Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1918888
Francesca Beretta
The age of new media has changed soccer and soccer fans. In the past, clubs primarily focused on promoting the value of their brands through merchandise and the image of top players, while fans were mainly spectators. Digital transformations have allowed clubs to encourage fans’ participation and engagement in new ways. In Italy, the Chinese-owned Inter Milan has become a leader in digital innovation launching Inter Media House, a project that creates and shares content across various platforms, allowing fans to experience the brand in the first person.
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1909904
Alice Gussoni
singing, provided they celebrate divine greatness. This book also focuses on the value of contemplation and meditation. Since contemplation cannot occupy all the nuns’ time, the sisters must perform humble manual tasks and needlework or embroidery in order to avoid idleness, the greatest sin at the root of every ill. Fasting, bodily afflictions, mortification, and abstinence are all strategies to tame the flesh. Tarabotti explains how prayers and the grace conceded by merciful Mary can lead to the enjoyment of eternal grace in heaven. The time of death will be a welcome moment to enjoy an eternity of delight. At the end of Book Three, Tarabotti asks for pardon and offers two gifts to God: her life and her writing. After Convent Paradise are three more encomiastic poems: the idyll “Archangel” by an unnamed poet, possibly Angelico Aprosio (another member of the Accademia degli Incogniti), one sonnet by Salvator Cavalcanti, and another by Lucrezia Marinella. The editors’ exhaustive “Introduction” situates Tarabotti’s first publication in the context of convent life in seventeenth-century Venice, with specific details about the Sant’Anna cloister, where Tarabotti spent her entire life, and where she penned all her literary works. Ray and Westwater call Convent Paradise a spiritual autobiography and propose a fruitful interpretation of this text within Tarabotti’s overall literary career and religious life: “Tarabotti’s literary persona and the formulation of her social and political critique cannot be detached from her religious and spiritual experience, which emerge so clearly in Convent Paradise.” (56) The great variety of quoted texts reveal Tarabotti’s knowledge, not only of the religious tradition (Song of Songs, Old and New Testament, S. Ambrose, S. Bernard, etc.) but also of secular Greek and Latin authors like Plato, Aristotle, Socrates, Seneca, as well as Italian writers such as Dante, Petrarch, Ariosto, and Tasso. This edition is a very intriguing incursion into the life of cloistered nuns of Seicento Venice and into the strategies recommended to lead a pure and sacred life, all in view of the final reward: a spot in heaven. Since so far Tarabotti’s devotional writing has been overlooked, while the focus has been on her feminist works, this edition of Convent Paradise, with its fine translation, annotation, and meaningful illustrations, contributes to a more complete and nuanced picture of Tarabotti’s literary corpus. It provides an “important insight into the religious and cultural climate that shaped Tarabotti’s life and literary voice.” (2)
{"title":"Intellectuals Displaced from Fascist Italy. Migrants, Exiles and Refugees Fleeing for Political and Racial Reasons/Intellettuali in fuga dall’Italia fascista. Migranti, esuli e rifugiati per motivi politici e razziali","authors":"Alice Gussoni","doi":"10.1080/01614622.2021.1909904","DOIUrl":"https://doi.org/10.1080/01614622.2021.1909904","url":null,"abstract":"singing, provided they celebrate divine greatness. This book also focuses on the value of contemplation and meditation. Since contemplation cannot occupy all the nuns’ time, the sisters must perform humble manual tasks and needlework or embroidery in order to avoid idleness, the greatest sin at the root of every ill. Fasting, bodily afflictions, mortification, and abstinence are all strategies to tame the flesh. Tarabotti explains how prayers and the grace conceded by merciful Mary can lead to the enjoyment of eternal grace in heaven. The time of death will be a welcome moment to enjoy an eternity of delight. At the end of Book Three, Tarabotti asks for pardon and offers two gifts to God: her life and her writing. After Convent Paradise are three more encomiastic poems: the idyll “Archangel” by an unnamed poet, possibly Angelico Aprosio (another member of the Accademia degli Incogniti), one sonnet by Salvator Cavalcanti, and another by Lucrezia Marinella. The editors’ exhaustive “Introduction” situates Tarabotti’s first publication in the context of convent life in seventeenth-century Venice, with specific details about the Sant’Anna cloister, where Tarabotti spent her entire life, and where she penned all her literary works. Ray and Westwater call Convent Paradise a spiritual autobiography and propose a fruitful interpretation of this text within Tarabotti’s overall literary career and religious life: “Tarabotti’s literary persona and the formulation of her social and political critique cannot be detached from her religious and spiritual experience, which emerge so clearly in Convent Paradise.” (56) The great variety of quoted texts reveal Tarabotti’s knowledge, not only of the religious tradition (Song of Songs, Old and New Testament, S. Ambrose, S. Bernard, etc.) but also of secular Greek and Latin authors like Plato, Aristotle, Socrates, Seneca, as well as Italian writers such as Dante, Petrarch, Ariosto, and Tasso. This edition is a very intriguing incursion into the life of cloistered nuns of Seicento Venice and into the strategies recommended to lead a pure and sacred life, all in view of the final reward: a spot in heaven. Since so far Tarabotti’s devotional writing has been overlooked, while the focus has been on her feminist works, this edition of Convent Paradise, with its fine translation, annotation, and meaningful illustrations, contributes to a more complete and nuanced picture of Tarabotti’s literary corpus. It provides an “important insight into the religious and cultural climate that shaped Tarabotti’s life and literary voice.” (2)","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"96 - 99"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43910245","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}
Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1909898
Patrizia Bettella
Middle Ages and the Renaissance. The latter image of the philosopher’s enslavement introduces the concept of appropriation, which is one of the most basic tenets of translation, at once a “moving of contents” from one language to another, but, in the complex cultural and literary background of the period in question, also a dynamic synergy of several different elements, such as the interaction of Latin and the vernacular, the radical social changes that allowed many important families to commission their own translations, and the development of the Italian vernacular(s), among others. The basic tenet of this book is that the Latin term for translator, interpres, hints at what transferring the meaning of words from one language to another really does, which is offering an interpretation of the transferred text. And yet, it goes even further by proposing that texts change according to the culture that receives them, so translation and interpretation are tightly connected to reception. The three terms in this dynamic interaction are translation, reception, and interpretation. This argument is linked to material philology, which takes into consideration not just texts, but also modes of production, printing practices, book selling, as well as reading practices and annotations. Reception is the mechanism that indeed brings a text or a cultural object to life and the quality of reception depends on chronology, geography, gender, and politics, among other factors. The fresh argument emerging from the widespread practice of translation—which remains a lesser art from the perspective of more (reputedly) elevated artistic expressions—has to do with the legitimization of the vernacular as the language of philosophical debate. The book is a brilliant rendition of a very complex phenomenon and the reader is left with a clear sense of what translating really meant at this time in Italian history. Refini displays great command of the materials he analyzes and great authority in the development and articulation of concepts and ideas. This study is filled with information, but erudition becomes a harmonious unit with the author’s theory and, while the argument is solid and complex, it is a pleasure to read. It is demonstration that serious scholarship can be pleasurable and may be consumed, if not effortlessly, nevertheless with blissful satisfaction.
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1906530
Stiliana Milkova
Much 1 attention has been paid to Naples as the setting of Elena Ferrante’s novels. But her tetralogy My Brilliant Friend (L’amica geniale 2011–2014) features a narrative frame set in the city of Turin. Turin is also the topographic background of her second novel, The Days of Abandonment (I giorni dell’abbandono, 2002; translated in English in 2005). In this article, I examine Ferrante’s spatial poetics by charting the walking routes of Olga, the narrator of The Days of Abandonment. I approach The Days of Abandonment as a spatial story, a narrative contingent on the protagonist’s walking in the city, on her body’s negotiating a hostile urban cityscape. I traverse the novel’s urban text punctuated by concrete sites––fountains and street intersections, urban signs and graffiti, public urinals and bronze monuments—to locate the novel’s narrative events on Turin’s map. The itineraries that I trace position Olga in a real-life topography that oppresses her body and psyche. This plotting of her body onto Turin’s map offers a topographic lens through which to explore urban space and culture as they inform the feminine physical and psychic landscapes in a contemporary Italian cityscape. Read through its itineraries and urban sites, The Days of Abandonment constitutes a feminine walking tour of Turin, mapping the intersections of women’s bodies and cityscapes.
作为埃琳娜·费兰特小说的背景，那不勒斯一直备受关注。但她的四重奏《我的光辉朋友》（L’amica geniale 2011-2014）以都灵市为背景。都灵也是她的第二部小说《被遗弃的日子》（I giorni dell’abbandono，2002；2005年英译）的地形背景。在这篇文章中，我通过绘制《被遗弃的日子》的叙述者奥尔加的行走路线来审视费兰特的空间诗学。我将《被遗弃的日子》视为一个空间故事，一个取决于主人公在城市中行走的叙事，取决于她的身体与充满敌意的城市景观的谈判。我浏览了小说的城市文本，其中穿插着混凝土场地——喷泉和街道交叉口、城市标志和涂鸦、公共小便池和青铜纪念碑——以在都灵的地图上找到小说的叙事事件。我追踪的行程将奥尔加定位在现实生活中压迫她的身体和心理的地形中。将她的身体绘制在都灵地图上提供了一个地形镜头，通过它可以探索城市空间和文化，因为它们为当代意大利城市景观中的女性身体和心理景观提供了信息。《被遗弃的日子》通过其行程和城市景点，构成了都灵的女性徒步之旅，描绘了女性身体和城市景观的交叉点。
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1891766
Paola Bonifazio, Maurizio Vito
In their Preface to the Italian translation of Henry Jenkins’s Convergence Culture in 2006, WuMing One and WuMing Two announced that “in the best of all worlds” the book would have caused a major debate, in Italy, on the Internet and the new technologies of communication (“Prefazione” 2007). While Wu Ming’s prediction did not come true, evidence that transmedia storytelling and media convergence are fundamentally shaping Italian culture in the age of digital media warrants our scholarly attention. In this context, this special issue “Convergence Culture and Transmedia Storytelling in Contemporary Italy” engages with contemporary theory and criticism to explore how various narrative forms and forms of entertainment are conceptualized, produced, and received across multiple media platforms, in Italy, in an age of transnational media flows, networks, and markets.
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1902096
Paolo Saporito
This paper analyzes how the hashtag #Renziscappa was used to create a link between online and offline forms of political activism. Launched in November 2014 by the Italian collective Wu Ming, #Renziscappa aimed to encourage the reporting online of any form of offline protest against the Italian Prime Minister Matteo Renzi. The implementation of #Renziscappa by Wu Ming and their followers sought to counter mainstream representations of Renzi’s purported consensus, and to catalyze and organize the offline protests. Conversely, offline participation linked the hashtag to impact-making political actions. However, the uncontrolled proliferation of #Renziscappa and its appropriation by the Movimento 5 Stelle made the online campaign increasingly lose its connection with the offline protests. By contrast, the concerted transmedia diffusion of #Renziscappa through Wu Ming’s blog Giap and interactive maps preserved this connection. In particular, the maps contextualized #Renziscappa in the genealogical evolution, geo-temporal settings, and socio-political composition of the offline movement. The network of these transmedia extensions constituted a narrative alternative to the mainstream that made users perceive the collective dimension of the movement in a national perspective and fostered the formation of a political subjectivity.
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1897278
G. Benvenuti
Abstract Tra le varie forme di contaminazione e relazione tra i media, anche in Italia si sta sperimentando sempre più frequentemente quella del transmedia storytelling, in particolare all’interno dell’ampia galassia del noir. Narrazioni transmediali che, come Romanzo criminale, Gomorra, Suburra, segnano il passaggio a una nuova stagione della serialità televisiva italiana e l’ingresso delle produzioni italiane nel mercato globale, possono essere interpretate come spie di un assoggettamento alle dinamiche dell’industria dell’intrattenimento, ma anche come laboratorio di sperimentazione di forme inedite di autorialità e di contaminazione tra linguaggi. Siamo di fronte a una costellazione di narrazioni dell’Italia criminale caratterizzata da forti interconnessioni sia al livello del marketing sia al livello delle strategie di racconto, ed è evidente che queste sinergie siano funzionali allo sfruttamento di concept di successo. Tuttavia, riconoscere e analizzare le dinamiche attraverso le quali il racconto dell’Italia criminale si impone come forma di intrattenimento globale, non significa negare la capacità di queste narrazioni di offrire uno sguardo critico sulla realtà e di dare luogo a una stratificata negoziazione fra linguaggi e tradizioni espressive diverse.
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1909891
F. Barbieri
scant attention in discussions of neorealism but enacts in complex fashion the psychic and material obstacles involved in transforming society to reveal the “cracks and fissures in the allegedly solid structure of neorealism and to place renewed emphasis on post-war cultural conflict, which retains more explanatory power than does the retrospectively adduced consensus” (130). Lino Miccich e’s conception of neorealism as “an ethics of aesthetics” runs counter to that of Leavitt, who finds this view overstates consensus by diminishing “the many disparate artistic and political objectives pursued by individual neorealist artists” (130). Leavitt’s dissenting view is expressed by intellectuals and writers concerned with the creation of “a just society” (134). One such proponent, Elio Vittorini, a prominent voice for a new culture impelled by the memory of the war, turned toward the external world where a militant culture “would have to take over where religion had fallen short” (138). Carlo Bo turned to “inward cleansing” (147), others to Hermeticism, for expressing their belief in the imperative of “a new society founded in the civil religion of the Resistance” (152). Thus, these writers and filmmakers opposed Christian orthodoxy and restrictive interpretations but not the civil religiosity of neorealist filmmaking. Leavitt’s choral character of neorealism is exemplified by Pier Paolo Pasolini as a sermo humilis through interior monologues, humble language, and a mixture of styles “to reveal the substantial unity underlying the period's creative diversity and artistic hybridity” (178) that have often been obscured. Leavitt’s extensive research, his accessible and moving style, and the careful delineation of his arguments are exceptional. Since he claims there is still much to say about neorealism, we can wait eagerly to see where this work will take him.
在对新现实主义的讨论中很少受到关注，但以复杂的方式阐述了改造社会所涉及的精神和物质障碍，以揭示“所谓的新现实主义坚实结构中的裂缝和裂痕，并重新强调战后文化冲突，这比追溯性的共识保留了更多的解释力”（130）。Lino Miccich e将新现实主义视为“美学伦理”的概念与莱维特的观点背道而驰，莱维特认为这种观点夸大了共识，削弱了“个别新现实主义艺术家追求的许多不同的艺术和政治目标”（130）。莱维特的反对意见是由关心创建“一个公正的社会”的知识分子和作家表达的（134）。Elio Vittorini就是这样一位支持者，他是受战争记忆推动的新文化的杰出代言人，他转向了外部世界，在那里，激进文化“必须接管宗教不足的地方”（138）。Bo转向“内部清洗”（147），其他人转向黑马主义，因为他们表达了“一个建立在抵抗运动民间宗教基础上的新社会”的必要性（152）。因此，这些作家和电影制作人反对基督教正统观念和限制性解释，但不反对新现实主义电影制作的民间宗教信仰。皮埃尔·保罗·帕索里尼（Pier Paolo Pasolini）通过内心独白、谦逊的语言和风格的混合，“揭示了这一时期创作多样性和艺术混合性背后的实质性统一”（178），将莱维特的新现实主义合唱特征作为一个典型。莱维特的广泛研究，他平易近人的风格，以及对他的论点的仔细描绘，都是非同寻常的。由于他声称关于新现实主义还有很多话要说，我们可以热切地等待这部作品将把他带向何方。
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