1 a Comparative History of Regime Change: Transitional Justice in Post
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La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
Chapter One: Introduction
CHANGING PERCEPTIONS OF IL DUCE TRACING POLITICAL TRENDS IN THE ITALIAN-AMERICAN MEDIA DURING THE EARLY YEARS OF FASCISM by Ryan J. Antonucci Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the History Program YOUNGSTOWN STATE UNIVERSITY August, 2013 Changing Perceptions of il Duce Tracing Political Trends in the Italian-American Media during the Early Years of Fascism Ryan J. Antonucci I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Ryan J. Antonucci, Student Date Approvals: Dr. David Simonelli, Thesis Advisor Date Dr. Brian Bonhomme, Committee Member Date Dr. Martha Pallante, Committee Member Date Dr. Carla Simonini, Committee Member Date Dr. Salvatore A. Sanders, Associate Dean of Graduate Studies Date Ryan J. Antonucci © 2013 iii ABSTRACT Scholars of Italian-American history have traditionally asserted that the ethnic community’s media during the 1920s and 1930s was pro-Fascist leaning. This thesis challenges that narrative by proving that moderate, and often ambivalent, opinions existed at one time, and the shift to a philo-Fascist position was an active process. Using a survey of six Italian-language sources from diverse cities during the inauguration of Benito Mussolini’s regime, research shows that interpretations varied significantly. One of the newspapers, Il Cittadino Italo-Americano (Youngstown, Ohio) is then used as a case study to better understand why events in Italy were interpreted in certain ways. -
Sandro Pertini
Sandro Pertini Alessandro Pertini è nato a Stella (Savona) il 25 settembre 1896. Laureato in giurisprudenza e in scienze sociali. Coniugato con Carla Voltolina. Ha partecipato alla prima guerra mondiale; ha intrapreso la professione forense e, dopo la prima condanna a otto mesi di carcere per la sua attività politica, nel 1926 è condannato a cinque anni di confino. Sottrattosi alla cattura, si è rifugiato a Milano e successivamente in Francia, dove ha chiesto e ottenuto asilo politico, lavorando a Parigi. Anche in Francia ha subito due processi per la sua attività politica. Tornato in Italia nel 1929, è stato arrestato e nuovamente processato dal tribunale speciale per la difesa dello Stato e condannato a 11 anni di reclusione. Scontati i primi sette, è stato assegnato per otto anni al confino: ha rifiutato di impetrare la grazia anche quando la domanda è stata firmata da sua madre. Tornato libero nell'agosto 1943, è entrato a far parte del primo esecutivo del Partito socialista. Catturato dalla SS, è stato condannato a morte. La sentenza non ha luogo. Nel 1944 è evaso dal carcere assieme a Giuseppe Saragat, ed ha raggiunto Milano per assumere la carica di segretario del Partito Socialista nei territori occupati dal Tedeschi e poi dirigere la lotta partigiana: è stato insignito della Medaglia d'Oro. Conclusa la lotta armata, si è dedicato alla vita politica e al giornalismo. E' stato eletto Segretario del Partito Socialista Italiano di unità proletaria nel 1945. E' stato eletto Deputato all'Assemblea Costituente. E' stato eletto Senatore della Repubblica nel 1948 e presidente del relativo gruppo parlamentare. -
Italian Fascism Between Ideology and Spectacle
Fast Capitalism ISSN 1930-014X Volume 1 • Issue 2 • 2005 doi:10.32855/fcapital.200502.014 Italian Fascism between Ideology and Spectacle Federico Caprotti In April 1945, a disturbing scene was played out at a petrol station in Piazzale Loreto, in central Milan. Mussolini’s body was displayed for all to see, hanging upside down, together with those of other fascists and of Claretta Petacci, his mistress. Directly, the scene showed the triumph of the partisans, whose efforts against the Nazis had greatly accelerated the liberation of the North of Italy. The Piazzale Loreto scene was both a victory sign and a reprisal. Nazis and fascists had executed various partisans and displayed their bodies in the same place earlier in the war. Indirectly, the scene was a symbolic reversal of what had until then been branded as historical certainty. Piazzale Loreto was a public urban spectacle aimed at showing the Italian people that fascism had ended. The Duce was now displayed as a gruesome symbol of defeat in the city where fascism had first developed. More than two decades of fascism were symbolically overcome through a barbaric catharsis. The concept of spectacle has been applied to Italian fascism (Falasca-Zamponi 2000) in an attempt to conceptualize and understand the relationship between fascist ideology and its external manifestations in the public, symbolic, aesthetic, and urban spheres. This paper aims to further develop the concept of fascism as a society of spectacle by elaborating a geographical understanding of Italian fascism as a material phenomenon within modernity. Fascism is understood as an ideological construct (on which the political movement was based) which was expressed in the symbolic and aesthetic realm; its symbolism and art however are seen as having been rooted in material, historical specificity. -
The Origins of the European Integration: Staunch Italians, Cautious British Actors and the Intelligence Dimension (1942-1946) Di Claudia Nasini
Eurostudium3w gennaio-marzo 2014 The Origins of the European Integration: Staunch Italians, Cautious British Actors and the Intelligence Dimension (1942-1946) di Claudia Nasini The idea of unity in Europe is a concept stretching back to the Middle Ages to the exponents of the Respublica Christiana. Meanwhile the Enlightenment philosophers and political thinkers recurrently advocated it as a way of embracing all the countries of the Continent in some kind of pacific order1. Yet, until the second half of the twentieth century the nationalist ethos of Europeans prevented any limitation of national sovereignty. The First World War, the millions of casualties and economic ruin in Europe made the surrendering of sovereignty a conceivable way of overcoming the causes of recurring conflicts by bringing justice and prosperity to the Old World. During the inter-war years, it became evident that the European countries were too small to solve by their own efforts the problem of a modern economy2. As a result of the misery caused by world economic crisis and the European countries’ retreating in economic isolationism, various forms of Fascism emerged in almost half of the countries of Europe3. The League of Nations failed to prevent international unrest because it had neither the political power nor the material strength to enable itself to carry 1 Cfr. Andrea Bosco, Federal Idea, vol. I, The History of Federalism from Enlightenment to 1945, London and New York, Lothian foundation, 1991, p. 99 and fll.; and J.B. Duroselle, “Europe as an historical concept”, in C. Grove Haines (ed.by) European Integration, Baltimore, 1958, pp. -
The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself. -
Criticism of “Fascist Nostalgia” in the Political Thought of the New Right
ACTA UNIVERSITATIS WRATISLAVIENSIS No 3866 Studia nad Autorytaryzmem i Totalitaryzmem 40, nr 3 Wrocław 2018 DOI: 10.19195/2300-7249.40.3.6 JOANNA SONDEL-CEDARMAS ORCID: 0000-0002-3037-9264 Uniwersytet Jagielloński Criticism of “fascist nostalgia” in the political thought of the New Right The seizure of power by the National Liberation Committee on 25th April, 1945 and the establishment of the republic on 2nd June, 1946 constituted the symbolic end to Mussolini’s dictatorship that had lasted for more than 20 years. However, it emerged relatively early that fascism was not a defi nitively closed chapter in the political and social life of Italy. As early as June of 1946, after the announcement of a presidential decree granting amnesty for crimes committed during the time of the Nazi-Fascist occupation between 1943 and 1945, the country saw a withdrawal from policies repressive towards fascists.1 Likewise, the national reconciliation policy gradually implemented in the second half of the 1940s by the government of Alcide De Gasperi, aiming at pacifying the nation and fostering the urgent re- building of the institution of the state, contributed to the emergence of ambivalent approaches towards Mussolini’s regime. On the one hand, Italy consequently tried to build its institutional and political order in clear opposition towards fascism, as exemplifi ed, among others, by a clause in the Constitution of 1947 that forbade the establishment of any form of fascist party, as well as the law passed on 20th June, 1 Conducted directly after the end of WW II, the epurazione action (purifi cation) that aimed at uprooting fascism, was discontinued on 22nd June 1946, when a decree of president Enrico De Nicola granting amnesty for crimes committed during the Nazi-Fascist occupation of Italy between 1943–1945 was implemented. -
And Bernardo Bertolucci's 1900
The “Betrayed Resistance” in Valentino Orsini’s Corbari (1970) and Bernardo Bertolucci’s 1900 (1976) Dominic Gavin The connections between Italian film and history have been the object of renewed attention in recent years. A number of studies have provided re-readings of Italian cinema, especially from the perspective of public memory. Charting the interrelations of cinema, the public use of history, and historiography, these studies include reevaluations of the cinema of the Resistance, the war film, the Holocaust and the Fascist dictatorship.1 The ongoing debates over Resistance memory in particular—the “never-ending liberation,” in the words of one historian—have provided a motive for reconsidering popular cultural productions as vehicles of collective perceptions of the past.2 If Italian film studies came relatively late to the issues of cinema and public memory, this approach has now become mainstream.3 In this essay, I am concerned with films on the Resistance during the 1970s. These belong to a wider grouping of contemporary cinematic productions that deal with the Fascist dictatorship and antifascism. These films raise a series of critical questions. How did the general film field contribute to the wider processing of historical memory, and how did it relate to political violence in Italy?4 To what extent did the work of Italian filmmakers participate in the “new discourse” of international cinema in the 1970s concerning the treatment of Nazism and the occupation,5 or to what extent were filmmakers engaged in reaffirming populist -
Tutti Gli Uomini Del Quirinale
mini dossier Tutti gli uomini del Quirinale I 12 Presidenti della Repubblica dal 1948 al 2015 Numero 1 | Gennaio 2015 Tutti gli uomini del Quirinale - I 12 Presidenti della Repubblica dal 1948 al 2015 mini dossier Sommario 3 INTRODUZIONE 5 CAPI DI STATO A CONFRONTO Le differenze nei Paesi UE • Età dei Capi di Stato Europei • Genere dei Capi di Stato Europei • Sistema istituzionale • Elezione diretta nelle Repubbliche Parlamentari 8 11 PRESIDENTI PER 12 Mandati Chi erano e cosa hanno fatto • I Presidenti delle Repubblica Italiana • Quale partito ha espresso più Presidenti • Cursus Honorum dei Presidenti della Repubblica • Gli incarichi più frequenti prima del Colle 11 IL PRESIDENTE RAPPRESEntantE DELL’uNITÀ NAZIONALE Gli scrutini necessari ed il consenso ottenuto • Elezione Presidente: i voti • Elezione Presidente: gli scrutini 14 IL PRESIDENTE E I GOVERNI Il ruolo politico del Quirinale • I Presidenti del Consiglio incaricati • Voto anticipato - i Presidenti che hanno sciolto le Camere • Il colore politico dei Presidenti e dei Governi 18 GLI atti DEI PRESIDENTI Senatori a vita, giudici, onorificenze e clemenze • Le nomine: Giudici Costituzionali e Senatori a vita • Le motivazioni dei Senatori a vita • Le clemenze concesse • Le onorificenze conferite 22 IL FUTUro DEL QUIRINALE Gli schieramenti dei grandi elettori • Elezioni Presidenziali 2013 - Chi ha votato? • Elezioni Presidenziali 2015 - Chi voterà? - Le proiezioni 25 I DISCORSI DEL PRESIDENTE Analisi testuali in 60 anni di Italia • 66 anni di discorsi - I più corti e i più lunghi • Verso un linguaggio diretto • Le tre parole più ricorrenti discorso dopo discorso • Le parole più ricorrenti in 66 discorsi di fine anno • Crisi, Giovani, Europa, Giustizia e Pace - 5 temi a confronto 2 mini dossier 24.047 i giorni di mandato totali dei 12 Presidenti 105 Introduzione scrutini totali per le elezioni dei 12 Presidenti 60 Il Presidente della Repubblica è garante della Costituzione, Capo governi nominati dello Stato italiano e rappresentante dell’unità nazionale. -
Reinventing Cities”
Milano Triennale, 25 Gennaio 2020 1 Struttura di “Reinventing Cities” Manifestazione 2 fasi Proposta d’interesse Regolamento Site Specific 2 tipologie di comune a tutte le Città Requirements-SSR partecipanti, a tutti i siti, ai requisiti specifici alle documenti team proponenti e alle quali devono attenersi i proposte team partecipanti e i progetti 2 Presentazione delle proposte devono essere conformi alle devono essere conformi agli specifiche e ai requisiti obiettivi, criteri e requisiti descritti in ciascun comuni elencati nel documento dei Requisiti Regolamento Specifici del Sito (SSR) i progetti devono affrontare le 10 sfide per il clima 1. Efficienza energetica ed energia a basse emissioni 2. Valutazione del ciclo di vita e gestione sostenibile dei materiali da costruzione 3. Mobilità a bassa emissione 4. Resilienza e adattamento climatico 5. Servizi ecologici per il territorio e lavori green 6. Gestione sostenibile delle risorse idriche 7. Gestione sostenibile dei rifiuti 8. Biodiversità, riforestazione urbana e agricoltura 9. Azioni inclusive, benefici sociali e impegno della comunità 10. Architettura e design urbano innovativo 3 Presentazione delle proposte architetti, esperti in campo ambientale, sviluppatori, investitori e appaltatori, titolari di progetti creativi, start-up, artisti, membri della comunità locale, stakeholders, etc. i team almeno una persona qualificata deve essere nominata come responsabile del progetto (ad esempio un architetto o un urbanista) e un esperto in campo ambientale si deve identificare un capogruppo -
Bruno Bara: Johnson-Laird, Teorico Della Mente Giovanni
Laura Balbo, Delia Frigessi; S.O.S. razzismo Bruno Bara: Johnson-Laird, teorico della mente Giovanni Cacciavillani: Flaubert inventa il moderno Italo Calvino, Eugenio Garin: Ricordi di Antonicelli Enzo Collotti, Antonio Giolitti: Germania ieri e oggi SALONE DEL LIBRO TORINO 12/18 MAGGIO 1989 TORINO ESPOSIZIONI Orario: Per il pubblico 12/16 Maggio ore 10.00-23.00 Per i visitatori professionali 17 Maggio ore 10.00-23.00 18 Maggio ore 10.00-14.00 HNDIIDEI LIBRI DELMESEBCFH RECENSORE AUTORE TITOLO 4 II Libro del Mese Mauro La Forgia Sigmund Freud, Albert Einstein Riflessioni a due sulle sorti del mondo Gian Alberto Viano Albert Einstein Opere scelte 5 Léon Van Hove risponde a Vittorio de Alfaro 6 Tullio Regge Albert Einstein Corrisoondenza con i Lincei 7 Giorgio Bert AA.VV. Attualità del pensiero e dell'opera di G.A. Maccacaro 8 Davide Lovisolo John Z. Young I filosofi e il cervello Barbara Testa W.I. Thompson (a cura di) Ecologia e autonomia 10 Gian Carlo Ferretti Valentino Bompiani Il mestiere dell'editore G. D'Ina, G. Zaccaria (a cura di) Caro Bompiani. Lettere con l'editore 11 Siegfried Unseld L'autore e il suo editore C. Sacchi (a cura di) Il carteggio Einaudi-Montale per "Le occasioni" Guido Barbera Guido Morselli Diario 12 Lidia De Federicis Gianfranco Bettin Qualcosa che brucia Anna Nadotti Sirkku Talja Non mi dimenticare 13 Francesco Rognoni George G. Byron Diari Racconti turchi 15 Poesia, poeti, poesie Carla Pomarè Gerald M. Hopkins li naufragio del Deutschland 16 Giovanni Cacciavillani Victor Brombert I romanzi di Flaubert Nathalie Sarraute Paul Valéry e l'elefantino. -
Music and History in Italian Film Melodrama, 1940-2010
Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 By Marina Romani A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Mary Ann Smart Professor Linda Williams Professor Mia Fuller Summer 2015 Abstract Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 by Marina Romani Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies University of California, Berkeley Professor Barbara Spackman, Chair Melodrama manifests itself in a variety of forms – as a film and theatre practice, as a discursive category, as a mode of imagination. This dissertation discusses film melodrama in its visual, gestural, and aural manifestations. My focus is on the persistence of melodrama and the traces it leaves on post-World War II Italian cinema: from the Neorealist canon of the 1940s to works that engage with the psychological and physical, private, and collective traumas after the experience of a totalitarian regime (Cavani’s Il portiere di notte, 1974), to postmodern Viscontian experiments set in a 21st-century capitalist society (Guadagnino’s Io sono l’amore, 2009). The aural dimension is fundamental as an opening to the epistemology of each film. I pay particular attention to the presence of operatic music – as evoked directly or through semiotic displacement involving the film’s aesthetic and expressive figures – and I acknowledge the existence of a long legacy of practical and imaginative influences, infiltrations and borrowings between the screen and the operatic stage in the Italian cinematographic tradition.