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This volume aims to explore some of the practices, conflicts,
negotiations and struggles at the interplay of bioethics and
racism. This requires shedding light on the hegemonic power
relationships that condemn some population groups to a condition of
subjugation, suffering, and oppression. By unpacking notions that
have been taken for granted and dismantling rhetorics that are
veiled in discourses and rationales pertaining to race and racism,
we highlight possible ways in which bioethics can operate across
disciplinary boundaries and strengthen its connection with equity
and social justice, which also entails striving for a "bioethics in
action".
Italian Women at War: Sisters in Arms from Unification to the
Twentieth Century offers diverse perspectives on Italian women's
participation in war and conflict throughout Italy's modern
history, contributing to the ongoing scholarly conversation on this
topic. Part one of the book focuses on heroines who fought for
Italy's Unification and on the anti-heroines, or brigantesse, who
opposed such a momentous change. Part two considers exceptional
individuals, such as Eva Kuhn Amendola, who combatted both with her
body and her pen, as well as collective female efforts during the
world wars, whether military or civilian. In part three, where the
context is twentieth-century society, the focus shifts to those
women engaged in less conventional conflicts who resorted to
different forms of revolt, including active non-violence. All of
the women presented across these chapters engage in combat to
protest a particular state of affairs and effect change, yet their
weapons range from the literal, like Peppa La Cannoniera's cannon,
to the metaphorical, like Letizia Battaglia's camera. Several of
the essays in this volume discuss fictional heroines who appear in
works of literature and film, though all are based on actual women
and reference real historical contexts. Italian Women at War
furthers the efforts begun decades ago to recognize Italian women
combatants, especially in light of the recent anniversary of the
Unification in 2011 and global discussions regarding the role of
women in the military. Its aim is not to glorify violence and war,
but to celebrate the active role of Italian women in the evolution
of their nation and to demystify the idea of the woman warrior, who
has always been viewed either as an extraordinary, almost mythical
creature or as an affront to the traditional feminine identity.
Italian Women at War: Sisters in Arms from Unification to the
Twentieth Century offers diverse perspectives on Italian women's
participation in war and conflict throughout Italy's modern
history, contributing to the ongoing scholarly conversation on this
topic. Part one of the book focuses on heroines who fought for
Italy's Unification and on the anti-heroines, or brigantesse, who
opposed such a momentous change. Part two considers exceptional
individuals, such as Eva Kuhn Amendola, who combatted both with her
body and her pen, as well as collective female efforts during the
world wars, whether military or civilian. In part three, where the
context is twentieth-century society, the focus shifts to those
women engaged in less conventional conflicts who resorted to
different forms of revolt, including active non-violence. All of
the women presented across these chapters engage in combat to
protest a particular state of affairs and effect change, yet their
weapons range from the literal, like Peppa La Cannoniera's cannon,
to the metaphorical, like Letizia Battaglia's camera. Several of
the essays in this volume discuss fictional heroines who appear in
works of literature and film, though all are based on actual women
and reference real historical contexts. Italian Women at War
furthers the efforts begun decades ago to recognize Italian women
combatants, especially in light of the recent anniversary of the
Unification in 2011 and global discussions regarding the role of
women in the military. Its aim is not to glorify violence and war,
but to celebrate the active role of Italian women in the evolution
of their nation and to demystify the idea of the woman warrior, who
has always been viewed either as an extraordinary, almost mythical
creature or as an affront to the traditional feminine identity.
Italo Calvino's reputation as one of the great writers of our
century rests chiefly on his allegorical fables and fantastic
narratives, whose inventiveness, irreverence, and elegant style are
universally admired. In this study, the author focuses on Calvino's
first novel, The Path to the Nest of Spiders (1947), because in it
she discerns a critical point of origin for Calvino's entire
'ethics' of writing. She shows how, in The Path, he challenges the
poetics of objectivity of the Italian neorealists movement and
offers a complex and ironic representation of the anti-Fascist
armed resistance in Italy. Situating Calvino's early work in its
historical and cultural context, the author reassesses Italian
neorealism in terms of the theories and critical debates about
realism of such critics as Lukacs, Sartre, Brecht, Adorno, and
Barthes. She analyzes neorealism's narrative practices and cultural
and political implications, while setting neorealism in the context
of the resistance and the postwar Reconstruction in Italy and
giving readings of major neorealist texts (novels by Pavese and
Vittorini, films by Rossellini, Visconti, and others) as well as
relatively obscure minor ones. The heart of the book consists of
readings of The Path from four different but intersecting critical
perspectives: formalist-narratological, sociohistorical,
psychoanalytic, and Bakhtinian. The readings assess the importance
of Calvino's beginnings for the body of his work and incorporate
relevant references to his later fiction and critical essays. Out
of these multiple readings, the ironic estrangement of the real
through the act of writing itself emerges as his key narratological
strategy.
Given the centrality of Africa to Italy's national identity, a
thorough study of Italian colonial history and culture has been
long overdue. Two important developments, the growth of
postcolonial studies and the controversy surrounding immigration
from Africa to the Italian peninsula, have made it clear that the
discussion of Italy's colonial past is essential to any
understanding of the history and construction of the nation. This
collection, the first to gather articles by the most-respected
scholars in Italian colonial studies, highlights the ways in which
colonial discourse has pervaded Italian culture from the
post-unification period to the present. During the Risorgimento,
Africa was invoked as a limb of a proudly resuscitated Imperial
Rome. During the Fascist era, imperialistic politics were crucial
in shaping both domestic and international perceptions of the
Italian nation. These contributors offer compelling essays on
decolonization, exoticism, fascist and liberal politics,
anthropology, and historiography, not to mention popular
literature, feminist studies, cinema, and children's literature.
Because the Italian colonial past has had huge repercussions, not
only in Italy and in the former colonies but also in other
countries not directly involved, scholars in many areas will
welcome this broad and insightful panorama of Italian colonial
culture.
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