Journal articles: 'Italian contemporary history'

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Lombardi, Giancarlo. "Days of Italian lives: Charting the contemporary soapscape on Italian public television." Italianist 29, no. 2 (June 2009): 227–48. http://dx.doi.org/10.1179/026143409x12488561926423.

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Luciano, Bernadette, and Susanna Scarparo. "Gendering mobility and migration in contemporary Italian cinema." Italianist 30, no. 2 (June 2010): 165–82. http://dx.doi.org/10.1179/026143410x12724449730051.

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Morris, Jonathan. "Italian Journals: A User's Guide." Contemporary European History 1, no. 1 (March 1992): 89–97. http://dx.doi.org/10.1017/s0960777300005075.

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A review of Italian journals dealing with contemporary European history suggests that there have been notable improvements in the standards of Italian historiography in the last decade. This reflects the continued success of Quaderni Storici, the challenge of new periodicals established since the late 1970s, and the response of more established journals to the changed nature of the Italian political contest.

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Holdaway, Dom. "Da fatti realmente accaduti: Performing History in Contemporary Italian Cinema." New Readings 11 (January 1, 2011): 17. http://dx.doi.org/10.18573/newreadings.74.

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Benvegnù, Damiano. "Animality in Contemporary Italian Philosophy." Italian Studies 76, no. 3 (June 21, 2021): 350–51. http://dx.doi.org/10.1080/00751634.2021.1936795.

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C. Martino, Simone. "POLITICS AND RELIGION IN ITALY: A CATHOLIC HISTORY." POLITICS AND RELIGION IN EUROPE 9, no. 2 (December 27, 2015): 233–47. http://dx.doi.org/10.54561/prj0902233m.

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The paper looks at the historical and contemporary role of Catholic Church in Italian politics. Over the last sixty years Catholicism has played an important role in Italian society. The paper identify three ways in which Catholicism interacts with Italian public life: as a peculiar version of “civil religion”, through Catholic inspirited political parties and the Church intervening directly in specific public debates. After identifies the change of political role of the Catholic Church in the last decades the paper recognize the main challenges for this particular relationship in the next future

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Bystrova, Tat’yana A. "PIER PAOLO PASOLINI AND CONTEMPORARY ITALIAN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2022): 114–21. http://dx.doi.org/10.28995/2686-7249-2022-3-114-121.

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The article is concerned with the perception of Pasolini’s works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.

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Tommasini, Alexandra. "Anti-icon icon: Gabriele Basilico’s photography of the Italian urban landscape." Modern Italy 21, no. 4 (November 2016): 427–40. http://dx.doi.org/10.1017/mit.2016.47.

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This article explores Gabriele Basilico’s photographs of the contemporary Italian environment and argues for their status as both iconic – that is to say, distinctive, highly visible, and memorable – and anti-iconic symbols or images. The discussion first explores the anti-iconic impulse in Basilico’s work. It marks out his standing as one of the most prominent proponents of the trend in contemporary Italian photography which sought to counter the mythic view of the country’s landscape and highlights his involvement in the trend’s seminal exhibition, Viaggio in Italia (1984). The article then makes a case for the simultaneous iconic nature of Basilico’s photographs by looking at the 2007/08 exhibition Milano si mostra. 1 Km con Gabriele Basilico, examining the ways in which Basilico’s images were made into icons of Milan’s urban identity.

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Meriggi, Marco. "„Quellen und Forschungen aus italienischen Archiven und Bibliotheken“ e la contemporaneistica (1960–2018)." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (November 25, 2020): 47–54. http://dx.doi.org/10.1515/qufiab-2020-0005.

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AbstractThe article examines the role played by contemporary historical research between 1960 and 2018 within the „Quellen und Forschungen aus italienischen Archiven und Bibliotheken“. The principal results emerging from the survey are as follows: 1) especially from 1980 onwards, the journal devoted increasing space to contemporary history; 2) it also hosted a growing number of contributions written by Italian authors, both in Italian and in German; 3) in order to enlarge its readership, it would be helpful for the journal to publish a larger number of essays by German-speaking authors in Italian.

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Patriarca, Silvana. "Unmaking the nation? Uses and abuses of Garibaldi in contemporary Italy." Modern Italy 15, no. 4 (November 2010): 467–83. http://dx.doi.org/10.1080/13532944.2010.506297.

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This essay examines the presence of Garibaldi in the politics of contemporary Italy by focusing in particular on the publications released on or around the occasion of the 200th anniversary of the birth of the hero in the milieux that oppose the Italian state and contest the idea of an Italian nation. After a brief review of previous political appropriations (and rejections) of Garibaldi in the course of modern Italian history, the essay examines the ideological ingredients and rhetorical strategies of the representations of Garibaldi produced by Northern League and neo-Bourbon ideologues, which also surface in extreme neo-fascist and ultra-Catholic groups. It shows that while some ‘anti-myth’ ingredients are shared across this politically diverse constellation, others are more specific to their individual components. In particular Northern League ideologues use some of the clichés of the discourse of Italian character (in the negative) to claim their own difference (in the positive). The essay also points out that the visibility enjoyed by these versions of Italian history is greatly enhanced by the availability of new media technologies such as the internet (with the related effect of ‘group polarisation’), as well as by the presence of the Northern League in the ruling right-wing coalition led by media mogul Berlusconi, who has an inordinate degree of control over the national media.

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Forino, Imma. "Italian Office Desk." Convergences - Journal of Research and Arts Education 13, no. 25 (August 9, 2021): 95–106. http://dx.doi.org/10.53681/c1514225187514391s.25.111.

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In Italy the history of modern equipment design has shifted between ‘mass production and one-off’, as architects Gio Ponti and Antonio Fornaroli wrote in an article in the magazine Domus (1948). Starting from this important reflection by the two Italian architects, the article takes into consideration the case study of office furniture.The aim of the article is to identify the cultural landscape of Italian design during the twentieth century, taking into consideration the example of the office desk as fil rouge of the history of design in Italy.The methodology adopted is deductive: starting from the selection of some case studies (desks designed for some elitist furnishings or, vice versa, for serial reproduction) and in relation to the architectural and cultural context in which they were created, some key concepts are deduced in order to understand the progressive adherence of Italian architects to the idea of modernity, and then to the massification of industrial design. New materials and ancient ‘know-how’ have merged into projects that have distinguished the history of design in Italy as original.The conclusion highlights how in the history of Italian office furniture as a multi-faceted history, where elite furniture can become a democratic product, until it becomes part of the contemporary office.

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Cappuccio, Laura. "Art. 11 of the Italian Constitution between text and context." Italian Review of International and Comparative Law 1, no. 1 (October 15, 2021): 188–95. http://dx.doi.org/10.1163/27725650-01010012.

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Abstract Luigi Bonanate’s book “Costituzione italiana: articolo 11” analyses Article 11 of the Italian Constitution through the prism of its application. Bonanate provides the reader, in a clear and compelling style, with a complete interpretation of Article 11, combining the analysis of the preparatory work in the Constituent Assembly with its doctrinal interpretation and political application. The book does not only analyse the drafting of this article, but also focuses on the “political history of Article 11”, on the contemporary debate by the scientific community and, finally, on its relations with the international legal system.

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Maglione, Giuseppe. "Techno-sovereignism: the political rationality of contemporary Italian populism." Theory and Society 50, no. 5 (February 7, 2021): 791–813. http://dx.doi.org/10.1007/s11186-021-09429-1.

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AbstractThis article provides an original exploration of the self-identified populist coalition leading the Italian government between 2018 and 2019. The analysis, informed by a governmentality approach, starts by scrutinising the economic, social, and cultural issues framed as political “problems” by the coalition, also highlighting the tensions underlying such constructions. The second step charts how this political subject sought to address those problems by deploying an array of political technologies. From examining these two dimensions, the article then can discern the composite rationality—techno-sovereignism—that drove precariously the coalition’s art of government. Finally, the article sketches out some forms of contestation against the techno-sovereignist operations, whose significance may stretch beyond the Italian borders. Overall, although the Italian populist coalition turned out to be ephemeral, the dynamics that characterized its emergence and functioning could still be used heuristically to understand the interactions and reciprocal adjustments possibly used by right-wing and technocratic populist groups to exert political power conjointly.

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Malone, Hannah. "Legacies of Fascism: architecture, heritage and memory in contemporary Italy." Modern Italy 22, no. 4 (September 18, 2017): 445–70. http://dx.doi.org/10.1017/mit.2017.51.

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This article examines how Italy has dealt with the physical remains of the Fascist regime, as a window onto Italian attitudes to the past. Theventennioleft indelible marks on Italy’s cities in the form of urban projects, individual buildings, monuments, plaques and street names. In effect, the survival of physical traces contrasts with the hazy memories of Fascism that exist within the Italian collective consciousness. Conspicuous, yet mostly ignored, Italy’s Fascist heritage is hidden in plain sight. However, from the 1990s, buildings associated with the regime have sparked a number of debates regarding the public memory of Fascism. Although these debates present an opportunity to re-examine history, they may also be symptomatic of a crisis in the Italian polity and of attempts to rehabilitate Fascism through historical revisionism.

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Capussotti, Enrica. "Moveable identities: Migration, subjectivity and cinema in contemporary Italy." Modern Italy 14, no. 1 (February 2009): 55–68. http://dx.doi.org/10.1080/13532940802528908.

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Images and stories of migration within contemporary culture in Italy are shaped by several interconnections between the past (memories of Italian emigration, Italian poverty and rural society) and the present (Italy's postindustrial and multicultural realities). Analysing different texts, this article explores how the construction of the ‘official memory’ of the Italian emigration is used both to recall an anti-racist and sympathetic reception of today migrants and to conceal the specificity of today's mobility. In this context, the temporal categories of Eurocentric modernity are functional to the maintenance of hierarchical differences between ‘self’ (Italian and European) and different ‘others’ (the migrants). Although the system of representations is articulated around traditional dichotomies between North and South, East and West, and self and other, the article shows the crucial role of ‘migrancy’ cinema. It offers new trajectories, alliances and exchanges, which are significantly represented through the multiple crossings that challenge the walls of Fortress Europe in the Mediterranean.

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Serneri, Simone Neri. "A Past to be Thrown Away? Politics and History in the Italian Resistance." Contemporary European History 4, no. 3 (November 1995): 367–81. http://dx.doi.org/10.1017/s0960777300003532.

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The de-legitimisation of the Italian political system that culminated in the upheavals of the late 1980s has permitted a very public re-examination of the meaning and significance of both the Fascist regime and the Resistance to it. Although debates between historians had already begun over these issues, they have been thrust into the media spotlight now that the political consensus surrounding their interpretation has collapsed. The following two articles examine both the content and conduct of these debates, and consider the extent to which they have contributed to a reassessment of the history of these periods. Naturally the opinions expressed in these articles are solely those of the authors themselves: Contemporary European History would welcome further comments and contributions concerning this rethinking of the contemporary Italian experience.

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Knox, MacGregor. "The Fascist Regime, its Foreign Policy and its Wars: An ‘Anti-Anti-Fascist’ Orthodoxy?" Contemporary European History 4, no. 3 (November 1995): 346–65. http://dx.doi.org/10.1017/s0960777300003520.

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The de-legitimisation of the Italian political system that culminated in the upheavals of the late 1980s has permitted a very public re-examination of the meaning and significance of both the Fascist regime and the Resistance to it. Although debates between historians had already begun over these issues, they have been thrust into the media spotlight now that the political consensus surrounding their interpretation has collapsed. The following two articles examine both the content and conduct of these debates, and consider the extent to which they have contributed to a reassessment of the history of these periods. Naturally the opinions expressed in these articles are solely those of the authors themselves: Contemporary European History would welcome further comments and contributions concerning this rethinking of the contemporary Italian experience.

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Gordon, Robert S. C. "Italian Memory and Italian Memory Wars at Auschwitz." Images 6, no. 1 (2012): 113–18. http://dx.doi.org/10.1163/18718000-12340008.

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Abstract The Italian national memorial on the site of Auschwitz I was opened to the public in April 1980 and closed down in July 2011. The article examines the conception and genesis of the memorial in the 1970s, looking at the tensions and also the artistic richness of the project. It then examines in this light the public controversy that erupted around its proposed renovation, starting in 2008. It suggests a number of ways in which this unresolved debate throws light on key questions about Italy’s historical and contemporary memorialization of the Shoah.

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Bellamy, Richard. "An Italian Story? Berlusconi and Contemporary Democratic Politics." Modern Italy 11, no. 3 (November 2006): 347–51. http://dx.doi.org/10.1080/13532940600937343.

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Basini, Laura. "Alfredo Casella and the rhetoric of colonialism." Cambridge Opera Journal 24, no. 2 (July 2012): 127–57. http://dx.doi.org/10.1017/s0954586712000171.

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AbstractWhile the political impact of Italy's 1936 Ethiopian invasion has long been recognized, its cultural history has only recently come under scrutiny. This paper investigates one musical legacy of Mussolini's colonial project by means of a case study of Alfredo Casella's Il deserto tentato (The Attempted Desert, 1937). Performed on the first anniversary of the Empire's founding and dedicated to ‘Mussolini, fondatore dell'Impero’, the work depicts the arrival of a group of Italian airmen in Ethiopia and their welcome by the indigenous peoples. I set the text against contemporary propaganda such as speeches, visual imagery and popular song, exploring tropes central to fascist imperialist rhetoric: virility, civiltà and aeronautical prowess. The opera's integration of historical musical references into a modern musical setting not only represents the theme of endowing the Ethiopian people with a history, in this case embodied by the Italian musical past, but also exemplifies a contemporary desire to make the past present in everyday fascist life. The historiography of Casella's work, what is more, characterized by the same ‘missing debate’ as the broader discussion of Italian colonialism, raises questions about the effects of Italy's ‘memory wars’ on accounts of twentieth-century Italian music history.

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Fritze, Ronald, Geoffrey Symcox, Luciano Formisano, T. J. Cachey, and John C. McLucas. "Italian Reports on America 1493-1522: Accounts by Contemporary Observers." Sixteenth Century Journal 35, no. 1 (April 1, 2004): 196. http://dx.doi.org/10.2307/20476853.

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Sassatelli, Roberta. "Justice, television and delegitimation: on the cultural codification of the Italian political crisis." Modern Italy 3, no. 01 (May 1998): 108–15. http://dx.doi.org/10.1080/13532949808454795.

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Pier Paolo Giglioli, Sandra Cavicchioli and Giolo Fele,Rituali di degradazione. Anatomia del processo Cusani, Il Mulino, Bologna, 1997, 243 pp., ISBN 88–15–05713–7 pbk, 28,000 Lire.Recent developments in Italian politics, such as the emergence ofForza Italia, became possible only after a much deeper process had taken place, the delegitimation of Italian politicians. In the early 1990s, much of the political class which had dominated Italian politics since the Second World War was publicly exposed and removed from politics. The old parties of government, the Christian Democrats (DC) and the Socialists (PSI), were swept aside. What appeared to be a civilized evolution had its visible peak in the difficult struggle conducted by a few magistrates, the Milan-basedMani pulite(Clean hands) team, against political corruption. The so-calledTangentopoli(Kickback city) investigations have been indicated as the turning point of contemporary Italian politics. They certainly represent the moment when a rhetoric of ‘old’ and ‘new’ was divulged, when the Italian Republic began to be felt as a collapsing venture, giving an opportunity for change and reform which has not yet been grasped.

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O’Healy, Áine. "TOWARDS A TRANSNATIONAL APPROACH TO THE STUDY OF CONTEMPORARY ITALIAN FILM." Italianist 34, no. 2 (June 2014): 268–71. http://dx.doi.org/10.1179/0261434014z.00000000083.

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Travis, D. J. "Communism in Modena: the Provincial Origins of the Partito Comunista Italiano (1943–1945)." Historical Journal 29, no. 4 (December 1986): 875–95. http://dx.doi.org/10.1017/s0018246x00019099.

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Few fields of study are as frequently subject to revision as the history of contemporary politics. This is especially true for communist movements, where new interpretations constantly rework the old. The outpouring of recent work on the Partito comunista italiano (PCI) is a case in point. The peculiarity of Italian communism and the popularity of the PCI within Italy pose intriguing problems which have attracted the attention of many political scientists. In the search for answers to these questions, most authors also end up recounting the Party's history. Unfortunately, the inspiration for these projects is rarely historical per se, but is rather ‘scientific’, intended in the outdated sense of a discipline which extracts its subject from a specific environment in order the better to study it.

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Agbamu, Samuel. "Mare Nostrum: Italy and the Mediterranean of Ancient Rome in the Twentieth and Twenty-First Centuries." Fascism 8, no. 2 (December 17, 2019): 250–74. http://dx.doi.org/10.1163/22116257-00802001.

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Abstract The Mediterranean has occupied a prominent role in the political imaginary of Italian Fascisms, past and present. In the 1920s to the early 1940s, Fascist Italy’s imperial project used the concept of mare nostrum – our sea – taken from the vocabulary of Roman antiquity, to anchor modern Italian imperialism within the authority of the classical past. In the postwar years, following decolonization in Africa, mare nostrum receded from popular discourse, previous claims to the Mediterranean suppressed. However, in the context of the so-called refugee crisis, Italy resurrected mare nostrum, in the naming of its military-humanitarian operation, a move rejected by the contemporary Italian far right. This article argues that configurations of the Mediterranean of ancient Rome have served to yoke Africa to Italy when articulated into a Fascist, imperial ideology, as well as to reify the boundaries between Europe and the non-European other, in the xenophobic discourse of the contemporary Italian far right.

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Fastigi, Matteo, and Jillian R. Cavanaugh. "Turning Passion into Profession: A History of Craft Beer in Italy." Gastronomica 17, no. 2 (2017): 39–50. http://dx.doi.org/10.1525/gfc.2017.17.2.39.

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This article investigates the Italian craft brewing revolution, a florescence of small-scale, artisanal beer production that began in the late 1990s. This revolution presents a number of provocative paradoxes, such as the growing importance of beer consumption and production in a country long known for its wine, its economic success at a time of ongoing and severe economic crisis in Italy, and the ways in which a love of drinking beer is driving many to choose to make it. Drawing on extensive survey data among craft brewers, ethnographic research, and interviews with craft brewers and their supporters, we show that Italian craft beer is a valuable case study of productive leisure leading to passionate production, and sketch the regional contours of Italian craft brewing against the contemporary global rise in artisanal beer production and consumption.

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Everist, Mark. "Meyerbeer'sIl crociato in Egitto: mélodrame, opera, orientalism." Cambridge Opera Journal 8, no. 3 (November 1996): 215–50. http://dx.doi.org/10.1017/s0954586700004730.

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Il crociato in Egittowas the last in a series of Italian operas written by Giacomo Meyerbeer between 1817 and 1824. Although hisEmma di ResburgoandMargherita d'Anjouhad been successful in Venice and Milan, it wasIl crociatothat put Meyerbeer in the first rank of internationally renowned composers of Italian opera. The work's contemporary popularity makes it an important element in the history of early nineteenth-century Italian opera, and the abundant source material that survives for the opera permits a reconstruction of its early history. Furthermore, the publication in facsimile of a copyist's score from the première at La Fenice and the recording of the work by Opera Rara have encouraged a modern revaluation.

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Maulsby, Lucy M. "Material Legacies: Italian modernism and the postwar history of case del fascio." Modern Italy 24, no. 02 (May 2019): 159–77. http://dx.doi.org/10.1017/mit.2019.10.

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In recent decades, architectural historians, preservationists, and the general public have shown a growing interest in Fascist-era buildings. Many of the most high-profile examples are those associated with the monumental excesses of the regime. However, new attention has also been focused on more modest buildings that are significant examples of interwar Italian modernism or Rationalism, including former party headquarters (case del fascio). Taking as primary examples works by Giuseppe Terragni, the architect most often associated with Rationalism, as well by Luigi Carlo Danieri and Luigi Vietti, whose interwar contributions to Italian modernism have been less often the focus of scholarly attention, this article traces the postwar histories of case del fascio with the aim of better understanding the ways in which architecture and politics intersect and some of the consequences of this for the contemporary Italian architectural landscape.

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Neri, Binazzi. "Nazionale purchč locale: l'identitŕ di una lingua fatta in casa." PASSATO E PRESENTE, no. 85 (February 2012): 31–56. http://dx.doi.org/10.3280/pass2012-085003.

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National but local: the identity of a home-made language. Most of the macroscopic features of the Italian language spoken in contemporary Italy, such as its regional and frequently "non-standard" modes, are to be connected to the somewhat hereditary way in which it is learned. Indeed, for most people the "language of the Nation" has not been acquired through education so much as through individual initiative, that shows up in relevant impingements on the traditional mother tongue. In this perspective the language currently spoken by Italian people confirms the "plurality" characteristic of Italian identity, but is also an indicator of the unachieved sense of belonging to the national community that is a long-term feature of Italian history.

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Grossmann, Maria, and Paolo d’Achille. "I termini di colore nelle aree bianco, nero e grigio nella storia dell’italiano." Studia Universitatis Babeș-Bolyai Philologia 67, no. 1 (March 25, 2022): 155–80. http://dx.doi.org/10.24193/subbphilo.2022.1.10.

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"Colour Terms in the WHITE, BLACK and GRAY Areas in the History of the Italian Language. The present article is part of several studies that the authors have dedicated to the history of Italian colour terms. The Introduction illustrates some of the theses of Berlin, Kay (1969), with particular reference to the distinction between basic and non-basic terms. § 2 is dedicated to the Latin colour terms in the WHITE, BLACK and GRAY areas and their reflexes in the Romance languages. In § 3 the resources used for the research are presented. In §§ 3.1. (From Old Italian to the 19th century) and 3.2. (From the end of the 19th century to today’s Italian) the historical evolution and contemporary use of basic terms and other non-transparent colour terms are analyzed, also focusing on their figurative meanings and on the fixed collocations in which they occur. § 3.3. deals briefly with the terms formed by means of various morphological and syntactic devices that are most frequently used in Italian for the enrichment of the colour lexicon. Keywords: semantics, word-formation, colour terms, Italian "

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Locker, Jesse. "Caravaggio's Artichokes." Gastronomica 19, no. 4 (2019): 20–27. http://dx.doi.org/10.1525/gfc.2019.19.4.20.

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In April 1604, the Italian painter Caravaggio, believing that he had been slighted, threw a platter of artichokes at the head of waiter in a Roman tavern. This essay examines this curious episode through the lens art history, food history, and of social mores in seventeenth-century Rome, considering the history of the artichoke, Caravaggio's polemical naturalism, and contemporary attitudes to his art and behavior.

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Ward, David. "Postmodern impegno. Ethics and Commitment in Contemporary Italian Culture." Journal of Modern Italian Studies 16, no. 3 (June 2011): 422–23. http://dx.doi.org/10.1080/1354571x.2011.565654.

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Gillespie, Stuart. "Manuscript Translations of Italian Poetry, c.1650–1825: A Miscellany." Translation and Literature 28, no. 1 (March 2019): 44–67. http://dx.doi.org/10.3366/tal.2019.0369.

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This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.

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Wright, J. "Colonial and Early Post-Colonial Libya." Libyan Studies 20 (January 1989): 221–34. http://dx.doi.org/10.1017/s0263718900006725.

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Libya at the beginning of this century had little to offer the would-be imperialist and coloniser. The true value of Turkey's last remaining African possessions was not — despite the insistence of the Italian nationalist lobby — as a settler-colony or as a gateway to the largely illusory wealth of central Africa, but as a strategic base on the central Mediterranean. The general poverty of Ottoman Tripolitania and Cyrenaica was reflected indeed in the poverty of the literature in any language on contemporary Libya.But growing Italian interest in these territories, by 1900 almost the last parts of Africa unclaimed by any European power, generated a series of books and articles by an imperialist-nationalist lobby eager to prove the case that Italy's political, strategic, economic and social wellbeing depended on the immediate possession of Turkish North Africa. Such writings naturally generated a rather less voluminous counter-flow of material, mainly from socialist sources, putting the opposite and (as events were to prove) essentially more realistic case.The outbreak of the Italo-Turkish war in September 1911 and the subsequent Italian occupation of bridgeheads at Tripoli, Horns, Benghazi, Derna and Tobruk first brought Libya to the notice of the international press. The British correspondents who reported one or other side of the conflict subsequently produced a number of surprisingly partisan books about the war and their own adventures in it, but had very much less to say about the little-understood country and its people. With the sudden end of the war in 1912 and the outbreak of more serious fighting in the Balkans, interest in Libya quickly waned. For the next 30 years nearly all the relevant literature was to be provided by Italians, in Italian and written from a purely Italian point of view — some of it later to be destroyed in the antifascist and anti-imperialist reaction from 1943 onwards.

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Petrusewicz, Marta. "The hidden pages of contemporary Italian history: war crimes, war guilt and collective memory." Journal of Modern Italian Studies 9, no. 3 (September 2004): 269–70. http://dx.doi.org/10.1080/1354571042000254700.

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Cau, Maurizio. "An inconvenient legacy: corporatism and Catholic culture from Fascism to the Republic." Tempo 25, no. 1 (April 2019): 219–38. http://dx.doi.org/10.1590/tem-1980-542x2018v250112.

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Abstract: In the Italian Republic of the late 1940s, the corporatist experience was something of an antimodel. However, some political and legal currents in Italy reflected on the corporatist legacy and on the possibility to make it democratic. Certain Catholic exponents were especially sensitive to the new version of corporatism. Our analysis of the legacy of corporatist thinking in Catholic culture during the early Republican age will be fourfold: reflection on the Constituent Assembly as a potential development away from corporatism; analysis of the main social-economic documents of contemporary political Catholicism; the evolution of some leading Christian Democrats’ theoretical ideas; the debate on “democratic corporatism” in Italian Catholic circles spanning the late 1940s and early 1950s.

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DAGNINO, JORGE. "The Intellectuals of Italian Catholic Action and the Sacralisation of Politics in 1930s Europe." Contemporary European History 21, no. 2 (March 29, 2012): 215–33. http://dx.doi.org/10.1017/s0960777312000124.

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AbstractThere has been a growing revival of interest in the subject of political religion in recent years. However, despite this tendency, the perspective of contemporary Italian Catholics on the subject has hardly been touched upon, except by Emilio Gentile and Renato Moro. This article addresses this gap, analysing the response to the phenomenon of political religions during the 1930s by the two intellectual branches of Italian Catholic Action, namely, the FUCI and the Movimento laureati. Indeed, it was during the 1930s that these intellectuals became most aware of the novelty and danger posed by the emergence of the political religions. The article follows the analyses provided by the FUCI and the Movimento laureati on Bolshevism, National Socialism and Italian Fascism. During the 1930s new concepts such as ‘political religions’, ‘religion of the blood’, ‘totalitarian religion’ and ‘new idols’, all expressed the effort of these Catholic intellectuals to come to terms with the new reality of the sacralisation of politics being carried out by the totalitarian experiments.

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Regis, Riccardo. "Tra focalizzazione e diffusione: Itinerari nella storia linguistica dell'italiano." Romanische Forschungen 132, no. 1 (March 15, 2020): 3–23. http://dx.doi.org/10.3196/003581220828804856.

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This paper deals with the concepts of focusing and diffusion and how they interact in the history of a language; whereas the former implies regularity and stability in the use of the code, the latter refers to a situation of great variability . Some defining moments in the history of the Italian language (the Late Middle Ages, the Renaissance and the Unifica- tion of Italy) are here analyzed and discussed in terms of the focusing / diffusion distinction . Moreover, the sociolinguistic situation of contemporary Italian is depicted by fitting these concepts into a Coserian framework, involving such notions as habla (speech), norma (norm) and sistema (system).

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Parker, Simon. "Introduction: A Tale of Two Italies—Continuities and Change in the Italian Republic, 1994–2006." Modern Italy 12, no. 1 (February 2007): 1–15. http://dx.doi.org/10.1080/13532940601134742.

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The idea for this special issue of Modern Italy emerged from the Association for the Study of Modern Italy's annual conference ‘The Second Italian Republic Ten Years On: Prospect and Retrospect’, which was held at the Italian Cultural Institute, London, in November 2004. The conference afforded an opportunity for scholars and observers of contemporary Italy to reflect on one of the most eventful decades in the history of the Italian Republic and to offer an appraisal of how political, economic, social and cultural life had fared since the first election based on the new majoritarian voting system which first brought Silvio Berlusconi's coalition to power in April 1994.

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Scarrocchia, Sandro. "The Italian Memorial At Auschwitz: An Approach Through Conservation Theory." Images 6, no. 1 (2012): 119–29. http://dx.doi.org/10.1163/18718000-12340009.

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Abstract According to Bruno Zevi, the Italian Memorial housed at Block 21 of the Auschwitz concentration camp is among the most significant works of contemporary architecture. Recently, it has become the focus of a political and cultural conflict that is itself worthy of study. The memorial was designed as a post-war symbol of the anti-Fascist movement. It is thus heavily influenced by the politics of the Resistance, which characterized the First Republic and influenced the Italian Constitution. However, this sort of politics is incompatible with the post-Berlin-Wall narrative that the Museum of Auschwitz on the international level, along with various Italian governments on the national level, have decided to promote in the twenty-first century. Yet the Italian Memorial is an integral part of the World Heritage UNESCO site at Auschwitz, and its removal or transfer elsewhere, besides constituting a loss for Italian cultural identity, would also vitiate and downgrade the history of Auschwitz. This study looks at the memorial in terms of the discipline of conservation, applying principles elaborated by the Vienna School (Alois Riegl and Max Dvořák) to show how new exhibitions for the pavilions threaten to transform Auschwitz from a monument and historical document into a museum-style fairground, and to reveal the political motivation behind claims of the Memorial’s contemporary irrelevance.

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Luciano, Bernadette, and Susanna Scarparo. "'Vite sospese': Representing Female Migration in Contemporary Italian Documentaries." Italian Studies 65, no. 2 (July 2010): 192–203. http://dx.doi.org/10.1179/016146210x12593180182658.

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Formato, Giuseppe. "Arte Povera as a Tool in Critical Italian-Language Pedagogy." International Journal of Linguistics 12, no. 4 (August 24, 2020): 233. http://dx.doi.org/10.5296/ijl.v12i4.17423.

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Visual arts are culturally and historically significant to Italy and a reason why many people study the Italian language. This significance is visible in Italian-language classes, from mentions of high art in beginner-level textbooks to entire courses taught in advanced-level Italian devoted to these arts and their respective movements. The importance of these works to art history and to humanity at large cannot be denied relative to learning about Italian culture in the classroom. However, as presented in this literature review, it may be useful to reevaluate how these more traditional teaching subjects can be considered neutral, with a heavy emphasis on instruction as well as a subconscious perpetuation of racist, sexist, and capitalist ideals. By instead drawing upon the contemporary Italian Arte Povera movement a tool of critical pedagogy from beginner to advanced Italian-language courses, Italian art culture and language can be taught by using a more political, multidimensional approach focused on the learners’ contexts and histories. Thus, students may better understand themselves through Italian language and foster critical thinking, in addition to ultimately acquiring the language.

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Hunter, Gina Louise. "Galeterias: Serving Up Ítalo-Gaúcho Heritage in the South of Brazil." Gastronomica 15, no. 4 (2015): 59–69. http://dx.doi.org/10.1525/gfc.2015.15.4.59.

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Galeto al primo canto is an Italian-Brazilian culinary specialty of the Gaúcho Highlands region of southern Brazil’s Rio Grande do Sul state. This ample repast of roast chicken, polenta, pasta, and other dishes is associated with nineteenth-century Italian immigration to the Gaúcho Highlands. Galeterias, restaurants that serve the meal, are today a featured part of the region’s gastronomic tourism and have been officially recognized as the intangible cultural heritage of the city of Caxias do Sul. The history of the dish and contemporary claims to cultural heritage illustrate the shifting meanings of Italian ethnic identity within the Brazilian nation-state and highlight the discursive role that tourism and heritage institutions play in the cultural production process.

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Zagarrio, Vito. "The One-shot Sequence and the Rhetoric of the Gaze in Contemporary Italian Cinema and the Films of Paolo Sorrentino." Film Studies 19, no. 1 (November 2018): 76–99. http://dx.doi.org/10.7227/fs.19.0006.

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The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

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Franchini, Cecilia. "1. Simultaneo Ensemble – Bringing Our History Into the Future / A New Pedagogical Approach of Music-Making Developed from “Bottega Dell'arte”." Review of Artistic Education 15, no. 1 (March 1, 2018): 7–12. http://dx.doi.org/10.2478/rae-2018-0001.

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Abstract How much can contemporary artists and audiences learn from the past? The mission and activity of Simultaneo Ensemble - SIM - is presented. How SIM laboratory, grouping performers from the seven Music Academies of Veneto, encourages musicians to explore, perform and promote italian music composers and their works. This article will consider the relationship between research into historical concert programs and the creation of adventurous and compelling chamber music concerts for contemporary audiences. Learn how to enhance the position of chamber music activity trough projects that have suceeded in bringing people together toward common goals via the arts.

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Isaacs, Rico. "Vico and Populism." ProtoSociology 37 (2020): 45–65. http://dx.doi.org/10.5840/protosociology2020373.

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This essay brings Italian political philosopher Giambattista Vico’s thought to bear on the issue of contemporary populism. Contemporary populism can be refected in Vico’s cyclical philosophy of the three ages of civilisation: the divine, heroic and human ages (corso e ricorso). Contemporary populism represents a return to the barbarism of the heroic age through the descent into individualism and private interest, the return of divinely ordained rulers and the recourse to myth, violence and morality. Humankind’s reason has become corrupted by the complexity of highly developed society, releasing the destructive forces of contemporary populism and a descent into a ‘barbarism of refection’. Corsi e ricorsi illustrates how contemporary populism remains but a stage in the Vichian cycle, alluding to how it represents an essential form of political life throughout history.

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Hill, Sarah Patricia. "A family affair: the depiction of disability in contemporary mainstream Italian cinema." Modern Italy 19, no. 2 (May 2014): 169–81. http://dx.doi.org/10.1080/13532944.2014.910505.

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Despite a grim history of marginalisation and oppression of people with disabilities, Italy has been praised for its early de-institutionalisation and attempts to adopt a more inclusive educational approach. Do recent Italian films provide evidence that these approaches have made a difference to how disability is made visible on film, or is it still depicted largely as an individual or family affair rather than a societal or political issue? Over the last decades, numerous scholars in disability studies have argued that cinema is an important location for understanding the formation of ideas about disability and have analysed the representation of people with disabilities in film, particularly in mainstream cinema. Moving from a focus on stereotypes and the description of ‘positive’ and ‘negative’ portrayals of disability, more recent scholarship examines filmic images of people with impairments in the light of a conception of disability termed by Snyder and Mitchell a ‘constructed social space’. Yet this extensive body of work has had limited impact in Italy in disability studies and film studies. This article applies it to some contemporary Italian films, considering the ways in which they represent disability and focusing in particular on Andrea Molaioli's La ragazza del lago (2007).

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Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.

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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.

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Ponzio, Alessio. "“What They Had between Their Legs Was a Form of Cash”." Historical Reflections/Réflexions Historiques 46, no. 1 (March 1, 2020): 62–78. http://dx.doi.org/10.3167/hrrh.2020.460105.

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This article, showing how ubiquitous male youth prostitution was in 1950s Italy, exposes the pederastic and (homo)sexual vivacity of this decade. Moreover, this article also suggests that even if police, the media, and medical institutions were trying to crystallize a rigid chasm between homo- and heterosexuality, there were still forces in Italian society that resisted such strict categorization. The young hustlers described by contemporary observers bear witness to the sexual flexibility of the 1950s in Italy. These youths inhabited queer spaces lacking a clear-cut hetero–homo divide, spaces where “modern” sexological categories and identities had not yet entered. Prior to the mass circulation of rigid sexual labels, it was still possible for many Italian boys, youths, and young men to dwell in liminal queer spaces. The exchange of money purified their acts, guaranteed their maleness, and effaced potential stigmatization.

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Iacolare, Salvatore. "Il cuoco reale e cittadino (1724): un ricettario tradotto e integrato." Zeitschrift für romanische Philologie 138, no. 4 (December 1, 2022): 1119–36. http://dx.doi.org/10.1515/zrp-2022-0057.

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Abstract The paper offers an in-depth study of one of the first Italian recipe books translated from a French source: Il Cuoco reale e cittadino, published for the first time in Bologna in 1724. Specifically, a section of the work absent in the French original – the Aggiunta di alcune vivande all’Italiana – is highlighted, in order to determine its features and the relationship to contemporary or seventeenth-century sources. By reconsidering the editorial history of the translated cookbook, the paper is also able to backdate the previously recorded gastronomic Frenchisms in the Italian lexicon through accurate comparison with the secondary literature.

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Journal articles on the topic 'Italian contemporary history'

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