This study assesses the significance of Pinocchio in the twentieth
and twenty-first centuries in addition to his status as the
creature of a nineteenth century traversed by a cultural enthusiasm
for dummies, puppets, and marionettes. This collection identifies
him as a figure characterized by a 'fluid identity,' informed with
transition, difference, joie de vivre, otherness, displacement, and
metamorphosis, making Pinocchio a truly modern, indeed postmodern
and posthuman, cultural icon. Pinocchio, Puppets and Modernity
explores this crucial and as yet little visited field, reassessing
Pinocchio's genealogy and progeny, as well as illuminating both the
wider context and more specific cultural manifestations of the
mechanical-human interface in the domains of theatre, the fine
arts, literature, radio, and even virtual reality coherently with
the digital metamorphosis of our times. The wide-ranging scope of
this exploration encompasses Italian, French, and English
literature, dummies and marionettes in modernist and contemporary
theatre, the fairytale tradition, and traditional and contemporary
painting, as well as the older and newer media of radio,
television, cinema, and the Internet. The diverse, comparative, and
multimedia focus of this original discussion testifies to the
enduring transcultural legacy of Pinocchio. Eminently sellable as a
traditional cultural icon, Pinocchio is equally impactful and
relevant for a globalized, multicultural, and virtual society, from
Collodi to Disney and beyond. Katia Pizzi is Senior Lecturer in
Italian at the Institute of Germanic & Romance Studies, School
of Advanced Study, University of London. She has published volumes
on cultural identities, including A City in Search of an Author
(2001) and The Cultural Identities of European Cities (2010), and
on children's literature and illustration.
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