ‘true’, welcoming face of the Mediterranean. As well as exploring the political utility Orlando sees in such arguments, I analyse the risks inherent in this essentialising project.

This article examines the first tour of Buffalo Bill's Wild West in Italy and the so-called ‘sfida dei butteri’ (the challenge of the Italian cowboys of the Pontine marshes), which took place in Rome in March 1890. Analysing nineteenth-century Italian newspapers and photographs, I demonstrate that populist, anti-capitalist, and anti-American sentiments marked the Italian media's responses to the American show. In the historical context of Italy's socioeconomic crisis and of the first phase of colonial expansion in Africa (1870–1922), the mixed reception of Buffalo Bill's Wild West, amplified by the media event of the sfida, shaped the fate of the western genre in Italy.

The article explores media depictions of industrial labour in Italy, with a special focus on visual, film and television portrayals, spanning from the 1960s to the first two decades of the twenty-first century. Rather than delving into an analysis of labour processes, the primary objective of the article is to scrutinise the gendered representations of work and whether and how the representation of work, including all professions, has played a pivotal role in shaping narratives about Italian society and its inherent contradictions. In this context, the article also emphasises the significance of what remains unrepresented, highlighting the absence of work as equally consequential as its presence. Of particular importance within this exploration is the examination of women's work, a realm less frequently depicted than that of men. The article dedicates specific attention to unravelling the nuances of women's role in the workforce, recognising their portrayal as a key element in understanding broader narratives about Italian society and its complexities.

This article draws on a broad range of under-explored historical sources to document the career trajectories of the women who worked in the Italian film industry between 1930 and 1944. Challenging established histories that normalise male dominance in Italian cinema during and after Mussolini's regime, the article sheds light on women's overlooked contribution to Italy's sound film industry and explores the multilayered, shifting dimension of their precarious and gendered labour. Engaging with key questions raised by historians of Italian Fascism and by feminist research in film and media history, the article delineates intersectional barriers to film employment faced by women in the years of the dictatorship and points to their historical legacy.