Ethan Sansosti Italian Composition Final Paper December 9, 2019 La
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
Onlus 10Anni
Report on 10 years of activity anni onlus 10 2009 > 2019 INDEX 1. Introduction .........................................pag. 6 2. Maurizio Valenzi .................................................pag. 9 3. Places of the Foundation ...................... pag. 15 THE OFFICES .........................................................pag. 15 THE ARCHIVE .......................................................pag. 15 ART COLLECTION .................................................pag. 16 4. Activities ........................................... pag. 19 FOR MEMORY .......................................................pag. 21 FOR EDUCatION ..................................................pag. 24 FOR ART ................................................................pag. 26 FOR THE SOCIAL ..................................................pag. 30 FOR DEVELOPMENT ............................................pag. 33 5. Our next 10 years ............................... pag. 36 APPENDIX GOVERNANCE AND CONtaCTS .........................pag. 39 HONORARY COMMITTEE ....................................pag. 40 STEERING COMMITTEE .......................................pag. 40 SCIENTIFIC COMMITTEE .....................................pag. 40 BIBLIOGRAPHY ON MAURIZIO VaLENZI ..........pag. 41 PUBLICatIONS .....................................................pag. 42 AGREEMENTS AND PaRTNERSHIPS..................pag. 43 TO SUPPORT THE FOUNDatION ........................pag. 44 THE NUMBERS OF THE FOUNDatION ..............pag. 45 THE FOUNDatION ON SOCIAL MEDIA ..............pag. -
(Dis)Figuring White Template Vision Through Passione Stefania Capogreco
(Dis)figuring white template vision through Passione Stefania Capogreco To cite this version: Stefania Capogreco. (Dis)figuring white template vision through Passione. Muiraquitã, Nepan Edi- tora, 2017, South-Verting Italian Studies, 5 (2). hprints-03049743 HAL Id: hprints-03049743 https://hal-hprints.archives-ouvertes.fr/hprints-03049743 Submitted on 10 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. (DIS)FIGURING WHITE TEMPLATE VISION THROUGH PASSIONE: UN’AVVENTURA MUSICALE Stefania Capogreco Macquarie University Introduction This paper suggests that north-normative thought in Italian Studies must be disrupted by recovering the various Souths haunting and inhabiting white template vision. I propose to usefully disrupt north-normative colonial cartographies of vision by disclosing the “fleshy folds” of John Turturro’s complex audio-visual work Passione: Un’Avventura Musicale (2010). Passione is a documentary film which draws on, as it narrates the story of, a broad assemblage of Neapolitan music and theatricalities. Neapolitan music is often conflated with Italian traditional song or confined to the realm of regional music, in both popular interpretations and scholarly analyses (PLASTINO, 2007). This widespread conflation of Neapolitan and Italian traditional song, resulted in the porous Neapolitan voice (always allowing itself to be interpenetrated by an indeterminate other; PLASTINO, 2007) and its embodied performance manifestations (PLASTINO & SCIORRA, 2016) being largely overlooked. -
Le Quattro Giornate Di Napoli" Rosa Maria Celeste Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-22-2005 Beyond The yM th: The rT uth About "Le Quattro Giornate di Napoli" Rosa Maria Celeste Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Recommended Citation Celeste, Rosa Maria, "Beyond The yM th: The rT uth About "Le Quattro Giornate di Napoli"" (2005). Honors College Theses. Paper 9. http://digitalcommons.pace.edu/honorscollege_theses/9 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Beyond The Myth: The Truth About “Le Quattro Giornate di Napoli” Robert Capa’s photograph of a scugnizzi Rosa Maria Celeste 1 Caesar died, and tyranny lived on. For the seat of tyranny was not in the heart of Caesar: it was in the heart of the Romans. Not from others will the Italians receive freedom, but from themselvesthemselves.themselves --- G.A. Borgese, 1937 2 Dedicazione Per il mio padre, AntonioAntonio CCelesteelesteeleste,eleste che mi ha insegnata tutto del’ Italia e mi ha fatto amarla, alla memoria dell’ mio nonno, GaetanoGaetano CelesteCeleste, un vero Napoletano, e aiai Naploetani ---- perchèperchè non dimenticiamo MAI…..….. 3 Beyond The Myth: The Truth About “Le Quattro Giornate di Napoli” The Italian Fascist State, surrendered unconditionally to the Allies on September 8th 1943. There were many steps that led up to the surrender of the Italian state to the Allied forces. -
The Legacy of Military Necessity in Italy: War and Memory in Cassino and Monte Sole
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-23-2013 12:00 AM The Legacy of Military Necessity in Italy: War and Memory in Cassino and Monte Sole Cynthia D. Brown The University of Western Ontario Supervisor Dr. Jonathan Vance The University of Western Ontario Graduate Program in History A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Cynthia D. Brown 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the European History Commons Recommended Citation Brown, Cynthia D., "The Legacy of Military Necessity in Italy: War and Memory in Cassino and Monte Sole" (2013). Electronic Thesis and Dissertation Repository. 1255. https://ir.lib.uwo.ca/etd/1255 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. The Legacy of Military Necessity in Italy: War and Memory in Cassino and Monte Sole (Thesis format: Monograph) by Cynthia D. Brown Graduate Program in History A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Cynthia D. Brown 2013 Abstract The rise of Benito Mussolini’s Fascist party and its disastrous alliance with Nazi Germany remains one of the most well-known parts of Italy’s Second World War experience, at least in English historical literature. -
Our Grandparents During the Second World
LICEO “J. SANNAZARO” DI NAPOLI – A. S. 2008-09 PROGETTO PILOTA: “I NONNI RICORDANO – OUR GRANDPARENTS REMEMBER” [NRGR] Giuseppe Caria spoke with his grandma Nicoletta (1936, Naples) My grandmother Nicoletta, born in 1936, told me that during World War II she lived near piazza Plebiscito and she had four sisters. One of her sisters, Erminia, was very ill and my grandmother’s father, Vincenzo Giuseppe, didn’t know how to help her. Some months later my grandmother’s father was told about a “market” near piazza Plebiscito where he could buy some medicine for the child. Some days later he went to the market and bought some “penicillin” but the market didn’t only sell medicine, but food, clothes and lots of other things too. But he couldn’t buy lots of things because at that time there wasn’t a lot of money and so he could only afford medicine that cost 2,000 lire; back then it was an enormous amount of money. My grandmother’s father came back home and gave the medicine to my grandmother’s sister but unfortunately the illness was too strong and because there wasn’t any food after some days she died when she was only 5 or 6 years old. WWW.THREEMICEBOOKS.COM Alessandro Speranza spoke with his grandpa Mario Speranza My grandfather, Mario Speranza, was a horseman in the Second World War. One day received a call of duty to fight in the war and went to Albania. He fought for a lot of time and after various fights he was captured by German soldiers. -
Thesis Focuses on the Role Played by American Foreign Service Officers in Italy, Mostly from the Fascist Era to the Cold War (1929-1953)
Università degli Studi di Cagliari DOTTORATO DI RICERCA In Storia, Beni Culturali e Studi Internazionali Ciclo XXX The U.S. Foreign Service in Italy and the Byington Family Consular Dynasty in Naples (1897-1973) Dipartimento di Storia, Beni Culturali e Territorio Presentata da: Brendan Connors Coordinatore Dottorato: Prof.ssa Cecilia Tasca Tutor/Relatore: Prof. Marco Pignotti Table of Contents Page Introduction 5 Prologue: The Professionalization of American Diplomacy 8 Chapter One - The Foreign Service Prior to World War II, 1897-1938 14 1.1 The Byington Family’s Neapolitan Vocation - 1897-1929 14 1.2 Homer M. Byington I: Foreign Service Chief of Personnel, 1929-1933 26 1.3 FDR and the Foreign Service, 1933-1937 29 1.4 Ambassador John W. Garrett, 1929-1933 38 1.5 Ambassador Breckinridge Long, 1933-1936 45 1.6 The Naples Consulate General, 1931-1936 53 1.7 Ambassador William Phillips, 1936-1937 62 1.8 Roosevelt Speaks Out 67 1.9 The Naples Consulate General, 1937-1939 70 Chapter Two: From Munich to the June 2 Referendum, 1938-1946 84 2.1 A Planned Coup d’État against Mussolini in 1938? 84 2.2 The Rome Embassy and the Declaration of War 99 2.3 Roosevelt and the Foreign Service During World War II 106 2.4 Relations Renewed 111 2.5 Post-War Naples 118 2.6 Ambassador Alexander Kirk, 1945-1946 127 2.7 Freemasonry in Naples and the Crisis of the Parri Government 138 2.8 Monarchy or Republic? June 2, 1946 145 2.9 The Foreign Service Act of 1946 159 Chapter Three: The Cold War, 1947-1973 162 3.1 The Truman Doctrine and Secretary of State Marshall, 1947 162 3.2 Ambassador James Dunn, 1947-1952 166 3.3 Contacts with the Far Right, 1947-1950 182 3.4 The Italian Foreign Office, 1947-1950 190 3.5 Political Reports from Naples, 1947-1949 204 3.6 The State Department and the Red Scare 230 3.7 Homer M. -
Toronto, Canada: in Versione Cartacea Fino Al 2004, Online Dal 2005)
Anno XXXVI, n. 2 BIBLIOTECA DI RIVISTA DI STUDI ITALIANI Agosto 2018 Tutti i diritti riservati. © 1983 Rivista di Studi Italiani ISSN 1916 - 5412 Rivista di Studi Italiani (Toronto, Canada: in versione cartacea fino al 2004, online dal 2005) IPOGEI DEL MITO, DEL TEATRO E DEL RITO MEMORIE DAL SOTTOSUOLO: MONACIELLO DI ANDY ARNOLD E MEGAN BARKER TRA SITE - SPECIFIC THEATRE , ARTIALIZATION , LETTERATURA E STORIA ARMANDO ROTONDI Institute of the A rts B arcelona Riassunto : Monaciello di Andy Arnold e Megan Barker è un esempio di s ite - specific theatre che combina insieme diverse tradizioni performative – Italia e Scozia nello specifico – con un approccio interdisciplinare che guarda anche alla storia e alla letteratura . Pensato appositamente per i sot tosuoli di Napoli e con un cast in prevalenza scozzese, che recita quasi integralmente in napoletano, Mon a ciello inscena il tema del ‘ sottosuolo ’ attraverso una prospettiva storica (la guerra), intima (la vita n ell’oscurità dei protagonisti) e le t teraria. Keywords : Seconda Guerra M ondiale, Monaciello, artialization , site - specific theatre , Napoli sotterranea, sottosuolo, teatro, Teatro Festival Italia , Tron Theatre Glasgow Abstract : Monaciello by Andy Arnold and Megan Barker is an interes t ing case study a bout the relations between different theatre traditions and site - specific performance in a comparative point of view. Es pecially conceived for the underground of Naples for a predominantly Scottish cast, which perform s in Neapolitan dialect , Monaciello foc uses on the theme of ‘ underground ’ through a perspective that is at the same time historical (war), intimate (the life of the protagonists in dark ness ) and lite r ary . -
Italian Cinema and the Fascist Past: Tracing Memory Amnesia
fascism 4 (2015) 25-47 brill.com/fasc Italian Cinema and the Fascist Past: Tracing Memory Amnesia Giacomo Lichtner School of History, Philosophy, Political Science and International Relations, Victoria University of Wellington, New Zealand [email protected] Abstract In Italy, cinema has contributed to constructing a paradox of memory in which the rememberer is asked to prevent past mistakes from happening again and yet is encour- aged to forget what those mistakes were, or that they ever even took place. Through an examination of the long-term trends in Italian cinema about the Fascist period, this article explores its recurrent tropes alongside its recurrent absences, isolating in particular the act of killing and Italy’s African Empire as crucial absences in Italy’s memory. The dominant narrative of italiani brava gente explains popular amnesia and institutional silences that still surround the darkest and bloodiest pages in Italy’s history. From the narratives of innocence and sacrifice that populate the canon of Italian film about Fascism to the sanitised representations of Italy’s wars of aggression or the boycott of Moustapha Akkad’s The Lion of the Desert (1981), this paper argues that recurrent presences and absences in Italy’s cinematic memories of the long Second World War have not been random but coherent, cogent and consistent. Keywords Italy – cinema – Fascism – memory – amnesia – silence – Second World War The perennially shabby carcass of the number seventy bus wound its way across Rome, from Termini railway station to Piazzale Clodio. It might have been a vagary of its itinerary, but the number seventy was always quieter and its pas- sengers older than those of more dynamic services that shared part of its central route. -
Italian Cinema and the Fascist Past: Tracing Memory Amnesia
fascism 4 (2015) 25-47 brill.com/fasc Italian Cinema and the Fascist Past: Tracing Memory Amnesia Giacomo Lichtner School of History, Philosophy, Political Science and International Relations, Victoria University of Wellington, New Zealand [email protected] Abstract In Italy, cinema has contributed to constructing a paradox of memory in which the rememberer is asked to prevent past mistakes from happening again and yet is encour- aged to forget what those mistakes were, or that they ever even took place. Through an examination of the long-term trends in Italian cinema about the Fascist period, this article explores its recurrent tropes alongside its recurrent absences, isolating in particular the act of killing and Italy’s African Empire as crucial absences in Italy’s memory. The dominant narrative of italiani brava gente explains popular amnesia and institutional silences that still surround the darkest and bloodiest pages in Italy’s history. From the narratives of innocence and sacrifice that populate the canon of Italian film about Fascism to the sanitised representations of Italy’s wars of aggression or the boycott of Moustapha Akkad’s The Lion of the Desert (1981), this paper argues that recurrent presences and absences in Italy’s cinematic memories of the long Second World War have not been random but coherent, cogent and consistent. Keywords Italy – cinema – Fascism – memory – amnesia – silence – Second World War The perennially shabby carcass of the number seventy bus wound its way across Rome, from Termini railway station to Piazzale Clodio. It might have been a vagary of its itinerary, but the number seventy was always quieter and its pas- sengers older than those of more dynamic services that shared part of its central route. -
Gino Moliterno
HISTORICAL DICTIONARY OF ITALIAN Cinema GINO MOLITERNO Historical Dictionaries of Literature and the Arts Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keat- ing, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardi- son Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 25. Horror Cinema, by Peter Hutchings, 2008. 26. Westerns in Cinema, by Paul Varner, 2008. -
All the King's Men? British Official Policy Towards the Italian Resistance
Retrospectives | 2 Spring 2013 ! All the King’s Men? British Official Policy Towards the Italian Resistance Niall MacGalloway* In the initial months following the fall of France, Britain placed great hopes in resistance groups aiding them in lib- erating the continent. By the time Britain finally re-entered Europe via Sicily, the situation of the war had changed drastically. This study seeks to examine official British pol- icy towards the resistance that sprung up across Italy from 1943 onwards. In particular, it explores the idea that alt- hough Britain was, in theory, against collaborating with Communist groups, practical reasons forced them to do so. Moreover, the study examines to what extent Britain hoped to keep traditional elites and key figures in power, such as the King and Marshall Badoglio, in order to pro- vide a bulwark against Communism, despite widespread Italian opposition. These actions will be, briefly, contrasted and compared with those in Greece and Yugoslavia where, in all three countries, Britain hoped to restore these nations to their pre-war status for fear that they would fall into communist hands. The abrupt departure of Britain from continental Europe following the defeat of France in 1940 left the British government with a di- lemma. Traditionally maintaining too small an army to seriously think about re-conquering all of Europe alone, Britain began to place her hopes in the potential role that resistance groups could play in allowing her to gain a foothold on the continent.1 By the time that !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! * Niall MacGalloway is a doctoral student at the University of St.