*** Winner of the2019 Flaiano Prize in the category Italian Studies *** In Fellini's Eternal Rome, Alessandro Carrera explores the co-existence and conflict of paganism and Christianity in the works of Federico Fellini. By combining source analysis, cultural history and jargon-free psychoanalytic film theory, Carrera introduces the reader to a new appreciation of Fellini's work. Life-affirming Franciscanism and repressive Counter-Reformation dogmatism live side by side in Fellini's films, although he clearly tends toward the former and resents the latter. The fascination with pre-Christian Rome shines through La Dolce Vita and finds its culmination in Fellini-Satyricon, the most audacious attempt to imagine what the West would be if Christianity had never replaced classical Rome. Minimal clues point toward a careful, extremely subtle use of classical texts and motifs. Fellini's interest in the classics culminates in Olympus, a treatment of Hesiod's Theogony for a never-realized TV miniseries on Greek mythology, here introduced for the first time to an English-speaking readership. Fellini's recurrent dream of the Mediterranean Goddess is shaped by the phantasmatic projection of paganism that Christianity created as its convenient Other. His characters long for a "maternal space" where they will be protected from mortality and left free to roam. Yet Fellini shows how such maternal space constantly fails, not because the Church has erased it, but because the utopia of unlimited enjoyment is a self-defeating fantasy.

The European Union and the single currency have given Europe more stability than it has known in the past thousand years, yet Europe seems to be in perpetual crisis about its global role. The many European empires are now reduced to a multiplicity of ethnicities, traditions, and civilizations. Europe will never be One, but to survive as a union it will have to become a federation of "islands" both distinct and connected. Though drawing on philosophers of Europe's past, Cacciari calls not to resist Europe's sunset but to embrace it. Europe will have to open up to the possibility that in few generations new exiles and an unpredictable cultural hybridism will again change all we know about the European legacy. Though scarcely alive in today's politics, the political unity of Europe is still a necessity, however impossible it seems to achieve.

The European Union and the single currency have given Europe more stability than it has known in the past thousand years, yet Europe seems to be in perpetual crisis about its global role. The many European empires are now reduced to a multiplicity of ethnicities, traditions, and civilizations. Europe will never be One, but to survive as a union it will have to become a federation of “islands” both distinct and connected. Though drawing on philosophers of Europe’s past, Cacciari calls not to resist Europe’s sunset but to embrace it. Europe will have to open up to the possibility that in few generations new exiles and an unpredictable cultural hybridism will again change all we know about the European legacy. Though scarcely alive in today’s politics, the political unity of Europe is still a necessity, however impossible it seems to achieve.

Massimo Cacciari is one of the leading public intellectuals in today's Italy, both as an outstanding philosopher and political thinker and as now three times (and currently) the mayor of Venice. This collection of essays on political topics provides the best introduction in English to his thought to date. The political focus does not, however, prevent these essays from being an introduction to the full range of Cacciari's thought.The present collection includes chapters on Hofmannstahl, Luk\ cs, Benjamin, Nietzsche, Weber, Derrida, Schmitt, Canetti, and Aeschylus. Written between 1978 and 2006, these essays engagingly address the most hidden tradition in European political thought: the Unpolitical. Far from being a refusal of politics, the Unpolitical represents a merciless critique of political reason and a way out of the now impracticable consolations of utopia and harmonious community. Drawing freely from philosophy and literature, The Unpolitical represents a powerful contribution to contemporary political theory.A lucid and engaging Introdcution by Alessandro Carrera sets these essays in the context of Cacciari's work generally and in the broadest context of its historical and geographical backdrop.

Massimo Cacciari is one of the leading public intellectuals in today's Italy, both as an outstanding philosopher and political thinker and as now three times (and currently) the mayor of Venice. This collection of essays on political topics provides the best introduction in English to his thought to date. The political focus does not, however, prevent these essays from being an introduction to the full range of Cacciari's thought.The present collection includes chapters on Hofmannstahl, Luk\ cs, Benjamin, Nietzsche, Weber, Derrida, Schmitt, Canetti, and Aeschylus. Written between 1978 and 2006, these essays engagingly address the most hidden tradition in European political thought: the Unpolitical. Far from being a refusal of politics, the Unpolitical represents a merciless critique of political reason and a way out of the now impracticable consolations of utopia and harmonious community. Drawing freely from philosophy and literature, The Unpolitical represents a powerful contribution to contemporary political theory.A lucid and engaging Introdcution by Alessandro Carrera sets these essays in the context of Cacciari's work generally and in the broadest context of its historical and geographical backdrop.

*** Winner of the 2019 Flaiano Prize in the category Italian Studies *** In Fellini's Eternal Rome, Alessandro Carrera explores the co-existence and conflict of paganism and Christianity in the works of Federico Fellini. By combining source analysis, cultural history and jargon-free psychoanalytic film theory, Carrera introduces the reader to a new appreciation of Fellini's work. Life-affirming Franciscanism and repressive Counter-Reformation dogmatism live side by side in Fellini's films, although he clearly tends toward the former and resents the latter. The fascination with pre-Christian Rome shines through La Dolce Vita and finds its culmination in Fellini-Satyricon, the most audacious attempt to imagine what the West would be if Christianity had never replaced classical Rome. Minimal clues point toward a careful, extremely subtle use of classical texts and motifs. Fellini's interest in the classics culminates in Olympus, a treatment of Hesiod's Theogony for a never-realized TV miniseries on Greek mythology, here introduced for the first time to an English-speaking readership. Fellini's recurrent dream of the Mediterranean Goddess is shaped by the phantasmatic projection of paganism that Christianity created as its convenient Other. His characters long for a "maternal space" where they will be protected from mortality and left free to roam. Yet Fellini shows how such maternal space constantly fails, not because the Church has erased it, but because the utopia of unlimited enjoyment is a self-defeating fantasy.