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With chapters on theatre and opera, architecture and urban planning, the medieval revival and the rediscovery of the Etruscan and Roman past, The Politics of Culture in Liberal Italy analyzes Italians' changing relationship to their new nation state and the monarchy, the conflicts between the peninsula's ancient elites and the rising middle class, and the emergence of new belief systems and of scientific responses to the experience of modernity.
Exploring theatre and opera, architecture and urban planning, the medieval revival and the rediscovery of the Etruscan and Roman past, this book analyzes Italians' changing relationship to their new nation state and the monarchy, class conflicts, and the emergence of new belief systems and of scientific responses to the experience of modernity.
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.
"A major, on-the-ground look at antiquities looting in Italy. More looting of ancient art takes place in Italy than in any other country. Ironically, Italy trades on the fact to demonstrate its cultural superiority over other countries. And, more than any other country, Italy takes pains to prevent looting by instituting laws, cultural policies, export taxes, and a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In fact, Italy is widely regarded as having invented the discipline of art policing. In 2006 the then-president of Italy declared his country to be "the world's greatest cultural power." Why do Italians believe this? Why is the patria, or "homeland," so frequently invoked in modern disputes about ancient art, particularly when it comes to matters of repatriation, export, and museum loans? Fiona Greenland's Ruling Culture addresses these questions by tracing the emergence of antiquities as a key source of power in Italy from 1815 to the present. Along the way, it investigates the activities and interactions of three main sets of actors: state officials (including Art Squad agents), archaeologists, and illicit excavators and collectors"--
Italian intellectuals played an important role in the shaping of international politics during the Cold War. The visions of the world that they promulgated, their influence on public opinion and their ability to shape collective speech, whether in agreement with or in opposition to those in power, have been underestimated and understudied. This volume marks one of the first serious attempts to assess how Italian intellectuals understood and influenced Italy’s place in the post–World War II world. The protagonists represent the three key post-war political cultures: Catholic, Marxist and Liberal Democratic. Together, these essays uncover the role of such intellectuals in institutional networks, their impact on the national and transnational circulation of ideas and the relationships they established with a variety of international associations and movements.
Italy, although it considers itself to be a middle-sized power on par with France, the United Kingdom, and Germany, has been incapable of playing an international role comparable to theirs, instead keeping a low-profile foreign policy. This has not been due to any material constraints—Italy’s profile has remained consistently low, through economic times both good and bad—but rather to the country’s strategic culture, a mixture of realpolitik and pacifist tendencies. This book sets out to analyze the influence of Italy’s strategic culture on its foreign policy. It conducts an exploratory case-study to show if hypotheses generated by the strategic culture approach can shed some light on the puzzling Italian behavior in the international arena (puzzling because Italy shows a less assertive foreign policy vis-à-vis other middle powers in the same rank). The first chapter considers the main interpretations of Italian foreign policy and their limitations. The second and third chapters review the literature on strategic culture, stressing its utility for the Italian case. The fourth chapter describes the country’s strategic culture through the Liberal, Fascist, and Republican periods, and the fifth chapter analyzes the influence of ideational factors on Italy’s behavior abroad. Conclusions sum up the various emerging evidences. Scholars of political science, international relations, strategic studies, and comparative politics will find this work to be of interest.
The Oxford Handbook of Italian Politics provides a comprehensive look at the political life of one of Europe's most exciting and turbulent democracies. Under the hegemonic influence of Christian Democracy in the early post-World War II decades, Italy went through a period of rapid growth and political transformation. In part this resulted in tumult and a crisis of governability; however, it also gave rise to innovation in the form of Eurocommunism and new forms of political accommodation. The great strength of Italy lay in its constitution; its great weakness lay in certain legacies of the past. Organized crime--popularly but not exclusively associated with the mafia--is one example. A self-contained and well entrenched 'caste' of political and economic elites is another. These weaknesses became apparent in the breakdown of political order in the late 1980s and early 1990s. This ushered in a combination of populist political mobilization and experimentation with electoral systems design, and the result has been more evolutionary than transformative. Italian politics today is different from what it was during the immediate post-World War II period, but it still shows many of the influences of the past.
America in Italy examines the influence of the American political experience on the imagination of Italian political thinkers between the late eighteenth century and the unification of Italy in the 1860s. Axel Körner shows how Italian political thought was shaped by debates about the American Revolution and the U.S. Constitution, but he focuses on the important distinction that while European interest in developments across the Atlantic was keen, this attention was not blind admiration. Rather, America became a sounding board for the critical assessment of societal changes at home. Many Italians did not think the United States had lessons to teach them and often concluded that life across the Atlantic was not just different but in many respects also objectionable. In America, utopia and dystopia seemed to live side by side, and Italian references to the United States were frequently in support of progressive or reactionary causes. Political thinkers including Cesare Balbo, Carlo Cattaneo, Giuseppe Mazzini, and Antonio Rosmini used the United States to shed light on the course of their nation's political resurgence. Concepts from Montesquieu, Rousseau, and Vico served to evaluate what Italians discovered about America. Ideas about American "domestic manners" were reflected and conveyed through works of ballet, literature, opera, and satire. Transcending boundaries between intellectual and cultural history, America in Italy is the first book-length examination of the influence of America's political formation on modern Italian political thought.
Race and Nation in Liberal Italy, 1861-1911 examines the development of Italian southern question discourse based on the perceived cultural, political, and economic divide between north and south. This book describes the resonance of meridionalism and how the familiarity of its language lent itself to other discussions of difference--the racialization of the southern question and its appropriation by criminal anthropologists in constructing biological hierarchies; the comparisons between the conquest of Africa and the internal colonization of the south; and the establishment of a southern Italian diaspora whose unique racial characteristics could lead to a possible new form of imperialism in South America.
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.