Italian Culture最新文献_第2页

Telling Details. Realism and the Evidential Paradigm: The Case of Manzoni 讲述细节。现实主义与证据范式：曼佐尼的案例

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Italian Culture Pub Date : 2024-05-17 DOI: 10.1080/01614622.2024.2342091

Sabrina Ferri

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Between Invisibility and Hypervisibility: Race, Genre, and Politics in Summertime and Zero 隐形与超隐形之间：夏日与零度》中的种族、流派与政治

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Italian Culture Pub Date : 2024-05-17 DOI: 10.1080/01614622.2024.2334530

Daniel Paul

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Narrating the Nation: Language and the Landscape of Time in Scego’s Adua 叙述国家：斯切戈的阿杜瓦》中的语言和时间景观

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Italian Culture Pub Date : 2024-05-17 DOI: 10.1080/01614622.2024.2334528

Megan Crognale

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L’Ultima Cena. Questioni antiquarie tra Rinascimento e Riforma 最后的晚餐文艺复兴与宗教改革之间的古籍问题

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Italian Culture Pub Date : 2024-02-14 DOI: 10.1080/01614622.2024.2307706

Marta Vittorini

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Italy and the Ecological Imagination: Ecocritical Theories and Practices 意大利与生态想象：生态批评理论与实践

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Italian Culture Pub Date : 2024-02-14 DOI: 10.1080/01614622.2024.2306727

Nicoletta Pireddu

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Boccaccio’s Florence: Politics and People in His Life and Work 薄伽丘的佛罗伦萨：他生活和作品中的政治与人物

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Italian Culture Pub Date : 2024-02-14 DOI: 10.1080/01614622.2024.2306728

Massimo Scalabrini

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The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America 阿格里皮诺-曼特奥（1884-1947 年）的西西里木偶剧院：美国的法兰西圣骑士

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Italian Culture Pub Date : 2024-02-14 DOI: 10.1080/01614622.2024.2306729

Maria Galli Stampino

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On “Savage Thought”: Gabriele D’Annunzio, Guido Boggiani, and Italy’s Transatlantic Mediterranean Empire 关于“野蛮思想”:加布里埃尔·达南齐奥、吉多·博吉亚尼和意大利的跨大西洋地中海帝国

Italian Culture Pub Date : 2023-10-30 DOI: 10.1080/01614622.2023.2263288

Valerie Mcguire

{"title":"On “Savage Thought”: Gabriele D’Annunzio, Guido Boggiani, and Italy’s Transatlantic Mediterranean Empire","authors":"Valerie Mcguire","doi":"10.1080/01614622.2023.2263288","DOIUrl":"https://doi.org/10.1080/01614622.2023.2263288","url":null,"abstract":"AbstractCritics have long debated the degree to which Gabriele D’Annunzio should be viewed as a fascist and an imperialist, a virtual daguerreotype for Mussolini. But D’Annunzio’s evolving investment in an Italian empire-state suggests that we should complicate our understanding of his links to fascism. This essay traces correspondences between “savage thought,” coming out of ethnographic anthropology from Latin America, and D’Annunzio’s “recovery” of Hellenistic Greece at the turn of the century. It examines three important moments in D’Annunzio’s literary career: his tour-de-force novel of scandal, Il piacere (Pleasure, 1889), his famous 1895 yachting tour of the Greek islands, and then the writing of Maia (1903), the first book of his epic poem in praise of empire, Le laudi (1903-1917). By reexaming these texts through a transnational lens, the essay demonstrates the global scope of the author's avant-garde literary project and considers its impact on colonial contexts across the Atlantic.Keywords: colonialismindigeneityfascismavant-gardeGreeceParaguay Notes1 As Renato Poggioli has described in his seminal text about radical twentieth-century art: “The avant-gardes turn their attention almost exclusively to negroid sculpture and the art of savages, prehistoric graffiti and pre-Columbian Indian art; they turn, in short, toward cultures remote in space and time, almost to pre-history itself. … the avant-garde can evaluate archaic traditions better than official art and conservative criticism can, if only by way of polemical reaction to the erroneous interpretations and evaluations of the academy” (Poggioli Citation1968: 55).2 More than one critic has noted, Sperelli was a barely disguised cipher for the author (Hughes-Hallett, Citation2013, 113–4).3 Francesco Paolo Michetti, for example, described a Nietzschean spiritual transformation, after D’Annunzio returned from Greece, saying that he sketched the first portrait of the artist as “superman:” “Ora, il Gabriele D’Annunzio rappresentato da quel pastello è un uomo tutto nuovo che sembra non avere più niente in comune con i ritratti precedenti. In questi ultimi, l’insieme della fisionomia è dolce, lo sguardo un po’ abbassato, i baffi modesti, con un sorriso vagamente malinconico. Al contrario, nel pastello, i tratti sono duri, i baffi si sollevano come lunghi uncini, la barbetta a punta minaccia, gli occhi sono aggressivi, le sopracciglia un po’ aggrottate. Quel pastello è certamente il primo ritratto di D’Annunzio ‘superuomo’” (Cited in Alatri, Citation1983, 164). An engraving of D’Annunzio aboard the yacht eventually adorned an early edition of his memoirs (Vittore Nardelli, Citation1931).4 As Martins observes, both Boggiani and then later Levi-Strauss were also under the influence of ideas that emanated from archaeology and were searching for the traces of previous or pre-modern civilizations in their ethnographic studies of Latin American indigenous (Marins 2017). Boggiani’s foundational stud","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136067425","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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From Intersectionality to Interstitiality: Pathways in Italian Race, Migration, and Diaspora Studies 从交叉性到间隙性:意大利种族，移民和散居研究的途径

Italian Culture Pub Date : 2023-10-27 DOI: 10.1080/01614622.2023.2256555

Vetri Nathan

{"title":"From Intersectionality to Interstitiality: Pathways in Italian Race, Migration, and Diaspora Studies","authors":"Vetri Nathan","doi":"10.1080/01614622.2023.2256555","DOIUrl":"https://doi.org/10.1080/01614622.2023.2256555","url":null,"abstract":"AbstractIn recent years, the study of Italy’s contemporary migrant “crisis” has broadened into explorations of national biopolitics in transhistorical and transnational contexts. This article suggests some useful pathways between critical race theory and postcolonial theory to explore pressing questions related to race-based cultural politics and Italian national identity. It highlights critical race theory’s potential to enrich analyses of racializing discourses: for example, the concept of “interest convergence” is harnessed here to describe and understand the mechanisms of Italy’s “New Risorgimento,” i.e. its recent psychic unification through race-paranoia. The article also investigates possible applications of the widely (mis)used term “intersectionality” and explores some of the limits of both critical race theory and postcolonial theory, especially the ever-present risk of slippage back into preexisting essentialist identity categorizations. To avoid such slippages, the article suggests further exploration of theoretical conceptualizations of hybridity by two of postcolonial theory’s foundational scholars, Edward Said and Homi K. Bhabha, due to their emphasis on discourse analysis and “interstitiality” rather than intersectionality. It urges further examination of Italy’s questione della razza via interstitiality in order to introduce urgently-needed nuance into analyses of race, nationality, power, and cultural discourse. Finally, the article emphasizes the importance of deploying multiple theoretical approaches and stresses the need to work within a public-facing “global humanities” framework to explore and expose how racializing discourses generate detrimental manufactured anxieties and hate in contemporary societies. Creating a “sense of the commons” via such transnational and comparative approaches to analyzing biopolitical conflicts would build both inclusivity, and therefore strength, within democratic nations, institutions, and societies, thus allowing them to thrive once again.Keywords: biopoliticscritical race theorypostcolonial theoryhybriditymigrationsintersectionality Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 See Burdett (Citation2016), Andall and Duncan (Citation2010), Greene (Citation2012), Hawthorne (Citation2022), Lombardi-Diop and Romeo (Citation2012), and Pesarini and Tintori (Citation2020), among others.2 The center-right coalition won 43.7% of the vote in the Chamber of Deputies and 44.02% of the vote in the Senate. The center-left coalition, led by the Democratic Party, won 26.13% of the vote in the Chamber of Deputies and 26.32% of the vote in the Senate. The populist Movimento Cinque Stelle won 15.43% of the vote in the Chamber of Deputies and 15.53% of the vote in the Senate.3 Hungary under Viktor Orban, Poland’s Law and Justice Party, France’s Marine Le Pen, and the United Kingdom’s Euro-skeptic Tory government can be all viewed as examples of the successful impleme","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136261768","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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Maps and Memory in Takoua Ben Mohamed’s La rivoluzione dei gelsomini Takoua Ben mohamed的茉莉花革命的地图和记忆

Italian Culture Pub Date : 2023-10-25 DOI: 10.1080/01614622.2023.2257442

Silvia Caserta

{"title":"Maps and Memory in Takoua Ben Mohamed’s <i>La rivoluzione dei gelsomini</i>","authors":"Silvia Caserta","doi":"10.1080/01614622.2023.2257442","DOIUrl":"https://doi.org/10.1080/01614622.2023.2257442","url":null,"abstract":"AbstractWithin the growing field of transnational comics culture, marked by the great success of works such as Art Spiegelman’s Maus and Marjane Satrapi’s Persepolis, Italian comics have not received sufficient attention. This paper reads Takoua Ben Mohamed’s latest graphic novel, La rivoluzione dei gelsomini (2018), from a Mediterranean and transnational perspective. My analysis focuses in particular on the dynamics of memory and space as they emerge in the visual narrative of the book. Through a series of maps that either lack definite points of departure and arrival or fail to show a clear way of getting from one point to another, the novel visualizes the non-linear movement of Takoua’s personal and collective memory across the Mediterranean, a memory that cannot be attached to a singular space, but rather constantly travels, and that can only be archived “on the move.” On a broader, collective level, Ben Mohamed’s graphic novel foregrounds the non-linear, rhizomatic, and constantly shifting movement across spaces and boundaries that necessarily characterizes contemporary transnational memories and experiences, while also pointing toward—and visually mapping—alternative ways of inhabiting and belonging within and across boundaries and borders.Keywords: Ben MohamedmemorymaparchiveMediterraneangraphic novel Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 For a reflection on this “multireligious, multicultural and multilingual reality,” and on the specific condition of Muslim women in Italy, see Brioni and Ramzanali Fazel Citation2020. On how this urban African diasporic generation is changing the literary legacy of the Horn of Africa in Italy in particular see Lombardi-Dio Citation2020.2 By often foregrounding the racialized experience of Blackness in contemporary Italy, Igiaba Scego’s work has pushed Italian society to come to terms with the legacy of its colonial past, as well as forcing it to engage with a transnational discourse around Blackness.3 See Chute Citation2010. 4 It is interesting to note, in this sense, that Ben Mohamed makes explicit reference to the Jasmine Revolution in the novel’s title, whereas Satrapi names her novel after the capital of the ancient Achaemenid Empire. While Satrapi’s choice might have been influenced by the risks associated with referring to the contemporary situation in Iran (and the novel was indeed banned there), it also adds a dimension of nostalgia for the past and anticipates the writer’s struggle in coming to terms with the multiplicity of her country’s and her own identity.5 See Inf. 1.1-3: “Nel mezzo del cammin di nostra vita, mi ritrovai per una selva oscura, che la diritta via era smarrita.”6 See Erll Citation2011.7 Although the use of Arabic is limited throughout the novel, at times the author chooses to juxtapose Italian words/sentences with the Arabic version of them. This is the case for all the chapters’ titles, as well as, to cite an example, one of","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135112695","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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