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Colonialism and National Identity
Until the latter part of the twentieth century, Italy’s colonial past was a largely neglected topic in historical studies. Before then, only a handful of historians had shown any inclination for rescuing it from the dusty shelves of history, to which it had been relegated. With a few exceptions – most notably Angelo Del Boca – not many had the courage to venture into such treacherous territory. Colonial studies experienced a resurgence at the start of the new millennium, with remarkable progress in the quantity and quality of research, along with the wider public’s newfound interest, as evidenced by an important conference held in Milan in 2006 and the large audience it attracted. Th...
Images of Colonialism and Decolonisation in the Italian Media
The twentieth century saw a proliferation of media discourses on colonialism and, later, decolonisation. Newspapers, periodicals, films, radio and TV broadcasts contributed to the construction of the image of the African “Other” across the colonial world. In recent years, a growing body of literature has explored the role of these media in many colonial societies. As regards the Italian context, however, although several works have been published about the links between colonial culture and national identity, none have addressed the specific role of the media and their impact on collective memory (or lack thereof). This book fills that gap, providing a review of images and themes that have surfaced and resurfaced over time. The volume is divided into two sections, each organised around an underlying theme: while the first deals with visual memory and images from the cinema, radio, television and new media, the second addresses the role of the printed press, graphic novels and comics, photography and trading cards.
La storia liberata
La Public history, la storia intesa come bene comune, che ha il pubblico come destinatario e partecipante del prodotto della ricerca storica, apre grandi possibilità di ampliare i sentieri della ricerca e i modi della narrazione/ restituzione al pubblico degli studi sul passato, anche grazie allo sviluppo delle tecnologie multimediali e a una società sempre più informatizzata e social. Questi saggi vogliono essere esplorazioni del nuovo territorio aperto dalla Public history, per una storia “liberata” dalla torre d’avorio in cui si era rinchiusa da sola. La storia ha tutto un mondo nuovo con cui confrontarsi, con la possibilità di non essere solo un salotto per dotti ma un luogo di confronto civile, partecipato da tutti, per la costruzione di un discorso collettivo. Il public historianvuole divertirsi e trasmettere non solo informazioni ma anche emozioni, gli piace la storia e cerca di farla capire ma soprattutto di farla amare, interagisce con il pubblico, con i suoi colleghi e con chiunque sia utile per un progetto condiviso che valorizzi la conoscenza del nostro passato/presente.
Pantere nere
Pantere Nere è la storia di un leggendario gruppo di rivoluzionari neri nel “ventre della bestia” Usa, che ha caratterizzato in modo unico il movimento degli anni Sessanta del secolo scorso. La loro immagine – giovani armati e risoluti che volevano controllare gli abusi della polizia nel ghetto e liberare la colonia nera – ha scatenato il prurito sensazionalista dei mass media e spaventato a morte l’America bianca. Partite da un piccolo nucleo di militanti di Oakland, California, le Pantere Nere – dopo l’assassinio di Martin Luther King nel 1968 – crebbero fino a diventare un’organizzazione nazionale, definita “la più grande minaccia alla sicurezza interna degli Stati Uniti” da J. Edgar Hoover, direttore dell’Fbi. Il Black Panther Party fu affrontato dalle istituzioni con tutti i mezzi possibili, legali e illegali, e fu creato uno specifico programma segreto dell’FBI per annientarlo. La “guerra sporca” dello Stato e le contraddizioni interne riuscirono a neutralizzare le Pantere Nere, ma il loro esempio, che ha ispirato movimenti in tutto il mondo, è tuttora vivo nella cultura e nei valori degli africano-americani.
Transcultural Italies
The history of Italian culture stems from multiple experiences of mobility and migration, which have produced a range of narratives, inside and outside Italy. This collection interrogates the dynamic nature of Italian identity and culture, focussing on the concepts and practices of mobility, memory and translation. It adopts a transnational perspective, offering a fresh approach to the study of Italy and of Modern Languages.
Public History of Education. A Brief Introduction
Is historical knowledge important for education? How can we build a shared historical knowledge with schools, communities, and education professionals? The book responds to these questions by suggesting the public history approach, as applied in education and, more generally, to all professions that are based on human relations. The public history of education refers directly to North American experiences, but at the same time it is part of a process of European cultural acceptance and re-elaboration that has one of its main points of reference in the Italian Public History Association. The objective is not to make history for the general public, but to make public history with all those interested, in a collaborative and participative context, in the quest for meaningful knowledge, directly related to the current and challenging needs of our society.
Race, Nation and Gender in Modern Italy
This book explores intersectional constructions of race and whiteness in modern and contemporary Italy. It contributes to transnational and interdisciplinary reflections on these issues through an analysis of political debates and social practices, focusing in particular on visual materials from the unification of Italy (1861) to the present day. Giuliani draws attention to rearticulations of the transnationally constructed Italian ‘colonial archive’ in Italian racialised identity-politics and cultural racisms across processes of nation building, emigration, colonial expansion, and the construction of the first post-fascist Italian society. The author considers the ‘figures of race’ peopling the Italian colonial archive as composing past and present ideas and representations of (white) Italianness and racialised/gendered Otherness. Students and scholars across a range of disciplines, including Italian studies, political philosophy, sociology, history, visual and cultural studies, race and whiteness studies and gender studies, will find this book of interest.
Public history
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Witnessing the Witness of War Crimes, Mass Murder, and Genocide
Rethinking the concepts of "witnessing" and "witness" is highly relevant to the study of war crimes, mass murder and genocide. Through multiple readings, the volume shows the meanings and functions of witnessing in a political and historical context marked by the emergence of multiculturalism. The ultimate goal is the exploration of divergent and intersectional positions of the witness and witnessing as both concrete and hermeneutical categories. As a result, the mechanisms of social, political, and psychological oppression, murder and genocide will become tangible and understandable with greater precision and finesse.
Photography in Portuguese Colonial Africa, 1860–1975
This edited collection presents the first critical and historical overview of photography in Portuguese colonial Africa to an English-speaking audience. Photography in Portuguese Colonial Africa, 1860–1975 brings together sixteen scholars from interdisciplinary fields as varied as history, anthropology, art history, visual culture and museum studies, to consider some of the key aspects in the visual representation of the longest-lasting European colonial empire in the African continent. The chapters span over two centuries and cover five formerly colonial territories – Angola, Cabo Verde, Guinea-Bissau, Mozambique, and São Tomé and Príncipe – deploying a range of methodologies to explore the multiple meanings and the contested uses of the photographic image across the realms of politics, science, culture and war. This book responds to a marked surge of international interest in the relationship between photography and colonialism, which has hitherto largely overlooked the Portuguese imperial context, by delivering the most recent scholarly findings to a broad readership.
