Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2146862
Valentina Re
ABSTRACT The present paper contributes to Internet-distributed television research by illustrating the results of a qualitative empirical study carried out in October 2019: by originally combining the tools of social research and ethnosemiotics, the study investigated how a panel of sixty Italian Netflix viewers perceived the platform’s recommender system and its impact on their autonomy of taste and choice. The ethnosemiotic analysis confirmed, through direct observation of user practices, the generally favourable perception of the ‘Netflix experience’ as an adequate balance between personalised recommendations and freedom of choice. At the same time, it also highlighted its problematic features, showing that synchronised and collective experiences remain important values in ‘streaming culture’ and that subscribers adopt a variety of tactics to circumvent the recommender system.
{"title":"Netflix all’italiana: The Netflix Experience as Narrated by Italian Users","authors":"Valentina Re","doi":"10.1080/02614340.2022.2146862","DOIUrl":"https://doi.org/10.1080/02614340.2022.2146862","url":null,"abstract":"ABSTRACT The present paper contributes to Internet-distributed television research by illustrating the results of a qualitative empirical study carried out in October 2019: by originally combining the tools of social research and ethnosemiotics, the study investigated how a panel of sixty Italian Netflix viewers perceived the platform’s recommender system and its impact on their autonomy of taste and choice. The ethnosemiotic analysis confirmed, through direct observation of user practices, the generally favourable perception of the ‘Netflix experience’ as an adequate balance between personalised recommendations and freedom of choice. At the same time, it also highlighted its problematic features, showing that synchronised and collective experiences remain important values in ‘streaming culture’ and that subscribers adopt a variety of tactics to circumvent the recommender system.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46209712","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 : 2022-05-04DOI: 10.1080/02614340.2022.2129526
Linde Luijnenburg
ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.
{"title":"The Three Layers of Elia Moutamid’s Cinema","authors":"Linde Luijnenburg","doi":"10.1080/02614340.2022.2129526","DOIUrl":"https://doi.org/10.1080/02614340.2022.2129526","url":null,"abstract":"ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42106632","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 : 2022-05-04DOI: 10.1080/02614340.2022.2090063
Rachel Johnson
ABSTRACT Academic filmmaking has become a rich area of practice and inquiry, driving debates about academic rigour, affect, social impact, and knowledge production. While scholars have increasingly sought to expand their practice beyond strict, ‘academic' modes of filmmaking, little attention has been paid to the ways diverse approaches to film production may also offer opportunities for creative practice that extends beyond the academy. This article explores the production model underpinning Maka, a documentary biopic of Geneviéve Makaping and product of intensive collaboration between academic and industry-based filmmakers. Drawing on interviews with the film's producers, Graziano Chiscuzzu and Ermanno Guida, I explore Maka's status as a hybrid film, a dialogic project in which multiple positions and voices intersect. I trace the filmmakers’ negotiation of funding and prestige – from university grants to legitimation at film festivals – as well as their use of techniques such as retroscripting to cultivate a dialogic filmmaking process. I also discuss the ethos of social commitment that appears to unite both academic and documentary filmmaking, and explore avenues for expanding and measuring social impact through film distribution. I conclude that Maka offers an important case study of academic-industry hybridization, permitting further interrogation of the boundaries between the two spheres.
{"title":"Producing Maka: Hybridisation and Dialogue in Academic Filmmaking","authors":"Rachel Johnson","doi":"10.1080/02614340.2022.2090063","DOIUrl":"https://doi.org/10.1080/02614340.2022.2090063","url":null,"abstract":"ABSTRACT Academic filmmaking has become a rich area of practice and inquiry, driving debates about academic rigour, affect, social impact, and knowledge production. While scholars have increasingly sought to expand their practice beyond strict, ‘academic' modes of filmmaking, little attention has been paid to the ways diverse approaches to film production may also offer opportunities for creative practice that extends beyond the academy. This article explores the production model underpinning Maka, a documentary biopic of Geneviéve Makaping and product of intensive collaboration between academic and industry-based filmmakers. Drawing on interviews with the film's producers, Graziano Chiscuzzu and Ermanno Guida, I explore Maka's status as a hybrid film, a dialogic project in which multiple positions and voices intersect. I trace the filmmakers’ negotiation of funding and prestige – from university grants to legitimation at film festivals – as well as their use of techniques such as retroscripting to cultivate a dialogic filmmaking process. I also discuss the ethos of social commitment that appears to unite both academic and documentary filmmaking, and explore avenues for expanding and measuring social impact through film distribution. I conclude that Maka offers an important case study of academic-industry hybridization, permitting further interrogation of the boundaries between the two spheres.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44245986","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 : 2022-05-04DOI: 10.1080/02614340.2022.2129489
Simone Brioni
ABSTRACT This article draws on Mieke Bal's reflections about the use of the documentary film as a way to explore migration cultures from a scholarly perspective, and it chronicles the production of Maka (2022), a film about Geneviève Makaping's life and thoughts on race and belonging. It focuses on the collaboration and dialogue with Makaping and director Elia Moutamid, among other members of the creative team, and it argues that collaboration and dialogue can have an impact beyond the academic context. Indeed, Maka is a hybrid work that blends theory and biographical storytelling, and it is therefore accessible to a larger audience. Documentaries involve self-reflective practices which might be useful to interrogate our position throughout the research process and to reflect upon the ethical questions which are involved in scholarly work about migration cultures.
{"title":"On the Making of Maka: Collaborative Practices, Autotheory, and Diversity","authors":"Simone Brioni","doi":"10.1080/02614340.2022.2129489","DOIUrl":"https://doi.org/10.1080/02614340.2022.2129489","url":null,"abstract":"ABSTRACT This article draws on Mieke Bal's reflections about the use of the documentary film as a way to explore migration cultures from a scholarly perspective, and it chronicles the production of Maka (2022), a film about Geneviève Makaping's life and thoughts on race and belonging. It focuses on the collaboration and dialogue with Makaping and director Elia Moutamid, among other members of the creative team, and it argues that collaboration and dialogue can have an impact beyond the academic context. Indeed, Maka is a hybrid work that blends theory and biographical storytelling, and it is therefore accessible to a larger audience. Documentaries involve self-reflective practices which might be useful to interrogate our position throughout the research process and to reflect upon the ethical questions which are involved in scholarly work about migration cultures.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48346870","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 : 2022-05-04DOI: 10.1080/02614340.2021.2010020
S. Angeli
ABSTRACT This article examines the portrayal of suicide in two films by Marco Bellocchio, Il regista di matrimoni (2006) and Sorelle Mai (2010). I first suggest that voluntary death represents in Bellocchio's work an ‘exit strategy' that allows his characters to overcome an existential and ideological deadlock. I then turn to the implications of such a radical gesture, situating it within the millennia-old debates surrounding the topic of suicide. Finally, I examine the two case studies, teasing out their cultural, social, and political significance. In Il regista di matrimoni, the character's suicide is targeted at disrupting the clientelist system governing Italian cultural life. In Sorelle Mai, the suicidal character opts instead for a spectacular self-sacrifice, for an ending that is also a return to his origins. Overall, in Bellocchio’s films, suicide comes to be a locus of tension and resolution, a marriage of opposite impulses marked by ambiguity and undecidability.
摘要本文考察了马尔科·贝洛基奥（Marco Bellocchio）、《婚姻》（Il regista di marriari）（2006）和《麦》（Sorelle Mai）（2010）两部电影中对自杀的刻画。我首先认为，自愿死亡在贝洛基奥的作品中代表了一种“退出策略”，使他的角色能够克服生存和意识形态的僵局。然后，我转向这种激进姿态的含义，将其置于数千年来围绕自杀话题的辩论中。最后，我考察了这两个案例研究，梳理出它们的文化、社会和政治意义。在《婚姻之王》中，这个角色的自杀旨在破坏意大利文化生活的庇护制度。在《Sorelle Mai》中，这个自杀的角色选择了一个壮观的自我牺牲，这个结局也是对他的起源的回归。总的来说，在贝洛基奥的电影中，自杀成为了紧张和决心的源泉，是一种以模糊和不确定为标志的相反冲动的结合。
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Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2075102
Daniel Paul
ABSTRACT Recent studies on female sexuality evidence the ways in which the term ‘slut’ is gendered and used primarily to police sexually active women, by men and, surprisingly, women. The commedia all’italiana Sedotta e abbandonata (Pietro Germi, 1964) and the US-based Netflix series 13 Reasons Why (Brian Yorkey, 2017–2020) depict slut shaming and show how the consequent lack of solidarity between women helps protect unbridled male sexuality. Italy’s second Netflix original series Baby (Andrea De Sica and others, 2017–2020), however, resists this tendency and ultimately holds men accountable for their exploitation of women, specifically through the reinforcement of what I term the gynosocial bond, or the bond between women. In this article, then, I argue that this emphasis on female solidarity helps normalise – rather than penalise – active female sexuality and that by so doing, Baby represents a potential turning point towards more positive depictions of female sexualities.
最近对女性性行为的研究表明，“荡妇”一词是性别化的，主要用于监管性活跃的女性，男性和女性(令人惊讶的是)都是如此。喜剧《所有的意大利人都是妓女》(Pietro Germi, 1964)和美国Netflix电视剧《十三个原因》(Brian Yorkey, 2017-2020)描绘了荡妇的耻辱，并展示了女性之间缺乏团结是如何帮助保护肆无忌惮的男性性行为的。然而，意大利Netflix的第二部原创剧集《宝贝》(Andrea De Sica等人，2017-2020)抵制了这种趋势，并最终让男性对他们剥削女性的行为负责，特别是通过强化我所说的“女性社会纽带”，或女性之间的纽带。在这篇文章中，我认为这种对女性团结的强调有助于使活跃的女性性行为正常化，而不是惩罚，通过这样做，《宝贝》代表了一个潜在的转折点，趋向于更积极地描述女性性行为。
{"title":"Putting the Blame Where It Belongs: Baby as a Turning Point for Representations of Active Female Sexuality","authors":"Daniel Paul","doi":"10.1080/02614340.2022.2075102","DOIUrl":"https://doi.org/10.1080/02614340.2022.2075102","url":null,"abstract":"ABSTRACT Recent studies on female sexuality evidence the ways in which the term ‘slut’ is gendered and used primarily to police sexually active women, by men and, surprisingly, women. The commedia all’italiana Sedotta e abbandonata (Pietro Germi, 1964) and the US-based Netflix series 13 Reasons Why (Brian Yorkey, 2017–2020) depict slut shaming and show how the consequent lack of solidarity between women helps protect unbridled male sexuality. Italy’s second Netflix original series Baby (Andrea De Sica and others, 2017–2020), however, resists this tendency and ultimately holds men accountable for their exploitation of women, specifically through the reinforcement of what I term the gynosocial bond, or the bond between women. In this article, then, I argue that this emphasis on female solidarity helps normalise – rather than penalise – active female sexuality and that by so doing, Baby represents a potential turning point towards more positive depictions of female sexualities.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48783436","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 : 2022-01-02DOI: 10.1080/02614340.2022.2093459
L. Marano
SOMMARIO Questo lavoro è il risultato di un laboratorio tenuto in una classe liceale di Pozzuoli in provincia di Napoli, con lo scopo di escutere quanto dei soggetti giovani che si auto-percepiscono come parlanti napoletano riuscissero a comprendere di un testo dialettale del Seicento – la novella ‘La gatta Cenerentola’ tratta da Lo cunto de li cunti di Giovan Battista Basile – e di capire quali parole fossero più note ai ragazzi e quali meno. Agli studenti è stato chiesto di classificare i vocaboli contenuti nella novella in base a categorie legate a uso e conoscenza. È emerso che la maggior parte dei lessemi è relativamente nota al campione, per quanto non sia sempre facile stabilire che significato venga attribuito alle parole che hanno presentato slittamento semantico nel corso del tempo. Articoli e pronomi sono risultati come gli elementi più noti, mentre necessitano alcune osservazioni i nomi e i verbi, a causa della maggiore polimorfia a cui sono sottoposti.
{"title":"La competenza dialettale fra diacronia e sincronia: Un’esperienza didattica sulla comprensione odierna del lessico del napoletano seicentesco de Lo cunto de li cunti di Giovan Battista Basile","authors":"L. Marano","doi":"10.1080/02614340.2022.2093459","DOIUrl":"https://doi.org/10.1080/02614340.2022.2093459","url":null,"abstract":"SOMMARIO Questo lavoro è il risultato di un laboratorio tenuto in una classe liceale di Pozzuoli in provincia di Napoli, con lo scopo di escutere quanto dei soggetti giovani che si auto-percepiscono come parlanti napoletano riuscissero a comprendere di un testo dialettale del Seicento – la novella ‘La gatta Cenerentola’ tratta da Lo cunto de li cunti di Giovan Battista Basile – e di capire quali parole fossero più note ai ragazzi e quali meno. Agli studenti è stato chiesto di classificare i vocaboli contenuti nella novella in base a categorie legate a uso e conoscenza. È emerso che la maggior parte dei lessemi è relativamente nota al campione, per quanto non sia sempre facile stabilire che significato venga attribuito alle parole che hanno presentato slittamento semantico nel corso del tempo. Articoli e pronomi sono risultati come gli elementi più noti, mentre necessitano alcune osservazioni i nomi e i verbi, a causa della maggiore polimorfia a cui sono sottoposti.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46239200","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 : 2022-01-02DOI: 10.1080/02614340.2022.2062948
Stefano Serafini
ABSTRACT This article investigates the dissemination of the criminal image in fin-de-siècle Italy within three different discursive areas – crime news, the popular novel, and criminological science – with a view to unveiling the complex, and often contradictory, role played by visual culture in the re-elaboration and popularisation of ideas, concepts and perceptions concerned with crime and its ambiguous nature. The image, as I intend to show, complicates and subverts traditional interpretations regarding the contribution made by crime literature and the popular press to the reconfiguration of the very idea of delinquency and to the identification of new instruments to understand it and control it. This article ultimately provides a much more complex and nuanced scenario than generally acknowledged by scholars that necessarily invites further analysis.
{"title":"Immagini e criminalità nell’Italia di fine secolo tra stampa, letteratura e scienza","authors":"Stefano Serafini","doi":"10.1080/02614340.2022.2062948","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062948","url":null,"abstract":"ABSTRACT This article investigates the dissemination of the criminal image in fin-de-siècle Italy within three different discursive areas – crime news, the popular novel, and criminological science – with a view to unveiling the complex, and often contradictory, role played by visual culture in the re-elaboration and popularisation of ideas, concepts and perceptions concerned with crime and its ambiguous nature. The image, as I intend to show, complicates and subverts traditional interpretations regarding the contribution made by crime literature and the popular press to the reconfiguration of the very idea of delinquency and to the identification of new instruments to understand it and control it. This article ultimately provides a much more complex and nuanced scenario than generally acknowledged by scholars that necessarily invites further analysis.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44890457","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 : 2022-01-02DOI: 10.1080/02614340.2022.2062942
Akash Kumar, Francesco Samarini
ABSTRACT In this article, we draw attention to the expansive and crucial presence of Dante in two particular stories of Primo Levi’s Vizio di forma, the linked tales ‘Lavoro Creativo’ and ‘Nel Parco’. These stories imagine an idyllic afterlife realm for famous literary characters, and so are of course ripe for reading through the lens of Dante’s Limbo. But we argue that there is still more to be found by expanding the scope of our inquiry to more of the Commedia, particularly in considering the dynamic between souls in Dante’s Purgatory and Levi’s appreciation of the scientific aspects of Dante’s writings. Such a move allows for a fuller appreciation of the relationship between Primo Levi and Dante, showing how the Turinese writer creates a unique space for himself through his acts of rewriting, appropriating, and adapting Dante.
{"title":"Levi’s Limbo: Dante in Primo Levi’s Vizio di forma","authors":"Akash Kumar, Francesco Samarini","doi":"10.1080/02614340.2022.2062942","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062942","url":null,"abstract":"ABSTRACT In this article, we draw attention to the expansive and crucial presence of Dante in two particular stories of Primo Levi’s Vizio di forma, the linked tales ‘Lavoro Creativo’ and ‘Nel Parco’. These stories imagine an idyllic afterlife realm for famous literary characters, and so are of course ripe for reading through the lens of Dante’s Limbo. But we argue that there is still more to be found by expanding the scope of our inquiry to more of the Commedia, particularly in considering the dynamic between souls in Dante’s Purgatory and Levi’s appreciation of the scientific aspects of Dante’s writings. Such a move allows for a fuller appreciation of the relationship between Primo Levi and Dante, showing how the Turinese writer creates a unique space for himself through his acts of rewriting, appropriating, and adapting Dante.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41873522","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 : 2022-01-02DOI: 10.1080/02614340.2022.2062935
Lisa Dolasinski
ABSTRACT This article contributes to broader debates about transcultural practices of social acceptance in contemporary Italy. Second-generation musicians Mahmood and Ghali utilise elements of global hip-hop to construct ‘in between’ identities that are representative of Italy’s increasingly diverse youth generation. Both young men hail from immigrant parents, absentee fathers, and urban poverty. Rather than attempt to minimise these purportedly unsavoury qualities, Mahmood and Ghali accentuate their multiethnic heritages in their music and artistic philosophies. By sharing their experiences of navigating ethnic heritage and Italian identity, these musicians not only invalidate xenophobic policies of belonging and national homogeneity, but also cultivate an image of authenticity that resonates with the diverse youth that mirror, and will ultimately shape, the future of Italy.
{"title":"‘In Between’ Ethnic Heritage and Italian Identity: The Global Hip-Hop of Mahmood and Ghali","authors":"Lisa Dolasinski","doi":"10.1080/02614340.2022.2062935","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062935","url":null,"abstract":"ABSTRACT This article contributes to broader debates about transcultural practices of social acceptance in contemporary Italy. Second-generation musicians Mahmood and Ghali utilise elements of global hip-hop to construct ‘in between’ identities that are representative of Italy’s increasingly diverse youth generation. Both young men hail from immigrant parents, absentee fathers, and urban poverty. Rather than attempt to minimise these purportedly unsavoury qualities, Mahmood and Ghali accentuate their multiethnic heritages in their music and artistic philosophies. By sharing their experiences of navigating ethnic heritage and Italian identity, these musicians not only invalidate xenophobic policies of belonging and national homogeneity, but also cultivate an image of authenticity that resonates with the diverse youth that mirror, and will ultimately shape, the future of Italy.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43234363","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}
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