Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1938841
Arianna Avalle
“Ferrante Fever,” a term used to describe the contagious wave of enthusiasm for the Neapolitan Quartet by Elena Ferrante, has led to the creation of several commercial extensions (a play, a television series, and travel guides) and inspired many readers to travel to Naples. In this article, I analyze the Ferrante phenomenon in the context of what Henry Jenkins calls “Convergence Culture” and cultural tourism, exploring the transmedial qualities of the Neapolitan Novels as well as the economic and cultural impact of the travel guide Ferrante Fever: A Tour of Naples Inspired by Elena Ferrante’s Neapolitan Novels by Danielle Oteri. The guide represents a full immersion for Ferrante’s fans in the world of the Neapolitan Novels, and it also serves as a promotional tool for the city of Naples and the Campania region. Considering the link between this travel guide and Italian identity, I hypothesize that the novels’ “italianità” has made it possible to promote an “authentic Italian experience.” Overall, the Neapolitan Quartet exemplifies the economic potential of cultural products and sheds light on the use of symbolic capital for tourism. In fact, by portraying an alluring image of Naples, Ferrante has “positively positioned” the city in the minds of her readers, rebranding the city and turning her fans into literary tourists.
埃琳娜·费兰特（Elena Ferrante）用“费兰特热”（Ferrante Fever）这个词来形容对那不勒斯四重奏（Neapolitan Quartet）富有感染力的热情浪潮，它催生了几部商业扩展剧（一部戏剧、一部电视剧和旅游指南），并激励许多读者前往那不勒斯旅游。在这篇文章中，我将费兰特现象放在亨利·詹金斯所说的“融合文化”和文化旅游的背景下进行分析，探讨那不勒斯小说的跨文化性质，以及旅行指南《费兰特狂热：受埃琳娜·费兰特的那不勒斯小说启发的那不勒斯之旅》（Ferrante Fever:A Tour of Naples Inspired by Elena Ferrante’s Neapolitan Novels by Danielle Oteri）对经济和文化的影响。该指南代表着费兰特的粉丝们完全沉浸在那不勒斯小说的世界中，同时也是那不勒斯市和坎帕尼亚地区的宣传工具。考虑到这本旅行指南和意大利人身份之间的联系，我假设小说的“意大利式”使宣传“真实的意大利体验”成为可能。总的来说，那不勒斯四重奏体现了文化产品的经济潜力，并揭示了旅游业象征性资本的使用。事实上，通过塑造那不勒斯迷人的形象，费兰特在读者心目中“积极定位”了这座城市，重塑了这座城的品牌，并将她的粉丝变成了文学游客。
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1909914
Alessandro Vettori
Starting from the early twelfth century, Aristotle becomes the uncontested authority in philosophical matters throughout Europe and his name is synonymous with philosophical investigation. The core of the matter is how his texts were disseminated and read and the first issue to consider is language, since Greek was no longer known and Aristotle is handed down, not so much in Latin, but thanks to vernacular translations. As the historical and cultural distancing from his texts increases, it becomes more and more important to understand the culture of reference in which they were received. In this book, Refini deals with the complexity of these elements and comes to the conclusion that, if translating means interpreting, it also takes into account the cultural milieu in which the translation is received. In the late Middle Ages and early Renaissance, translation is not simply—and no longer—the transferring of texts from one language to another; it becomes synonymous with readers’ reception, with the texts’ admission into and appropriation by a different cultural ambience. The book is comprised of an Introduction, five chapters, and a Conclusion. Chapter One discusses the debasement of Aristotle in the culture of the late Middle Ages and early Renaissance as an image (which is not simply a metaphor) for Aristotle’s appropriation in the vernacular, with the complexity of making his philosophical thinking adequate to the new age through new languages. The “space of difference” articulates the dynamic interaction between academic Latin and the increasing importance attributed to the more “natural” mother tongue, by referring to both written texts as well as visual artifacts and representations. This discussion transitions seamlessly into Dante Alighieri’s revolutionary arguments in favor of the vernacular as academic language in Chapter Two, where the sommo poeta’s criticism of Taddeo Alderotti’s Italian translation of Summa Alexandrinorum invites a reconsideration of Dante’s ideas on the relationship between his two languages, Latin and the vernacular, as he articulated them in Convivio. The reception of the Nicomachean Ethics occupies the largest portion of the book and, in Chapters Three and Four, the discussion veers towards couching translation even more in the milieu in which it took place. The Venetian mercantile ambience sought legitimation through commissioning the vernacular translation of Aristotle’s well-known book and, in this context, it is clear how “vernacularization” also means “vulgarization,” an adaptation to the tastes and needs of vernacular readers. The scene moves to reading practices in Florence in Chapter Four, where the emphasis is placed more on the common ground occupied by readers from very different backgrounds than on the contrasts between opposite perspectives on Aristotle’s moral philosophy, which inevitably also becomes a political issue. Cultural hybridism is at the center of Chapter Five, where the intricate receptio
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Pub Date : 2021-01-02DOI: 10.1080/01614622.2021.1920205
Amanda Bush
When Tommaso Buscetta broke omertà in 1984 (only a decade after politicians were claiming that the mafia did not exist), one of his first statements in his depositions directly related to media depictions of Cosa nostra: “la mafia è un’invenzione letteraria,” he explained, going on to say that from the inside they are simply “Cosa nostra.” From the first lines of the deposition, Buscetta informed Judge Giovanni Falcone of the structure, practices, and codes employed within the brotherhood, claims that were ultimately held up with the sentencing in the 1986 Maxi Trial. From the Maxi Trial until the present day, Buscetta’s revelations have shaped the way in which Cosa nostra is perceived, discussed, and mediated. Through literature, fiction film, television series, documentaries, social networks, and even theatrical productions and comic books, Buscetta’s importance has grown, and he continues to occupy a prominent place in cultural productions. Beyond professionally produced media, a proliferation of amateur-made texts has been generated across internet platforms. SEO search statistics reveal that “Tommaso Buscetta” was searched on google.it an average 5,400 times per month in 2018, yielding 160 K results per search. Of particular interest to my essay are the user-generated comments on videos that feature Buscetta. These comments offer a sampling of contemporary conversations surrounding both the pentito himself and the mafia at large. In this essay, I explore the primary meanings generated by Buscetta’s media likeness and discuss whether they confirm, question, or even negate the ideas originally presented in his own words.
{"title":"Cosa Nostra in the YouTube Comment Section: Visions of Tommaso Buscetta, the Mafia, and Italian History","authors":"Amanda Bush","doi":"10.1080/01614622.2021.1920205","DOIUrl":"https://doi.org/10.1080/01614622.2021.1920205","url":null,"abstract":"When Tommaso Buscetta broke omertà in 1984 (only a decade after politicians were claiming that the mafia did not exist), one of his first statements in his depositions directly related to media depictions of Cosa nostra: “la mafia è un’invenzione letteraria,” he explained, going on to say that from the inside they are simply “Cosa nostra.” From the first lines of the deposition, Buscetta informed Judge Giovanni Falcone of the structure, practices, and codes employed within the brotherhood, claims that were ultimately held up with the sentencing in the 1986 Maxi Trial. From the Maxi Trial until the present day, Buscetta’s revelations have shaped the way in which Cosa nostra is perceived, discussed, and mediated. Through literature, fiction film, television series, documentaries, social networks, and even theatrical productions and comic books, Buscetta’s importance has grown, and he continues to occupy a prominent place in cultural productions. Beyond professionally produced media, a proliferation of amateur-made texts has been generated across internet platforms. SEO search statistics reveal that “Tommaso Buscetta” was searched on google.it an average 5,400 times per month in 2018, yielding 160 K results per search. Of particular interest to my essay are the user-generated comments on videos that feature Buscetta. These comments offer a sampling of contemporary conversations surrounding both the pentito himself and the mafia at large. In this essay, I explore the primary meanings generated by Buscetta’s media likeness and discuss whether they confirm, question, or even negate the ideas originally presented in his own words.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"58 - 72"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46274050","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 : 2021-01-01DOI: 10.1007/978-3-030-77407-3
{"title":"Trauma and Motherhood in Contemporary Literature and Culture","authors":"","doi":"10.1007/978-3-030-77407-3","DOIUrl":"https://doi.org/10.1007/978-3-030-77407-3","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"117 10","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50978091","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 : 2020-11-10DOI: 10.1080/01614622.2020.1847841
P. Roccella
Tommaso Landolfi’s Racconto d’autunno (1947) has often been interpreted by scholars as a (peculiar) Resistance narrative. However, although the novella proceeds from a historical situation, one typical of Resistance novels, it suddenly becomes an undefinable kind of Gothic tale that questions the notion of “liberation” and sheds light on some of the Liberation’s more controversial episodes. Specifically, Landolfi recounts a traumatic episode from the final phase of the war that, at the time, had not yet entered official accounts: the mass rapes and killings that followed the Battle of Monte Cassino (May-June 1944). I argue that Racconto d’autunno employs Gothic fiction and its deceptive strategies to convey the feeling of displacement induced by traumatic war events. The interplay between the natural and supernatural powerfully illustrates the destabilization of the civilian population caused by the war. I demonstrate this by comparing passages from the novella with victims’ oral testimonies of the war, collected by the historian Tommaso Baris. Finally, this article challenges readings of Landolfi’s fiction as predominantly ironic and playful and encourages a deeper historical and cultural contextualization of his works, one that highlights their complex relations to the reality they are immersed in.
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Pub Date : 2020-07-02DOI: 10.1080/01614622.2020.1842649
Michael Subialka
{"title":"Pirandello in un mondo globalizzato – 1. Narrazione-Memoria-Identità and Pirandello in un mondo globalizzato – 2. Iconografie pirandelliane. Immagini e cultura visiva nell'opera di Luigi Pirandello","authors":"Michael Subialka","doi":"10.1080/01614622.2020.1842649","DOIUrl":"https://doi.org/10.1080/01614622.2020.1842649","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"196 - 198"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1842649","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48135312","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 : 2020-07-02DOI: 10.1080/01614622.2020.1842650
Angelo Castagnino
{"title":"The Wreckage of Philosophy: Carlo Michelstaedter and the Limits of Bourgeois Thought","authors":"Angelo Castagnino","doi":"10.1080/01614622.2020.1842650","DOIUrl":"https://doi.org/10.1080/01614622.2020.1842650","url":null,"abstract":"","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"38 1","pages":"198 - 200"},"PeriodicalIF":0.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01614622.2020.1842650","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44405773","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 : 2020-07-02DOI: 10.1080/01614622.2020.1846354
Shelleen Greene
Set during the height of the Congolese Civil War (1960-1965), Congo vivo (Giuseppe Bennati, 1962), narrates the affair between an Italian journalist, Roberto (Gabriele Ferzetti) and Annette (Jean Seberg), the wife of a Belgian diplomat. The film was co-written by William Demby (1922-2013), a novelist, journalist, translator, and screenwriter, who like many African American soldiers who arrived in Italy during World War II as part of the U.S. Allied Forces, remained in the country for the better part of forty years. Written during Demby's period of intermittent expatriatism between the United States and Italy, and in the same period as his signature novel, The Catacombs (1965), I argue Congo vivo, a hybrid film with elements of documentary, ethnography, and narrative fiction, is situated within a transnational and transmedia framework and offers another perspective on Italian Third Worldism. I also argue that Congo vivo anticipates the filone films set within former colonial territories that index not only the decline of the Italian film industry and the rise of television, but also an emergent postcolonial condition.
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Pub Date : 2020-07-02DOI: 10.1080/01614622.2020.1834725
G. Parmigiani
In this article, I narrate the story of Anfora, a personified art object considered a “witness” of gendered violence and femicide, in a political campaign organized by the feminist group Unione Donne in Italia (UDI) in 2008 and 2009. I argue that this campaign’s use of “prosopopoeia” contributed to the emergence of femicide (femminicidio) as a matter of concern in Italy, to the construction of a “community of sense” around gendered violence, and to a redefinition of women as political subjects. By focusing on the representational, relational, and affective dimensions of Anfora’s personification, I show how the feminists of UDI promoted an understanding of violence beyond trauma and of witnessing beyond victimhood. Both of these understandings speak to broader debates in contemporary feminism. Anfora’s role was more than symbolic, in that her material presence was a form of witness. In this way, I claim, Anfora became a key element in the emergence of a new “woman question” in Italy related to gendered violence and femicide: a political enterprise pursued through what Jacques Rancière would call dissensus.
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