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Poised between the Mediterranean and the Mitteleuropa, crossroads
of civilizations and seat of vibrant cultural and literary life,
Trieste is now acknowledged as enjoying unrivalled cultural status
amongst Italian cities. This volume, the first comprehensive study
of Triestine literature in English, originally reassesses Triestes
literary identity, paying particular attention to the period
between 1918 and 1954 when local writing became intensely aware of
its local specificity and some of its central motifs came
prominently to the fore. Triestes singular border identity,
mirrored in a variegated literary output, emerges here as laden
with complexities and ambiguities, such as the controversial notion
of triestinita, the ambiguous relation with nationalism,
specifically in its Fascist inflection, and the anxieties generated
by repeated re-definitions of the areas historical borders.
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.
This is the first interdisciplinary exploration of machine culture
in Italian futurism after the First World War. The machine was a
primary concern for the futuristi. As well as being a material tool
in the factory it was a social and political agent, an aesthetic
emblem, a metonymy of modernity and international circulation and a
living symbol of past crafts and technologies. Exploring
literature, the visual and performing arts, photography, music and
film, the book uses the lens of European machine culture to
elucidate the work of a broad set of artists and practitioners,
including Censi, Depero, Marinetti, Munari and Prampolini. The
machine emerges here as an archaeology of technology in modernity:
the time machine of futurism. -- .
This collection of essays reappraises the contributions made by
modernist movements from regions generally regarded as peripheral
or semi-peripheral to a global aesthetic of Modernism. It
particularly focuses on European semi-peripheries, combining
theoretical chapters and individual case studies to examine the
cultural and aesthetic complexities of so-called peripheral
modernisms. Contributing to research on the ‘transnational
turn’ in New Modernist Studies, the volume takes recent
scholarship on postcolonial modernisms one step further by
exploring a broader geopolitical expanse than the (formerly)
colonised regions under global capitalism. It highlights the local
and translocal specificities of modernist movements from regions
such as Eastern and Central Europe and the Mediterranean to offer
new insights into the concept of global modernism.
The Cold War left indelible traces on the city, where polarities on
the global stage crystallized and intersected with political and
social dynamics predating and bypassing the Blocs. This collection
taps into the rich fabric of memories, histories and cultural
interactions of thirteen cities worldwide and the lived experience
of urban communities during the long Cold War: activated and
mobilized by atomic technologies, taking tourist photographs,
attending commercial fairs, enjoying the cinema and the ballet,
singing in choirs, paying respect in local cemeteries, visiting
museums, and responding to town councils, unions and the local
press. Literature, film, photography, the press, the monument, the
cemetery, the factory, the ruin, the archive and the natural
ecosystem are some of the key frameworks of cultural production
elucidated here with a view to countering and exploding received
myths about the Cold War.
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