Academic literature on the topic 'Politics and culture – Italy – 20th century'
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Journal articles on the topic "Politics and culture – Italy – 20th century"
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Thomas, Riley, Jocelyn Alcantára-García, and Jan Wouters. "A Snapshot of Viennese Textile History using Multi-Instrumental analysis: Benedict codecasa’s swatchbook." MRS Advances 2, no. 63 (2017): 3959–71. http://dx.doi.org/10.1557/adv.2017.604.
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AbstractThe Habsburg Empire was a sovereign dynasty ruled by the Habsburgs between the 15th and 20th centuries. Although its borders were not defined before the 19th century, what is now Austria, Hungary, some areas of the Czech Republic, the Netherlands and Italy were at some point part of the Empire. Starting in the 17th century, the Empire had Vienna as the capital, which was a hub for culture and craft where silk was a valued commodity. Despite the political and cultural importance of the Empire, little is known of its trade practices and sources of raw material. Using a combination of X-Ray Fluorescence (XRF) and High Performance Liquid Chromatography-Photodiode Array Detector (HPLC-PDA) for the study of a Viennese swatch book, we conducted the first systematic approach to understanding the industry. Benedict Codecasa, a prominent merchant active in Vienna between the late 18th and early 19th century sold silk and other textile goods. Authorized by the Royal Court, Codecasa was assumed to sell luxurious and high-quality textiles. However, our results suggested colored goods were dyed with more focus on aesthetics (finding a similar color) rather than quality through unique recipes. This greatly contrasts with other contemporary textile industries praised for their quality and which, in turn, might be related to comparatively lesser quality textiles sold in Vienna.
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Ha, Sha. "The Problem of a National Literary Language in Italy and in China in the 20th Century: Antonio Gramsci, Pier Paolo Pasolini, Lu Xun." International Journal of Comparative Literature and Translation Studies 7, no. 3 (July 31, 2019): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.3p.1.
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The Italian scholar and political leader Antonio Gramsci (1891-1937) was an active opponent of the dictatorial government ruling his country before the 2nd World War. He was kept in prison for11 years, until his death, by the ruling Fascist Party and during that time he filled over 3,000 pages, writing about Linguistics, History and Philosophy. He was concerned with the duty of Italian progressive intellectuals to create a ‘common literary language’, accessible to the under-privileged Italian people, who until then had been excluded from culture. After the war, during the sixties of last century, a ‘common Italian language’ started developing, through the introduction of the 10-years long compulsory school and the increasing power of mass media: that language was not fit to become the common literary language of the Nation. The writer and movie director Pier Paolo Pasolini (1922-1975), who in his novels gave voice to the sub-urban proletarians of the city of Rome, was highly unsatisfied with the new common language that was in the process of being established in the country. As for China, when the imperial system was abolished by the ‘Xinhai revolution’, in 1911, the belief became increasingly widespread among intellectuals that the rebirth of China had to be based in the global rejection of the Confucian tradition and that the ‘Báihuà’ (people’s language) should be adopted in literature, replacing the ‘Wényán’ (classical language), not accessible to the common people. Lu Xun and his colleagues eventually succeeded in their efforts of establishing the ‘Báihuà’ as the common literary language of China. Purpose of the paper is the comparison between the efforts exerted by these literati in creating a ‘common literary language’ in their respective countries.
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Kara-Murza, A. A. "“Chieftain” Subculture in Russia in Search of Historical Alternatives (V.V. Shulgin)." Russian Journal of Philosophical Sciences 62, no. 4 (July 6, 2019): 7–24. http://dx.doi.org/10.30727/0235-1188-2019-62-4-7-24.
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The article examines the views of the prominent Russian politician and publicist Vasily Vitalyevich Shulgin (1878–1976), whom the author considers to be the largest ideologist of the “chieftain” political subculture in Russian political culture. Following Shulgin, the author distinguishes two fundamentally different models of power: “monarchical” (traditional) type of power and “chieftain” (or “charismatic”) type of power. V.V. Shulgin was one of the first Russian thinkers who, after Alexander Pushkin and Sergei Solovyov, considered the “golden age” of the Russian society to be under the rule of “leaders-heroes” (for example, Peter the Great). Shulgin explained many of the problems of Russian statehood revealed in the early 20th century by the degradation of the Russian ruling class and specifically the Romanov dynasty. Under these conditions, the national leader P.A. Stolypin (similar to Bismarck in Germany or Mussolini in Italy), able to bring the country out of crisis by evolution, had appeared “next to the monarch,” but he has not been appreciated by Russian society and it has caused a national catastrophe. The First World War has accelerated the degradation of the Russian government. The “democratic forces” that came to power in Russia for a short time could not nominate a new “leader” from their ranks (Shulgin treats Alexander Kerensky rather ironically). Shulgin foresaw that “intermediate figures” like the White generals or the Red diarchy of Lenin and Trotsky would eventually give way to the autocratic rule of an all-Russian “Chief,” who would combine the ideology of the Whites and the will of the Reds.
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Bârlea, Gheorghe. "Leonidas Donskis – an encyclopedic Renaissance-like figure." Romanian Journal for Baltic and Nordic Studies 6, no. 2 (December 15, 2014): 241–54. http://dx.doi.org/10.53604/rjbns.v16i2_16.
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This report was made at the Doctor Honoris Causa conferred to Prof. Leonidas Donskis by Valahia University of Târgoviște on November 6th, 2014. The editors express their gratitudeto Vlad-Gabriel Ghiorghiu, a CoolPeace graduate, for the admirable translation of this report. The publication of this report is supported by EEA Grants, contract no 4/22.07.2014. Currently a professor of advanced studies and academic development at the ISM University of Management and Economics of Kaunas and Vilnius, Lithuania, and a former member of the European Parliament, Leonidas Donskis was born on the 13th of August 1962 in Klaipėda, Lithuania. From 2005 to 2009 he served as dean of the Faculty of Political Science and Diplomacy at Vytautas Magnus University of Kaunas, Lithuania. As a docent, visiting and associate professor, he also taught at the University of Helsinki, Finland, in the field of social and moral philosophy, at the University of Tallinn, Estonia, in the field of philosophy and theory of culture, as well as universities from the United States (Dickinson College, Pennsylvania and Montevallo University, Alabama) in the field of cultural studies and universities from England, Italy and Hungary in similar fields of endeavor. Alongside his scholarly career stands his remarkable contribution to the field of the mass-media, both as a producer and moderator of cultural programs for the Lithuanian Television or as editor for the print media (The Baltic Times, The Ukrainian Week etc). The academic bettering carried out in countries like Lithuania and Finland spawned his encyclopedic character and determined the ramification of his intellectual interests. His bachelor’s degree in philosophy and theater, received from the Lithuanian State Conservatoire (presently the “Lithuanian Academy of Music and Theatre”) in 1985 was followed by a master’s degree program in philosophical studies at the University of Vilnius (1987). From the same university he took his first doctorate in philosophy and the humanities, with a thesis about the culture in crisis and the philosophy of culture in the views of O. Spengler, A. J. Toynbee and L. Mumford (1990). This was soon to be followed by a second doctorate, received from the University of Helsinki, with a thesis dwelling on the relation between ideology and utopia, moral imagination and cultural criticism in the 20th century (1999).
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Kõnno, Andres, Agnes Aljas, Maarja Lõhmus, and Ragne Kõuts. "The Centrality of Culture in the 20th Century Estonian Press." Nordicom Review 33, no. 2 (December 1, 2012): 103–17. http://dx.doi.org/10.2478/nor-2013-0017.
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Abstract The present article highlights the importance of the comparative longitudinal study of massmediated content in comparing the evolution of public spheres in neighbouring countries. In order to contextualize our research on the Estonian media system, we simultaneously conducted a similar study on Finnish and Russian newspapers of the same period. The 20th century was a period of rapid change in Estonian society and, compared with Finnish and Russian newspapers, Estonian newspapers paid more attention to issues that were labelled as “cultural”. In the Estonian press the understanding that ‘culture’ is important prevailed, as it was one of the most stable elements of content throughout the century. The significance of governance-politics and economics depended on the political situation and historical context. The interpretation of data is based on the binaries “centre” vs. “periphery” and “self-reference” vs. “other-reference”.
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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography." ZCPH 54, no. 1 (April 30, 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Ferry, Emma. "Craft, Community and the Material Culture of Place and Politics, 19th–20th Century." Journal of Modern Craft 8, no. 3 (September 2, 2015): 407–11. http://dx.doi.org/10.1080/17496772.2015.1099255.
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Daechsel, Stefano. "Simondon’s Technical Culture and a Politics of Problems." Sensorium Journal 3 (March 26, 2021): 5–17. http://dx.doi.org/10.3384/sens.2002-3030.2021.3.5-17.
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There is a timeliness to Gilbert Simondon’s call in On the Mode of Existence of Technical Objects (1958) for a technical culture that fosters a ”genuine awareness of technical realities.” Writing in the context of mid-20th century France, Simondon worried about a lack of technological understanding and envisaged a technical culture in which technological education would be considered as essential as literacy to meaningful participation in society. Sixty years on, the need for widespread technological awareness is greater than ever. The aim of this article is to clarify and support this claim by examining it through the lens of a politics of problems that can be found in Deleuze’s Difference and Repetition (1968).
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Choate, Mark I. "Sending States' Transnational Interventions in Politics, Culture, and Economics: The Historical Example of Italy." International Migration Review 41, no. 3 (September 2007): 728–68. http://dx.doi.org/10.1111/j.1747-7379.2007.00092.x.
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This article uses archival evidence to study in depth the historical policies of Italy as a classic sending state. Most of the mass migrations of a century ago came from multinational empires, but Italy was a recently formed independent state. Ambitious to benefit from emigration while assisting and protecting emigrants, Italy reached out to “Italians abroad” in several ways. For example, the state opened a low-cost channel for remittances through a nonprofit bank; promoted Italian language education among Italian families abroad; supported Italian Chambers of Commerce abroad; and subsidized religious missionary work among emigrants. Italy's historical example of political innovation and diplomatic negotiation provides context, comparisons, and possibilities for rapidly changing sending-state policies in the twenty-first century.
Dissertations / Theses on the topic "Politics and culture – Italy – 20th century"
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Totaro, Genevois Mariella. "Foreign policies for the diffusion of language and culture : the Italian experience in Australia." Monash University, Centre for European Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8828.
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Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.
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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.
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Diazzi, Alessandra. "The reception of psychoanalysis in Italian literature and culture, 1945-1977 : Ottiero Ottietri, Edoardo Sanguineti, Giorgio Manganelli, Andrea Zanzotto." Thesis, University of Cambridge, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709511.
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Thomas, Frances Ellen. "Michelangelo, the Medici Principate and Fiorentinismo : the politics of culture in mid-sixteenth-century Florence." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366229.
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Feng, Dongning. "Text, politics and society : literature as political philosophy in post-Mao China." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2216.
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The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.
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Di, Franco Manuela. "Popular magazines in Fascist Italy, 1934-1943." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/286061.
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The dissertation examines the field of popular magazines in 1930s Italy, by first examining the broad field of magazine production under Fascism and then undertaking three case studies of individual magazines - L'Avventuroso (1934 - 1943), Omnibus (1937 - 1939), and Grazia (1938 -) - in order to build an in-depth analysis of the production, format and reception of the popular press in this period. In the interwar years, and in particular from 1934 onwards, innovative printing techniques and production methods transformed the periodical press worldwide. The emergence of new forms of illustrated magazines expanded the readership and started a process of standardisation and mass production of periodicals. The dissemination in Italy of the rotocalco, a new product aimed at the masses that was developed in the 1930s, offers a particularly interesting starting point for analysing the development of a modern Italian mass press and culture within the peculiar dynamics of a controlling Fascist regime and the mixed national and international forces that shaped it. Modern Italian magazines developed in dialogue with foreign industries, imitating models from abroad and adapting them to the Italian culture. The development of popular press in the 1930s represented a challenge for the Fascist regime, which approached it both as a threat and an opportunity to shape Italian popular culture. Through the analysis of three case studies, each from a key sector of popular press - comics, general cultural magazines, and women's magazines - and each produced by one of the three main publishing companies in the field - Nerbini, Rizzoli, and Mondadori - the dissertation aims to provide a detailed picture of the development of mass print culture in Italy during Fascism. The analysis provides examples of the impact of and cracks in Fascist censorship and cultural autarchy on the periodical press and argues that the Italian popular press developed in dialogue with European and American culture, which influenced both the form and content of rotocalchi, reinterpreting and adapting these models to Italian standards and to the constrictions of Fascist control.
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Di, Lillo Ivano. "Opera and nationalism in Fascist Italy." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283883.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Petrie, Malcolm Robert. "Identities of class, locations of radicalism : popular politics in inter-war Scotland." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6321.
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This thesis explores the shifting political culture of inter-war Scotland and Britain via an examination of political identities and practice in Aberdeen, Dundee and Edinburgh. Drawing on the local and national archives of the Labour movement and the Communist Party of Great Britain (CPGB) alongside government records, newspapers, personal testimony and visual sources, relations on the political Left are used as a means to evaluate this change. It is contended that, as a result of the extension of the franchise and post-war fears of a rise in political extremism, national party loyalties came to replace those local political identities, embedded in a sense of class, trade and place, which had previously sustained popular radicalism. This had crucial implications for the conduct of politics, as local customs of popular political participation declined, and British politics came to be defined by national elections. The thesis is structured in two parts. The first section considers the extent to which local identities of class and established provincial understandings of popular democracy came to be identified with an appeal to class sentiment excluded from national political debate. The second section delineates the repercussions this shift had for how and where politics was conducted, as the mass franchise discredited popular traditions of protest, removing politics from public view, and privileging the individual elector. In consequence, the confrontational traditions of popular politics came to be the preserve of those operating on the fringes of politics, especially the CPGB, and, as such, largely disappeared from British political culture. This thesis thus offers an important reassessment of the relationship between the public and politics in modern Britain, of the tensions between local and national loyalties, and of the role of place in the construction of political identities.
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Thompson, Glen. "Surfing, gender and politics : identity and society in the history of South African surfing culture in the twentieth-century." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97064.
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Thesis (PhD)--Stellenbosch University, 2015.ENGLISH ABSTRACT: This study is a socio-cultural history of the sport of surfing from 1959 to the 2000s in South Africa. It critically engages with the “South African Surfing History Archive”, collected in the course of research, by focusing on two inter-related themes in contributing to a critical sports historiography in southern Africa. The first is how surfing in South Africa has come to be considered a white, male sport. The second is whether surfing is political. In addressing these topics the study considers the double whiteness of the Californian influences that shaped local surfing culture at “whites only” beaches during apartheid. The racialised nature of the sport can be found in the emergence of an amateur national surfing association in the mid-1960s and consolidated during the professionalisation of the sport in the mid-1970s. Within these trends, the making and maintenance of an exemplar white surfing masculinity within competitive surfing was linked to national identity. There are three counter narratives to this white, male surfing history that have been hidden by that same past. Firstly, the history women’s surfing in South Africa provides examples of girl localisms evident within the masculine domination of the surf. Herein submerged women surfer voices can be heard in the cultural texts and the construction of surfing femininities can be seen within competitive surfing. Secondly, surfing’s whiteness was not outside of the political. The effects of the international sports boycott against apartheid for South African surfing were two-fold: international pressure on surfing as a racialised sport led to sanctions in the late 1970s against the amateur national surfing teams competing internationally or maintaining international sporting contacts; and, as of 1985, the boycott by professional surfers of events on the South African leg of the world surfing tour further deepened South African surfing’s sports isolation. By the end of the 1980s, white organised surfing was in crisis and the status of South African as a surfing nation in question. Lastly, the third counter-narrative is the silenced histories of black surfing under apartheid. Alongside individual black surfer histories, the non-racial surfing movement in the mid-to-late 1980s is considered as a political and cultural protest against white organised surfing. The rationale for non-racial sport was challenged in 1990 as South Africa began its political transition to democracy. Nevertheless, the South African Surfing Union, the national non-racial surfing body, played a pivotal role in surfing’s unification in 1991 which led to South African amateur surfing’s return to international competition in 1992. However, it was an uneasy unity within organised surfing that set the scene for surfing development as a strategy for sports transformation in the post-apartheid years. The emergence of black surfing localisms after 1994 is located within that history, with attention given to the promotion of young, male Zulu surfers within competitive surfing, which point to emergent trends in the Africanisation of surfing in the 2000s. It is concluded is that while cultural change in South African surfing is evident in the post-apartheid present, that change is complicated by surfing’s gendered and apartheid sporting pasts.
AFRIKAANSE OPSOMMING: Hierdie is ‘n sosio-kulturele studie oor die geskiedenis van die sport van branderplankry in Suid-Afrika vanaf omstreeks 1959 tot 2000. Dit behels onder meer ‘n kritiese bespreking van die “Suid-Afrikaanse Branderplank Argief” wat in die loop van navorsing opgebou is. Daar word veral op twee temas in kritiese sport historiografie in suidelike Afrika gefokus. Die eerste is die wyse hoe branderplankry in Suid-Afrika as ‘n wit manlike sport ontwikkel het. Die tweede is of branderplankry as polities beskou kan word. Hierdie onderwerpe word onder die loep geneem deur te let op die dubbele witheid van Kaliforniese invloede wat die plaaslike kultuur op “slegs blanke” strande onder apartheid help vorm het. Die rasgebonde aard van die sport kan gevind word in die totstandkoming van die amateur nasionale branderplank vereniging in in die middel 1960s en is gekonsolideer met die professionalisering van die sport in die middel 1970s. Vervat in hierdie verwikkelinge is die vorming en instandhouding van ‘n besondere tipe manlikheid wat as ‘n ideaal tipe voorgehou is en deurmiddel van mededingende branderplank kompetisies aan ‘n nasionale identitieit gekoppel is. Daar is drie kontra narratiewe tot hierdie wit manlike geskiedenis wat deur dieselfde verlede verberg is. Eerstens is daar die geskiedenis van vroue branderplankry wat blyke gee van plaaslike vroue se betrokkenheid in dié oorheersende manlike domein. Gedempte vrouestemme klink op in kulturele tekste en die konstruksie van vroulike identiteite binne mededingende kompetisies.Tweedens was branderplankry se witheid nie onverwant aan die politieke dimensie nie. Die uitwerking van die internasionale sportsboikot teen apartheid was tweeledig: internasionale druk op branderplankry as ‘n rasgebonde sport het in die laat 1970s tot sanksies teen amateur spanne gelei wat oorsee meegeding het of internasionale kontakte gehad het, en sedert 1985 het die boikot van professionele branderplankryers van kompetisies in Suid-Afrika die land se isolasie verdiep. Teen die einde van die 1980s was wit georganiseerd branderplankry in ‘n krisis en die status van van Suid-Afrika as ‘n branderplankry nasie in die gedrang. Laastens is die derde kontra narratief die vergete geskiedenisse van swart branderplankryers onder apartheid. Samehangend met swart geskiedenisse word die nie-rassige branderplankry beweging in die middel 1980s as ‘n kulturele en politieke protes beskou. Die rasionaal vir nie-rassige sport is in 1990 uitgedaag tydens die oorgang na volledige demokrasie in Suid-Afrika. Desnieteenstaande het die Suid-Afrikaans Branderplankry Vereniging ‘n bepalende rol gespeel in organisatoriese eenwording in die sport en die hertoelating tot internasionale kompetisies in 1992. Dit was egter ‘n ongemaklike eenheid waarop transformasie gedurende die postapartheid fase gebou moes word. Die groter teenwoordigheid van plaaslike swart branderplankryers moet in dié konteks gesien word, veral ten opsigte van jong Zoeloe ryers wat alhoemee navore tree en op die Afrikanisering van die sport sedert ongeveer 2000 dui. Daar word ten slotte op gewys dat hoewel kulturele verandering in die huidige bedeling merkbaar is, die sport se geslagtelike en rasgebonde verlede nog steeds sake kompliseer.
Books on the topic "Politics and culture – Italy – 20th century"
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Forgacs, David. Mass culture and Italian society from fascism to the Cold War. Bloomington: Indiana University Press, 2007.
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Fascist spectacle: The aesthetics of power in Mussolini's Italy. Berkeley: University of California Press, 1997.
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Benedetto Croce between Naples and Europe. New York: P. Lang, 1994.
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Halina, Manikowska, Pánek Jaroslav, Holý Martin, Hułas Magdalena, Pánek Jaroslav, Baron Roman, Instytut Historii (Polska Akademia Nauk), and Historický ústav (Akademie věd České republiky), eds. Political culture in Central Europe: 10th-20th century. Warsaw: Institute of History of the Polish Academy of Sciences, 2005.
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Europe's long century: Politics, society, culture, 1900-present. Oxford: Oxford University Press, 2012.
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Touraj, Atabaki, and Iran Heritage Foundation, eds. Iran in the 20th century: Historiography and political culture. London: I.B. Tauris in association with the Iran Heritage Foundaton, 2009.
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The Risorgimento revisited: Nationalism and culture in nineteenth century Italy. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.
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McMillan, James F. Twentieth-century France: Politics, society and culture 1898-2003. 2nd ed. London: Arnold, 2004.
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E, Marcus George, ed. Perilous states: Conversations on culture, politics, and nation. Chicago: University of Chicago Press, 1993.
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Dirk, Berg-Schlosser, and Rytlewski Ralf, eds. Political culture in Germany. Basingstoke: Macmillan, 1993.
Find full textBook chapters on the topic "Politics and culture – Italy – 20th century"
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Gariano, Stefano Luigi, Olga Petrucci, and Fausto Guzzetti. "The Role of Rainfall and Land Use/Cover Changes in Landslide Occurrence in Calabria, Southern Italy, in the 20th Century." In Advancing Culture of Living with Landslides, 339–45. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53483-1_40.
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Donohue, Christopher. "“A Mountain of Nonsense”? Czech and Slovenian Receptions of Materialism and Vitalism from c. 1860s to the First World War." In History, Philosophy and Theory of the Life Sciences, 67–84. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12604-8_5.
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AbstractIn general, historians of science and historians of ideas do not focus on critical appraisals of scientific ideas such as vitalism and materialism from Catholic intellectuals in eastern and southeastern Europe, nor is there much comparative work available on how significant European ideas in the life sciences such as materialism and vitalism were understood and received outside of France, Germany, Italy and the UK. Insofar as such treatments are available, they focus on the contributions of nineteenth century vitalism and materialism to later twentieth ideologies, as well as trace the interactions of vitalism and various intersections with the development of genetics and evolutionary biology see Mosse (The culture of Western Europe: the nineteenth and twentieth centuries. Westview Press, Boulder, 1988, Toward the final solution: a history of European racism. Howard Fertig Publisher, New York, 1978; Turda et al., Crafting humans: from genesis to eugenics and beyond. V&R Unipress, Goettingen, 2013). English and American eugenicists (such as William Caleb Saleeby), and scores of others underscored the importance of vitalism to the future science of “eugenics” (Saleeby, The progress of eugenics. Cassell, New York, 1914). Little has been written on materialism qua materialism or vitalism qua vitalism in eastern Europe.The Czech and Slovene cases are interesting for comparison insofar as both had national awakenings in the middle of the nineteenth century which were linguistic and scientific, while also being religious in nature (on the Czech case see David, Realism, tolerance, and liberalism in the Czech National awakening: legacies of the Bohemian reformation. Johns Hopkins University Press, Baltimore, 2010; on the Slovene case see Kann and David, Peoples of the Eastern Habsburg Lands, 1526-1918. University of Washington Press, Washington, 2010). In the case of many Catholic writers writing in Moravia, there are not only slight noticeable differences in word-choice and construction but a greater influence of scholastic Latin, all the more so in the works of nineteenth century Czech priests and bishops.In this case, German, Latin and literary Czech coexisted in the same texts. Thus, the presence of these three languages throws caution on the work on the work of Michael Gordin, who argues that scientific language went from Latin to German to vernacular. In Czech, Slovenian and Croatian cases, all three coexisted quite happily until the First World War, with the decades from the 1840s to the 1880s being particularly suited to linguistic flexibility, where oftentimes writers would put in parentheses a Latin or German word to make the meaning clear to the audience. Note however that these multiple paraphrases were often polemical in the case of discussions of materialism and vitalism.In Slovenia Čas (Time or The Times) ran from 1907 to 1942, running under the muscular editorship of Fr. Aleš Ušeničnik (1868–1952) devoted hundreds of pages often penned by Ušeničnik himself or his close collaborators to wide-ranging discussions of vitalism, materialism and its implied social and societal consequences. Like their Czech counterparts Fr. Matěj Procházka (1811–1889) and Fr. Antonín LenzMaterialismMechanismDynamism (1829–1901), materialism was often conjoined with "pantheism" and immorality. In both the Czech and the Slovene cases, materialism was viewed as a deep theological problem, as it made the Catholic account of the transformation of the Eucharistic sacrifice into the real presence untenable. In the Czech case, materialism was often conjoined with “bestiality” (bestialnost) and radical politics, especially agrarianism, while in the case of Ušeničnik and Slovene writers, materialism was conjoined with “parliamentarianism” and “democracy.” There is too an unexamined dialogue on vitalism, materialism and pan-Slavism which needs to be explored.Writing in 1914 in a review of O bistvu življenja (Concerning the essence of life) by the controversial Croatian biologist Boris Zarnik) Ušeničnik underscored that vitalism was an speculative outlook because it left the field of positive science and entered the speculative realm of philosophy. Ušeničnik writes that it was “Too bad” that Zarnik “tackles” the question of vitalism, as his zoological opinions are interesting but his philosophy was not “successful”. Ušeničnik concluded that vitalism was a rather old idea, which belonged more to the realm of philosophy and Thomistic theology then biology. It nonetheless seemed to provide a solution for the particular characteristics of life, especially its individuality. It was certainly preferable to all the dangers that materialism presented. Likewise in the Czech case, Emmanuel Radl (1873–1942) spent much of his life extolling the virtues of vitalism, up until his death in home confinement during the Nazi Protectorate. Vitalism too became bound up in the late nineteenth century rediscovery of early modern philosophy, which became an essential part of the development of new scientific consciousness and linguistic awareness right before the First World War in the Czech lands. Thus, by comparing the reception of these ideas together in two countries separated by ‘nationality’ but bounded by religion and active engagement with French and German ideas (especially Driesch), we can reconstruct not only receptions of vitalism and materialism, but articulate their political and theological valances.
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De Michelis, Cesare G. "Gorky at the Origins of Futurism." In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”, 104–16. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-104-116.
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At the beginning of the 20th century M. Gorky’s reputation was growing, most of all between the younger authors: A. Beltramelli made a literary falsification and published his novel Fedor Dobriski as his own translation of a Gorky novel. Early, in 1902, Gian Pietro Lucini drew one of the first Gorky’s portrait, and few years later he wrote with I. Cappa the drama Il tempiodella Gloria (1905), describing him as the ruler of the coveted synthesis between political and artistical revolution. When in Italy, Gorky met many italian intellectuals, also Beltramelli; Lucini, who was one of the first supporter of Marinetti, passed to the latter the idea of Gorky as a rebell, and also A. Gramsci spoked of the Marinetti’s destroing capacity as his more relevant feature. Gorky knew Lucini and Beltramelli, also Pascoli, d’Annunzio, but he was not engaged with futurism: it would had been possible, but didn’t happened, and this opportunity is a few studied question of the modernism.
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"“IMPLIED ISLAMOLOGY” IN THE 20th CENTURY PHILOLOGY, ARABOLOGY, POLITICS." In Islam in Armenian Literary Culture, 313–19. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv1vwbt5g.22.
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Bull, Anna Cento. "1. Modernity and resurgence in the making of Italy." In Modern Italy: A Very Short Introduction, 9–22. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198726517.003.0002.
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‘Modernity and resurgence in the making of Italy’ explains that the history of modern Italy has been characterized by recurrent cultural and political projects of modernity, rejuvenation, and regeneration. The Risorgimento (Resurgence), the movement leading to the Italian Unification in 1861, explicitly linked the quest for national unity to a process of moral regeneration and progress. Later forms of nationalism and the rise of fascism in the first two decades of the 20th century advocated a spiritual revolution and the molding of new Italians through war and violence as the only means of creating a modernized, but also spiritually reborn, nation at the forefront of a new European civilization.
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Cove, Patricia. "Romantic Italy and Restoration Politics: Romantic Poetry, Lady Morgan’s Italy and Mary Shelley’s Valperga." In Italian Politics and Nineteenth-Century British Literature and Culture, 29–61. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447249.003.0002.
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Chapter 1 analyses Romantic-era responses to the Congress of Vienna and 1820-1 Italian uprisings, with attention to Lady Morgan’s travelogue Italy (1821) and Mary Shelley’s historical novel Valperga (1823). Although the tropes of decay and rebirth that pervade British Romantic poetry about Italy by William Wordsworth, Felicia Hemans, Lord Byron and P. B. Shelley tend to elide contemporary Italy in favour of a distant, idealised past and imminent but imagined future, Morgan and Shelley historicise Italy to demonstrate that outside influence and occupation shaped the peninsula, while Italy mediated the major European powers’ views of themselves and each other. Morgan and Shelley place Italy, a cluster of minor states, within a broad, European context of cultural appropriation, imperialist territorial expansion and failed diplomacy, to interrogate the discourse of Italian decay and offer, instead, Italy as a potential site of concrete resistance to the post-Napoleonic status quo.
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"The diffusion of Marxism in Italy during the late nineteenth century." In Culture, Ideology and Politics (Routledge Revivals), 232–44. Routledge, 2016. http://dx.doi.org/10.4324/9781315617169-23.
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"1 Romantic Italy and Restoration Politics: Romantic Poetry, Lady Morgan’s Italy and Mary Shelley’s Valperga." In Italian Politics and Nineteenth-Century British Literature and Culture, 29–61. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474447263-005.
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Cove, Patricia. "Introduction: Italian Unity and International Alliances." In Italian Politics and Nineteenth-Century British Literature and Culture, 1–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447249.003.0001.
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Although many historical narratives of the Risorgimento and early Italian constitutional monarchy view Italy as a nation-state unable to consolidate itself against political division and regional diversity, Italian political culture’s cultivation of a sense of internal fragmentation and powerlessness also constituted part of the Risorgimento’s ideological content and Italy’s national identity. Risorgimento culture’s oppositionalism also infiltrated British reaction to Italian politics. Theodosia Garrow Trollope’s eyewitness Athenaeum correspondence, collected as Social Aspects of the Italian Revolution (1861), develops politicised familial metaphors for unification and international alliance that empower and transform Italy through political solidarity. By contrast, texts by D. G. Rossetti, George Meredith, Anthony Trollope, Benjamin Disraeli, Henrietta Jenkin and Arthur Hugh Clough propose more sceptical familial and romantic metaphors for Risorgimento Italy, revealing disillusioned and hesitant attitudes toward Italy in relation to its neighbouring powers, including France, Austria and Great Britain.
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Cove, Patricia. "Spying in the British Post Office: Letter-Opening, Italy and Wilkie Collins’s The Woman in White." In Italian Politics and Nineteenth-Century British Literature and Culture, 95–124. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447249.003.0004.
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This chapter discusses Wilkie Collins’s sensation novel The Woman in White (1859–60) in relation to the 1844 Post Office Espionage Scandal, which revealed British government spying against Italian patriot Giuseppe Mazzini. Representations of the Post Office Scandal in Parliament and print predict the revision of the Gothic into sensation fiction, helping to create the imaginative space through which the sensation genre could begin to interrogate Gothic national stereotypes and relocate the Gothic plot within modern Britain’s private homes and institutions. The letter-opening scandal and The Woman in White share a central place in a mid-Victorian moment of evolution in the mutually constitutive relationship between Italian and British national identities, generating and reflecting a crisis in Britishness focused on the secret tyrannies concealed beneath the surface of Victorian liberalism that emerged from the collision of British and Italian politics and print culture.
Conference papers on the topic "Politics and culture – Italy – 20th century"
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Kamenskaya, Ekaterina. "The Woman's Face of European Politics (Based on Russian Women's Magazines of the Early 20th Century)." In Woman in the heart of Europe: non-obvious aspects of gender in the history and culture of Central Europe and adjacent regions. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/0475-6.10.
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Fratini, Fabio, Silvia Rescic, Mara Camaiti, and Manuela Mattone. "Traditional buildings for tobacco processing in Val Tiberina (Tuscany-Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14373.
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This paper focuses on the analysis of buildings used for tobacco processing, built in the first half of the 20th century in Tuscany (province of Arezzo), by studying construction techniques, materials, and preservation issues. Since the 16th century, in Tuscany, the sites involved in the cultivation of tobacco are both the upper Val Tiberina and Val di Chiana (in particular Arezzo and Siena areas). At first, tobacco was used either for medical purposes or as snuff and pipe powder. It soon became the most renowned cultivation throughout the Tiberina Valley, due to the excellent quality of the tobacco produced. The first significant crops date back to the early 17thcentury. The drying process took place in specific buildings named "tabaccaie", where tobacco leaves were placed over an oak wood fire to dry. This process was adopted until the 1970s. Subsequently, a profound crisis in the agricultural sector determined the falling into disuse and abandonment of numerous "tabaccaie". In some cases, these buildings have been reused as luxury hotels for tourism purposes, but many of them have been demolished or are in a state of ruin. They represent the testimony of agro-industrial vernacular architectures nowadays at great risk. Indeed, most of the recovery interventions have often completely obliterated the original structure to make the former “tabaccaie” able to satisfy housing and comfort requirements. The study aims to deepen the knowledge of these buildings to preserve cultural identities and transfer inherited values.
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Romano, Lia. "Architecture and Proto Industry. Watermills in the historic peri-urban landscape of Benevento (Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14567.
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The landscape of Benevento is historically characterised by the presence of vernacular architectures which exploited the driving power of water for productive purposes. The abundance of watercourses and natural resources coupled with the large quantity of agricultural products enabled the development of a real proto-industrial centre, which was particularly active in southern Italy between the 18th and 19th centuries. Production activities linked to the manufacture of textiles and leather were flanked by a dense system of watermills. Situated in the proximity of the city walls and the city's main rivers, such watermills and their inherent complex network of canals have shaped the historic peri-urban landscape of the city over centuries.Thanks to the availability of numerous historical maps and archival drawings of mills, a link can be established between the past and what is currently visible in the area. The recognition of the physical traces of the mills and of the remains of the water adduction system deepens the knowledge of an unresolved strip of city territory that still retains a peri-urban character, being delimited on one side by the historic walls and on the other by the 20th century expansion of the city.In light of these considerations, this paper offers a new contribution to the study of the proto-industrial architectural heritage of Benevento, focusing on the interpretation of material traces of the past: their recognition will strengthen the identity of this part of the city.
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Soares, Liliana, and Ermanno Aparo. "The Concept of Tantra as Meta-Design to Create Sustainability." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001422.
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This article is an ongoing research and takes Tantra (Saraswati, 1981) to present an academic project that refers to the expansion of knowledge, understanding the body of an object through as a supreme shelter link. On the one hand, the female element represents the a whole as the beginning of everything and the supreme power of creation. On the other hand, the male element is associated with transcendence.Similar to designing, from the perspective of tantrism, the union of the two energies - feminine and masculine – is crucial and for this reason, the care of the object's body is essential.Phenomenologically, as Feuerstein (2005) states the tantric point of view does not deny the world of experiences, but views positively the culture of potential intrinsic psychophysical body and mind. This thesis comprises not only time and space, but also the external factors that cross-fertilize reality and, for this reason, enter into design process. In this sense, objects’ body is full of organs, but visible only to designers, requiring guidance from a master.In art, in early 20th century, there were similarities between the abstractions of Paul Klee, Piet Mondrian or Robert Delaunay. After that, Neo Tantrism emerged in the 1960s with the indian artist K. C.S. Paniker (1911-1977).In design, it seems Tantra contest divisions between opposites by teaching that everything is respected and incorporated, which includes the concept of marginal in society. For instance, Bauhaus (Germany, 20’s), Memphis (Italy, 60’s), Droog Design (Netherlands, 90’s) seem to represent it, as this is more about change in the world, via the body, rather than transcendence of it. In design Tantra can be understood as a moment of reflection on the nature of design and an occasion to continually think and get to know design, for instance, a process-oriented process. A reality that enhances scenario hypotheses, but without reaching a productive result.This ongoing research is non-interventionist and interventionist. The non-interventionist phase consists of the analysis and interpretation of concepts, contents from the past as well as visual imagery of Tantra. The interventionist phase resides on a pilot project.Thus, thinking about method in design means thinking about a phenomenological process such as interpretation. A path that is inductive like self-production, deductive like engineering, abductive intelligently linking hypotheses through experience, and also intuitive, imaginative, inventing, telling the story of material culture in another way. An alternative that needs to die and to live again, a process that, between analysis, intuition and experience, appeals to the dialectical reflection of design as an interlocutor between the individual and material culture in order to create sustainability.