Pub Date : 2020-05-03DOI: 10.1080/02614340.2020.1790148
Danielle E. Hipkins, Elena Past, M. Seger
{"title":"Editorial","authors":"Danielle E. Hipkins, Elena Past, M. Seger","doi":"10.1080/02614340.2020.1790148","DOIUrl":"https://doi.org/10.1080/02614340.2020.1790148","url":null,"abstract":"","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02614340.2020.1790148","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46386691","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 : 2020-05-03DOI: 10.1080/02614340.2020.1790276
A. O’leary, Dana Renga
{"title":"Teaching Italian Film and Television and Videographic Criticism","authors":"A. O’leary, Dana Renga","doi":"10.1080/02614340.2020.1790276","DOIUrl":"https://doi.org/10.1080/02614340.2020.1790276","url":null,"abstract":"","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02614340.2020.1790276","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48523493","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 : 2020-05-03DOI: 10.1080/02614340.2020.1747017
Matteo Gilebbi
ABSTRACT This essay traces the main differences between transhumanism and posthumanism and brings forward a more coherent definition of both theories by analysing the presence and interplay of transhuman and posthuman elements in Gabriele Salvatores’ 1997 film Nirvana. It argues that the artificial enhancement of the human body represented in the film – which is at the core of the transhuman condition – clashes with a cyberpunk world inhabited by characters who have displaced their superiority and exceptionalism. In other words, Salvatores depicts transhuman bodies in a posthuman condition, which can help us clarify the distinction between the two concepts.
{"title":"Posthuman/transhuman. An inquiry into Gabriele Salvatores’ Nirvana","authors":"Matteo Gilebbi","doi":"10.1080/02614340.2020.1747017","DOIUrl":"https://doi.org/10.1080/02614340.2020.1747017","url":null,"abstract":"ABSTRACT This essay traces the main differences between transhumanism and posthumanism and brings forward a more coherent definition of both theories by analysing the presence and interplay of transhuman and posthuman elements in Gabriele Salvatores’ 1997 film Nirvana. It argues that the artificial enhancement of the human body represented in the film – which is at the core of the transhuman condition – clashes with a cyberpunk world inhabited by characters who have displaced their superiority and exceptionalism. In other words, Salvatores depicts transhuman bodies in a posthuman condition, which can help us clarify the distinction between the two concepts.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02614340.2020.1747017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572465","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 : 2020-05-03DOI: 10.1080/02614340.2020.1761109
S. Bondavalli
ABSTRACT The article outlines the ambivalent position occupied by documentary cinema in the representation of Italian landscapes, and introduces the role played by television documentaries in popularising nascent environmental discourse in the 1960s. Never fully disentangled from the legacy of the picturesque aesthetic dominating visual representations of Italy since the eighteenth century, and often constrained by the limitations of institutional sponsorship, film documentaries provided both the mainstream and alternative discourses on the country’s modernisation and environmental health. Multi-episode inchieste produced by RAI television in the 1960s renovated the documentary form and contributed to the nation-building discourse that was central to the public television mission, but also provided a space for reflection on the downside of modernisation. The case study focuses on the series I nostri amici: Inchiesta sulla fauna in Italia (Palombelli, Prola, Prosperi 1963). Reconciling the timeless notion of Italy’s sacred beauty and modern utilitarian ideas about natural resources, this documentary encourages viewers to enjoy nature in new ways. Salvaging endangered ecosystems from oblivion, denouncing the most destructive practices, and showing humane ways to relate to animals, I nostri amici educates viewers to an environmentally conscious appreciation of Italian landscapes.
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Pub Date : 2020-04-21DOI: 10.1080/02614340.2020.1727719
D. Antolini
The two-day conference ‘Italian Cinema(s) Abroad’ took place on 22 and 23 March 2019 at The Ohio State University in Columbus, Ohio. This conference was organised through a joint effort by The Ohio...
{"title":"Italian Cinema(s) Abroad - Conference Report","authors":"D. Antolini","doi":"10.1080/02614340.2020.1727719","DOIUrl":"https://doi.org/10.1080/02614340.2020.1727719","url":null,"abstract":"The two-day conference ‘Italian Cinema(s) Abroad’ took place on 22 and 23 March 2019 at The Ohio State University in Columbus, Ohio. This conference was organised through a joint effort by The Ohio...","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02614340.2020.1727719","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41519508","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 : 2020-03-30DOI: 10.1080/02614340.2020.1725732
R. Vignati
ABSTRACT From the 50s to the 70s Gian Carlo Fusco was one of the most significant Italian journalists. In recent years, his writings are the subject of a rediscovery, even if the critical examination often does not go beyond the superficiality of his public figure. His cinematographic collaborations, in particular, are almost unknown. They are only considered from an anecdotal point of view. This article examines a part of Fusco's screenplays. It starts with Le avventure di Pinocchio; it examines the collaboration with Tinto Brass (considering also some unrealized projects); and finally the films concerning fascism and the Second World War, one of the most recurring topics of interest for Fusco. Although the film commitments have been very often dictated by random and contingent circumstances, they reveal a tension that is fundamental in the life and work of Fusco. On the one hand, the attraction for “dissipation” (dépense). On the other hand, the feeling of sympathy for the “dark men” (uomini oscuri) and their daily toil.
摘要从50年代到70年代，Gian Carlo Fusco是意大利最重要的记者之一。近年来，他的作品被重新发现，即使批判性的审视往往不会超越他公众人物的肤浅。尤其是他的电影合作，几乎不为人知。它们只是从轶事的角度来考虑的。这篇文章考察了福斯科的一部分电影剧本。它从《匹诺曹历险记》开始；它审查了与Tinto Brass的合作（还考虑了一些未实现的项目）；最后是关于法西斯主义和第二次世界大战的电影，这是福斯科最感兴趣的话题之一。尽管电影承诺往往是由随机和偶然的环境决定的，但它们揭示了福斯科生活和工作中的一种紧张关系。一方面，对“耗散”（dépense）的吸引力。另一方面，对“黑暗男人”（乌米尼·奥库里）的同情和他们每天的辛劳。
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Pub Date : 2020-01-02DOI: 10.1080/02614340.2020.1787658
K. Travers
ABSTRACT In Lezione d'amore (2004), Patrizia Valduga voices a woman, who suggests she is a masochist, and her male partner as they progress through their sexual encounters. This essay makes three claims: first, reading the collection alongside the work of Jack Halberstam and Kaja Silverman, I argue that Lezione d'amore instrumentalises the voice of the male partner/‘torturer' in telling the masochist's story. Secondly, the collection exposes the power of clichés surrounding masochism, challenging Deleuze's literary aesthetics of sadism and masochism through form and language. Thirdly, Valduga implicitly parallels the masochistic speaker – who paradoxically cedes power in order to gain it – with the position of the poet herself, who claims to speak from a position of lesser authority, only then to insert herself amongst the greats of the Western canon. Lezione d’amore represents a woman subject who submits to the cultural and physical force of masochistic play – and invites us to watch.
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Pub Date : 2020-01-02DOI: 10.1080/02614340.2020.1736370
Giulia Gaimari
ABSTRACT This essay explores Dante’s notion of ‘discrezione’ in Convivio I. xi, with the aim of highlighting the syncretic nature of the concept. It argues that Dante’s discretion (from Latin discretio) relies upon both Aristotle and Cicero’s ethical thought, thus reflecting the fluidity and the harmonising potential of the intellectual and civic culture in which Dante was immersed. This reading is thus situated within current discussion of Dante’s intellectual formation within Florence, and beyond. It especially focuses on the mediating role played by Brunetto Latini’s Tresor in relation to Dante’s encounter with Aristotle’s Nicomachean Ethics alongside Stoic traditions. This study also brings to light the ambivalence, and even rivalry, that seems to characterise Dante’s relationship to his older master, after the poet’s exile from Florence.
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Pub Date : 2020-01-02DOI: 10.1080/02614340.2020.1738122
Cecilia Schwartz
ABSTRACT This article analyses the Italian reviews of Elena Ferrante’s Neapolitan Novels, published in the years 2011–2014. The focus of the study is twofold: first of all, it examines how Ferrante’s works have been assessed in the Italian press, and secondly, it investigates whether the Italian reception of the works has been influenced by their international – and especially American – success. Drawing on previous studies of the evaluation of female writing by Anna Williams, Stefania Lucamante, and Tiziana de Rogatis, the analysis emphasises how Italian critics in a selection of reviews published in newspapers, literary magazines, and collective blogs have approached Ferrante’s writing from the perspective of style, content, genre, and literary contextualisation. The analysis shows that the reception of the first two parts of Ferrante’s quartet has striking similarities to the patronising patterns uncovered by Williams, while the reviews after the international success are more appreciative. These results are also discussed with regard to literary consecration and canonisation by highlighting how Ferrante is addressed in recent books on contemporary Italian literature.
本文分析了意大利人对埃琳娜·费兰特2011-2014年出版的《那不勒斯小说》的评论。这项研究的重点是双重的:首先，它考察了费兰特的作品在意大利新闻界是如何被评估的;其次，它调查了意大利人对这些作品的接受是否受到了它们在国际上——尤其是在美国——成功的影响。借鉴Anna Williams、Stefania Lucamante和Tiziana de Rogatis之前对女性写作评价的研究，分析强调了意大利评论家如何在报纸、文学杂志和集体博客上发表评论，从风格、内容、体裁和文学语境化的角度来看待费兰特的作品。分析表明，对费兰特四重奏的前两部分的接受与威廉姆斯发现的光顾模式有着惊人的相似之处，而在国际成功后的评论则更加赞赏。这些结果也讨论了关于文学的奉献和册封突出费兰特是如何在当代意大利文学最近的书。
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Pub Date : 2020-01-02DOI: 10.1080/02614340.2020.1785705
L. Parisi
SOMMARIO Tra il 1987 e il 2017 Maria Venturi e Lorenza Ghinelli, autrici di grande successo commerciale, hanno scritto molte storie sull’abuso sessuale dei minori. In alcuni casi hanno mostrato una seria comprensione degli aspetti dannosi di una simile esperienza, ma in altri casi l’hanno descritta in modi che ne attenuano la traumaticità. Questo articolo riconosce l’aspetto incoraggiante che le storie di eventi dolorosi possono avere; segnala la difficoltà di trovare quell’aspetto nelle storie di abuso sessuale; sostiene che un incoraggiamento efficace non può essere trovato a spese di una rappresentazione realistica; e nota l’insolito valore che la verosimiglianza assume allora come criterio valutativo delle storie di abuso sessuale.
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