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From the 1930s to the 50s in Italy commercial cultural products were transformed by new reproductive technologies and ways of marketing and distribution, and the appetite for radio, films, music and magazines boomed. This book uses new evidence to explore possible continuities between the uses of mass culture before and after World War II.
In her examination of the culture of Italian fascism, Mabel Berezin focuses on how Mussolini's regime consciously constructed a nonliberal public sphere to support its political aims. Fascism stresses form over content, she believes, and the regime tried to build its political support through the careful construction and manipulation of public spectacles or rituals such as parades, commemoration ceremonies, and holiday festivities. The fascists believed they could rely on the motivating power of spectacle, and experiential symbols. In contrast with the liberal democratic notion of separable public and private selves, Italian fascism attempted to merge the public and private selves in political spectacles, creating communities of feeling in public piazzas. Such communities were only temporary, Berezin explains, and fascist identity was only formed to the extent that it could be articulated in a language of pre-existing cultural identities. In the Italian case, those identities meant the popular culture of Roman Catholicism and the cult of motherhood. Berezin hypothesizes that at particular historical moments certain social groups which perceive the division of public and private self as untenable on cultural grounds will gain political ascendance. Her hypothesis opens a new perspective on how fascism works.
Italy and the Cultural Politics of World War I dialogues with the variety of texts recently published to commemorate the Great War. It explores Italian socialist pacifism, the role of women during the conflict and a dominant cultural movement, Futurism, whose leader, Filippo Tommaso Marinetti, glorified war and enlisted in the fight. Other soldiers created documents about the war that differ from the heroic and virile endeavor that Marinetti placed at the center of his works on war. Italy and the Cultural Politics of World War I pays attention to the representations of the soldiers through an analysis of their letters, dominated by descriptions of the terrible hunger they suffered. In contrast, popular film absorbed the cultural lessons in Marinetti's writings and represented soldiers as modernist heroes in comedies and dramas. However, film did not shy away from representing cowards who could only be baffoons and fools in propaganda films. In another medium, the concern was to publish texts that would serve the fighting soldier and inform readers about ideological and historical motivations for the conflict. The publishing industry supported national propaganda efforts. Only socialism could endanger anti-war publication, but after its initial opposition to the conflict, socialists occupied a neutral position. Italian socialism still remained the only European socialist party that did not renege its pacifism in order to embrace nationalism and the war, but it was also not in favor of actions that would sabotage in the Italian war industry. ltalian socialism is only one feature of Italian culture that was dramatically changed during the war. WWI impacted every aspect of Italian and of European cultures. For instance, as an essay in Italy and the Cultural Politics of World War I explores, the war industry needed workers. The solution was to bring Chinese men France to contribute in the war effort. After the war, they moved to other countries and in Milan, Italy, they founded one of the oldest Chinatowns in Europe, dramatically changing the human landscape of Italy as they later moved to other Italian cities. Italy and the Cultural Politics of World War I supplies essential research articles to the construction of an inclusive portrayal of WWI and Italian culture by deepening our understanding of the transformative role it played in 20th century Italy and Europe.
'An enjoyable, highly readable history that manages to bring murky, often fiendishly complex events into the light' Sunday Times Italy emerged from the Second World War in ruins. Divided, invaded and economically broken, it was a nation that some people claimed had ceased to exist. And yet, as rural society disappeared almost overnight, by the 1960s, it could boast the fastest-growing economy in the world. In The Archipelago, historian John Foot chronicles Italy's tumultuous history from the post-war period to the present day. From the silent assimilation of fascists into society after 1945 to the artistic peak of neorealist cinema, he examines both the corrupt and celebrated sides of the country. While often portrayed as a failed state on the margins of Europe, Italy has instead been at the centre of innovation and change – a political laboratory. This new history tells the fascinating story of a country always marked by scandal but with the constant ability to re-invent itself. Comprising original research and lively insights, The Archipelago chronicles the crises and modernisations of more than seventy years of post-war Italy, from its fields, factories, squares and housing estates to Rome's political intrigue.
Comparative case studies of how memories of World War II have been constructed and revised in France, Germany, Austria, Switzerland, Poland, Italy, and the USSR (Russia).
Features articles by British, Irish and Italian young researchers working on various aspects of Italian Studies defined since the end of World War II. This volume offers insights into several aspects of post-war Italian culture and introduces perspectives on literature, women's studies, cinema, history and politics.
This Very Short Introduction considers the history of Italy from the Risorgimento (the movement leading to Italian Unification in 1861) to the present. It also discusses Italy's political system and style of government; economic modernisation; emigration, internal migration and immigration; and the modern Italian culture and lifestyle.
This book provides an enlightening comparative analysis of Japan’s and Italy’s political cultures and systems, economics, and international relations from World War II to the present day. It addresses a variety of fascinating questions, ranging from the origins of the authoritarian regimes and post-war one-party rule in both countries, through to Japan’s and Italy’s responses to the economic and societal challenges posed by globalization and their international ambitions and strategies. Similarities and differences between the two countries with regard to economic development models, the relationship of politics and business, economic structures and developments, and international relations are analyzed in depth. This innovative volume on an under-researched area will be of great interest to those with an interest in Italian and Japanese politics and economics.
DIVA study of the cultural policies of the Italian communist party following the collapse of fascismand the struggle with popular consumer culture that led to its demise in 1991./div
This wide-ranging book seeks to unravel the complexities of post-1992 Italian democracy. It takes as its point of departure the dramatic political tensions of the early 1990s and evaluates these against the background of an analysis of the ‘First Republic’ that predates these changes. Martin Bull and James Newell, renowned scholars of Italian Politics, argue that the early 1990s revolution in Italian party politics should be seen both as a major cause of subsequent changes in the political system and as a consequence of longer-term, still on-going changes in the Italian polity. The books explains how we can understand in this light the mixed success of the parties in attempting to act as autonomous vehicles of reform – and therefore why, if we are witnessing a transformation to a ‘Second Republic’, many of its key features still remain to be shaped. Each of the thematic chapters clearly juxtaposes Italy as it was before the 1990s with Italy today, thereby evaluating the degree to which the early 1990s can be seen as a watershed. In this way the book offers a novel account of both contemporary political developments and their historical significance in teh context of the ‘Italian political model’ that took shape in the period after 1945. This will be essential reading for all students of Italian and Comparative Politics, who will find the clarity and breadth of the book invaluable. Equally, scholars will be fascinated by this new and compelling argument.