Italian Culture最新文献

{"title":"Boccaccio’s Florence: Politics and People in His Life and Work","authors":"Massimo Scalabrini","doi":"10.1080/01614622.2024.2306728","DOIUrl":"https://doi.org/10.1080/01614622.2024.2306728","url":null,"abstract":"Published in Italian Culture (Ahead of Print, 2024)","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"50 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139760702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America","authors":"Maria Galli Stampino","doi":"10.1080/01614622.2024.2306729","DOIUrl":"https://doi.org/10.1080/01614622.2024.2306729","url":null,"abstract":"Published in Italian Culture (Ahead of Print, 2024)","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139760257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On “Savage Thought”: Gabriele D’Annunzio, Guido Boggiani, and Italy’s Transatlantic Mediterranean Empire","authors":"Valerie Mcguire","doi":"10.1080/01614622.2023.2263288","DOIUrl":"https://doi.org/10.1080/01614622.2023.2263288","url":null,"abstract":"AbstractCritics have long debated the degree to which Gabriele D’Annunzio should be viewed as a fascist and an imperialist, a virtual daguerreotype for Mussolini. But D’Annunzio’s evolving investment in an Italian empire-state suggests that we should complicate our understanding of his links to fascism. This essay traces correspondences between “savage thought,” coming out of ethnographic anthropology from Latin America, and D’Annunzio’s “recovery” of Hellenistic Greece at the turn of the century. It examines three important moments in D’Annunzio’s literary career: his tour-de-force novel of scandal, Il piacere (Pleasure, 1889), his famous 1895 yachting tour of the Greek islands, and then the writing of Maia (1903), the first book of his epic poem in praise of empire, Le laudi (1903-1917). By reexaming these texts through a transnational lens, the essay demonstrates the global scope of the author's avant-garde literary project and considers its impact on colonial contexts across the Atlantic.Keywords: colonialismindigeneityfascismavant-gardeGreeceParaguay Notes1 As Renato Poggioli has described in his seminal text about radical twentieth-century art: “The avant-gardes turn their attention almost exclusively to negroid sculpture and the art of savages, prehistoric graffiti and pre-Columbian Indian art; they turn, in short, toward cultures remote in space and time, almost to pre-history itself. … the avant-garde can evaluate archaic traditions better than official art and conservative criticism can, if only by way of polemical reaction to the erroneous interpretations and evaluations of the academy” (Poggioli Citation1968: 55).2 More than one critic has noted, Sperelli was a barely disguised cipher for the author (Hughes-Hallett, Citation2013, 113–4).3 Francesco Paolo Michetti, for example, described a Nietzschean spiritual transformation, after D’Annunzio returned from Greece, saying that he sketched the first portrait of the artist as “superman:” “Ora, il Gabriele D’Annunzio rappresentato da quel pastello è un uomo tutto nuovo che sembra non avere più niente in comune con i ritratti precedenti. In questi ultimi, l’insieme della fisionomia è dolce, lo sguardo un po’ abbassato, i baffi modesti, con un sorriso vagamente malinconico. Al contrario, nel pastello, i tratti sono duri, i baffi si sollevano come lunghi uncini, la barbetta a punta minaccia, gli occhi sono aggressivi, le sopracciglia un po’ aggrottate. Quel pastello è certamente il primo ritratto di D’Annunzio ‘superuomo’” (Cited in Alatri, Citation1983, 164). An engraving of D’Annunzio aboard the yacht eventually adorned an early edition of his memoirs (Vittore Nardelli, Citation1931).4 As Martins observes, both Boggiani and then later Levi-Strauss were also under the influence of ideas that emanated from archaeology and were searching for the traces of previous or pre-modern civilizations in their ethnographic studies of Latin American indigenous (Marins 2017). Boggiani’s foundational stud","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"86 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136067425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Intersectionality to Interstitiality: Pathways in Italian Race, Migration, and Diaspora Studies","authors":"Vetri Nathan","doi":"10.1080/01614622.2023.2256555","DOIUrl":"https://doi.org/10.1080/01614622.2023.2256555","url":null,"abstract":"AbstractIn recent years, the study of Italy’s contemporary migrant “crisis” has broadened into explorations of national biopolitics in transhistorical and transnational contexts. This article suggests some useful pathways between critical race theory and postcolonial theory to explore pressing questions related to race-based cultural politics and Italian national identity. It highlights critical race theory’s potential to enrich analyses of racializing discourses: for example, the concept of “interest convergence” is harnessed here to describe and understand the mechanisms of Italy’s “New Risorgimento,” i.e. its recent psychic unification through race-paranoia. The article also investigates possible applications of the widely (mis)used term “intersectionality” and explores some of the limits of both critical race theory and postcolonial theory, especially the ever-present risk of slippage back into preexisting essentialist identity categorizations. To avoid such slippages, the article suggests further exploration of theoretical conceptualizations of hybridity by two of postcolonial theory’s foundational scholars, Edward Said and Homi K. Bhabha, due to their emphasis on discourse analysis and “interstitiality” rather than intersectionality. It urges further examination of Italy’s questione della razza via interstitiality in order to introduce urgently-needed nuance into analyses of race, nationality, power, and cultural discourse. Finally, the article emphasizes the importance of deploying multiple theoretical approaches and stresses the need to work within a public-facing “global humanities” framework to explore and expose how racializing discourses generate detrimental manufactured anxieties and hate in contemporary societies. Creating a “sense of the commons” via such transnational and comparative approaches to analyzing biopolitical conflicts would build both inclusivity, and therefore strength, within democratic nations, institutions, and societies, thus allowing them to thrive once again.Keywords: biopoliticscritical race theorypostcolonial theoryhybriditymigrationsintersectionality Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 See Burdett (Citation2016), Andall and Duncan (Citation2010), Greene (Citation2012), Hawthorne (Citation2022), Lombardi-Diop and Romeo (Citation2012), and Pesarini and Tintori (Citation2020), among others.2 The center-right coalition won 43.7% of the vote in the Chamber of Deputies and 44.02% of the vote in the Senate. The center-left coalition, led by the Democratic Party, won 26.13% of the vote in the Chamber of Deputies and 26.32% of the vote in the Senate. The populist Movimento Cinque Stelle won 15.43% of the vote in the Chamber of Deputies and 15.53% of the vote in the Senate.3 Hungary under Viktor Orban, Poland’s Law and Justice Party, France’s Marine Le Pen, and the United Kingdom’s Euro-skeptic Tory government can be all viewed as examples of the successful impleme","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136261768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Maps and Memory in Takoua Ben Mohamed’s <i>La rivoluzione dei gelsomini</i>","authors":"Silvia Caserta","doi":"10.1080/01614622.2023.2257442","DOIUrl":"https://doi.org/10.1080/01614622.2023.2257442","url":null,"abstract":"AbstractWithin the growing field of transnational comics culture, marked by the great success of works such as Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis, Italian comics have not received sufficient attention. This paper reads Takoua Ben Mohamed’s latest graphic novel, La rivoluzione dei gelsomini (2018), from a Mediterranean and transnational perspective. My analysis focuses in particular on the dynamics of memory and space as they emerge in the visual narrative of the book. Through a series of maps that either lack definite points of departure and arrival or fail to show a clear way of getting from one point to another, the novel visualizes the non-linear movement of Takoua’s personal and collective memory across the Mediterranean, a memory that cannot be attached to a singular space, but rather constantly travels, and that can only be archived “on the move.” On a broader, collective level, Ben Mohamed’s graphic novel foregrounds the non-linear, rhizomatic, and constantly shifting movement across spaces and boundaries that necessarily characterizes contemporary transnational memories and experiences, while also pointing toward—and visually mapping—alternative ways of inhabiting and belonging within and across boundaries and borders.Keywords: Ben MohamedmemorymaparchiveMediterraneangraphic novel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For a reflection on this “multireligious, multicultural and multilingual reality,” and on the specific condition of Muslim women in Italy, see Brioni and Ramzanali Fazel Citation2020. On how this urban African diasporic generation is changing the literary legacy of the Horn of Africa in Italy in particular see Lombardi-Dio Citation2020.2 By often foregrounding the racialized experience of Blackness in contemporary Italy, Igiaba Scego’s work has pushed Italian society to come to terms with the legacy of its colonial past, as well as forcing it to engage with a transnational discourse around Blackness.3 See Chute Citation2010. 4 It is interesting to note, in this sense, that Ben Mohamed makes explicit reference to the Jasmine Revolution in the novel’s title, whereas Satrapi names her novel after the capital of the ancient Achaemenid Empire. While Satrapi’s choice might have been influenced by the risks associated with referring to the contemporary situation in Iran (and the novel was indeed banned there), it also adds a dimension of nostalgia for the past and anticipates the writer’s struggle in coming to terms with the multiplicity of her country’s and her own identity.5 See Inf. 1.1-3: “Nel mezzo del cammin di nostra vita, mi ritrovai per una selva oscura, che la diritta via era smarrita.”6 See Erll Citation2011.7 Although the use of Arabic is limited throughout the novel, at times the author chooses to juxtapose Italian words/sentences with the Arabic version of them. This is the case for all the chapters’ titles, as well as, to cite an example, one of","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"18 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135112695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Early Modern Venetian Sex Work and the Business of Gambling","authors":"Nicole Wagner","doi":"10.1080/01614622.2023.2256117","DOIUrl":"https://doi.org/10.1080/01614622.2023.2256117","url":null,"abstract":"AbstractBy the sixteenth century, the ever-growing popularity of casini and ridotti in cities such as Venice resulted in the widespread pursuit of women’s gambling. This article argues that female card play, an activity of skill as well as chance and risk, offered women financial opportunities at a time when they were excluded from most “honorable” forms of income-generating work. They included female sex workers who benefited from the game’s popularity among men of all classes, by luring unsuspecting men into fixed card play. Through close readings of visual and textual representations of these types of gaming practices in seventeenth- and eighteenth-century Venice, I consider how they not only shed light on the operations of a moralizing social technology reinforcing class and gender asymmetries but also, when read against the grain, illuminate a new kind of economic independence of women as actors and workers overlooked by scholars.Keywords: cortigianemeretriceworkgamblingVenice Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 There is a complete set at the Castello Sforzesco, Civica Raccolta delle Stampe “Achille Bertarelli,” Milano (Stampe Popolari Profane, m F-9). Engraved plates, 6.69 × 8.07 in. (17 × 20.5 cm.). Additional copies are in the New York Public Library, Print Collection of the Miriam and Ira D. Wallach Division of Art, Prints and Photographs and the University of Chicago Library’s Special Collections: Rare Books. The NYPL and Chicago Library reproductions are twelve leaves of engraved plates, illustrated, 7.09 × 9.06 in. (18 × 23 cm.).2 “The wretch passes from the traps to the game/ And he loses a great sum of money/ Then I hear the moneybox, already empty/ sing the echo, in bitter tones, of the unfortunate.”3 For information and interpretations of Venetian clothing in the sixteenth and seventeenth centuries see Vecellio (Citation1590), Belfanti (Citation2009), Jones and Stallybrass (Citation2000), and Paulicelli and Clark (Citation2008).4 “Trappolare: fooling with (a deceptive) appearance or demonstration of [something] beneficial as happens to the mouse with the trap.”5 In Venetian dialect the verb takes the form of trapolár. “[D]ell’ingannare altrui con alcuna apparenza o dimostrazione di bene.”6 David Kunzle’s interpretation of the text and image is that the rake is “lured by the gambling table, where the usual combination of the male opponent and female companion strips him of his money” (Kunzle Citation1973, 282). Hilde Kurz’s erroneous translation and interpretation of the image and quatrain are traced back to her misreading of a scene in Hogarth’s much later Rake’s Progress, which she uses to analyze the earlier Italian print but in which there is no evident gaming despite her claims. When it comes to the Lascivo print she has one of the two women caressing the rake while the other obtains his money, which patently does not take place although it does appear that theft figures i","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"143 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135113928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Non è un pranzo di gala. Indagine sulla letteratura working class <b>Non è un pranzo di gala. Indagine sulla letteratura working class</b> . By Alberto Prunetti. Pp. 241. Rome: Minimum Fax, 2022.","authors":"Giulio Savelli","doi":"10.1080/01614622.2023.2256548","DOIUrl":"https://doi.org/10.1080/01614622.2023.2256548","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135093980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Posterity. Inventing Tradition from Petrarch to Gramsci","authors":"Vincenzo maria Di mino","doi":"10.1080/01614622.2023.2235206","DOIUrl":"https://doi.org/10.1080/01614622.2023.2235206","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43244006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Torquato Tasso e il desiderio di unità. La Gerusalemme liberata e una nuova teoria dell’epica","authors":"L. Zipoli","doi":"10.1080/01614622.2023.2228139","DOIUrl":"https://doi.org/10.1080/01614622.2023.2228139","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44903245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Neorealist Architecture: Aesthetics of Dwelling in Postwar Italy","authors":"Letizia Modena","doi":"10.1080/01614622.2023.2228136","DOIUrl":"https://doi.org/10.1080/01614622.2023.2228136","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45317822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}