DOCSLIB.ORG

Wu Ming New Thing:Int

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wu Ming New Thing:Int BIBLIOTHÈQUE ITALIENNE Dirigée par Serge Quadruppani NEW THING CHEZ LE MÊME ÉDITEUR Wu Ming 2, Guerre aux humains WU MING 1 NEW THING Traduit de l’italien et présenté par Serge Quadruppani Traduit avec le concours du Centre National du Livre Publié avec le concours do Instituto Portugês do Livro e das Bibliotecas Traduit de l’anglais (Écosse) par David Fauquemberg Éditions Métailié 5, rue de Savoie, 75006 Paris www.editions-metailie.com 2007 La reproduction totale ou partielle de l’œuvre ainsi que sa diffusion par voie télématique sont autorisées, sous condition de fins non commerciales et de reproduction de la présente mention. Titre original: New Thing © Wu Ming 1, 2004 Published by arrangement wtih Roberto Santachiara Literary Agency Traduction française © Éditions Métailié, Paris, 2007 ISBN : 978-2-86424-618-3 ISSN : 1264-5834 Mon nom est personne ou Wu Ming, refaire le monde en le racontant Voici une entreprise qui n’eut jamais d’exemple et dont l’exécution n’a guère d’imitateur. Auteur collectif de romans- fleuves best-sellers en Italie et bien vendus en Angleterre comme en Allemagne ou en Espagne; théoricien à cinq têtes sur des thèmes aussi divers que la mitopoiese (création des mythes), la culture pop ou le copyleft (gratuité de la culture); bouillonnant foyer de création dans l’écrit, la musique, la vidéo, le cinéma, l’ensemble entrant en fusion sur internet; animant un site en italien, anglais, espagnol, portugais, français, allemand, suédois, hollandais, catalan, slovène et quelques autres langues, en contact avec des dizaines de milliers d’internautes de tous pays; acteur important des manifestations de Gênes 2001 ; menant, en Italie et dans le reste du monde, maints combats sur la toile et dans la rue, Wu Ming est encore fin 2007 à peu près inconnu en France. S’il faut chercher un retard français, on le trouvera non pas dans les supposées réticences hexagonales aux merveilles de la mondialisation des capitaux, mais bien plutôt dans les pesanteurs des systèmes de légitimation et de diffusion culturelles, si peu armés pour apercevoir la vraie nouveauté, quand bien même elle est sous leurs yeux. De fait, la publication du présent livre, écrit par Wu Ming 1, et de Guerre aux humains, de Wu Ming 2, n’est pas la première apparition du phénomène en français. En 2001 a été publié aux Éditions du Seuil un livre qui n’a pas remporté le succès qu’il aurait mérité (rien de comparable en tout cas avec celui qu’il a connu en Italie et en bien d’autres pays): L’Œil de Carafa. En italien, le titre avait la puissance de sa brièveté: Q. Fresque des révoltes paysannes levées au XVIe siècle dans le sillage de la Réforme, ce livre polyphonique, ode à la communauté humaine en marche dès l’aube des temps modernes, était aussi une œuvre collective, signée Luther Blissett. 9 À ce point, on espère que le lecteur, renvoyé d’un nom mystérieux à un autre, se demande avec l’ardeur d’un amateur de roman-feuilleton parvenu à la fin d’un chapitre: qui est Luther Blissett? Qui est Wu Ming? C’est ce que vous saurez en lisant: Les ténébreux complots de Luther Blissett Luther Blissett est une signature partagée par des centaines d’artistes et d’activistes à travers l’Europe et l’Amérique du Sud depuis l’été 1994. Pour des raisons qui restent inconnues, ce nom a été emprunté à un joueur de football d’origine afro- caribéenne. Lequel a montré, avant et après quelques autres, que bien des footballeurs savent se servir de leur tête autrement qu’en l’enfonçant dans la poitrine de l’adversaire: lors d’une émission de la BBC, en 2004, il a manifesté son amusement pour cet usage de son nom et brandi un exemplaire d’un livre de théorie critique signé Wu Ming. En Italie, entre 1994 et 1999, le Luther Blissett Project, réseau organisé, devint un phénomène très répandu, réussissant à créer la légende d’un héros populaire. Un Robin des Bois de l’information qui multiplia les canulars médiatiques durant cinq ans. On n’en citera que quelques-uns. En 1995, Harry Kipper, artiste conceptuel britannique dispa - raissait à la frontière italo-slovène lors d’un voyage en VTT mené dans l’intention de dessiner sur la carte de l’Europe le mot ART. Chi l’a visto?, célèbre émission italienne (équivalente de Perdu de vue), tomba dans le panneau et se couvrit de ridicule. Harry Kipper n’avait jamais existé. Le canular le plus complexe fut mis en œuvre dans le Latium, en 1997. Il dura un an. À grand renfort de fausses traces de rites, de communiqués jamais vérifiés par les rédactions, politiciens et journalistes de la presse écrite et télévisée furent poussés à développer les plus extravagantes théories sur la renaissance du satanisme. Le canular fut ensuite loué et analysé par des universitaires et des experts des médias, et devint un cas d’étude dans plusieurs textes scientifiques. C’est ce que les activistes du Luther Blissett Project appe - laient “la contre-information homéopathique” : en injectant une 10 dose calculée de fausseté dans les médias, ils visaient à montrer le manque de sérieux de beaucoup de créateurs d’opinion et le manque de fondement des climats de panique morale. Renver - sant la célèbre sentence de Debord (qu’ils n’apprécient guère), ils font en sorte que le “faux soit un moment du vrai”. Le canular final advint avec l’emprisonnement en Serbie du sculpteur et performeur serbe Darko Maver, tué ensuite dans un bombar - dement de L’OTAN. Ses tableaux furent exposés à Rome et à Bologne et de prestigieux magazines artistiques publièrent un appel de solidarité. Certains critiques respectés prétendirent même connaître personnellement l’artiste. Il fallut attendre que Luther Blissett se fasse hara-kiri pour que la vérité soit révélée: Darko Maver n’avait jamais existé. Au terme de ce plan quinquennal de dévoilement des mécanismes médiatiques, en 1999, le Luther Blissett Project se saborda, donnant naissance à des groupes divers. L’un d’eux fut 0100101110101101.org, groupe de média artistes qui réussirent à convaincre la population de Vienne que Nike voulait racheter la Karlsplatz et la rebaptiser Nikeplatz, ce qui entraîna les débats qu’on imagine en Autriche. Un autre groupe fut constitué par quatre activistes bolonais qui, gardant le nom du footballeur, écrivirent Q. Publié en Italie en 1999, le livre a été édité ensuite en anglais (britannique et américain), espagnol, allemand, néerlandais, français, portugais (brésilien), danois, polonais et grec. Le code Wu Ming En janvier 2000, une cinquième personne se joignait aux quatre auteurs de Q, et un nouveau groupe d’auteurs était né, Wu Ming. Selon la manière dont on prononce la première syllabe, ce mot chinois signifie soit “anonyme” (signature habi - tuelle des tracts des dissidents chinois), soit “cinq noms”. Le nom fut choisi à la fois comme hommage à la dissidence et par rejet explicite de l’auteur star. Publié en 2004 en italien, et ensuite en bien d’autres langues (mais pas en français), 54, la première grande œuvre collective de Wu Ming, faisait croiser l’histoire d’une douzaine de personnages (dont Cary Grant, Tito 11 et le général Giap). Ce roman a inspiré le groupe de folk-rock Yo Yo Mundi, dont l’album porte le même titre que le livre (8000 exemplaires vendus, ce qui en Italie est un excellent résultat, surtout quand la vente se fait pour l’essentiel hors des circuits institués). Wu Ming a aussi écrit le scénario d’un film de Guido Chiesa, Radio Alice, qui a enregistré 500000 entrées en Italie, et lauréat de nombreux prix dans des festivals. Bien qu’ils affectionnent les apparitions publiques en passe- montagne, l’identité des cinq membres de Wu Ming n’est pas secrète, mais il considèrent que leur travail est plus important que leurs biographies ou leurs visages. Par ordre alphabétique, Roberto Bui est Wu Ming 1, Giovanni Cattabriga, Wu Ming 2, Luca di Meo, Wu Ming 3, Federico Guglielmi, Wu Ming 4 et Riccardo Pedrini, Wu Ming 5. Pour une bibliographie complète, comprenant les œuvres individuelles, on se reportera en fin de volume. Entre-temps, en 2001, les quatre auteurs de Q avaient écrit une série d’appels, qui furent très largement diffusés. Ils annon - çaient et accompagnaient le mouvement de contestation du sommet du G8 en juillet à Gênes, énorme rassemblement, immense espérance d’un autre monde possible qui devait se conclure, comme chacun devrait se souvenir, par une répression féroce de manifestants désarmés et la mort de Carlo Giuliani, tué par un carabinier. Titrés “Des multitudes d’Europe en marche contre l’Empire et vers Gênes”, ces textes publiés avant le rassemblement frappent par leur qualité littéraire et leur ton millénariste, qui évoque la thématique de Q: “Nous sommes nouveaux, mais nous sommes de toujours. Nous sommes anciens pour le futur, armée de la désobéissance dont les histoires sont des armes, en marche depuis des siècles sur ce conti - nent. Sur nos étendards est écrit ‘dignité’. En son nom, nous combattons quiconque se veut maître des personnes, des champs, des bois et des cours d’eau, gouverne par l’arbitraire, impose l’ordre de l’Empire, réduit les communautés à la misère. Nous sommes les paysans de la Jacquerie […]. Nous sommes les ciompi de Florence, petit peuple des fabriques et des arts mineurs. En l’an du Seigneur 1378, un cardeur nous conduisit à la révolte. […] Nous sommes les paysans d’Angleterre qui prirent les armes contre les nobles pour mettre fin à la gabelle et aux impôts.
Load more

Recommended publications
  • 00A Inside Cover CC
    Access Provided by University of Manchester at 08/14/11 9:17PM GMT 05 Thoburn_CC #78 7/15/2011 10:59 Page 119 TO CONQUER THE ANONYMOUS AUTHORSHIP AND MYTH IN THE WU MING FOUNDATION Nicholas Thoburn It is said that Mao never forgave Khrushchev for his 1956 “Secret Speech” on the crimes of the Stalin era (Li, 115–16). Of the aspects of the speech that were damaging to Mao, the most troubling was no doubt Khrushchev’s attack on the “cult of personality” (7), not only in Stalin’s example, but in principle, as a “perversion” of Marxism. As Alain Badiou has remarked, the cult of personality was something of an “invariant feature of communist states and parties,” one that was brought to a point of “paroxysm” in China’s Cultural Revolution (505). It should hence not surprise us that Mao responded in 1958 with a defense of the axiom as properly communist. In delineating “correct” and “incorrect” kinds of personality cult, Mao insisted: “The ques- tion at issue is not whether or not there should be a cult of the indi- vidual, but rather whether or not the individual concerned represents the truth. If he does, then he should be revered” (99–100). Not unex- pectedly, Marx, Engels, Lenin, and “the correct side of Stalin” are Mao’s given examples of leaders that should be “revere[d] for ever” (38). Marx himself, however, was somewhat hostile to such practice, a point Khrushchev sought to stress in quoting from Marx’s November 1877 letter to Wilhelm Blos: “From my antipathy to any cult of the individ - ual, I never made public during the existence of the International the numerous addresses from various countries which recognized my merits and which annoyed me.
    [Show full text]
  • Characterising the Anthropocene: Ecological Degradation in Italian Twenty-First Century Literary Writing
    Characterising the Anthropocene: Ecological Degradation in Italian Twenty-First Century Literary Writing by Alessandro Macilenti A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Italian Literature. Victoria University of Wellington 2015 Abstract The twenty-first century has witnessed the exacerbation of ecological issues that began to manifest themselves in the mid-twentieth century. It has become increasingly clear that the current environmental crisis poses an unprecedented existential threat to civilization as well as to Homo sapiens itself. Whereas the physical and social sciences have been defining the now inevitable transition to a different (and more inhospitable) Earth, the humanities have yet to assert their role as a transformative force within the context of global environmental change. Turning abstract issues into narrative form, literary writing can increase awareness of environmental issues as well as have a deep emotive influence on its readership. To showcase this type of writing as well as the methodological frameworks that best highlights the social and ethical relevance of such texts alongside their literary value, I have selected the following twenty-first century Italian literary works: Roberto Saviano’s Gomorra, Kai Zen’s Delta blues, Wu Ming’s Previsioni del tempo, Simona Vinci’s Rovina, Giancarlo di Cataldo’s Fuoco!, Laura Pugno’s Sirene, and Alessandra Montrucchio’s E poi la sete, all published between 2006 and 2011. The main goal of this study is to demonstrate how these works offer an invaluable opportunity to communicate meaningfully and accessibly the discomforting truths of global environmental change, including ecomafia, waste trafficking, illegal building, arson, ozone depletion, global warming and the dysfunctional relationship between humanity and the biosphere.
    [Show full text]
  • Wu Ming 1 Un Viaggio Che Non Promettiamo Breve
    EINAUDI WU MING 1 STILE LIBERO BIG «Con ampiezza inusitata e controllata passione, Wu Ming 1 ha scritto un libro EINAUDI che resterà e che tanti dovrebbero leggere, per capire cosa davvero è accaduto STILE LIBERO BIG nella valle e cosa certamente vi accadrà ancora di importante per tutti». Goffredo Fofi UN VIAGGIO CHE NON PROMETTIAMO BREVE «Un libro che unisce, connette, mette insieme, WU MING 1 fa parte del collettivo di narratori «Mentre scrivevo, in Francia avevano rinviato dà a chiunque lo legga, comunque la pensasse Wu Ming. Insieme alla band ha scritto Q, 54, prima di leggerlo, la possibilità di passare Manituana, Altai, L’Armata dei Sonnambuli l’inizio di aprile. Dopo lo sciopero generale dall’altra parte della barricata. e L’invisibile ovunque, usciti per Einaudi del 31 marzo, la lotta sarebbe proseguita Se poi qualcuno, davanti a un’opera tanto ben a partire dal 1999. Come solista è autore anche il 32, il 33, il 34… Ecco quel che argomentata e documentata, decide di restare di New Thing (Einaudi 2004), Cent’anni i denigratori dei No Tav non riuscivano a capire: in buona fede della sua idea è nel suo diritto, a Nordest. Viaggio tra i fantasmi della «guera ma sarebbe interessante sapere come fa». anche i valsusini si erano ripresi il tempo». granda» (Rizzoli 2015) e – con Roberto Daniele Giglioli Santachiara – di Point Lenana (Einaudi 2013). Ha tradotto romanzi di Elmore Leonard In Italia molti comitati e gruppi di cittadini resistono «Uno straordinario libro che consegna e Stephen King. Per le edizioni Alegre dirige a grandi opere dannose, inutili, imposte dall’alto.
    [Show full text]
  • Download (1541Kb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77618 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Kate Elizabeth Willman PhD Thesis September 2015 NEW ITALIAN EPIC History, Journalism and the 21st Century ‘Novel’ Italian Studies School of Modern Languages and Cultures University of Warwick 1 ~ TABLE OF CONTENTS ~ Acknowledgements ………………………………………………………………………...... 4 Declaration …………………………………………………………………………………... 5 Abstract …………………………………………………………………………………….... 6 INTRODUCTION ………………………………………………………………………..... 7 - Wu Ming and the New Italian Epic …………………………………………………. 7 - Postmodern Impegno ……………………………………………………………….. 12 - History and Memory ……………………………………………………………….. 15 - Representing Reality in the Digital Age ………………………………………….... 20 - Structure and Organisation …………………………………………………………. 25 CHAPTER ONE ‘Nelle lettere italiane sta accadendo qualcosa’: The Memorandum on the New Italian Epic ……………………………………………………………………..... 32 - New ………………………………………………………………………………… 36 - Italian ……………………………………………………………………………….. 50 - Epic …………………………………………………………………………………. 60 CHAPTER TWO Periodisation ………………………………………………………….. 73 - 1993 ………………………………………………………………………………… 74 - 2001 ...........................................................................................................................
    [Show full text]
  • New Italian Epic - Avril 2008 - Traduction Française: Juin 2008
    Wu Ming 1 - New Italian Epic - Avril 2008 - Traduction française: Juin 2008 Wu Ming 1 Les semaines suivantes nous terminâmes le roman. Nous le confiâmes à l’éditeur peu de jours avant le début de la guerre d’Afghanistan. En NEW ITALIAN EPIC tout dernier lieu, nous écrivîmes une sorte de préambule, presque une Memorandum 1993-2008: Littérature narrative, poésie : point de vue oblique, retour vers le futur Il n’y a pas d’ «après-guerre». Traduit par Estelle Paint Les sots appelaient «paix» le simple éloignement du front. Les sots défendaient la paix en soutenant le bras armé de l’argent. Au-delà de la première dune les combats se poursuivaient. Des crocs Datta; Qu’avons-nous donné? d’animaux chimériques enfoncés dans les chairs, le Ciel plein d’acier et Mon ami le sang affolant le cœur de fumée, des cultures entières arrachées à la Terre. L’épouvantable audace d’un instant de faiblesse Les sots combattaient les ennemis d’aujourd’hui en nourrissant ceux de Qu’un siècle de prudence ne saurait racheter demain. Nous avons existé par cela, cela seul Les sots bombaient le torse, parlaient de «liberté», de «démocratie», Qui n’est point consigné dans nos nécrologies d’ «ici chez nous», en mangeant les fruits de razzias et de pillages. Ni dans les souvenirs que drape la bonne aragne Ils défendaient la civilisation contre des ombres chinoises de dinosaures. Ni sous les sceaux que brise le notaire chafoin Ils défendaient la planète contre des simulacres d’astéroïdes. Dans nos chambre vacantes Ils défendaient l’ombre chinoise d’une civilisation.
    [Show full text]
  • A Socio-Economic Study of the Camorra Through Journalism
    A SOCIO-ECONOMIC STUDY OF THE CAMORRA THROUGH JOURNALISM, RELIGION AND FILM by ROBERT SHELTON BELLEW (under the direction of Thomas E. Peterson) ABSTRACT This dissertation is a socio-economic study of the Camorra as portrayed through Roberto Saviano‘s book Gomorra: Viaggio nell'impero economico e nel sogno di dominio della Camorra and Matteo Garrone‘s film, Gomorra. It is difficult to classify Saviano‘s book. Some scholars have labeled Gomorra a ―docufiction‖, suggesting that Saviano took poetic freedoms with his first-person triune accounts. He employs a prose and news reporting style to narrate the story of the Camorra exposing its territory and business connections. The crime organization is studied through Italian journalism, globalized economics, eschatology and neorealistic film. In addition to igniting a cultural debate, Saviano‘s book has fomented a scholarly consideration on the innovativeness of his narrative style. Wu Ming 1 and Alessandro Dal Lago epitomize the two opposing literary camps. Saviano was not yet a licensed reporter when he wrote the book. Unlike the tradition of news reporting in the United States, Italy does not have an established school for professional journalism instruction. In fact, the majority of Italy‘s leading journalists are writers or politicians by trade who have gravitated into the realm of news reporting. There is a heavy literary influence in Italian journalism that would be viewed as too biased for Anglo- American journalists. Yet, this style of writing has produced excellent material for a rich literary production that can be called engagé or political literature. A study of Gomorra will provide information about the impact of the book on current Italian journalism.
    [Show full text]
  • Occupation Culture Art & Squatting in the City from Below
    Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons.
    [Show full text]
  • Storie Ribelli La Narrativa Contemporanea Intorno Alla Resistenza
    Storie ribelli La narrativa contemporanea intorno alla Resistenza Il Comune di Firenze e l’Istituto Storico della Resistenza in Toscana (ISRT), in collaborazione con la Biblioteca delle Oblate e l'Associazione culturale Venti Lucenti, propongono un percorso di lettura e riflessione su autori contemporanei che hanno trattato il tema del Fascismo e della Liberazione in Italia. Giulio Questi, Uomini e comandanti, Torino: Einaudi, 2014 LETTERATURA NARRATIVA 853.9 QUEST “Il miracolo di Giulio Questi è la scrittura di una Resistenza, insieme, tutta cose e tutta favole” Angelo Bendotti, presidente Isrec Bergamo L'autore Giulio Questi ha partecipato giovanissimo alla guerra di liberazione tra Val Seriana e Val Brembana (Bergamo). La passione letteraria per Questi nasce al liceo classico Sarpi di Città Alta di Bergamo. Nel 1946 contribuisce, insieme a un gruppo di giovani antifascisti, alla nascita a Bergamo della rivista La Cittadella e da quest’esperienza nascono i contatti con Elio Vittorini e la collaborazione, dal 1947, con la sua rivista di politica e cultura Il Politecnico. Vincitore del Premio Chiara 2014, ex partigiano poi regista di culto, è morto a 90 anni nel dicembre del 2014. «Per tutta la vita non ho mai potuto fare a meno di scrivere, da quello che stavo vivendo fino alle sceneggiature dei miei film - racconta Questi - ammucchiando tanti racconti. Ma non ho mai cercato un editore. È stato Bendotti a convincermi a raccogliere gli scritti sulla Resistenza e l’immediato Dopoguerra». Trama L'ex partigiano “Costola” Giulio Questi (Bergamo, 18 marzo 1924 – Roma, 3 dicembre 2014) racconta storie basate sulla sua esperienza, avendo partecipato alla Liberazione tra Val Seriana e Val Brembana.
    [Show full text]
  • To Conquer the Anonymous Authorship and Myth in the Wu Ming Foundation
    05 Thoburn_CC #78 7/15/2011 10:59 Page 119 TO CONQUER THE ANONYMOUS AUTHORSHIP AND MYTH IN THE WU MING FOUNDATION Nicholas Thoburn It is said that Mao never forgave Khrushchev for his 1956 “Secret Speech” on the crimes of the Stalin era (Li, 115–16). Of the aspects of the speech that were damaging to Mao, the most troubling was no doubt Khrushchev’s attack on the “cult of personality” (7), not only in Stalin’s example, but in principle, as a “perversion” of Marxism. As Alain Badiou has remarked, the cult of personality was something of an “invariant feature of communist states and parties,” one that was brought to a point of “paroxysm” in China’s Cultural Revolution (505). It should hence not surprise us that Mao responded in 1958 with a defense of the axiom as properly communist. In delineating “correct” and “incorrect” kinds of personality cult, Mao insisted: “The ques- tion at issue is not whether or not there should be a cult of the indi- vidual, but rather whether or not the individual concerned represents the truth. If he does, then he should be revered” (99–100). Not unex- pectedly, Marx, Engels, Lenin, and “the correct side of Stalin” are Mao’s given examples of leaders that should be “revere[d] for ever” (38). Marx himself, however, was somewhat hostile to such practice, a point Khrushchev sought to stress in quoting from Marx’s November 1877 letter to Wilhelm Blos: “From my antipathy to any cult of the individ - ual, I never made public during the existence of the International the numerous addresses from various countries which recognized my merits and which annoyed me.
    [Show full text]
  • VCU Open 2013 Round #1
    VCU Open 2013 Round 1 Tossups 1. English-language revivals of this play in the 2000s drew much political attention when a character proclaimed “The instrument God places in my hand is terror.” A blind cardinal asks the king in this play “When you whine for sympathy, is not the world your equal?” after revealing that the man killed, following his mail being opened by Raimond de Taxis, was actually a wandering monk. The Marchioness of Mondecar is sent away from court in this play after admitting to a garden rendezvous with the title character, though the king is himself having an affair with the Princess of Eboli. Tension in this play draws from the marriage of the king to Elizabeth of Valois, whom the title character formerly pursued. Following the death of the Marquis of Posa, the title infante is given to the Inquisition by the vindictive Philip II. For 10 points, identify this play by Friedrich Schiller. ANSWER: Don Carlos, Infant von Spanien 019-13-64-01101 2. Supposedly, after this man purchased a newspaper from a future leader of his country, that man claimed "I can’t waste any more time on you". One critic of a policy negotiated by this man's Minister of Finance, William Fielding, was his former Minister of the Interior, Clifford Sifton. He was accused of being "un vendu" by Henri Bourassa. This replacement of Charles Tupper created his nation’s "tin pot" navy when he signed the Naval Service Bill. This longest continuous serving member of the Canadian Parliament is also the longest serving head of the Liberal Party.
    [Show full text]
  • From Text to Screen/From Screen to Text. Collaborative Narratives in Twenty-First Century Italian Fiction: the Wu Ming Case Patti, Emanuela
    University of Birmingham From text to screen/From screen to text. Collaborative narratives in twenty-first century Italian fiction: the Wu Ming case Patti, Emanuela DOI: 10.3828/jrs.2016.160104 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Patti, E 2016, 'From text to screen/From screen to text. Collaborative narratives in twenty-first century Italian fiction: the Wu Ming case', Journal of Romance Studies, vol. 16, no. 1, pp. 39-61. https://doi.org/10.3828/jrs.2016.160104 Link to publication on Research at Birmingham portal Publisher Rights Statement: Final Version of Record published as above Checked for eligibility: 07/10/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • The Wu Ming Foundation: a Collective Approach to Literature, Art, and Politics in 21St Century Italy
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-8-2016 The uW Ming Foundation: A Collective Approach to Literature, Art, and Politics in 21st Century Italy Melina A. Masterson University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Masterson, Melina A., "The uW Ming Foundation: A Collective Approach to Literature, Art, and Politics in 21st Century Italy" (2016). Doctoral Dissertations. 1284. https://opencommons.uconn.edu/dissertations/1284 The Wu Ming Foundation: A Collective Approach to Literature, Art, and Politics in 21st Century Italy Melina Anne Masterson, PhD University of Connecticut, 2016 The early 1990s marked a shift in modern Italian history with the advent of the Second Republic and the arrival of Silvio Berlusconi on the political and cultural scene. Berlusconi’s almost complete control of the country’s media, in addition to his political power as center-right prime minister, presented a unique challenge not only to democracy in general but to Italian culture in particular. It was in this context that Wu Ming, an ‘anonymous’ Bolognese writing collective emerged. In this study, I will argue that the group is both a unique product of and response to the period of 1993-2016, which runs from the start of the Second Republic, through the Berlusconi years and up to the elections of 2013 and the birth of Beppe Grillo’s “Five Star Movement.” This period also fully encompasses the literary, political, and cultural formation of the Wu Ming collective, from their beginnings as members of Luther Blissett to the publication of five of their collaboratively written novels (1999-2009) to their increased presence on social media platforms such as Twitter and Pinterest (2010-2016).
    [Show full text]