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Fascist Modernities
This cultural history of Mussolini's dictatorship discusses the meanings of modernity in interwar Italy. The work argues that fascism appealed to many Italian intellectuals as a new model of modernity that would resolve the European crisis as well as long-standing problems of the national past.
LapTopRadio. La Radio Siamo Noi
In the context of a revived interest in the medium of radio, the collective and self-organized project LapTopRadio explored the possibilities and the limits of an irregularly, unexpectedly and sporadically broadcasting internet radio in the perspective of fine arts with a specific approach-the studio followed the participants, musicians and events, and not the other way round. It thereby created a new basis with a as yet hardly known potential, which the project intended to probe. This was made possible thanks to the co-operation of all the participants and co-producers, speakers, interviewers and authors of the texts published here. Delphine Bedel, Francesco Bernardelli, Donatella Bernardi, Yann Chateigné, Alfredo Cramerotti, Nadia EL-Imam, Jonathan Frigeri, Kenneth Goldsmith, Lars Bang Larsen, Quinn Latimer, Andrea Marioni with Franco "Bifo" Berardi, Federica Martini, Ceel Mogami de Haas, Angelo Plessas, Laurent Schmid, Joël Vacheron with Tex Royale and Alexis Milne, Willem van Weelden, Giovanna Zapperi.
Corpus Anarchicum
This book is a meditation on and an attempt to understand suicidal violence in the immediate context of its most recent political surge: the decade between 2001 and 2011, from the suicidal mission of Muhammad Atta and his band in the United States to the suicide of Mohamed Bouazizi in 2010 in Tunisia. After the former a devastating military strike and occupation of two Muslim countries commenced, and after the latter a massive transnational democratic uprising ensued. Suicidal violence is neither specific to Islam nor peculiar to our time. It has been manifested in practically all cultures and religions and throughout human history. But the suicidal violence we witness today is of an entirel...
Women and Men in Love
It has often been assumed that Europeans invented and had the exclusive monopoly over courtly and romantic love, commonly considered to be the highest form of relations between men and women. This view was particularly prevalent between 1770 and the mid-twentieth century, but was challenged in the 1960s when romantic love came to be seen as a universal sentiment that can be found in all cultures in the world. However, there remains the historical problem that the Europeans used this concept of love as a fundamental part of their self-image over a long period (traces of it still remain) and it became very much caught up in the concept of marriage. This book challenges the underlying Eurocentrism of this notion while exploring in a more general sense the connection between identity and emotions.
Women and Men in Love
It has often been assumed that Europeans invented and had the exclusive monopoly over courtly and romantic love, commonly considered to be the highest form of relations between men and women. This view was particularly prevalent between 1770 and the mid-twentieth century, but was challenged in the 1960s when romantic love came to be seen as a universal sentiment that can be found in all cultures in the world. However, there remains the historical problem that the Europeans used this concept of love as a fundamental part of their self-image over a long period (traces of it still remain) and it became very much caught up in the concept of marriage. This book challenges the underlying Eurocentrism of this notion while exploring in a more general sense the connection between identity and emotions.
IL MATT'ATTORE
Il matt’attore raccoglie alcuni articoli pubblicati su La Stampa a partire dagli anni '80 del Novecento. Sono scritti di argomento teatrale. Vi appaiono autori e registi, vi si depositano sogni e tendenze di un mestiere fatto di immaginazione e di scienza, magari di incantevole cialtroneria, ma il cui punto d’arrivo è uno solo: quello dell’attore. È lui il centro dell’attenzione, è sua la presenza che dà significato al palcoscenico. Con la complicità dello spettatore, l’attore rende possibile l’eterna illusione del teatro. Fingitore per vocazione e per contratto, esiste per dare verità alla menzogna. È così da sempre e non si vede come possa essere diverso finché il teat...
«Trovare nuove terre o affogare»
Come si spiega la compresenza negli anni Trenta tra l’autarchia culturale imposta dal regime e l’incremento delle traduzioni? Chi furono i veri protagonisti della scoperta delle letterature straniere in Italia? Come si è formato il nuovo canone della letteratura europea nell’Italia tra le due guerre? Quali rapporti si stabilirono tra gli intellettuali e il potere in relazione alla ricezione delle letterature straniere? Il presente studio cerca di dare risposta a domande di questo tipo, attraverso l’analisi di alcune delle principali riviste culturali attive tra le due guerre: «La Ronda», «Il Convegno», «Energie Nove», «La Rivoluzione Liberale», «Il Baretti», «La Cultura»...
