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Cultures and Contexts: Modern Italy NYU Core Curriculum, Fall 2013 Prof

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Cultures and Contexts: Modern Italy NYU Core Curriculum, Fall 2013 Prof Cultures and Contexts: Modern Italy NYU Core Curriculum, Fall 2013 Prof. Merjian, Tues/Thurs 11-12:15 This course examines the culture of modern Italy: a nation younger than the United States, yet steeped in all manner of millennial traditions, linguistic dialects, and regional artistic and economic customs. “We have made Italy; we must now make Italians.” Thus declared the politician and writer Massimo d’Azeglio following the country’s belated unification in 1861. How has Italy attempted to “make Italians” over the last century? What forms of culture could unify a people so diverse in origins and aspirations? Has the country managed to transform itself from a “geographic idea” to a cultural reality? Aside from commonplaces – rolling hills, historical landmarks, beloved cuisine, fashion runways – what are the bel paese’s most salient cultural characteristics, and why do they matter? The course proceeds chronologically, and thus provides a basic overview of modern Italy’s historical and cultural trajectory: the optimism and disillusionment of the Giolitti period following national unification; the heady trial-by-fire of World War One and Futurist interventions; the revolutionary flowerings of Fascism and its hardening into an increasingly repressive regime; tensions between Fascist radicalism and reaction, autarchy and imperialism; the values of the Resistance and the realist aesthetic that formed their chief vehicle; the afterlife of Gramscian cultural theory; the cultural politics of the Cold War and the Economic Miracle; the lure of consumerism and Italy’s embattled anthropological “others”; the countercultural currents of the “long 1968” movements; the Years of Lead and dueling terrorisms; the Second Republic and Berlusconi’s Videocracy; the prospect of a multicultural Italy. Along the way, we will examine cultural manifestations in various visual, verbal, and material forms: manifestos, cinema, literature, popular music, poetry, architecture, painting, television, exhibitions, and journalism. At the heart of the course is what the historian Christopher Duggan has called Italy’s “long dialectic with modernity”: the fraught effort to make and remake the country in the image of its century. We will attend to the tensions between materialism and idealism, antiquity and innovation, industry and agrarianism, mass media and regional identity, high and low cultural forms and their increasing intersection in the twentieth and twenty-first centuries. We will study in close detail the cultural politics of the Fascist period and its aftermath – decades that still shape aspects of Italy’s identity – and will interrogate phenomena such as leisure, consent, opposition, and resistance, as well as their relevance to contemporary life. The course is taught in English. All readings are provided in English, and, when possible, in Italian (for those who wish to read materials in original language). Prof. Ara H. Merjian / [email protected] / Casa Italiana, 406 / / 212 998 8789 Office hrs: Tues., 12:30-1:30; Thurs. 1:30-3:30, Casa Italiana, 406; or by appt. Tchg. Assts: Rachel Love: [email protected] Kristin Szostek Chertoff: [email protected] Recitations Fr 8:00AM - 9:15AM; 25W4 Room:C-9 [Szostek Chertoff] Fr 9:30AM - 10:45AM; 25W4 Room:C-9 [Szostek Chertoff] Fr 8:00AM - 9:15AM; SILV Room:500 [Love] Fr 9:30AM - 10:45AM; SILV Room:500 [Love] Requirements and Evaluation Attendance and participation are vital to the successful completion of this course. Attendance is required and taken. Unexcused absences will negatively impact your final grade; students with more than four unexcused absences (lecture or recitation) are liable to automatic failure. All relevant images will be posted on Classes well in advance of exams. Details/reminders regarding papers will be distributed in advance of deadlines. In order to pass this course, all requirements must be completed satisfactorily. Class/section attendance, participation, and contribution to discussion…….20% Short Manifesto……………………………………………………………….5% First Paper……………………………………………………………………10% Midterm exam……………………………………………………………….20% 7-page paper…………………………………………………………………25% Final exam…………………………………………………………………...20% Important Notes *You are expected to complete listed readings in advance of lecture and recitation; participation in class discussions forms a vital part of the course *There will be no excuses for late papers or missed examinations with the exception of a doctor’s letter or a documented family emergency. Late papers will be downgraded a half- mark for each day late (i.e. B+ to B; A- to B+…). *Make-up exams can only be taken with a verified medical or similarly serious excuse approved by Prof. Merjian *Papers must include a bibliography and footnotes or parenthetical citation to any author cited or used as a source of argument and/or information. Please review the university’s policy on plagiarism as it will be strictly enforced. *The internet at large, and Google in particular, are valuable tools for quick facts, bibliographic checks, image reference, etc., but should not be used for the research or recycling of scholarly materials. *For each lecture’s readings, prepare 3 questions that you would yourself ask on a pop quiz, were you to write one. *Please feel free to come see Prof. Merjian or your TA in office hours *If you have any problems accessing “NYU Classes,” you may call ITS Client Services Center (www.nyu.edu/its/helpdesk) at 212-998-3333. Course Meetings and Deadlines Tues, Sept. 3: Introduction and Overview Thurs, Sept 5: Making Italians Tues. Sept 10: Futurism, Politics, and Culture Thursd, Sept 12: World War I and Futurism Tuesd, Sept 17: The Red and the Black *[Manifesto Due] Thursd. Sept 19: Fascism and Culture 1 Tuesd. Sept. 24: Fascism and Culture 2 Thursd. Sept. 26: Fascism and Culture 3 Tuesday Oct. 1: Fascism and Culture 4 *[First Paper due; 4 pages] Thursday Oct. 3: Fascism and Culture 5 Tues. Oct. 8: Fascism and Culture 6 Thurs. Oct 10: Midterm Examination Tues Oct. 15: No Class / Fall Recess Thurs. Oct. 17: Realism and the Resistance Tues. Oct. 22: Neorealism 1 Thurs. Oct. 24: Neorealism 2 Tues. Oct. 29: Neorealism 3 Thurs. Oct. 31: The Other Italy Tues. Nov. 5: Pasolini/Gramsci *[Final Paper Topic Due; abstract and prelim. bibliog.] Thurs. Nov. 7: Pasolini Tues. Nov. 12: Boom! Thurs. Nov. 14: Years of Lead Tues. Nov. 19: Italy’s ‘70s Counterculture *[Final Paper Draft Due] Thurs. Nov. 21: Italy’s ‘70s Counterculture Tues. Nov. 26: Yervant Gianikian and Angela Ricci Lucchi Thursd. Nov. 28: No Class Meeting / Thanksgiving Tues. Dec. 3: Berlusconi and The Second Republic Thurs. Dec. 5: A Multicultural Italy? *[Final Paper Due; 7-8 pages] Tues. Dec. 10: Back to the Future Thurs. Dec. 12: Conclusion and Review Final Exam TBA LECTURES and ASSIGNMENTS ( Key: [R] = Required, [Rec] = Recommended, [O] = Optional/Further background ) Tues, Sept. 3: Introductions and Overview Thurs, Sept 5: “Making Italians” - [R] Adrian Lyttelton, “Society and Culture in the Italy of Giolitti,” pp. 23-31 - [R] John Dickie, “Imagined Italies,” from Italian Cultural Studies, pp. 19-33 - [O] Christopher Duggan, A Concise History of Italy, pp. 117-204 Tues. Sept 10: Futurism, Politics, and Culture - [R] F.T. Marinetti, “The Founding and Manifesto of Futurism” (1909), Futurist Manifestos, pp. 19-24; “First Futurist Political Manifesto” (1909), Critical Writings pp. 49-50 - [R] Umberto Boccioni et. al., “Manifesto of the Futurist Painters,” Futurist Manifestos, pp. 24-26 - [R] Jeffrey Schnapp, “Forwarding Address,” from Fascism and Culture, pp. 53-80 - [Rec] Mary Ann Caws, “The Poetics of the Manifesto: Nowness and Newness,” from Manifesto: A Century of Isms, pp. ix-xxxi - [O] Marjorie Perloff, “Violence and Precision: The Manifesto as an Art Form,” pp. 80-115 - [O] F.T. Marinetti, “The Necessity and Beauty of Violence” (1910), Critical Writing pp. 60-72 - [O] Giovanni Lista, “The Activist Model,” South Central Review, pp. 13-34 - [O] Christopher Duggan, A Concise History of Italy, pp. 171-204 - [O] http://www.youtube.com/watch?v=JC1wBf-LJ20 Thursd, Sept 12: World War I and Futurism - [R] F.T. Marinetti, “War, Sole Cleanser of the World,” in Critical Writings pp. 53-54 - [R] Flavio Fergonzi, “Carlo Carrà, Interventionist Demonstration,” from Masterpieces of the Mattioli Collection, pp. 205-209. - [R] Tisdall and Bozzolla, “Art of the War Years and After,” from Futurism, pp. 177-199. - [R] Giacomo Balla and Fortunato Depero, “The Futurist Reconstruction of the Universe” (1915) - [O] Carlo Carra: “Warpainting” (extracts) (1915), Futurist Manifestos, pp. 202- 205 - [O] Christine Poggi, “Futurist Collage in the Service of War,” In Defiance of Painting, pp. 228-251 - [O] Jeffrey T. Schnapp, “Politics and Poetics in Marinetti's Zang Tumb Tuuum,” 75-92 - [O] Cinzia Blum, “The Futurist Refashioning of the Universe,” South Central Review - [O] Christopher Duggan, A Concise History of Italy, pp. 117-204 - [O] http://www.unknown.nu/futurism/ Tuesd, Sept 17: The Red and the Black: The Red Biennium to the March on Rome - [R] Emily Braun, “Mario Sironi’s Urban Landscapes: The Futurist/Fascist Nexus,” i Fascist Visions, pp. 101-127 - [R] Benito Mussolini, “The Political and Social Doctrine of Fascism,” in Fascism: An Anthology, pp. 39-45 - [Rec] F.T. Marinetti, “The Founding of the Fasci di Combattimento,” pp. 287-289; “Fascism and the Milan Speech,” in Critical Writings, pp. 289-290; - [O] George Orwell, “What is Fascism?” (1944), pp. 1-3 - [O] Christopher Duggan, A Concise History of Italy, pp. 195-204 *Manifesto Due in Class Thursd. Sept 19: The Cult of the Duce - Piero Melograni,“The Cult of the Duce in Mussolini's Italy,” Journal of Contemporary History, pp. 221-237 - [R] F.T. Marinetti, “Portrait of Mussolini” (1929), Selected Writings, 158-159 - [O] Christopher Duggan, A Concise History of Italy, pp. 205-214 Tuesd. Sept. 24: Fascist Culture or Culture under Fascism? - [R] Giuseppe Bottai, “Outcome of the Fascist Art Inquiry” (1927), pp. 266-272 - [R] Jeffrey Schnapp, “The People's Glass House,” South Central Review, pp.
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