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The twentieth century saw a proliferation of media discourses on colonialism and, later, decolonisation. Newspapers, periodicals, films, radio and TV broadcasts contributed to the construction of the image of the African “Other” across the colonial world. In recent years, a growing body of literature has explored the role of these media in many colonial societies. As regards the Italian context, however, although several works have been published about the links between colonial culture and national identity, none have addressed the specific role of the media and their impact on collective memory (or lack thereof). This book fills that gap, providing a review of images and themes that have surfaced and resurfaced over time. The volume is divided into two sections, each organised around an underlying theme: while the first deals with visual memory and images from the cinema, radio, television and new media, the second addresses the role of the printed press, graphic novels and comics, photography and trading cards.
This book follows the life of Ivan Aguéli, the artist, anarchist, and esotericist, notable as one of the earliest Western intellectuals to convert to Islam and to explore Sufism. This book explores different aspects of his life and activities, revealing each facet of Aguéli's complex personality in its own right. It then shows how esotericism, art, and anarchism finally found their fulfillment in Sufi Islam. The authors analyze how Aguéli's life and conversion show that Islam occupied a more central place in modern European intellectual history than is generally realized. His life reflects several major modern intellectual, political, and cultural trends. This book is an important contribution to understanding how he came to Islam, the values and influences that informed his life, and-ultimately-the role he played in the modern Western reception of Islam.
The Mediterranean, both a sea and a theatre, has served throughout history as a fundamental crossroads for the political-religious dynamics and international tensions that characterize the various worlds, east and west, south and north, that meet in this basin. Starting from these premises, the present work examines - within a chronological span that goes from the conclusion of the Second World War to the end of Pius XII’s pontificate - the contribution offered by the Holy See and by Catholics from different national contexts in deciphering the role of the Mediterranean Sea within the wider global context. As such, it constitutes a reflection on this geographical space with its peculiar cultural, economic, political, and religious realities by highlighting the role played by the Mediterranean in the elaboration of visions and projects of civilization. This work is the fruit of a wider research programme called Occidentes - Horizons and projects of civilization in the Church of Pius XII. It brings together the work of seven historians from different European Universities.
Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, often for performing ‘morality’ or ‘authenticity’; it suffocates African thought and denies African agency. Olúfẹ́mi Táíwò fiercely rejects the indiscriminate application of ‘decolonisation’ to everything from literature, language and philosophy to sociology, psychology and medicine. He argues that the decolonisation industry, obsessed with cataloguing wrongs, is seriously harming scholarship on and in Africa. He finds ‘decolonisation’ of culture intellectually unsound and wholly unrealistic, conflating modernity with coloniality, and groundlessly advocating an open-ended undoing of global society’s foundations. Worst of all, today’s movement attacks its own cause: ‘decolonisers’ themselves are disregarding, infantilising and imposing values on contemporary African thinkers. This powerful, much-needed intervention questions whether today’s ‘decolonisation’ truly serves African empowerment. Táíwò’s is a bold challenge to respect African intellectuals as innovative adaptors, appropriators and synthesisers of ideas they have always seen as universally relevant.
This volume is first consistent effort to systematically analyze the features and consequences of colonial repatriation in comparative terms, examining the trajectories of returnees in six former colonial countries (Belgium, France, Italy, Japan, the Netherlands, and Portugal). Each contributor examines these cases through a shared cultural sociology frame, unifying the historical and sociological analyses carried out in the collection. More particularly, the book strengthens and improves one of the most important and popular current streams of cultural sociology, that of collective trauma. Using a comparative perspective to study the trajectories of similarly traumatized groups in different countries allows for not only a thick description of the return processes, but also a thick explanation of the mechanisms and factors shaping them. Learning from these various cases of colonial returnees, the authors have been able to develop a new theoretical framework that may help cultural sociologists to explain why seemingly similar claims of collective trauma and victimhood garner respect and recognition in certain contexts, but fail in others.
This edited collection presents the first critical and historical overview of photography in Portuguese colonial Africa to an English-speaking audience. Photography in Portuguese Colonial Africa, 1860–1975 brings together sixteen scholars from interdisciplinary fields as varied as history, anthropology, art history, visual culture and museum studies, to consider some of the key aspects in the visual representation of the longest-lasting European colonial empire in the African continent. The chapters span over two centuries and cover five formerly colonial territories – Angola, Cabo Verde, Guinea-Bissau, Mozambique, and São Tomé and Príncipe – deploying a range of methodologies to explore the multiple meanings and the contested uses of the photographic image across the realms of politics, science, culture and war. This book responds to a marked surge of international interest in the relationship between photography and colonialism, which has hitherto largely overlooked the Portuguese imperial context, by delivering the most recent scholarly findings to a broad readership.
Influential, innovative and aesthetically experimental, the films of Michelangelo Antonioni are widely recognized as both exemplars of cinema and key in ushering in its 'new' or 'modern' incarnation around 1960. Antonioni and the Aesthetics of Impurity offers a radical rethinking of the director's work. It argues against prevalent understandings of it in terms of both cinematic purity and indebtedness to painting. Reconnecting Antonioni's aesthetically audacious films of the 1960s and 1970s to the ferment of their historical time, Antonioni and the Aesthetics of Impurity brings into relief these works' crucial, yet overlooked, affinity with the new, 'impure', art practices - of John Cage, Franco Vaccari, Robert Smithson, Piero Gilardi and Andy Warhol among others - that precipitated the demotion of painting from its privileged position as a paradigm for all the arts. Revealing an Antonioni who embraced both mixed and mass media and reflected on them via cinema, the book replaces auteuristic, if not hagiographic, accounts of the director's work with a new understanding of its critical significance across the modern visual arts and culture more broadly.
In The World Refugees Made, Pamela Ballinger explores Italy's remaking in light of the loss of a wide range of territorial possessions—colonies, protectorates, and provinces—in Africa and the Balkans, the repatriation of Italian nationals from those territories, and the integration of these "national refugees" into a country devastated by war and overwhelmed by foreign displaced persons from Eastern Europe. Post-World War II Italy served as an important laboratory, in which categories differentiating foreign refugees (who had crossed national boundaries) from national refugees (those who presumably did not) were debated, refined, and consolidated. Such distinctions resonated far beyond that particular historical moment, informing legal frameworks that remain in place today. Offering an alternative genealogy of the postwar international refugee regime, Ballinger focuses on the consequences of one of its key omissions: the ineligibility from international refugee status of those migrants who became classified as national refugees. The presence of displaced persons also posed the complex question of who belonged, culturally and legally, in an Italy that was territorially and politically reconfigured by decolonization. The process of demarcating types of refugees thus represented a critical moment for Italy, one that endorsed an ethnic conception of identity that citizenship laws made explicit. Such an understanding of identity remains salient, as Italians still invoke language and race as bases of belonging in the face of mass immigration and ongoing refugee emergencies. Ballinger's analysis of the postwar international refugee regime and Italian decolonization illuminates the study of human rights history, humanitarianism, postwar reconstruction, fascism and its aftermaths, and modern Italian history.
How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised ‘elsewhere’ and ‘otherwise’. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe’s reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).