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This important new book considers many of the ways in which national identity was imagined, implemented and contested within Italian culture before, during and after the period of Italian unification in the mid-nineteenth century. Taking a fresh approach towards national icons cherished by both Left and Right, the collection's authors examine the complex interaction between a perceived need for national identity and the fragmented nature of the Italian peninsula. In so doing, they draw on examples from a wide range of artistic and cultural media.The book opens with an introduction which defines the case of the Italian 'Risorgimento' and places it within a large context of European and global nation-building and nationalism. Authors discuss how episodes from the distant past were used by nineteenth- and twentieth-century artists, musicians, and writers to recreate narratives of nationhood, as well as how the problem of Italian identity was before and during the Risorgimento. The question of who belonged in the new Italy, who remained outsiders, and how social and sexual differences entered into defining these groups is also addressed. The book concludes with an analysis of twentieth-century attempts to appropriate and reforge the 'spirit' of the Risorgimento, under Fascism and in our own time.
Traces the changing identity and ownership of the important city of Trieste in a turbulent period. The port of Trieste, standing at a crucial strategic point at the head of the Adriatic, had a turbulent history in the mid-twentieth century. With the disappearance of the Habsburg empire after the First World War, it passed intoItalian hands. During the Second World War, the Nazis reclaimed the city as part of the Reich. In 1945, Trieste slipped through Tito's fingers and was internationalised under Allied military government control, returning to Italian sovereignty in 1954. This book examines Trieste's transformation from an imperial commercial centre at the crossroads of the Italian, German and Balkan worlds to an Italian border city on the southern fringe of the iron curtain. Concentrating on local sources, the book shows how Triestines, renowned for their cosmopolitan Central European affiliations, articulated an Italian civic identity after the First World War, and traces the fitful process ofaffirming Trieste's Italianness over the course of nearly four decades of liberal, Fascist and international rule. It suggests that Italianisation resulted from complicated interactions with Rome and interference by internationalpowers attempting to strengthen western Europe at the edge of the Balkans.
Italian unification is one of the pivotal events in European history but the period leading up to Risorgimento has often been analysed in less detail. This book focuses on the history of the Italian states between 1815 and 1860 focusing on state institutions, international relations, economic and fiscal policies, living conditions and culture.
The renewed attention to the origin and shape of nationalist discourses has promoted many excellent studies devoted to examining the rich storehouse of cultural responses produced during and after Risorgimento, the political events that, from 1859 to 1870, led Italy from being a fragmented peninsual to an independent and unified nation-state. However, the assessment of Risorgimento and its myths from the post-World War II era to the present remains, for the most part, unexplored. While it is undeniable that the dramatic economic, social, and political transformations that have characterized Italy from the second half of the twentieth century to the present have altered the role and function of nationalist narratives, it remains equally true that interest in the Risorgimento in modern Italian culture has not diminished.
This book bridges the fields of Children’s Literature and Italian Studies by examining how turn-of-the-century children’s books forged a unified national identity for the new Italian State. Through contextualized close readings of a wide range of texts, Truglio shows how the 19th-century concept of recapitulation, which held that ontogeny (the individual’s development) repeats phylogeny (the evolution of the species), underlies the strategies of this corpus. Italian fairy tales, novels, poems, and short stories imply that the personal development of the child corresponds to and hence naturalizes the modernizing development of the nation. In the context of Italy’s uneven and ambivalent modernization, these narrative trajectories are enabled by a developmental melancholia. Using a psychoanalytic lens, and in dialogue with recent Anglophone Children’s Literature criticism, this study proposes that national identity was constructed via a process of renouncing and incorporating paternal and maternal figures, rendered as compulsory steps into maturity and modernity. With chapters on the heroic figure of Garibaldi, the Orientalized depiction of the South, and the role of girls in formation narratives, this book discloses how melancholic itineraries produced gendered national subjects. This study engages both well-known Italian texts, such as Collodi’s The Adventures of Pinocchio and De Amicis’ Heart, and books that have fallen into obscurity by authors such as Baccini, Treves, Gianelli, and Nuccio. Its approach and corpus shed light on questions being examined by Italianists, Children’s Literature scholars, and social and cultural historians with an interest in national identity formation.
"This book examines how a group of transnational British-Italian women affiliated with the exiled patriots of the Italian Left repurposed traditionally feminine activities, such as fundraising, gift-giving, maternity, and memory collection, to make a substantial contribution to Italian Unification and state-building. Through their actions, Mary Chambers, Sara Nathan, Giorgina Saffi, Julia Salis Schwabe, and Jessie White Mario transcended the boundaries of acceptable behavior for middle-class women and participated in the broader female emancipation movement. By drawing attention to their activities, this book reveals how nineteenth-century female activists achieved their most revolutionary goals by using conservative, domestic, or anti-Catholic language. Adding to the growing understanding of the Italian Risorgimento as a transnational phenomenon, it also shows how non-Catholic and non-Italian women participated in the creation and development of the Italian state. Finally, the book argues for the continuing importance of religion in both politics and philanthropy throughout the nineteenth century."
Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world.
Combining close textual readings with a broad theoretical perspective, Gender, Narrative, and Dissonance in the Modern Italian Novel is a study of the ways in which gender shapes the principal characters and narratives of seven important Italian novels of the nineteenth and twentieth centuries, from Alessandro Manzoni’s I promessi sposi (1827) to Elsa Morante’s Aracoeli (1982). Silvia Valisa’s innovative approach focuses on the tensions between the characters and the gender ideologies that surround them, and the ways in which this dissonance exposes the ideological and epistemological structures of the modern novel. A provocative account of the intersection between gender, narrative, and epistemology that draws on the work of Georg Lukács, Barbara Spackman, and Teresa de Lauretis, this volume offers an intriguing new approach to investigating the nature of fiction.
Belliotti analyzes the role of positive duties in moral theory, the efficacy of theocratic republicanism, strategies for political revolutions, the implications of an enduring Sicilian ethos, and the profits and perils of the individual-community continuum, while distinctively interpreting the lives and ideologies of Mazzini, Gramsci, and Giuliano.
Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists—Tommaso Minardi, Francesco Hayez, and Gioacchino Toma—from three distinct regions in Italy prior to, during, and directly following political unification in 1861. Each artist, working in Rome, Milan, and Naples, respectively, adopted the visual narratives particular to his region, using style to communicate aspects of his political, religious, or social context. By focusing on these three figures, this study will introduce readers outside of Italy to their diversity of practice, and provide a means for understanding their place within the larger field of international nineteenth-century art, albeit a place largely distinct from the better-known French tradition. The book will be of interest to scholars working in art history, nationalism, Italian history, or Italian studies.