DOCSLIB.ORG

Flora Pitrolo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Flora Pitrolo DOCTORAL THESIS What Was Before isn’t Anymore Image, Theatre and the Italian New Spectacularity 1978-1984 Pitrolo, Flora Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 ! ! ! What Was Before isn’t Anymore: Image, Theatre and the Italian New Spectacularity 1978-1984 by Flora Pitrolo, MA, MPhil A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Drama, Theatre and Performance University of Roehampton, London 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !1 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !2 ! ! ! Abstract ! This thesis is an investigation into Italian experimental theatre practices in the late 1970s and early 1980s commonly referred to as ‘New Spectacularity’, of which it considers the socio-cultural background, the philosophical perspectives and the aesthetic contribution. Conscious of traversing rarely trodden ground, this research takes as its subject the New Spectacularity per se while also considering questions regarding its memory and its theorisation. As such, alongside a careful analysis – in some cases the first – of the theatre it takes as its subject of inquiry, this work is invested in drawing up methods and ways of thinking able to do justice to the complex panorama the work exists within. These concern the study of spectatorship in the historical and of the atmospherical quotient of visual theatres, the investigation of the circulation of images as an intermittent movement, and the consideration of affective stances from which the works of art of an era may be crafted in the past as well as reflected upon in the present. These methods and ways of thinking are formulated alongside a study of the Neo-Spectacular stage in an aim to not only shed light on a neglected yet pivotal moment in Italian theatre, but to also be of use to wider discussions concerning performance in its complex and intertwined travelling alongside postmodern philosophy and culture. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !3 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !4 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !5 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !6 ! ! ! Contents ! Acknowledgements ………………………………………………………………..…… 9 Note to the Reader ………………………………………………………….….……… 11 ! Part One: A Grammar of the Present A Panorama ……………………………………….……………………….…….……. 19 Twelve Flashes in the Foreground ….….….…..……….….……………….….…..…. 23 Twelve Flashes in the Background ….…….…….…….……………………..….…… 24 Everything that Italy was Becoming: Towards an Affective Historiography .….…..…. 25 Interlude: Everything that Italy –……………………….……………………….…..… 55 Was Becoming, Almost Became, Didn’t Become: some Observations on the Unhappened as Historiographical Category…….…….….. 65 This Message was Recorded Before your Departure: Paraphrasis of Crollo Nervoso… 85 ! Part Two: Metropolitan Landscapes I Ragazzi di Città: some Preliminary Considerations on the Metropolitan.…….….… 119 To the Rooftops, to the Beach: the Inhabitable Image ….….……………….…..……. 134 Dark in the Piazza ….…….…….…….…….…….…………….…..……….….…….. 153 Two Panoramas ….….….……………………………………………….…….……… 165 Towards the Banal: Pasolini, Mendini and the Fireflies……….…..…………………. 167 America! America! #1: Antonio Syxty’s Gas Station, with Soft Breeze….….….……. 193 America! America! #2: Magazzini Criminali’s On the Road…………..…………….. 212 Blue Fugues: Spatialisation and Fugue in La Gaia Scienza………….……………… 227 ! Part Three: New Spectacularities, New Spectacles, New Spectators Surface Games and Side Effects: the Neo-Spectacular Image…….….….………..…. 249 Cathode Mamma Kiss Me: Television and the New Spectacularity……..…….….…. 267 Consumers, Consuming, Consumed: the Antonio Syxty Fan Club and the Fake …… 289 What isn’t, is: Paraphrasis of Kaputt Necropolis………………..…..…….…..…..….. 317 Another Panorama……………………………….…….……..……..………..….…… 347 An Epilogue in the Key of Swimming Pools, Horses and Sunsets……….…….….… 349 ! Bibliography……………………………………………………….……….…..……. 377 Other Cited Works…………………………………………….…..….………..….… 399 Appendices ….….….….………………….….…………..….…….…………….…… 403 ! !7 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !8 ! ! ! !Acknowledgements I have been blessed with the help of many in the making and writing of this thesis. The protagonists of this work, Antonio Syxty, Marion D’Amburgo, Sandro Lombardi, Marco Solari, Alessandra Vanzi and Romeo Castellucci have offered me their time and told me their tales, sometimes with mixed feelings but always with interest and respect. I am deeply grateful to them for their past work, of course – but also for their present generosity. My utmost thanks to Valentina Valentini, Oliviero Ponte di Pino, Carlo Infante, Gaia Calimani and Cinzia Ruggeri for their kindness in offering me help, conversation, and even friendship; my thanks also to Michele Mangione at the Venice Biennale archives, Francesco Gajani at Ubulibri, Antonella Bacchini at Riccione TTV and Gilda Biasini from Socìetas Raffaello Sanzio. It has been a pleasure to pursue this work at the Department of Drama, Theatre and Performance at University of Roehampton, whose staff and students I wish to thank for a four-year interesting conversation. Ella Finer, Fabrizio Manco, Annalaura Alifuoco and Irene Liverani in particular are in this thesis by having been such scintillating interlocutors througout its formulation, and it has been a joy to share intellectual kinship and friendship with them. I would also like to thank Sarah Gorman for the care she has taken in reading and helping me further my work. My supervisors P.A. Skantze and Joe Kelleher I cannot thank enough. They have shared their intellectual vigour and rigour with me with a generosity and an attentiveness which has consistently moved me and kept me moving, and they have tirelessly accompanied me in my search for fireflies. I am indebted to them on every page of this work and indebted I shall joyfully remain: it will be a pleasure and a privilege in the continuous to hold on to how their thinking has shaped mine. My thanks to them are truly ‘en abyme’. P.A. Skantze has been a maestra to me for the past ten years: as well as for her guidance in this work, I want to thank her for her friendship and for having shown me that this kind of work was even possible. My deepest appreciation to my friends David G. Lees, Jonathan Rogerson, Anya Keenan, Riccardo Vitello, Danilo Mandic, Joe Hales, Matthew Fink, Poppy Kohner, Gjorgji Janevski, Stephanie Ritch and Christian Heinrichs, as well as to those who have left me in these years and no longer need their names. I thank Robert Jack, whose love and intelligence runs through these pages, for being my accomplice always. I thank Yvonne Lokes and Francesco Pitrolo for their love, encouragement and trust, as well as for the gifts of bilingualism and of study. I was financially supported by a UK Arts and Humanities Research Council doctoral award in order to undertake this research; without that support, this project would not have been possible.! ! ! ! ! ! !9 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !10 ! ! ! !Note to the Reader Nuova Spettacolarità, ‘New Spectacularity’ was a term which began to circulate in Italian experimental performance around 1978 / 1979 to define a particular strand of what had, rather more officially, been termed the ‘Post-Avantgarde’1. The first time it appears in print is in an article by Giuseppe Bartolucci, considered the most acute, most attuned, most attentive critic of the theatre of this time. Bartolucci has a clear sense that the New Spectacularity is an evolution of the Post-Avantgarde: the latter appears to turn into the former2. In 1981 a festival took place in Rome called Nuova Spettacolarità – by 1981 or 1982 the term was being used in newspaper listings and in the current language of cultural commentators more generally. While the Post-Avantgarde had a more defined set of coordinates (places and people, poetic, performative and ideological intents) and as such is more defineable as a ‘movement’ in Italian theatre, the idea of ‘New Spectacularity’ begins its life as a label qualifying a genre or a style of theatre more than its makers – only later did it begin to apply to companies. While it is sometimes used now as synonymous with media-theatre or video-theatre, the set of activities the term originally designated is much broader: the intensely technological experiments it engendered were just one declination of a larger re-imagining of the theatre as 1 Gabriella Giannachi and Nick Kaye elaborate on the Post-Avantgarde and its protagonists in Staging the Post-Avant-Garde: Italian Experimental Performance after
Load more

Recommended publications
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • REVIEW ESSAY to Silvio Berlusconi, with Irony
    RMIS100349 (NT) Journal of Modern Italian Studies 9(4) 2004: 480 – 486 REVIEW ESSAY To Silvio Berlusconi, with irony: Giuseppe Rosato narrates Italy’s Normal Anomalies in the era of the Cavaliere Dagmar Reichardt University of Bremen Giuseppe Rosato (2003) Normali anomalie, Romanzo. Biblioteca di Ciminiera. Collana di narrativa diretta da Giovanni Cara (Civitanova Marche, Macerata: Gruppo Editore Domina), pp. 1 – 60, e9.00. The Berlusconi phenomenon, from a literary point of view, is a collection of Normal Anomalies. With this oxymoron the Abruzzese author Giuseppe Rosato synthesizes in his new novel’s title the double meanings of the story he tells us. After an avalanche of wildly varied journalistic documentation, political essays in scientific reviews and a series of popular books on the subject,1 Rosato offers us a further occasion for amusement in a literary fantasy whose style is eloquent, meaningful, and dynamic. As in other literary texts with clear allusions to Berlusconism,2 the plot, of which we will present a brief synopsis before analyzing the text in greater depth, makes use of stinging and significant critical equipment. A ‘usurer’ (p. 9), the accountant Gelindo Tazi, employee of a trucking firm, wakes up one morning – almost as Gregor Samsa does in Kafka’s famous ‘Metamorphosis’ – not in the form of a cockroach but with a ‘big lump’ (p. 10) under his chin. The swelling is alarming, and the ‘hard mass’ (p. 9) on his neck keeps growing. He summons the doctor who can suggest no remedy, but who tells him that strangely enough, that very morning, he has seen a similar case.
    [Show full text]
  • The Post-Modern Crisis of Humanities
    1 THE POST-MODERN CRISIS OF HUMANITIES AND GOALS OF THEIR RECOVERY Democritus Association London - Berlin – Prague 2005 2 Published as a methodical material by Democritus Association for inner purposes of academic institutions. The book edition of this methodical material is protected by copyright, but its text may be copied and reproduced for inner needs of academic institutions. © Democritus Association 2005 ISBN 80-86580-11-3 3 C O N T E N T S A List of Tables .................................................................................................4 THESES TO THE POSTMODERN CRISIS OF HUMANITIES.....................5 I The Post-Modern Situation of Humanities......................................................5 II The Dysfunctional State of the System of Education in Humanities .............8 III The Fundamentalist Destruction of Modern Humanities...........................11 IV Academic Clientelism, Lawlessness, Corruption and Criminality .............14 CURRENT TRENDS IN POSTMODERN HUMANITIES ...........................16 1 The Post-Modern Situation of Sciences........................................................16 2 Remedial Steps in Cultural Politics .............................................................20 THE HISTORICAL PERIODICITY OF IRRATIONALIST REVIVALS.....26 1 The Periodicity of Crises of Science in Past History ....................................26 2 Science vs. ‘Black Science’ in History........................................................30 THE LAYOUT OF MODERN SCIENCES ....................................................60
    [Show full text]
  • Tuxedomoon the Ghost Sonata Mp3, Flac, Wma
    Tuxedomoon The Ghost Sonata mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: The Ghost Sonata Country: Russia Released: 2000 Style: Modern Classical, Avantgarde MP3 version RAR size: 1237 mb FLAC version RAR size: 1955 mb WMA version RAR size: 1244 mb Rating: 4.9 Votes: 544 Other Formats: WMA MMF FLAC MPC AA MOD VQF Tracklist Hide Credits The Funeral Of A Friend 1 1:09 Written-By – Geduldig*, Principle* The Ghost Sonata 2 5:36 Written-By – Reininger*, Brown* Catalyst 3 0:42 Written-By – Principle* An Affair At The Soiree 4 3:39 Written-By – Reininger*, Geduldig*, Principle*, Brown* Music Number Two 5 2:56 Written-By – Reininger*, Brown* A Drowning 6 2:07 Written-By – Reininger*, Principle*, Brown* The Cascade 7 3:02 Written-By – Reininger*, Brown* A Mystic Death 8 2:16 Written-By – Geduldig*, Principle* Basso Pomade (Dogs Lickin' My Heart) 9 2:36 Written-By – Reininger*, Brown* Licorice Stick Ostinato 10 2:19 Written-By – Reininger*, Brown* The Laboratory (Parts 1 & 2) 11 5:08 Written-By – Reininger*, Principle*, Brown* Les Odalisques 12 4:10 Written-By – Reininger*, Geduldig*, Principle*, Brown* An Unsigned Postcard 13 3:06 Written-By – Reininger*, Principle*, Brown* Music Number Two (Reprise) 14 4:18 Written-By – Reininger*, Brown* Credits Edited By – James Neiss*, Peter Principle Engineer – Jerome Sandron*, Bruno Donini, Drem Bruinsma, Gilles Martin Liner Notes [Brussels 12/90, Background And Event] – James Neiss* Liner Notes [Notes On The Notes] – Peter Principle Liner Notes [Random Recollections] – Blaine L. Reininger, Bruce Geduldig, Gilles Martin, JJ La Rue, Nina Shaw , Saskia Lupini, Steven Brown Performer – Blaine L.
    [Show full text]
  • The Bibliography of the New Cold War History
    THE BIBLIOGRAPHY OF THE NEW COLD WAR HISTORY SECOND ENLARGED EDITION Edited by Csaba BÉKÉS Research Chair, Center of Social Sciences, Institute of Political Science, Hungarian Academy of Sciences Professor of History, Corvinus University of Budapest Coordinators Valeria PUGA & Tsotne TCHANTURIA Assistant Editors Egor ABRAMOVSKIKH, Angela AIELLO, Lisa BERDNIK, Matilde BETTENCOURT Carretero de Bivar Cruz, Sára BÜKI, Natalija DIMIĆ, Pınar ELDEMIR, Mirkamran HUSEYNLI, Nurlan ISKANDARLI, Is-Haque ISMAILA IBN, Anna JASTRZEMBSKA, Khatia KARDAVA, Aigul KAZHENOVA, Ilaria LA TORRE, Helen LEE, Rastko LOMPAR, Marijn MULDER, Éva MEISTER, Robert MEISTER, Simen Agnalt NILSEN, İrem OSMANOĞLU, Justus RAUWALD, Antoine RENAUX, Simona SGLAVO, Simon SZILVÁSI, Veronika SZAPPANOS, Lenka THÉROVÁ, Kalliroy TZIVRA, Barnabás VAJDA, Mercédesz VARGA, Chen YIXIN Editorial Assistance Dániel BORSOS, Gökay ÇİNAR, Mingnan GUAN, Tamás IZSÁK, Alexander KANDELAKI, Jennifer LOY, Meghan POFF, Violet Andrew SALIU, Ahmet Ömer YÜCE, Sergei ZAKHAROV Cold War History Research Center, Budapest 2018 ISBN 978-615-5963-02-5 © Cold War History Research Center, 2018 1 This bibliography attempts to present publications on the history of the Cold War published after 1989, the beginning of the „archival revolution” in the former Soviet bloc countries. While this second and updated edition is still not complete, it contains an extensive number of books, articles and book chapters on the topic; at 1151 pages in length so far, it is the most extensive such bibliography. If you are a Cold War history scholar in any country and would like us to incude your publications on the Cold War (published after 1989) in the next edition, we will gladly do so. Please send us a list of your works in which books and articles/book chapters are separated, following the format of our bibliography.
    [Show full text]
  • Dante's Political Life
    Bibliotheca Dantesca: Journal of Dante Studies Volume 3 Article 1 2020 Dante's Political Life Guy P. Raffa University of Texas at Austin, [email protected] Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, and the Medieval History Commons Recommended Citation Raffa, Guy P. (2020) "Dante's Political Life," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 3 , Article 1. Available at: https://repository.upenn.edu/bibdant/vol3/iss1/1 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol3/iss1/1 For more information, please contact [email protected]. Raffa: Dante's Political Life Bibliotheca Dantesca, 3 (2020): 1-25 DANTE’S POLITICAL LIFE GUY P. RAFFA, The University of Texas at Austin The approach of the seven-hundredth anniversary of Dante’s death is a propi- tious time to recall the events that drove him from his native Florence and marked his life in various Italian cities before he found his final refuge in Ra- venna, where he died and was buried in 1321. Drawing on early chronicles and biographies, modern historical research and biographical criticism, and the poet’s own writings, I construct this narrative of “Dante’s Political Life” for the milestone commemoration of his death. The poet’s politically-motivated exile, this biographical essay shows, was destined to become one of the world’s most fortunate misfortunes. Keywords: Dante, Exile, Florence, Biography The proliferation of biographical and historical scholarship on Dante in recent years, after a relative paucity of such work through much of the twentieth century, prompted a welcome cluster of re- flections on this critical genre in a recent volume of Dante Studies.
    [Show full text]
  • Investigating Italy's Past Through Historical Crime Fiction, Films, and Tv
    INVESTIGATING ITALY’S PAST THROUGH HISTORICAL CRIME FICTION, FILMS, AND TV SERIES Murder in the Age of Chaos B P ITALIAN AND ITALIAN AMERICAN STUDIES AND ITALIAN ITALIAN Italian and Italian American Studies Series Editor Stanislao G. Pugliese Hofstra University Hempstead , New York, USA Aims of the Series This series brings the latest scholarship in Italian and Italian American history, literature, cinema, and cultural studies to a large audience of spe- cialists, general readers, and students. Featuring works on modern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices, it has been a longstanding force in shaping the evolving fi elds of Italian and Italian American Studies by re-emphasizing their connection to one another. More information about this series at http://www.springer.com/series/14835 Barbara Pezzotti Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series Murder in the Age of Chaos Barbara Pezzotti Victoria University of Wellington New Zealand Italian and Italian American Studies ISBN 978-1-137-60310-4 ISBN 978-1-349-94908-3 (eBook) DOI 10.1057/978-1-349-94908-3 Library of Congress Control Number: 2016948747 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
    [Show full text]
  • Petrarch and Boccaccio Mimesis
    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
    [Show full text]
  • Download Download
    Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored.
    [Show full text]
  • A Comparative Constitutional Analysis Between Italy and Hungary
    Department of Political Science Master’s Degree in International Relations – European Studies Chair in Comparative Public Law POPULISM IN THE FRAMEWORK OF THE EUROPEAN UNION: A COMPARATIVE CONSTITUTIONAL ANALYSIS BETWEEN ITALY AND HUNGARY SUPERVISOR CANDIDATE Professor Cristina Fasone Claudia Mattei 635892 CO-SUPERVISOR Professor Giovanni Orsina Academic Year 2018/2019 1 Table of contents Introduction 6 1 CHAPTER – POPULISM 9 1.1 What is populism? A definition for a highly contested phenomenon 10 1.2 Understanding populism 14 1.2.1 Who are the people? 14 1.2.2 Who are the elites? 18 1.2.3 The real meaning of the volonté générale 19 1.2.4 The people and the general will: populism vs. democracy 20 1.3 Historical birth of populism 24 1.3.1 The American People’s Party 24 1.3.2 The Russian narodnichestvo 26 1.4 Marriage between populism and ‘host’ ideologies: different families 29 1.4.1 Right-wing populism 30 1.4.2 Left-wing populism 31 1.4.3 Populist constitutionalism 33 1.5 Why does populism develop? 36 1.5.1 The causes behind the populist rise 37 1.5.2 The cause of the cause: the auto-destruction of politics as origin of populism 39 1.5.3 Technocracy replaces politics: the case of the European Union 41 1.6 Populism in the world 44 2 CHAPTER – POPULISM IN EUROPE 48 2.1 Genesis of populism in Europe: Boulangism 48 2.2 Populism in Western Europe 51 2.2.1 Post-WW2 populist experiences in Western Europe 51 2.2.2 The rise of modern populism in Western Europe 53 2 2.3 Populism in Eastern Europe 58 2.3.1 Interwar populism in Eastern Europe 58 2.3.2
    [Show full text]
  • Technical Essays for Electronic Music Peter Elsea Fall 2002 Introduction
    Technical Essays For Electronic Music Peter Elsea Fall 2002 Introduction....................................................................................................................... 2 The Propagation Of Sound .............................................................................................. 3 Acoustics For Music...................................................................................................... 10 The Numbers (and Initials) of Acoustics ...................................................................... 16 Hearing And Perception................................................................................................. 23 Taking The Waveform Apart ........................................................................................ 29 Some Basic Electronics................................................................................................. 34 Decibels And Dynamic Range ................................................................................... 39 Analog Sound Processors ............................................................................................... 43 The Analog Synthesizer............................................................................................... 50 Sampled Sound Processors............................................................................................. 56 An Overview of Computer Music.................................................................................. 62 The Mathematics Of Electronic Music ........................................................................
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]