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Derek Duncan's timely study is the first book in English to examine constructions of male homosexuality in Italian literature. In admirably clear and elegant prose, Duncan analyzes texts ranging from the 1890s through the 1990s. He brings canonical authors like D'Annunzio and Pasolini together with under-appreciated writers like Comisso, and also looks at less conventionally literary genres. Duncan takes on the thorny theoretical issues surrounding questions of gay identity and also provides a sound historical context for his discussion of how Italian narrative sheds light on Italian homosexuality and on the broader issues attending contemporary sexuality, including complicating factors such as race. While the early texts considered were produced at a historical moment when 'homosexuality' as a culturally meaningful entity had yet to crystallize, recent autobiographies show the authors reflecting explicitly on questions of gay identity and what it means to be a homosexual male in present-day Italy. In charting the emergence of the homosexual in twentieth-century Italy, however, Duncan's focus is less on questions of identity than on the meaning attributed to sex between men in the broader cultural context. His book is a significant contribution to Italian literary criticism and to gender, gay, and cultural studies.
Derek Duncan's timely study is the first book in English to examine constructions of male homosexuality in Italian literature. In admirably clear and elegant prose, Duncan analyzes texts ranging from the 1890s through the 1990s. He brings canonical authors like D'Annunzio and Pasolini together with under-appreciated writers like Comisso, and also looks at less conventionally literary genres. Duncan takes on the thorny theoretical issues surrounding questions of gay identity and also provides a sound historical context for his discussion of how Italian narrative sheds light on Italian homosexuality and on the broader issues attending contemporary sexuality, including complicating factors such as race. While the early texts considered were produced at a historical moment when 'homosexuality' as a culturally meaningful entity had yet to crystallize, recent autobiographies show the authors reflecting explicitly on questions of gay identity and what it means to be a homosexual male in present-day Italy. In charting the emergence of the homosexual in twentieth-century Italy, however, Duncan's focus is less on questions of identity than on the meaning attributed to sex between men in the broader cultural context. His book is a significant contribution to Italian literary criticism and to gender, gay, and cultural studies.
Images of southern Italy as a place of arrival for migrants with different origins and backgrounds have in recent years proliferated in Italian media as well as in contemporary Italian literature and cinema. The unprecedented perspective which presents the mezzogiorno as a place where people arrive, and not only as a place of departure, constitutes a major change in the collective imaginary on the region and fosters new engagements with its migratory histories. This book presents one of the first studies to focus entirely, through in-depth readings of a range of contemporary literary and cinematic texts, on the representation of contemporary migration to southern Italy, and on the concomitant changes in the tradition of representation of the region. Informed by translation theory, and by decolonial, queer and feminist critique, this innovative study zeroes in on the mutual construction of race, gender and sexuality, and on the translation and hybridization of languages and cultures at the southern border. By giving a rich and compelling account of texts which tell multiple stories of mobility from, to and through the South, this book traces the emergence of a transnational imaginary of the mezzogiorno which offers useful tools for an urgent reconfiguration of collective and individual identities.
How have major civilizations of the last two millennia treated people who were attracted to their own sex? In a narrative tour de force, Louis Crompton chronicles the lives and achievements of homosexual men and women alongside a darker history of persecution, as he compares the Christian West with the cultures of ancient Greece and Rome, Arab Spain, imperial China, and pre-Meiji Japan. Ancient Greek culture celebrated same-sex love in history, literature, and art, making high claims for its moral influence. By contrast, Jewish religious leaders in the sixth century B.C.E. branded male homosexuality as a capital offense and, later, blamed it for the destruction of the biblical city of Sodom. When these two traditions collided in Christian Rome during the late empire, the tragic repercussions were felt throughout Europe and the New World. Louis Crompton traces Church-inspired mutilation, torture, and burning of sodomites in sixth-century Byzantium, medieval France, Renaissance Italy, and in Spain under the Inquisition. But Protestant authorities were equally committed to the execution of homosexuals in the Netherlands, Calvin's Geneva, and Georgian England. The root cause was religious superstition, abetted by political ambition and sheer greed. Yet from this cauldron of fears and desires, homoerotic themes surfaced in the art of the Renaissance masters--Donatello, Leonardo, Michelangelo, Sodoma, Cellini, and Caravaggio--often intertwined with Christian motifs. Homosexuality also flourished in the court intrigues of Henry III of France, Queen Christina of Sweden, James I and William III of England, Queen Anne, and Frederick the Great. Anti-homosexual atrocities committed in the West contrast starkly with the more tolerant traditions of pre-modern China and Japan, as revealed in poetry, fiction, and art and in the lives of emperors, shoguns, Buddhist priests, scholars, and actors. In the samurai tradition of Japan, Crompton makes clear, the celebration of same-sex love rivaled that of ancient Greece. Sweeping in scope, elegantly crafted, and lavishly illustrated, Homosexuality and Civilization is a stunning exploration of a rich and terrible past.
Bringing together an interdisciplinary group of scholars, this volume explores nineteenth-century Italian sexualities from a variety of viewpoints, illuminating in particular personal and political relationships, same-sex desires, gender roles that defy societal norms, sexual behaviours of different classes and transnational encounters.
Queering Italian Media analyzes and offers queer readings of LGBTQIA+ representation in Italian media. The contributors apply various understandings of "queer" and "media" as they discuss the relationship between the political and social lives of queer populations in Italy and investigate their representations in film, news media, television, social media, and viewer-generated media sites. Queering Italian Media examines queer positionality, challenges notions of Italianness as it relates to and is reflected in media, and queers understandings of viewer engagement and participation in media consumption and production.
This book explores the space of queer documentary through the modernist optic of Marcel Proust’s ‘lieu factice’ (artificial place), a perspective that problematizes the location of place in a post-postmodern world with a dispersed sense of the real. The practice of queer documentary in France and Italy, from the beginning of the new millennium onwards, is seen to re-write the coherence of ‘place’ through a range of emerging queer realities. Proposing the post-queer as a way of contending with the spatial dynamics of these contexts, analysis of key texts positions place as mourned, conceded and intersectional. The performance of place as agency is considered through the notional film, the radical archive of documentary, the enactment of politics, queer indeterminacy and a phenomenology of the object, the frame and queer mobility. The central themes of family, gender, dis/location, in/visibility and re/presentation question blind investment in the integrity of being emplaced.
Aesthetic Modernism and Masculinity in Fascist Italy is an interdisciplinary historical re-reading of a series of representative texts that complicate our current understanding of the portrayal of masculinity in the Italian fascist era. Champagne seeks to evaluate how the aesthetic analysis of the artifacts explored offer a more sophisticated and nuanced understanding of what world politics is, what is at stake when something - like masculinity - is rendered as being an element of world politics, and how such an understanding differs from more orthodox 'cultural' analyses common to international relations.
“Each of us has his tastes inscribed in his brain and heart; whether he fulfills his urges with regret or with joy, he must fulfill them. He should let others act according to their own nature. It’s fate that creates us and guides us throughout our lives: to fight against it would be little more than fruitless, foolish, and reckless!” In the late 1880s, a dashing young Italian aristocrat made an astonishing confession to the novelist Émile Zola. In a series of revealing letters, he frankly described his sexual experiences with other men—including his seduction as a teenager by one of his father’s friends and his first love affair, with a sergeant during his military service—as well as his “extraordinary” personality. Judging it too controversial, Zola gave it to a young doctor, who in 1896 published a censored version in a medical study on sexual inversion, as homosexuality was then known. When the Italian came across this book, he was shocked to discover how his life story had been distorted. In protest, he wrote a long, daring, and unapologetic letter to the doctor defending his right to love and to live as he wished. This book is the first complete, unexpurgated version in English of this remarkable queer autobiography. Its text is based on the recently discovered manuscript of the Italian’s letter to the doctor. It also features an introduction tracing the textual history of the documents, analytical essays, and additional materials that help place the work in its historical context. Offering a striking glimpse of gay life in Europe in the late nineteenth century, The Italian Invert brings to light the powerful voice of a young man who forthrightly expressed his desires and eloquently affirmed his right to pleasure.
Homosexuality, bisexuality, transvestitism, and trans-genders represented new ideas, customs, and mentalities which shattered nineteenth-century Italy. At this time, Italy was a state in the making, with a growing population, a fading aristocracy, and new urban classes entering the scene. While still an extremely Catholic country, atheism and secularization slowly undermined the old, traditional morality, with literature and poetry endorsing innovative fashions coming from abroad. Laxity mixed with perversion, while new forms of sexuality mirrored the immense changes taking place in a society that, since time immemorial, was dominated by the Church and by a rigid class system. This was a revolution, parallel to the political movements that brought about the Unification of Italy in 1861, and was tormented, intense, and occasionally tragic. This collection of essays offers a rather comprehensive overview of this phenomenon. Personalities and places, ideas and novels, poetry and tragedy, law and customs, are the subject of ten essays, written by leading international experts in Italian history, the history of sexuality, literature and poetry. The Italian nineteenth century is a time of a number of rapid changes, visible and invisible revolutions, often given less attention than the unification process. This book makes a substantial contribution to Italian studies and modern European history.