The book focuses on literary representations of the northern Italian region of Liguria, whose landscape has been portrayed by internationally-known Italian poets and novelists, from Eugenio Montale to Italo Calvino. The author argues that the most perceptive authors situate themselves on a metaphorical ridge dividing the “dark side” of Mediterranean landscape, with its harsh and mountainous territory, from the sun-drenched Riviera, celebrated by the tourist industry and for the most part destroyed during the so-called economic boom. The complex and often antithetical concepts of landscape examined in the introduction inform the author’s readings of those modern and contemporary writers who have tried to make sense of the ambivalences present in Ligurian landscape, from the period of Italian Risorgimento to the present.
The village of Hora is a magical place that blurs the boundaries between a mythical past and the present. It is here that Costantino Avati grows alongside his impetuous and melancholic father, Francesco; his mother, Elena, who hides a secret torment; his two sisters, Orlandina and Lucrezia; and his grandfather Lissandro, the last custodian of an era and a world that are disappearing. As Costantino feels the pangs of first love with the intriguing Roman Isabella, he also discovers the romantic allure of his own village and its rich cultural heritage. In his first novel, acclaimed author Carmine Abate transforms his Italo-Albanian (Arbëresh) hometown of Carfizzi, Calabria, into a magical realist wonderland that rivals Gabriel García Márquez’s Macondo. Inspired by the oral traditions of the old Albanian bards and incorporating the poetic local dialect, The Round Dance is a unique piece of multicultural literature that was named by the publishing house Mondadori as one of the one hundred greatest Italian novels of the twentieth century.
In no other country in Europe has national identity been so closely bound to memories of the war. Italy’s Republic was born of World War II, its constitution defined by anti-Fascism, its parties self-identified with national Resistance. Because of their importance to the nation’s identity, the nature and meaning of the war have been the focus of great contention, from 1943 to the present day. In recent years Italy has taken on a national evaluation of the more troubling and contested aspects of its role in the war, including its support of Fascism and collaboration after 1943, its treatment of Jews and other minorities, deep national divisions that created a civil war between 1943 and 1945, and the centrality of war myth to lingering postwar problems. Scholars of Italian history, literature, and cinema play a fundamental role in this appraisal, and this volume of essays attests to the importance of film and literature to the ways in which changing political, social and cultural imperatives have altered the war’s memory. These articles expand our understanding of the shifting phases in national memory by highlighting significant features of each era’s portrayal of the war. Contributions come from eight scholars who capture the full variety of disciplinary and sub-disciplinary approaches that are current today, including film genre studies, cultural history, gender studies, Holocaust studies, and the very new fields of emotion studies, shame theory, and environmental studies. Their innovative application of questions and methods that speak to important new subfields in Italian Studies make this volume an invaluable tool for scholars and their students.
Performing Bodies: Female Illness in Italian Literature and Cinema (1860-1920) explores the variations in the portrayal of female illness in Italian fin de siècle literature and early cinema. Catherine Ramsey-Portolano begins her study with an overview of nineteenth-century theories on female inferiority and nervous disorders, especially hysteria. 19th-century European scientific and philosophical discourse on women’s bodies, which focused on female biological functions and malfunctions, accompanied an abundant fin de siècle literary representation of female illness, a theme which also carried over into the cinematic genre of diva films of the 1910s. Ramsey-Portolano’s analysis of fin de siècle Italian literary texts first discusses those novels in which illness represents the consequence and at times punishment for women who transgressed traditional societal roles and norms of behavior. Ramsey-Portolano also demonstrates, however, that there also existed within a portrayal of female illness which suggested sickness as a form of agency for women. Rather than depicting women as powerless victims who succumb to illness due to the pressures and limitations of patriarchal society, this second group of novels posits illness as a means for women to take control of their bodies and demonstrate self-mastery through illness as a chosen form of behavior. Performing Bodies: Female Illness in Italian Literature and Cinema (1860-1920) concludes with a discussion of the role of female illness in Italian cinema of the 1910s. Ramsey-Portolano analyzes the films Tigre reale (1916) and Malombra (1917), featuring the divas Pina Menichelli and Lyda Borelli, to show how illness granted centrality to the female character. By placing the diva and her point of view at the center of the film’s action, these films posit the female character as the active one in advancing the story, thus providing a progressive model for female Italian viewers and an early example of the female gaze in Italian cinema. Performing Bodies: Female Illness in Italian Literature and Cinema (1860-1920) examines how in Italian literature and film, as well as in society, women were confined to traditional roles and illness often represented the consequence for transgressing those roles. Feigning illness offered women a way to “own” the illness and become manipulators and masters not only of their bodies but of their stories and destinies.
Noted as a ‘civil poet’ by Alberto Moravia, Pier Paolo Pasolini was a creative and philosophical genius whose works challenged generations of Western Europeans and Americans to reconsider not only issues regarding the self, but also various social concerns. Pasolini’s works touched and continues to inspire students, scholars, and intellectuals alike to question the status quo. This collection of thirteen articles and two interviews evidences the on-going discourse around Pasolini’s lasting impressions on the new generation. Pasolini’s Lasting Impressions: Death, Eros and Literary Enterprise in the Opus of Pier Paolo Pasolini thus explores the civic poet’s oeuvre in four parts: poetry, theatre, film, and culture. Although the collection does not include every genre in which Pasolini wrote, it addresses many, some which often receive little or no attention, particularly in Italian Studies of North America. The underlining theme of the book, ‘death, eros and literary enterprise’ intertwines these genres in a rather unique way, allowing for inter-disciplinary interpretations to Pasolini’s rich opus. The edited volume concludes with two artists, Dacia Maraini and Ominio71’s reflections on Pasolini in the 21st century. In fact, the cover represents a recent work on Ominio71 underscoring Pasolini’s visual presence still within the Roman walls. In conclusion, this collection demonstrates how his works still influence contemporary Italian society and motivate intellectual dialogue through new theoretical outlooks on Pasolini’s oeuvre.
This book is a comparative study of six Italian American and Greek American literary works written in the three last decades of the 20th century and examined in pairs. Based on the common theme of the authors' return, either metaphorical or literal to the country of origin and its culture, Return Narratives explores the common motifs of mythology, ritual, and storytelling where the third generation writers resort to in their quest for self-definition. With a common historical and cultural background in the old neighboring countries, Greece and Italy, and a similar reception in the new world facilitating a comparative approach, the ethnic writers of the two literatures, clearly envisage ethnic space as a site of resilience and empowerment.
This book highlights the centrality of the autobiographical enterprise to Italian women’s writing through the twentieth century—a century that has frequently been referred to as the century of the self. Ursula Fanning addresses the thorny issue of essentialism potentially involved in underlining links between women’s writing and autobiographical modes, and ultimately rejects it in favor of an argument based on the cultural, linguistic, and literary marginalization of women writers within the Italian context. It is concerned with Italian women writers’ various ways of grappling with constructions of subjectivity throughout the century and sets out to explore them. Fanning reads autobiographical writing as subject to many of the same constraints as fiction and, in doing so, draws attention to the significance of the recurring use of the terms “pure” and “impure” in many critical and theoretical discussions of the autobiographical (where “pure” is used to suggest a truthful representation of a life, while “impure” suggests the messy undertaking of mixing lived experience with fiction). Recurring patterns and paradigms are found in the works of the various writers considered (eighteen in all), and these paradigms are analyzed through close readings of their works. These close readings offer insights into approaches to the constructions of subjectivity in the narratives and are informed by feminist theories. The chapters focus on selves in relationship, taking their lead from the patterns unfolding in the writers’ work, hence the subjects are constructed as daughters (with different views of the self in relation to fathers and mothers), within the confines of the romantic relationship (which involves reconsiderations and rewritings of the romance plot), as maternal subjects, and as writers (with an eye on their relationship to the literary canon, as well as to the relationship with readers). This book argues that there is such a thing as gendered subjectivity and that its constructions may be traced through the texts analyzed.
The late eighteenth and the nineteenth centuries witness significant advancement in the production and, crucially, the consumption of culture in Italy. During the long process towards and beyond Italy becoming a nation-state in 1861, new modes of writing and performing – the novel, the self-help manual, theatrical improvisation – develop in response to new practices and technologies of production and distribution. Key to the emergence of an inclusive national audience in Italy is, however, the audience itself. A wide and varied body of consumers of culture, animated by the notion of an Italian national cultural identity, create in this period an increasingly complex demand for different cultural products. This body is energized by the wider access to education and to the Italian language brought about by educational reforms, by growing urbanization, by enhanced social mobility, and by transcultural connections across European borders. This book investigates this process, analyzing the ways in which authors, composers, publishers, performers, journalists, and editors engage with the anxieties and aspirations of their diverse audiences. Fourteen essays by specialists in the field, exploring individual contexts and cases, demonstrate how interests related to gender, social class, cultural background and practices of reading and spectatorship, exert determining influence upon the production of culture in this period. They describe how women, men, and children from across the social and regional strata of the emerging nation contribute incrementally but actively to the idea and the growing reality of an Italian national cultural life. They show that from newspapers to salon performances, from letters to treatises in social science, from popular novels to literary criticism, from philosophical discussions to opera theaters, there is evidence in Italy in this period of unprecedented participation, crossing academic and popular cultures, in the formation of a national audience in Italy. This cultural transformation later produces the mass culture in Italy which underpins the major movements of the twentieth century and which undergoes new challenges and reformulations in the Italy we know today.
Motherhood, Fatherland and Primo Levi: The Hidden Groundwork of Agency in his Auschwitz Writings offers major new insights into the political dimensions of Levi’s thought by using those texts conventionally thought to be marginal to his oeuvre (i.e., his short works of science fiction and fantasy and his World War Two partisan novel) to deepen our understanding of the lessons he offered in his more well-known and celebrated texts, Survival in Auschwitz and The Drowned and the Saved. Typically cast as one of the most profound theorists of what human beings at their worst can do to one another, Levi appears in this book as (in addition) a theorist who affirms a politics of active and broad participation in republican institutions as an important means of achieving a fulfilled human life. This book reinterprets Levi’s political significance by bringing to bear two literatures that have been previously missing from scholarly considerations of Levi’s legacy: psychologically-informed analyses of how infantile and toddler experience of, and relationship to, a primary caretaker shape later perceptions of self and relationship and studies of Machiavelli’s variant of republican thought in which major emphasis is placed on founding institutions of civic participation that develop responsible political leaders and foster good citizenship. In the aftermath of the so-called Arab Spring, which has given rise to people acting on their worst impulses (ethnic cleansing, genocide) as well as on their best (revolution, democratic constitutionalism), Levi’s legacy, considered more comprehensively, can be a valuable touchstone for understanding the democratic possibilities of a world undergoing rapid political change. Avoiding academic jargon and entanglement in hyper-specialized academic debates, Motherhood, Fatherland and Primo Levi offers that comprehensive understanding to scholars across many fields (Italian studies, political theory, cultural studies, women’s studies, Holocaust studies, history) as well as to general interest readers of a humanistic bent and citizens concerned to make sense of this revolutionary age.
In this monograph, Gregory M. Pell provides a full-length study on the poetry of Davide Rondoni, one of Italy’s most active contemporary writers and thinkers. This book includes comparative studies of Jorie Graham, Gjertrud Schnackenberg, Charles Wright, John Ashbery, Patrizia Fazzi, and Mario Luzi. As the first book in English on Davide Rondoni’s poetry, this study explores how the Italian poet deals with art, and the places of art, in a way that transcends the notion of ekphrasis (or, verbal representation of pictorial art) to see poetry as the transcription of an experience with art, thus becoming a sort of anti-ekphrasis, or an atmospheric ekphrasis. The social and religious aspects of art take precedence over aesthetic concerns, without discounting them, in Rondoni’s unsentimental poetry, which takes the form of recitative theatrical monologues. Thus, art becomes more than simple visual representation or the subject of an art history catalogue. Instead, in certain poets, such as Rondoni, we experience life through art’s complete process: from the artist’s originary idea to the work’s execution to our interaction with it in the here and now.
