Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1901458
Anne MacNeil
ABSTRACT For many years, scholars have represented the frottola repertory as light-hearted, frivolous, often bawdy songs – the purview of the uneducated – and many of them are exactly this. But within this repertory are also songs based on biblical passages and psalms that bring religious themes into a highly secularised context, offering lay interpretations of sacred scriptures. The most famous example of this is Josquin’s ‘In te domine speravi’, based on Psalm 30. The example of ‘Vox clamantis in deserto’, though, offers an intriguing instance of a song that shows evidence of both oral and written composition. This performative compositional history calls into question the song’s authorial attributions to Serafino Aquilano, Antonio Tebaldeo, and Bartolomeo Tromboncino, and highlights the complex, nuanced character of the genre as a whole.
多年来，学者们一直把frottola的保留曲目描述为轻松、轻浮、经常是淫秽的歌曲——这是没有受过教育的人的范围——而其中许多正是如此。但在这些曲目中也有基于圣经段落和诗篇的歌曲，这些歌曲将宗教主题带入高度世俗化的背景下，提供了对神圣经文的世俗解释。这方面最著名的例子是乔斯金的《In The domine speravi》，改编自《诗篇》第30篇。然而，“沙漠里的喧哗声”(Vox clamantis in deserto)这首歌提供了一个有趣的例子，它显示了口头和书面创作的证据。这首歌的创作历史对塞拉菲诺·阿奎拉诺、安东尼奥·特巴尔德奥和巴托洛梅奥·特朗博奇诺的创作提出了质疑，并强调了这一流派作为一个整体的复杂、微妙的特征。
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1867453
Jessica Goethals, Eugenio Refini
When a play has a character called ‘Eteorogeneo’ (literally, heterogeneous) and a prologue delivered by one ‘Folletto’, the audience should almost certainly expect to encounter something unexpected. When the elf himself announces that the public is about to be offered a grotesque (‘grottesca’) – crazier and more bizarre than anything previously performed – it becomes abundantly clear that the play will not be a conventional one. Indeed, terms such as ‘grottesca’ (decorative painting or sculpture made of freely combined human, animal, and vegetal forms) and the lexicon of ‘bizzarria’ point towards an artistic product informed by artifice and – as per the elf’s own words – capriciousness:
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Pub Date : 2020-09-01DOI: 10.1080/02614340.2020.1886756
Roseen Giles
ABSTRACT Giambattista Marino’s L’Adone (1623) is the longest poem written in the Italian language. Exceeding even Torquato Tasso’s Gerusalemme liberata (1581) in length, L’Adone lacks the most central characteristic of epic poetry: a coherent narrative. As the quintessential example of Italian seicentismo, L’Adone was censured by Marino’s severest critic, Tomaso Stigliani, for being a poem composed entirely of ‘a succession of madrigals’. The absence of a comprehensible story coupled with convoluted rhetoric makes L’Adone utterly impractical for musical setting. Why then was it a literary source for seventeenth-century opera? Similarly, why did madrigal composers seem to find it equally attractive? This article proposes that musical interpretations of Marino’s epic presented a challenge to the notion of dramatic verisimilitude; musical settings based on Marino’s epic demonstrate one of the principal musical debates of the century, namely the tension between the verisimilitude of opera and the artifice of the madrigal.
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Pub Date : 2020-07-22DOI: 10.1080/02614340.2020.1764726
Laura Di Bianco
Ecocinema places the relationship between humans, nonhumans, and the environment at the centre of film narration. As an earth-centred approach rather than an anthropocentric one, ecocinema is ethic...
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1735086
Robert A. Rushing
ABSTRACT This essay looks at two main questions. (1) Why is toxicity, despite its resistance to visualization in the documentary (according to Schoonover), so important in Italian film? As Roberto Esposito has argued, Italy has a long tradition of Italian thought characterized by a particular interest in the fragility and precarity of the human body and the body politic, part of biopolitical thinking; moreover, modern Italy has a tragic and all too well-established history of toxic dumping within the nation as well as beyond its borders, especially in Africa. (2) How have Italian fiction films rendered the toxic visible? I turn to a series of examples, in both art films and popular genres, to show how they manage to visualize both toxicity and its impacts through a series of highly charged fantasies: changes to body and mind that are simultaneously wrapped up in fantasies about gender, species, and power.
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1766796
J. Mullins
ABSTRACT While queer theory and the environmental humanities might seem unlikely bedfellows, this piece argues that both fields are defined by acts of denaturalisation and worldmaking which are not merely intellectual gestures, but lively political practices. It appropriates the genre of the manifesto – its capacity to generate rupture and imagine the world otherwise – and calls for the emergence of coalitions to complicate identitarian forms of belonging. Its call for imaginative geographies puts pressure on the notion of a national framework that so often conditions Italian studies scholarship. Lastly, it argues against concepts of purity and orthodoxy that often guide leftist politics, invoking a politics based on impurity to meet the challenges of the twenty-first century. These intertwined practices are explored through an example of one particular queer ecology: Felix Gonzalez-Torres’s 1995 “Untitled” (Vultures) installation of photographs, and its relation to Pier Paolo Pasolini’s poem ‘Lavoro tutto il giorno’.
虽然酷儿理论和环境人文学科似乎不太可能同床异梦，但这篇文章认为，这两个领域都是由变性和造世界的行为定义的，这些行为不仅仅是智力上的姿态，而且是活跃的政治实践。它恰当地运用了宣言的风格——它有能力产生决裂，并以另一种方式想象世界——并呼吁出现联盟，使同一性的归属形式复杂化。它对富有想象力的地理学的呼吁，给国家框架的概念带来了压力，而国家框架通常是意大利研究奖学金的条件。最后，它反对经常指导左派政治的纯洁和正统概念，援引一种基于不纯洁的政治来迎接21世纪的挑战。这些相互交织的实践通过一个特殊的古怪生态学的例子来探索:Felix Gonzalez-Torres 1995年的“无题”(秃鹫)摄影装置，以及它与Pier Paolo Pasolini的诗“Lavoro tutto il giorno”的关系。
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1769306
Anna Paparcone
ABSTRACT Starting with a brief overview of the ecofeminist movement and ecocinema, this article provides some theoretical coordinates to contextualise contemporary Italian ecofeminist cinema. Films such as Quatriglio’s Con il fiato sospeso (2013), Mangini and Barbanente’s In viaggio con Cecilia (2013), and Kauber’s In questo mondo (2018) exemplify some features of ecofeminist cinema. They intervene in local realities whose history and geopolitical specificity speaks to global collective efforts. Divorced from an anthropomorphic impetus, their common goal is both raising consciousness about social, political, and environmental issues and suggesting new forms of respect for all human and nonhuman beings. They display the feminist notion of ‘the relational approach’ and privilege Slow Cinema’s techniques. They attempt to blur boundaries between genders and genres, thus attuning viewers to the subtle ways in which binary oppositions –humans–nonhumans, men–women, nature–culture, North–South, wealth–poverty, happiness–unhappiness – continue to work at the core of patriarchy and capitalism.
摘要本文从简要介绍生态女性主义运动和生态电影入手，为意大利当代生态女性主义电影的语境化提供了一些理论坐标。Quatriglio的《Con il fiato sospeso》（2013年）、Mangini和Barbanente的《In viaggio Con Cecilia》（2013）以及Kauber的《In questo mondo》（2018）等电影都体现了生态女权主义电影的一些特点。他们干预当地的现实，这些现实的历史和地缘政治特点说明了全球的集体努力。脱离了拟人化的动力，他们的共同目标是提高对社会、政治和环境问题的意识，并提出对所有人类和非人类的新形式的尊重。它们展示了“关系方法”的女权主义概念，并对慢电影的技术给予了特权。他们试图模糊性别和流派之间的界限，从而使观众注意到二元对立——人类——非人类、男性——女性、自然——文化、北方——南方、财富——贫困、幸福——不幸——继续在父权制和资本主义的核心发挥作用的微妙方式。
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1775369
D. Callegari, Joseph Perna
ABSTRACT This essay begins with a survey of approaches to food in Italian media culture, and then explores how food studies and the environmental humanities can come together. We take two enogastronomic projects carried out by Mario Soldati, Nella valle del Po: alla ricerca dei cibi genuini (1957) and Vino al vino: alla ricerca dei vini genuini (1968–75), as a case study. These documentaries spanned the arc of Italy's postwar economic boom and the slow opening of Europe’s economic and political borders. Soldati’s search for authenticity in food and wine was a search for what would remain recognisably Italian even after Italy and its inhabitants changed shape yet again. His enogastronomic work maps the emergence of a new code of cultural values, and enables a new method for interpreting the terrain on which consumer practice, ecology, representation, and taste intersect.
本文从意大利媒体文化中的食物研究方法入手，然后探讨了食物研究和环境人文科学如何结合在一起。我们以Mario Soldati进行的两个天文项目Nella valle del Po: b真主安拉ricerca dei cibi genuini(1957)和Vino Vino: b真主安拉ricerca dei vini genuini(1968 - 1975)为例进行了研究。这些纪录片跨越了意大利战后经济繁荣和欧洲经济和政治边界缓慢开放的弧线。索尔达蒂在食物和葡萄酒中寻找真实性，是在意大利及其居民再次改变形态之后，寻找能够保持意大利特色的东西。他的饮食天文学作品描绘了一种新的文化价值准则的出现，并为解释消费者实践、生态、表现和品味相交的领域提供了一种新的方法。
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1765591
Meryl Shriver-Rice, Hunter Vaughan
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Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1737427
A. Sbragia
ABSTRACT This essay explores the postmodern image economy with regard to the depiction of Rome as a global city of the spectacle in Paolo Sorrentino’s La grande bellezza. It argues that an incongruity exists between the director’s auteurist and modernist aspirations to offer a film on Rome that provides depth models of beauty and truth while employing commodifying postmodernist film strategies and techniques of enchantment by spectacle. In other words, how does Sorrentino’s representation of Rome as a beautiful eternal city, a space not just overloaded but purposely overcoded with traces of the past, enter into dialogue with Rome as the seat of the debased and banalised image regime of our contemporary society of the spectacle first delineated by Guy Debord? Fellini is used as a point of comparison to investigate how Sorrentino grapples with similar dilemmas but in a substantially more advanced postmodern image regime of commodification involving advertising aesthetics, heritage filmmaking, and a diminished sense of historical immediacy.
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