As part of a week of events marking the 60th anniversary of the publication of Giuseppe Tomasi di Lampedusa’s Il gattopardo (1958, The Leopard 1960) a symposium, Sicily, Italy and the Supranational Cultural Imaginary, convened by Mark Nicholls, Gregoria Manzin and Annamaria Pagliaro, will be taking place at the University of Melbourne on November 12-14, 2018. The convenors are therefore calling for papers on any aspect of the novel, Luchino Visconti’s 1963 film or interdisciplinary discussion of the political, social and cultural contexts related to them. Particularly welcome are also papers that consider what Il gattopardo and the discourse surrounding it has to say about trans-historical issues of political and social unity and cohesion in the face of contemporary cultures of ideological fragmentation, digital age tribalism, devolution and identity politics. The deadline for submission of proposals is 30 June 2018; the organisers are happy to receive them earlier. Possible topics include ….. Continue reading
One of the items now added to Routledge’s European Studies Open Access site is Axel Körner‘s ‘Masked faces: Verdi, Uncle Tom and the unification of Italy’, Journal of Modern Italian Studies 2013, 18 (2): 176-189). He explores Italian images of, and attitudes towards, the United States in the mid-19th century, focusing on two very popular and influential theatrical representations of life in the New World which left an important mark on Italian views of the United States during the later Risorgimento: Giuseppe Verdi’s opera Un ballo in maschera (1859), and Giuseppe Rota’s ballet Bianchi e neri (1852), based on Harriet Beecher Stowe’s novel Uncle Tom’s Cabin. As Körner points out, Italians did not always look at life in America as a political, social or constitutional model; and if in the eyes of many Italians the United States became an epitome of modernity later in the nineteenth century, they did not necessarily identify with the particular model of modernity America stood for.
Keen to keep pace with scholarship on the Risorgimento? The latest issue of Modern Italy (vol.19, issue 3, 2014) has a substantial section of reviews by leading scholars of recent books on several of its aspects. They follow a group of articles on Fascism and nature (sample title: ‘Making Italians out of rocks: Mussolini’s shadows on Italian mountains’), covering Italy and its African colonies, parks, the environment and leisure. The official encouragement in 1939 to get people to do more by way of ‘sweaty exertions’ in skiing and swimming, to be practised in full combat gear, did not fall entirely on deaf ears but failed to generate the levels of skill thought necessary for adequate defence of the patria on land and sea.
The latest issue of the Journal of Modern Italian Studies (2013, no.2) is a special issue with the title ‘Mediating the Risorgimento’. Its focus is the way in which historical figures and the events in which they played central parts were represented and shaped by the media of the time – painting, photography, opera, theatre and panoramas. The most recent issue of Modern Italy (2013, 1) has an interesting set of articles on Italian cinema, in particular an analysis of the relation between the (pre-Grillo) commedia all’italiana and the other media of the 1960s, especially advertising. Revisiting Modern Italy‘s 2012 issues, two contributions to topics which have since appeared in our posts deserve highlighting in case they have been missed. Penny Morris, Francesco Ricatti and Mark Seymour edited a special issue on ‘Italy and the Emotions’ (2012, vol.17, no.2) which contains inter alia an explanation of Tottimania and its wider significance. And for those captivated by Caterina Sinibaldi’s post on translating Alice during the Fascist period, Jomarie Alano (2012, vol.17, no.1) examines another story for children which, conceived in 1938 as a contribution to anti-Fascism, also has a decidedly non-conforming protagonist: Ada Gobetti’s Storia del gallo Sebastiano.
Ros Pesman University of Sydney
The Italian Risorgimento was an event that crossed national and gender boundaries, arousing enthusiasm and garnering support well beyond the peninsula and from women as well as men. Nowhere was this enthusiasm and support stronger than in Britain with its
centuries-old fascination with Italy. When Garibaldi, not only a hero of Italian unification but also the world’s first international celebrity, visited Britain in 1864, an estimated 500.000 people lined the streets of London to greet him. But it is not Garibaldi who is the subject of my research, undertaken in an ARC-funded project on ‘La Bella Libertà: Women, Freedom and the History of Italy’ with Barbara Caine and Glenda Sluga.
My focus is on Mazzini and on the network of devoted supporters he created in Britain, composed of British nationals, Italian exiles and Italian residents in Britain, and particularly on its members who were women. This network comprised Mazzini’s most faithful and unswerving followers, the true believers.