The Power Vacuum in Italy Pier Paolo Pasolini
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Italian Literature and Civilization: from the Twentieth Century to Today
Université catholique de Louvain - Italian literature and civilization: from the twentieth century to today - en-cours-2019-lrom1373 lrom1373 Italian literature and civilization: from 2019 the twentieth century to today In view of the health context linked to the spread of the coronavirus, the methods of organisation and evaluation of the learning units could be adapted in different situations; these possible new methods have been - or will be - communicated by the teachers to the students. 5 credits 22.5 h + 15.0 h Q2 Teacher(s) Maeder Costantino ; Language : Italian Place of the course Louvain-la-Neuve Prerequisites LFIAL1175, LROM1170 The prerequisite(s) for this Teaching Unit (Unité d’enseignement – UE) for the programmes/courses that offer this Teaching Unit are specified at the end of this sheet. Main themes The course offers students an interdisciplinary presentation of Italian literature, history and history of art from the 20th century to the present day. From the linguistic point of view, students will be introduced to academic writing in Italian. Aims - should know the broad outlines of the cultural history of Italy from the nineteenth and twentieth centuries; - have developed the ability to follow a course in Italian; - should be able to understand Italian literary, philosophical, journalistic, cinematic texts; 1 - should be able to provide information on major events of the nineteenth and twentieth century, by analyzing in parallel how they represent the different sources (written and audiovisual); - have developed a high language proficiency in Italian and autonomy in research. - - - - The contribution of this Teaching Unit to the development and command of the skills and learning outcomes of the programme(s) can be accessed at the end of this sheet, in the section entitled “Programmes/courses offering this Teaching Unit”. -
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1 COPYRIGHT Dieses Manuskript ist urheberrechtlich geschützt. Es darf ohne Genehmigung nicht verwertet werden. Insbesondere darf es nicht ganz oder teilweise oder in Auszügen abgeschrieben oder in sonstiger Weise vervielfältigt werden. Für Rundfunkzwecke darf das Manuskript nur mit Genehmigung von Deutschlandradio Kultur benutzt werden. KULTUR UND GESELLSCHAFT Organisationseinheit : 46 Reihe : LITERATUR Kostenträger : P 62 300 Titel der Sendung : Das bittere Leben. Zum 100. Geburtstag der italienischen Schriftstellerin Elsa Morante AutorIn : Maike Albath Redakteurin : Barbara Wahlster Sendetermin : 12.8.2012 Regie : NN Besetzung : Autorin (spricht selbst), Sprecherin (für Patrizia Cavalli und an einer Stelle für Natalia Ginzburg), eine Zitatorin (Zitate und Ginevra Bompiani) und einen Sprecher. Autorin bringt O-Töne und Musiken mit Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig © Deutschlandradio Deutschlandradio Kultur Funkhaus Berlin Hans-Rosenthal-Platz 10825 Berlin Telefon (030) 8503-0 2 Das bittere Leben. Zum hundertsten Geburtstag der italienischen Schriftstellerin Elsa Morante Von Maike Albath Deutschlandradio Kultur/Literatur: 12.8.2012 Redaktion: Barbara Wahlster Regie: Musik, Nino Rota, Fellini Rota, „I Vitelloni“, Track 2, ab 1‘24 Regie: O-Ton Collage (auf Musik) O-1, O-Ton Patrizia Cavalli (voice over)/ Sprecherin Sie war schön, wunderschön und sehr elegant. Unglaublich elegant und eitel. Sie besaß eine großartige Garderobe. O-2, O-Ton Ginevra Bompiani (voice over)/ Zitatorin Sie war eine ungewöhnliche Person. Anders als alle anderen. O- 3, Raffaele La Capria (voice over)/ Sprecher An Elsa Morante habe ich herrliche Erinnerungen. -
Il Castellet 'Italiano' La Porta Per La Nuova Letteratura Latinoamericana
Rassegna iberistica ISSN 2037-6588 Vol. 38 – Num. 104 – Dicembre 2015 Il Castellet ‘italiano’ La porta per la nuova letteratura latinoamericana Francesco Luti (Universitat Autònoma de Barcelona, España) Abstract This paper seeks to recall the ‘Italian route’ of the critic Josep Maria Castellet in the last century, a key figure in Spanish and Catalan literature. The Italian publishing and literary worlds served as a point of reference for Castellet, and also for his closest literary companions (José Agustín Goytisolo and Carlos Barral). All of these individuals formed part of the so-called Barcelona School. Over the course of at least two decades, these men managed to build and maintain a bridge to the main Italian publishing houses, thereby opening up new opportunities for Spanish literature during the Franco era. Thanks to these links, new Spanish names gained visibility even in the catalogues of Italian publishing houses. Looking at the period from the mid- 1950s to the end of the 1960s, the article focuses on the Italian contacts of Castellet as well as his publications in Italy. The study concludes with a comment on his Latin American connections, showing how this literary ‘bridge’ between Barcelona and Italy also contributed to exposing an Italian audience to the Latin American literary boom. Sommario 1. I primi contatti. – 2. Dario Puccini e i nuovi amici scrittori. – 3. La storia italiana dei libri di Castellet. – 4. La nuova letteratura proveniente dall’America latina. Keywords Literary relationships Italy-Spain. 1950’s 1960’s. Literary criticism. Spanish poetry. Alla memoria del Professor Gaetano Chiappini e del ‘Mestre’ Castellet. -
The Center-Right in a Search for Unity and the Re-Emergence of the Neo
The center-right in a search for unity and the re-emergence of the neo-fascist right Elisabetta De Giorgi a and Filippo Tronconi b aPortugese Institute of International Relations (IPRI), Universidade Nova de Lisboa, Lisbon, Portugal; bDepartment of Social and Political Sciences, University of Bologna, Bologna, Italy ABSTRACT In 2017, the parties of the centre-right camp – Silvio Berlusconi’sForza Italia, Matteo Salvini’s (Northern) League and Giorgia Meloni’sFratelli d’Italia – faced the puzzle of deciding whether to participate in the imminent general elections as allies or as rivals. On the one hand they had partially different aims (especially in relation to the European Union issue) and the problem of choosing the leadership of the alli- ance; on the other, the new electoral system, partially based on single- member districts, forced them to present common candidates in order to maximize their chances of reaching a majority of seats in parliament. In this article, we outline the stages through which the centre-right parties attempted to solve this puzzle over the course of the year, finally reaching an agreement to make a formal electoral alliance. In the final section of the article, we focus on one additional political actor of the right wing: the neo-fascist movements, notably Forza Nuova and CasaPound, which received significant media coverage during 2017. We describe how these movements were able to gain center stage and what this implied for the mainstream centre-right parties. In a way, the year 2017 began for the center-right on January 21 in Koblenz. On that date the leaders of the main extreme right parties in Europe came together in the German city for an event showcasing the visions and political aims that they shared. -
William Weaver Papers, 1977-1984
http://oac.cdlib.org/findaid/ark:/13030/kt4779q44t No online items Finding Aid for the William Weaver Papers, 1977-1984 Processed by Lilace Hatayama; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2005 The Regents of the University of California. All rights reserved. Finding Aid for the William 2094 1 Weaver Papers, 1977-1984 Descriptive Summary Title: William Weaver Papers Date (inclusive): 1977-1984 Collection number: 2094 Creator: Weaver, William, 1923- Extent: 2 boxes (1 linear ft.) Abstract: William Weaver (b.1923) was a free-lance writer, translator, music critic, associate editor of Collier's magazine, Italian correspondent for the Financial times (London), music and opera critic in Italy for the International herald tribune, and record critic for Panorama. The collection consists of Weaver's translations from Italian to English, including typescript manuscripts, photocopied manuscripts, galley and page proofs. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Advance notice required for access. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. -
Challenger Party List
Appendix List of Challenger Parties Operationalization of Challenger Parties A party is considered a challenger party if in any given year it has not been a member of a central government after 1930. A party is considered a dominant party if in any given year it has been part of a central government after 1930. Only parties with ministers in cabinet are considered to be members of a central government. A party ceases to be a challenger party once it enters central government (in the election immediately preceding entry into office, it is classified as a challenger party). Participation in a national war/crisis cabinets and national unity governments (e.g., Communists in France’s provisional government) does not in itself qualify a party as a dominant party. A dominant party will continue to be considered a dominant party after merging with a challenger party, but a party will be considered a challenger party if it splits from a dominant party. Using this definition, the following parties were challenger parties in Western Europe in the period under investigation (1950–2017). The parties that became dominant parties during the period are indicated with an asterisk. Last election in dataset Country Party Party name (as abbreviation challenger party) Austria ALÖ Alternative List Austria 1983 DU The Independents—Lugner’s List 1999 FPÖ Freedom Party of Austria 1983 * Fritz The Citizens’ Forum Austria 2008 Grüne The Greens—The Green Alternative 2017 LiF Liberal Forum 2008 Martin Hans-Peter Martin’s List 2006 Nein No—Citizens’ Initiative against -
Pier Paolo Pasolini Published on Iitaly.Org (
A Voice that Could not Be Silenced: Pier Paolo Pasolini Published on iItaly.org (http://www.iitaly.org) A Voice that Could not Be Silenced: Pier Paolo Pasolini Natasha Lardera (November 05, 2015) Organized by Casa Italiana Zerilli Marimò's theater company in residence, Kairos Italy Theater, and co-hosted with the Italian Cultural Institute, Pasolini 1975-2015 was a special treat for admirers of all ages. A surprise after the other provided additional insight into the life and art of the beloved Italian director. Among the guests, Gabriella Maione who starred in The Decameron and Guy Flatley who interviewed Pasolini back in 1969 while he was in New York. “He is dark and somewhat frail, a handsome man with hollow cheeks and black circles beneath his eyes.” In just a few words New York Times journalist Guy Flatley described the Italian film director sitting across from him: Pier Paolo Pasolini. It was 1969, Pasolini [2]was in New York participating at the New York Film Festival with the film Teorema. “He was a lovely person, but I thought he was a bit stiff,” Flatley recalled on November 2, 2015, 40 years after the filmmaker's death, at a special celebration, Pasolini 1975-2015, held at Casa Italiana Zerilli Marimò [3]. Page 1 of 3 A Voice that Could not Be Silenced: Pier Paolo Pasolini Published on iItaly.org (http://www.iitaly.org) Organized by Casa's theater company in residence, Kairos Italy Theater [4], and co-hosted with the Italian Cultural Institute [5], the evening was a special treat for admirers of all ages. -
Pier Paolo Pasolini
Consorzio per la Pubblica Lettura “S. Satta” PIER PAOLO PASOLINI 1922-1975 Pier Paolo Pasolini nasce il 5 marzo del 1922 a Bologna. Primogenito di Carlo Alberto Pasolini, tenente di fanteria, e di Susanna Colussi, maestra elementare. Il padre, di vecchia famiglia ravennate, di cui ha dissipato il patrimonio, sposa Susanna nel dicembre del 1921 a Casarsa. Dopodiché gli sposi si trasferiscono a Bologna. Lo stesso Pasolini dirà di se stesso: "Sono nato in una famiglia tipicamente rappresentativa della società italiana: un vero prodotto dell'incrocio... Un prodotto dell'Unità' d'Italia. Mio padre discendeva da un'antica famiglia nobile della Romagna, mia madre, al contrario, viene da una famiglia di contadini friulani che si sono a poco a poco innalzati, col tempo, alla condizione piccolo-borghese. Dalla parte di mio nonno materno erano nel ramo della distilleria. La madre di mia madre era piemontese, ciò non le impedì affatto di avere egualmente legami con la Sicilia e la regione di Roma" Nel 1925, a Belluno, nasce il secondogenito, Guido. Visti i numerosi spostamenti, l'unico punto di riferimento della famiglia Pasolini rimane Casarsa. Pier Paolo vive con la madre un rapporto di simbiosi, mentre si accentuano i contrasti col padre. Guido invece vive in una sorta di venerazione per lui, ammirazione che lo accompagnerà fino al giorno della sua morte. Nel 1928 è l'esordio poetico: Pier Paolo annota su un quadernetto una serie di poesie accompagnate da disegni. Il quadernetto, a cui ne seguirono altri, andrà perduto nel periodo bellico. Ottiene il passaggio dalle elementari al ginnasio che frequenta a Conegliano. -
Consensus for Mussolini? Popular Opinion in the Province of Venice (1922-1943)
UNIVERSITY OF BIRMINGHAM SCHOOL OF HISTORY AND CULTURES Department of History PhD in Modern History Consensus for Mussolini? Popular opinion in the Province of Venice (1922-1943) Supervisor: Prof. Sabine Lee Student: Marco Tiozzo Fasiolo ACADEMIC YEAR 2016-2017 2 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Declaration I certify that the thesis I have presented for examination for the PhD degree of the University of Birmingham is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of my words. 3 Abstract The thesis focuses on the response of Venice province population to the rise of Fascism and to the regime’s attempts to fascistise Italian society. -
L'espressione Della Dicotomia Tra Artista E Società Nella Smania Dello
Note biografiche Viola Ardeni is a Ph.D. student in the Department of Italian at UCLA. She earned her M.A. in Italian Literature from UCLA in 2014 and her Laurea Specialistica in Italian Studies at the University of Bologna, where she completed a thesis on Elsa Morante’s Il mondo salvato dai ragazzini. Her current research focuses on Italian and French children’s literature. Her other scholastic interests include Italian literature and linguistics, comparative literature, and literary theory. Dalila Colucci is a Ph.D. candidate in Italian Studies at Harvard University. She graduated from the University of Pisa and the Scuola Normale Superiore in 2010 in Italian. Her research interests include Modern and Contemporary Italian Literature, Italian Futurism and the European Avant-garde, Visual Poetry, Travel Literature and reportages. She has worked on the intersections between prose and poetry in twentieth-century authors, publishing a monograph on Goffredo Parise (Nessuno crede al merlo d’acqua� Le ultime Poesie di Goffredo Parise, [Isernia: Cosmo Iannone, 2011]) and various other articles. She is currently working on the poems of Carlo Emilio Gadda, and is also one of the curators of the exhibit “Africa it is Another Story: Looking Back at Italian Colonialism,” opened on April 4, 2014 in the Pusey Library. Simonetta Falasca-Zamponi is a professor of Sociology at the University of California, Santa Barbara. Her research interests mainly fall within the areas of politics and culture. More specifically, she is concerned with studying the political as a site of cultural discourse, cultural identity, and cultural production. Her book, Fascist Spectacle: The Aesthetics of Power in Mussolini’s Italy (Berkeley: University of California Press, 1997) employed the category of “aesthetic politics” to analyze the role that symbolic discourse—in the guise of myths, rituals, images and speeches—played in the making of the fascist regime and the construction of Mussolini’s power. -
The Soundscape of Pier Paolo Pasolini's the Gospel According To
Nicola Martellozzo The Soundscape of Pier Paolo Pasolini’s The Gospel According to St. Matthew (1964) ABSTRACT Il Vangelo secondo Matteo (The Gospel According to St. Matthew, IT/FR 1964), by the Italian film director Pier Paolo Pasolini, is one of the most interesting and widely acclaimed film representations of the life of Jesus. Its reception in the Catholic world has reflected the alternating fortunes of Pasolini himself, but over the years critics have come to fully appreciate its merits. While the director made faithful use of the dialogue in the Gospel, he constructed a new – but plausible – imagination, or “architecture of reality”, based on an intertextual code with intersecting pictorial, architectural, biblical and sound references. This essay aims in particular to employ a semiotic approach to an- alyse the musical motifs in the film and the way in which they convey precise meanings and values to the viewer about the figure and life of Jesus. Songs and musical compo- sitions are leitmotifs that punctuate the narrative, interweaving with the visual compo- nent to form a full-blown language in its own right. KEYWORDS Pier Paolo Pasolini; The Gospel According to St. Matthew; Musical Leitmotifs; Intertex- tuality; Audio-visual Syntax BIOGRAPHY Nicola Martellozzo graduated from the University of Bologna with a degree in cultural anthropology and ethnology. The author of an essay on the phenomenology of religious conversion (2015), he has presented papers at various specialist conferences (Italian Society of Medical Anthropology 2018; Italian Society of Cultural Anthropology 2018; Italian Society of Applied Anthropology; Italian National Professional Association of An- thropologist 2018). -
5 the Analysis of Far-Right Identities in Italy...2
MEA06 Tutor: Bo Bjurulf Characters: 88,574 Department of Political Science Far-Right Identities in Italy An analysis of contemporary Italian Far-Right Parties Michele Conte Abstract The (re)appearance of different Far-Right parties in Italy during the last decades brought me to the decision to write my Master’s thesis about this topic. Due to the fact that in this country, together with a long tradition of support for Far-Right ideologies, more than one tipology of Far-Right party exists, an interesting scenario is open for the analysis. I will study the cases of Lega Nord and Forza Nuova-Alternativa Sociale. As a first step, I will explain the differences that exist between different ideologies in order to classify these political groups, representing the two cases of analysis in the Italian Far-Right spectrum. I will then build a theory for the formation of Far-Right identities departing from a social constructivist approach. This theory will be tested in the empirical analysis applied to the two study cases. Finally, I will concentrate on the symbolic resources and the discursive strategies that these political actors use in order to construct shared collective identities and to persuade their audience. The results that I will obtain show that while Lega Nord is a Neo-Populist party, Forza Nuova-Alternativa Sociale can be considered as Neo-Fascist. Both the two study cases confirm the theory used to describe the process of Far-Right identity formation in Italy. Regarding the symbolic resources and the discursive strategies of the two political actors, the interesting result is that Lega Nord has shown the tendency to modify its rhetoric, as well as the way it communicates its political messages in order to take advantage of the political situation and increase consensus.