Gender and geography in Italy

Abstract

This article attempts to provide a picture of Italian gender geography in order to better understand the discipline’s key achievements and development. Rooted in a lively tradition of feminism stretching back to the 1970s, Italian gender geography has faced cultural and academic resistance while achieving a number of milestones. There is still much to be done if the multifaceted theme of gender is to be fully engaged by Italian geography. However, seminars, national and international congresses on gender geography themes, and the dialectic encounter with international gender geography have stimulated the domestic debate since the new millenium. Italian gender geographic voices may be self-perceived as limited and isolated but are continuously engaged in the struggle to overcome the many structural and cultural constraints imposed by Italian society and academia. This article tries to review Italian gender geography’s history to look forward and encourage new agendas and projects within a larger academic audience.     

Reversing the view of ‘political pilgrims’: re-examining Italian travelogues about China in the 1950s

Scholars often consider the mostly positive representations of China by Italian visitors in the 1950s as the false and embellished depictions of political pilgrims. This article challenges this oversimplified interpretation. Based on evidence from commonly cited travel accounts, this article argues that Italian writers’ leftist political sympathies did not necessarily lead to self-censorship or intentional embellishment of China, nor did the host country’s control and surveillance over foreigners simply make Italian visitors willing to cooperate or produce positive feedback. Putting these travel accounts in their social and historical contexts, the article shows that Italian intellectuals’ positive representations of China in the 1950s, as well as the severe criticisms that were raised in the 1960s and 1970s, were rooted in reality and reflected the radical changes in Chinese society and Sino-Italian relations over the course of the Maoist era (1949–1976).     

Ordinary culture in a world of strangers: toward cosmopolitan cultural policy *

The image of Zwarte Piet, as part of Dutch Sinterklaas celebrations has caused heated debate in the past decade, which has polarized tensions between the ‘Dutch’ and ‘strangers’. This article argues that the debate cannot be resolved within a framework of a methodologically nationalist cultural policy. Building on Kwame Anthony Appiah’s book Cosmopolitanism: Ethics in a World of Strangers, I argue that a cosmopolitan framework for belonging is not only a normative but also a policy imperative. Cultural policy should recognize our shared global belonging, rather than building a national polis predicated on difference that sets us apart. However, a methodologically cosmopolitan cultural policy cannot be a blanket approach to replace or undermine national frameworks. It should embed the nation in a cosmopolitan public policy to accommodate cultural and religious diversity under globalization that has irrevocably eroded the illusion of a national unity.     

East and West in Jewish nationalism: conflicting types in the Zionist vision?

ABSTRACT. This article analyses the ethnic and civic components of the early Zionist movement. The debate over whether Zionism was an Eastern‐ethnic nationalist movement or a Western‐civic movement began with the birth of Zionism. The article also investigates the conflict that broke out in 1902 surrounding the publication of Herzl's utopian vision, Altneuland. Ahad Ha'am, a leader of Hibbat Zion and ‘Eastern’ cultural Zionism, sharply attacked Herzl's ‘Western’ political Zionism, which he considered to be disconnected from the cultural foundations of historical Judaism. Instead, Ahad Ha'am supported the Eastern Zionist utopia of Elchanan Leib Lewinsky. Hans Kohn, a leading researcher of nationalism, distinguished between ‘Eastern’ and ‘Western’ nationalist movements. He argued that Herzl's political heritage led the Zionist movement to become an Eastern‐ethnic nationalist movement. The debate over the character of Jewish nationalism – ethnic or civic – continues to engage researchers and remains a topic of public debate in Israel even today. As this article demonstrates, the debate between ‘Eastern’ and ‘Western’ Zionism has its foundations in the origins of the Zionist movement. A close look at the vision held by both groups challenges Kohn's dichotomy as well as his understanding of the Zionist movement.     

Adriano Celentano and the origins of rock and roll in Italy

Abstract

This article examines the way in which American rock and roll was translated into Italian culture. It argues that Italian versions of rock and roll were not just ‘watered down’ or ‘domesticated’ versions of the original. Rather, Italian rock emerged from a context that was different in musical, ethnic, political, linguistic and religious terms. By focussing on Adriano Celentano (the most prominent ‘Italian Elvis’ of the 1950s), it is shown that Italian rock singers evolved from mere imitation to cultural forms that were more related to the Italian environment. Musically, this meant a relationship with the domestic melodic tradition, jazz and American rock and roll rather than the blues. The rebellious attitude of early singers was a function of the hostility demonstrated towards them by political and religious authorities. Once this attitude was replaced by one of co-optation, opposition was replaced by modernizing integration. A figure like Celentano managed to be simultaneously defiant and conservative, pagan and religious, conformist and non-conformist. The resulting contradictions were concealed beneath a personal magnetism partly based on an established ‘cool’ style that appealed to the new categories thrown up by social and economic changes. Celentano's fame was confined to Italy not because he merely imitated American rock but because he developed an original synthesis that was specifically adapted to Italian tastes.     

Aretusa: continuity,rupture and space for intervention (1944–46)

This article focuses on the cultural activity of Aretusa (1944–46), a journal that was deeply connected to the inner circle of philosopher and politician Benedetto Croce (1866–1952). The article analyses the role played by periodical editors Francesco Flora (1891–1962) and Carlo Muscetta (1912–2004) in shaping the mission and direction of this journal. By drawing on Pierre Bourdieu’s theory of habitus, and the notion of hysteresis in particular, this study details the factors influencing the aesthetic dispositions, political positioning and the wider impact of historical circumstances on the cultural practice of each editor while at the helm of the review.     

Gustav Metzger: iconoclasm and interdisciplinarity

ABSTRACT

Gustav Metzger (1926–2017) has been described as ‘the conscience of the art world’ for the consistently political content of his art and his commitment to political activism on the subject of nuclear weapons, capitalism and environmentalism. Metzger’s artistic output from the late 1950s onwards reflects a theory of art as both aesthetic form and social action and identifies him as a key precursor of activist art. This article considers the inherent interdisciplinarity of Metzger’s practice as it evolved during this early period between the late 1950s and early 1970s in relation to his agenda of social engagement.     

Republicans and Socialists and the Origins of Italian Political Parties

A central debate in political science centres on the origins of political parties and specifically on the question as to whether they emerged as a result of the rise of parliamentary institutions. Regarding the Italian party system, the commonly held view is that Italian parties emerged as a consequence of national unification and the establishment of parliament. This article contributes to the debate on the origins of Italian parties by presenting empirical evidence on the timing of their initial formation, analysing data regarding the social base, membership, organisational articulation and policy-making accomplishments of the two major political movements active before and after the establishment of the national parliament. The article argues that, at least in the Italian case, parties did not originate in the legislature; rather, similar to countries such as Germany and Spain, Italian parties developed as a result of a major national crisis.     

The Revolution’s Neverending Stories: Liliana Heker’s El fin de la historia

This article considers the legacy of 1970s revolutionary thought and political action within Argentine cultural production. Liliana Heker’s 1996 novel El fin de la historia is a fictional depiction of Montonera ‘Lucy’ Carazo, who was taken as a political prisoner, fell in love with and seduced her captor, and went on to collaborate with the military regime. Similar stories continue to arise and generate a great deal of debate in present-day Argentina, at the same time that Heker's novel itself continues to elicit controversial critical and cultural responses. This close reading of the novel thus situates itself within present-day debates regarding the ethics and politics of 1970s armed struggle as well as ongoing debates concerning individuals who abjure or betray their commitment to 1970s revolutionary causes. The analysis focuses on seduction and sexuality as a means of leading the novel’s protagonist astray from the cultural topoi of revolutionary martyrdom and heroism.     

Beyond the One-World Frame of Fiction: The Breakdown of Reality in Hushang Golshiri's Stories

The debate over political commitment in Iran was never limited to adjudicating content: it was frequently a debate over form as well. In the realm of fiction, this debate fixated on realism, the nature of mimesis, and the autonomy of art and the literary text. Within a few short years after forming the iconoclastic journal Jong-e Esfahan in 1965 with a group of likeminded colleagues, the writer Hushang Golshiri had become the preeminent modernist fiction writer in Iran. His critical essays represented a passionate defense of aesthetic autonomy at a time when realism and, particularly, socialist and “engaged” literature were powerful shibboleths in the Tehran literary scene. This paper begins with a look at Golshiri's critical interventions in this debate and then moves on to show how the short stories he produced in the Jong era were an even more integral part of his response to the mimesis question. By reading his stories with a methodology drawn from “possible worlds” theories of narratology, Todorov's fantastic, and Golshiri's own theories, we see how these works break down the “one-world” frame of reality that realism takes for granted, and require the reader to grapple with multiple, often contradictory, possible realities in its stead.     

Communists on the Brink: The Gorizian Comrades of the Early Post-War Period

Much is known about the early post-war history of the Italian Communist Party (PCI). However, considerably less attention has been directed to its later affiliations; those in regions at the time contested in terms of their national sovereignty and which were consequently integrated to the PCI national party structure at different stages over the course of the late 1940s and 1950s. They include the communist organisations in the former Venezia-Giulia region or the Julian March, on Italy's north-eastern border with Yugoslavia. Drawing on new empirical evidence, this paper looks at the singularly pragmatic nature of the contemporary communist movement in the Gorizian Province, as illustrated in its responses to a series of testing situations and paradigm-shifting developments. It examines these comrades' trajectory from revolutionary pro-secessionists intent on annexing their region to the new People's Republic of Yugoslavia, to ‘Italian’ communists' intent on superseding the majority Christian Democrats in the immediate context. Themes addressed in this analysis include those of agency, geopolitics, political and national identity.     

The editor and the CIA: Herbert Tingsten and the Congress for Cultural Freedom: a symbiotic relationship

This article deals with the relations between perhaps Sweden's most influential publicist during the Cold War, the professor of political science and editor-in-chief of Sweden's largest daily newspaper Dagens Nyheter 1946–1959, Herbert Tingsten, and the Congress for Cultural Freedom (CCF), a CIA-sponsored organisation gathering the elite of the world's non-communist leftist intellectuals, Congress for Cultural Freedom and its Swedish sub-branch called ‘Svenska kommittén för kulturens frihet’ (SKfKF). Tingsten was a professor of political science at University of Stockholm from 1935 to 1946 and then editor-in-chief of Sweden's largest daily newspaper Dagens Nyheter from 1946 to 1959. It argues that parts of Tingsten's work both as an opinion maker and as a scholar was part of a symbiotic relationship with the CCF and the SKfKF. Tingsten was the foremost propagator for the ‘end of ideology’ thesis in Sweden and the article argues that this campaign was inspired by the CCF's advancement of this idea in the 1950s and 1960s. Tingsten was personally acquainted with several CCF intellectuals and he visited several of the CCF's conferences. The article also makes the case that Tingsten helped the CCF and the SKfKF's causes and furthered their agendas in a number of ways during his time as editor-in-chief of DN. For example, Tingsten allowed the SKfKF to use DN as a platform for presenting its ideas and programmes to a broader public. The article thus shows how the CCF network of intellectuals influenced opinion making in non-aligned Sweden.     

Pasolini contro Calvino: culture,the canon and the millennium

This article offers an account of a recent debate in the cultural pages of the Italian press on a polemical work of literary criticism entitled Pasolini contro Calvino, in which the two authors are shown to represent emblematically different attitudes towards literature, cultural institutions and the culture industry in post‐war Italy. The debate surrounding this claim is examined in substance, but also as an illustration of the workings of culture in 1990s Italy.     

A legal theory for the nation state. Pasquale Stanislao Mancini,Hegelianism and Piedmontese liberalism after 1848

ABSTRACT

This article aims to shed light on the Italian liberals’ contribution to the post-1848 European debate on nationality, representative government and the theory of the state, through focus on the political thought of Pasquale Stanislao Mancini. Building on Vico and Hegel’s philosophies of law and history, Mancini developed a sui generis tradition of national liberalism that founded representative government on a theory of the state that identified freedom and nationality. Far from being the passive and provincial adaptation of Anglo-French currents of liberalism, Mancini’s political thought, while engaging with the contemporary European debates on freedom and constitutional government, nurtured an original constitutional theory that connected conflicting ideas of cosmopolitan freedom and national patriotism.     

Red Aesthetics,Intermediality and the Use of Posters in Chinese Cinema after 1949

Abstract

This article focuses on the aesthetic and affective techniques of saturation through which posters legitimated the Party-State in Mao’s China by closing the gap between everyday experience and political ideology. Propaganda posters were designed to put into practice the principle of unity, as conceptualised by Mao Zedong. The argument posits that while the “poster” is normally a printed edition of a painting or design intended for mass distribution in this way, the term may fairly be deployed to capture other cultural objects that function as “posters”, in that they provide public, political information that expresses or constructs a political self in aesthetic form. This approach requires a metonymic understanding of a visual field in which cultural objects are interrelated and mutually reinforcing. The essay draws on recent in-depth interviews with poster artists of the 1960s and 1970s.     

On the current absence and future improbability of political Catholicism in Italy

Clerical ‘non-negotiable values’ were actively promoted by right-wing governments in the 2000s, the Monti government that replaced them was strongly supported by the Vatican and the Italian bishops, and the current left-wing government is led by a former member of the Catholic popolari who attends Mass every Sunday. But this article argues that, rather than a new golden age of political Catholicism, the return of Catholicism to Italian politics has taken a ‘low intensity’ form which lacks the robust combination of ideas, leaders, organizations, and interests that informed earlier, genuinely political forms of Catholic engagement. The article demonstrates this by focusing on the ‘Todi movement’, which played a crucial role in the Monti government, and on Matteo Renzi’s current leadership of the Partito democratico and the national government. It also proposes a theoretical framework to explain the apparent contradiction between the high visibility and the low political relevance of Catholicism in Italian politics.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

Putting the drum in conundrum: Guadeloupean gwoka,intangible cultural heritage and postnationalism

Since 2004, Felix Cotellon, the president of the centre for traditional music and dance on the island of Guadeloupe, has spearheaded a grass roots campaign to see gwoka inscribed on the UNESCO’s list of Representative Intangible Cultural Heritage of Humanities. The move has been surprising, even controversial. Gwoka, a drum-based music and dance, has been used as a symbol of Guadeloupean cultural identity and resistance against French colonialism since the late 1960s. Moreover, Cotellon has had a long association with separatist activism. However, because Guadeloupe remains a French overseas department without a seat at the UN, the petition to add gwoka to the ICH list had to be sponsored by the French state. Following a successful bid, gwoka is now listed as representative of the culture of a French region. In this article, I draw from my ethnographic work as well as my own involvement in the committee that drafted Guadeloupe’s application to trace the complex network of individuals, who are shaping gwoka’s transformation from weapon of national resistance to symbol of humanity’s cultural diversity. I argue that these individuals shape and operate within a ‘zone of awkward engagement’ that allows for the emergence and expression of a postnationalist political subjectivity.