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Che ambiti temporali possiamo stabilire? Rossini ne fu direttore artistico dal al , e Donizetti nei 16 anni successivi: un grande patrimonio che, da solo, costituisce una cassaforte che il teatro dovrebbe valorizzare per sottolinearne la sua gloriosa storia. Quindi dirigerebbe le Passioni di Bach? Un ego non da poco! Veniamo ora alle due Betulie. Cosa prende Mozart dalla scuola napoletana? Dopo aver eseguito I Masnadieri di Verdi, decisi di dirigere al Maggio un titolo che conoscevo bene. A loro si aggiungeva poi la grande arte di Sesto Bruscantini. Come Gedda fu un signore del fraseggio e della tecnica di canto.

Un trittico di dvd disponibili sul sito www. Tal dei tempi il costume. Che dire? Se i rovesci della storia non bastano come attenuanti, pensiamo allo spettacolo contemporaneo: assalto alle liste, cambi di casacca, alleanze pronte alla dissoluzione. Non quella di Don Giovanni, ma di Scapino. Ho la fortuna di poterle riscoprire al pianoforte, grazie ai grandi insegnanti che ho avuto al Conservatorio di Napoli e Milano. E decido che vale la pena di entrarci dentro. Sono totalmente preso dal Do minore del Preludio di questa Sinfonia ironia della storia: viene dalle esequie di un generale napoleonico.

Et ploratus! Quali esequie! Quale pianto! Meste trombe suonano da lontano. It really is that simple. Things have changed a lot over the years though, we did spend a lot of time in bars getting in to all sorts of mischief but those days are all history. Much more productive and we save a lot of money. I found early on that you can only push your body so far before something has to give. I think we all like to stay healthy and on top of things these days. LDP: Speaking of your beginnings, would you like to talk about your calling as musician and about the choice of electric bass?

AB: Well all my family have been or are musicians. I have been told my family has a long history in music. All my family could sing or play instruments in some form, my mother had an incredible voice. My two brothers are both drummers and my sister is a singer. So me being the youngest at home surrounded by music in many ways, it was inevitable I ended up being a musician.

I would go and watch my sisters band rehearse and I was drawn to guitar at first. But back then schools did not want to teach any instruments like the electric guitar, you had to play something in the orchestra. I started listening to bands like YES, Rush, Genesis, basically anything progressive and that had up front bass lines.

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Year after year I would sit in my bedroom playing Rush albums back to front, learning each one note by note. Moving forward I created a band and we rehearsed more than we gigged. But this was a good start for me. We did have a few gigs lined up and our singer left at the last second and I had to step and play bass and sing the shows.

This opened me up from just playing bass to move into the song writing side of things also. This is where I started to play a bit of piano and guitar. I have recently returned to writing new material again and have a small home studio set up to get some ideas down. Just for my own entertainment though right now. I feel very comfortable on stage with bass duties.

I do a lot of backing vocals live so this gives me a chance to make a noise vocally. But my favourite time is just sitting back locked into the drums and grooving along and watching the band and fans having a great night. LDP: Who are the bassists who have mostly influenced you while you were about to start your career as musician? AB: Geddy Lee was a massive influence when I started. I sat and learnt every Rush album available note for note.

My musical likes have changed over the passed years. I will notice if a bass line captures my ear but I am attracted more now to a well written and performed song. It was all about the speed and dexterity in the early days, now I need to hear a groove and well performed piece. I think right now one of my favourite players would be Tony Levin.

He plays many styles and seems to be able to give the song just what is required. Same for Lee Sklar and Neil Murray, style over flash. LDP: You are also a photographer and a high-level graphic designer, even to the point of dealing with some covers of Magnum. How can you combine both of these artistic commitments and, at the same time, how can you make them run along parallel lines?

AB: Music and art run very close together for me. Many people I know do very similar things. Music can take up great chunks of your time, but it can also leave you free for long periods when you can do other things. But it does seem to be that just lately they all come at the same time, which is ok, I like to stay busy and creative in some way. I was always drawing and painting as a kid. I was very much into art at school. Then years later moving on to computers to create art opened up a great new world.

Linked with my photography passion I found that I could use this in the music industry as well. I meet a lot of bands on the road that need album covers and band photo shoots doing. So they do work hand in hand. I very often get involved in the visual side of the Magnum albums. Creating the booklets and merchandise and also the web sites.

I spend a lot of time on tours with my camera capturing life on the road and has given me some great opportunities to shoot some very nice images. It has also got me into venues and met people I have admired as musicians when asked to photograph them live or in a studio. Today, I am creating a new look logo for the next tour and working on t-shirt ideas for the new album.

We have just been given the working title so my creative juices are flowing today. But inevitably we all do. Magnum do seem to move from one genre to another, this is good I feel. I would not say we are a heavy rock band, but we play some heavy rock music and we're not really a power ballad type of band. I think it is hard to say what Magnum really are. Many have said pomp rock, a term I personally dislike. I'm not sure what Pomp is!

We have some quite progressive moments in some songs but I would not say we are a prog band.


Having the freedom to move from one genre to another is also a bit of a curse as we can't really say what type of fan we can target. We play festivals and some that are even classed as metal festivals. We have been on with some major death metal bands we were concerned we would not go down well.

I think we are the musical part of the show that gives people ears a rest. I remember doing a metal festival in Sweden a few years back and I looked down to see a guy in a full length leather coat and a full face of black and white make up with a small child dressed almost identically including make up but with pink ear defenders on his shoulders, rocking out to How Far Jerusalem.

It was an unusual thing to see but brilliant and stuck in my head. Have you ever met Colin? How was the first impact with the band? AB: I have never met Wally, I stood behind him on stage once while Magnum did a sound check, but this was many years before I had met the band or knew them personally. Wally was a very proficient player and performer but I have been told he never was overly bothered by the lifestyle of being in a band. This life is not for everyone. I do have quite an input in other areas with the band. As we have mentioned I get involved with the artwork, the cd designs and merchandise.

I also look after the web sites and social media side of things for the band. When I can I also do the band photos. But recently I have brought in some good people to help with the band shoots, as I need to be in the shots. I think it has helped being more accessible to fans online. Bob and Tony are not really that up to speed with the social media side and technology. They appreciate what a big part it plays in the bands promotion but leave me to do what I can. Do you use it and do you like the sound?

Do you find it functional or do you prefer the flexibility of fretted? They have been very helpful to me over my career. I love their basses and still have a good collection of them now. I like their amps and cabs also. I have been very happy with the build quality and the sound that they have supplied me with all these years.

I have just got an endorsement with TC Electronic and they will be sending me a BH tone print amp and some cabs. I am very excited about these new amps and hope to be using them on some of the festivals. Also the tone print side of things will be very cool for studio work. Warwick have just been in touch asking me if I want to try the new LWA watt amps.

That will be nice to try out their small but powerful amps. I do love Warwick basses but the Fender just has that typical big gritty sound. Do you think that today guys are less sensitive to rock, also because of a system that offers too faster and temporary suggestions, and maybe because of a kind of music ready for the immediate downloading as well as for pre-packaged works? AB: I have to admit, I was pulled into the grunge scene for a while. I quickly came to my senses though.

I do think there will always be a hardcore fan who will go to the ends of the earth to follow their chosen band. With ticket prices being so high these days it does take a lot to get people off there butts and into a show. A night at a concert will see you digging deep especially for arena shows. I agree with you that the world for the younger fan moves at such a faster pace. The longevity of bands these days does not seem to be something that a fan or record label are looking for.

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Which says a lot for Magnum still being able to sell tickets and records after 40 years of being in the industry. Not many bands can say that. When I first started touring with Magnum it was a mainly grey haired or bald men with beards in the audience. Now we seem to have attracted a much younger audience alongside the faithful. I think there is not only the original fans making a return but they are bringing their kids now 40 years old and they are in turn bringing the grand kids. Again at another concert on the last tour I looked along the rows and saw a bunch of about 12 teenagers all decked out in bandagers and studded wrist bands having a brilliant time.

It was brilliant to see that they also knew all the lyrics to the old Magnum tracks as well as rocking out to the newer material. This really makes Bob emotional to see that we have such a wide audience appeal these days. What are the plans of Magnum in the near future? And what about you, are you going to work on any new projects on your own? AB: Yes, we just released a new live album.

This was recorded across the last tour supporting the Shadow Garden album. Half the show covered new material from the last eight or so albums and then half a show of pre reformation Magnum tunes. We hope that we got the balance right between new and old songs. We have a few festivals to play but the recording will take us up to Early will see the release of the new album working title, Sacred Blood - Divine Lies.

Then March sees us on tour for a couple of months and followed by festivals. So an exciting and busy time for us. I love the work and thought that went in to reworking some classic Magnum songs. I also like an album that has not been so highly rated amongst fans and thats Rock Art. I like the album a lot and will play that one in the car.

Have you got any other overwhelming interests? And last but not least, have you ever thought to record a solo album sooner or later? But it's great to be so busy. I like to travel as much as I can when I get the time. Spending a lot of my time in the States.

I love a bit of country music so I love visiting Nashville Tennessee and surrounding areas for great music and food. I have recently built a small home studio just to get some ideas down. Nothing major, just something to entertain myself more than anything. The funny thing is a lot of music friends have already asked if they can come down and put some tracks down with me.

I am shocked and flattered by some of the people who have asked to be involved with music I might create. Andy Curran. I strongly advise everybody to get them. They have been a hard band even a melodic one, being able to play powerful riffs as well as remarkable interludes. Coney Hatch had as bassist Andy Curran, whose style shown by the instrument was estremely valuable. A while back I was very happy to know about his important collaboration with Anthem which is also, not by chance, the same label of Rush.

I therefore have told with Andy about canadian rock, Coney Hatch, electric bass and record production markets in this interview that he has accepted with a great availability and spirit of cooperation. Good reading. LDP: Andy, would you like to tell us about the beginning of your career, the choice of bass and the adventure called Coney Hatch?

AC: It seems I was always growing up around music. My dad played the guitar and piano and we had lots of great pre bed time singing along with him. Wow, they basically introduced me to some of the coolest music ever and it was game over. I really wanted to be a guitarist but hell, I had a free bass so I never looked back! My parents planned a family trip back to the UK where they were born and specifically a town called Muswell Hill. When I returned home to Canada it was during the rise of the Sex Pistols and punk rock so that was a cool time to be in England. Coney Hatch played there twice!!

I still thank him to this day for that chance he gave us. It was a pretty quick ride for me going from my parents basement to church basements to crappy night clubs to awesome filled legit rock clubs to Arenas and open air festivals once our records were released. LDP: Your personal path shall exude music Could you talk about your evolution from being a bassist and singer, up to develop your present collaboration with Anthem? The more records I had the opportunity to make, the more interested I became in production and the process and art of making records.

Eventually I started producing young bands, writing music for TV and chasing that end of the business. That was ten years ago…its been quite a ride. LDP: In some of your interviews I read with satisfaction about your musical tastes which are heterogeneous and in a spirit of eclecticism. What kind of music did you enjoy listening to as a kid, and what do you like today?

I loved all of them. He also told me the best bass lines in the world were in funk songs so I really started getting into WAR and then Bob Marley. As I mentioned that trip to England in was pivotal in shaping my music mind. So if you mix up all those bands in a blender and try and write songs….. That was me! I have really grown to respect, enjoy and appreciate them. I fell in love with Tom Petty many years ago and adore his music. Robin Zander is one of the greatest vocalists ever. It was so variuos and innovative as well as so rock, obviously.

You have touched on grunge, rock blues and much more together with Caramel, Drug Plan and Soho Have you ever considered your eventual comeback as soloist, sooner or later? AC: I would love to do another record. I was very happy when I knew that you, one of my favourite artists, would have joined the band. Would you like to describe your relationship with them?

They were and still are one of my favourite bands. When Coney Hatch was signed to the same label I was on cloud nine and was very proud to be within an arms length of them. When I first met Geddy he asked me to play tennis as he heard I was pretty good. He helped with my band Caramel before I signed the deal with Geffen with some amazing guidance. When I was hired at Anthem it went to an entirely different level. It started slow with assisting putting together the sessions for Feedback. That went very smooth and before I knew it the guys were asking me to show up to the studio and listen and offer my opinion, etc.

The rest is history.

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I know they trust me and I have their backs. As a hockey fan ,helping Neil Peart with the making of his Hockey Night in Canada theme was a truly memorable project. Getting back to Rush they are by far three of the classiest, sweetest most generous guys I know. To work with them and be on the ride all the way to the Rock n Roll Hall of Fame has truly been an honour. LDP: I really must ask you something about Canada. It's absolutedly the home of rock, considering the precious artists who have come from there over the years. In fact, here in Europe there's a huge number of canadian rock enthusiasts, me in the first place.


How do you look at the canadian music scene today? The first time I recognized that was when I first went to California to visit my relatives and The Guess Who were on the radio there. I remember thinking how cool that was! The Canadian scene is still producing some amazing artists and bands. Something in our drinking water I think? LDP: On the occasion of Coney Hatch's comeback in , you have recorded an album, Four, for italian Frontiers, which is based, by some chance, in my hometown, here in Naples. How was working with this record label and how was your comingback with Coney Hatch?

AC: Serafino who heads up the label is responsible for getting the original Coney Hatch back in the studio. Without his faith and interest in the band it would probably have never happened. We had other offers but Frontier were very fair and we have nothing but good things to say about their support they gave us. The record was voted in the top 50 albums of the year in by Classic Rock magazine which was a great pat of the back. It was a blast. LDP: And speaking of record companies, what do you think about the state of the industry at the moment?

It is said that records were dead, finished, today cds media are in trouble while vinyl seems to be back in fashion AC: This is a tough question. Everything feels like a flash in the pan and I can remember a band since the Foo Fighters that has come along with any staying power. So many friends have lost their jobs, bands have stopped touring, live venues and recording studios have closed and it was a domino effect that was far more damaging than the average fan will ever comprehend.

I do think the resurgence of vinyl is a positive sign but I honestly have no idea what shape the biz will in five years from now. My 2nd career choice was to be an NHL hockey player. LDP: Let's go back to your ralationship with electric bass. What about your concept of the instrument? You have played in so different contexts and you have always been able to place a powerful sound. What kind of gear did you use at that time and what are you using now?

AC: I still love playing bass and feel that it's the glue that holds down most great songs. I listen to old 60s music and sometimes all I hear is bass and the vocal. Its amazing to hear how prevalent the bass lines were in the music I grew up on and how up front in the mix it sits.

I think bass and drums really set the tone for so much modern music and the new EDM and Rap stuff is so bass driven its crazy cool. I have added to bass my collection now. I have many short scale, long scale, 4 strings, 8 string and 12 string basses all with their own special tone and colour sound wise. My newest friend is a Dan Armstrong clear plexi glass bass, so awesome.

It's a P bass body with a Jazz bass neck. It has Steve Harris signature pick ups that he gave me last time we were together and a badass bridge. That has become my 1 bass for playing live with Coney Hatch. For the music I play live yes you are correct. I rely on and strive for a powerful sound. Nothing subtle there. I have three TECH 21 pedals. Lastly a Digitech CR-7 stereo chorus and these are all on a pedal-train pedalboard. LDP: Can we hope to see you here in Italy, sooner or later? I want to see The leaning tower of Pisa and my mom and dad spent some time at Lake Como and said it was incredible.

Luca De Pasquale in collaboration with Manuela Avino. Mick Cervino. So effectively, by listening to his sound and understanding his own choices with regard to groove and composition, we can explain the reason of that statement. Considering his fantastic collaborations with big-time artists like Yngwie J. The agility and the speed of his musical performances, which are never at the expense of precision as he can make a metronomic and amazing use of guitar bass pick are not headed in a generic leading bass sound. Downing of Judas Priest and Yngwie himself as guest stars and various singles.

Mick and his Violent Storm are classic and characterized by distinctive ideas. I consider you as a neo-classical hard bass player in the noble and Blackmore's definition of that concept, it's clear. How much classic hard rock in the Rainbow's style has influenced you?

MC: I suppose I've absorbed quite a bit of that style early on and made it part of my overall way of playing, however, other genres and factors also contributed forming me as a bass player. For example, about the sound itself, while living in England when I was 18, I spent about a year practicing without an amp, which forced me to hit the strings much harder than normal, using a pick to get some sort of volume and be able to hear myself over the noise coming from the pub below the room where I was staying.

This definitely played a role in defining the way I play and the kind of sound I get out of the bass. Downing in your great Violent Storm. You have recorded a solo album titled Ostinato, which pays tribute to your depth as classic musician. Are there any new album or musical project in the near future? Can we expect a third Violent Storm? Do you plan any new partnerships? MC: I was very lucky to work with some very amazing musicians throughout my career, the downside is that you get a bit spoiled being around players of such high caliber and then you tend to expect the same from everybody else, which makes it tough.

Regarding "Ostinato" it was a self imposed challenge, I had heard "Switch On Bach" by Wendy Carlos, interpreting Bach's compositions using nothing but synthesizers, so I thought what would that sound like using nothing but bass guitars? It surely was one of the most fulfilling projects I've ever done. There are no plans for partnerships at the moment, it is just Mick Cervino's Violent Storm, which gives me total freedom to do whatever I want to do. Bach is and will always be my all time favorite bass player.

What's your opinion about it? Do you think that electric bass has been emancipated in the hard rock first and then it has penetrated more extreme musical trends? Having said that, I'm not really into bass acrobatics, for me it's all about the music and what the song needs. - Review

The bass has a function, usually a limited one, as support and part of the rhythm section, creating a solid and unifying bottom end while still offering melody, harmony and punch that inspires the soloists to do their thing. Depending on the kind of music and who you are playing with, you do what the song wants you to do or what your boss allows you to do! In Violent Storm the bass has a very prominent role, more so than in most bands I've played with, but it does not take over, what the bass does is exactly what the song requires it to do, in my humble opinion. I don't follow death or tech metal, so I don't have an opinion on what they do.

LDP: Besides your natural virtuosity, you are also acclaimed for your exact timing and for an absolutely agile sound. You are used to play especially with pick. How can you balance precision, dynamism and power in such an authentic manner as you are able to do? MC: I attribute those qualities to being metronome trained, which does wonders for every musician of any instrument. It allows you to "swing" with the beat and inspires you come up with creative runs and fills.

Playing with a pick, especially when doing very fast runs, helps each note to be heard more distinctly, among other things. It adds more attack and makes the rhythm section solid and decisive. I do play with my fingers when the song requires it, but unlike many in the bass world especially the "jazz" world , I don't view using the pick in a negative way, quite the contrary.

LDP: I'm very interested to know if you like slap and how is your relationship with fretless. Moreover, I'd like to ask your opinion about the ever increasing attention to seven, eight and nine strings bass guitars, also shown by musical instrument makers and luthiers. How much of that is really important for the texture of sound and how much, instead, can be only considered simply a fashion in your opinion?

MC: I am not usually hired to play or record songs that require much or any slapping, I have used and taught slap techniques when I had to, but I am not that much into it. I did use a fretless at times and a 5 string bass when I recorded "Ostinato", but I haven't had a need to use them ever since. I had a student once that was really curious to know why I only played 4 string basses, she was under the impression that the better you were the more strings you were supposed to use I personally don't see myself using even a 5 string bass anymore, as long as I have my hip shots on my 4 string basses.

LDP: What do you think about the stagnation occurring within the market of the major records companies? If it's true that metal audience is absolutely the most faithful public, anyway do you believe that things are also changed in the hard music area? What's your opinion about legal downloading versus cds or vinyl? Don't you think that - because of the prevalence of digital music - we could risk losing in terms of romanticism and passion?

MC: Things have changed in an irreversible way, like so many other things in life have. In a way it is good not to be at the mercy of the labels, but on the other hand you depend exclusively on the support of the fans to be able to finance recordings and tours, which brings me to your other question These days, as an artist, you have to assume that you will lose money in order to entertain audiences, it is kindda backwards, but that's the world we live in.

As if all of this wasn't enough, then you have the crappy digital sounds to deal with, so yes, the romanticism, passion and incentive to do music is at an all time low, as far as I'm concern. LDP: Would you tell us all about your gear? LDP: A long time ago I was talking with a friend, who's a jazz lover, and we confronted each other. I tried to make him understand, him a skeptic, that the best hard rock and metal musicians MUST have a considerable technical background to play like they are able to do. You have proven to be one of them and like you there are many other virtuous artists who can play everything with the same expertise and creativity.

Even if it's been so many years, do you think is still there a sort of snobbery towards metal shown by common people and musicians who prefer other genres of music? MC: First of all, you have to realize that "jazz" is a four letter word, so I wouldn't waste any time listening to what a "jazzer" has to say!

If the critique came from a classically trained musician, or an educated listener, then I would pay some attention, but even then, what really matters is what is being expressed musically and how it touches your audience, some things will appeal to some and not to others, but you can't really generalize and assume that because you play or have an acquired taste for a certain type of music that you are therefore somehow qualified to put down other genres especially if you are a "jazzer".

LDP: I'd like to conclude this interview by asking you to tell something personal about yourself to italian audience. Music aside, what's your favorite thing or what do you like to do when you don't get absorbed in your music.

About you we only know that you're a real bassist and you're Argentinian MC: I like to hang out with the best singer in the world, whose name is Caruso my canary. I enjoy having a beer with him in the backyard every Sunday afternoon, we discuss what other birds and bugs in the neighbourhood are up to. Interacting with animals and nature definitely makes life worth living. LDP: We hope to see you here in Italy very soon! Meanwhile, thank you again. MC: Thank you Luca! Alla lettura psicanalitica del desiderio e dello sguardo leopardiano in Aspasia della quinta parte del libro Lo sguardo di Euridice.

Corredano il volume una nutrita Nota bibliografica e un Indice dei nomi Il cantiere Italia: il romanzo. Capuana e Borgese costruttori. Palermo: :duepunti Edizioni, The publication of a book about two writers as important — but also systematically underestimated — as Luigi Capuana and Giuseppe Antonio Borgese, is doubtlessly an important event. The enthusiasm and thrust for civil renovation nourished by the Risorgimento has been kept alive in his critical writings, in which culture and society are always presented as strictly entangled , After moving to Rome in , Capuana leaves partially behind the themes inherited from the European naturalist novel, and opens up to the influences of a more spiritualist stream of thought, as it is paramount in his second novel, Profumo, published in Il marchese di Roccaverdina: tra scienza e fede His most important text in this sense is Tempo di edificare, published in The author draws in these pages the portrayal of a writer who strives for this change.

In other words, Borgese inherits from De Sanctis the utopist thrust toward the creation of a new world, as it is especially expressed in the essays collected in the three series of La vita e il libro For this reason, as Carta points out repeatedly, Borgese prefers to draw his inspiration from literary models taken mostly from the last century as Giovanni Verga, , and Tolstoj, The March of Fascism, , which contains a firm condemnation of Fascism as a phenomenon of degeneration of the Italian traditional culture and identity She also makes a reference to the document The City of Man.

The Fruit, Herbs, and Vegetables of Italy Toronto: Prospect Books, He dedicated it to Lady Lucy Russell, Countess of Bedford — the sister of a former pupil — in the hope of obtaining her patronage; this did not work out so well, since Lady Lucy had her own debts to grapple with. He explains how to best grow vegetables — especially, difficult ones such as asparagus — and how to season them: olive oil and bitter orange juice figure prominently, as do salt and pepper, and he is in the habit of rubbing salad bowls with garlic, much like contemporary gourmets.

Gillian Riley, who edited and translated the text, is the author of the Oxford Companion to Italian Food Riley has also provided a useful glossary at the end of her vivacious translation. The Prodigious Muse. Italian translations are provided for each of the letters. Marsh was the American ambassador to the new Kingdom of Italy from its inception in until his death in The letters span the period of his residency in Florence, the ambassador having followed the removal of the Italian capital from Turin to that city in Grant in March of Baird, Assistant Secretary of the Smithsonian Institution, with whom Marsh shared various scientific interests.

There are only a few letters to Italian statesmen and all of these are short, diplomatic missives. He had been a Whig representative in Congress during the s where he had first met both Seward and Lincoln. Appointed U. Marsh admired Garibaldi and had tried to convince the latter to flee to the U. It was during his stay in Turin that Marsh wrote his most famous work, Man and Nature , an ecological treatise in which he points to the Mediterranean as an example of deforestation leading to desertification, and argues that steam locomotion was rapidly degrading the natural landscape.

The volume was translated into Italian in The U. In the United States was the first nation to officially recognize the Kingdom of Italy. During the American civil war only Italy and Russia had been openly in favor of the Union among the major European governments Italy depended relatively little on the importation of cotton from the Confederacy. With regard to Italian politics and society, Marsh waivers between long- range, guarded optimism and disappointment at missteps by the ruling class. Particularly irksome to him was the subservience of government and royal policy to the dictates of the French emperor Napoleon III and his interference in Italian affairs.

The letters are also punctuated by ample notes, especially biographical data. Ducci has done admirable archival research in Italy and the United States in tracking down the letters. This is a big book in several ways. Big physically, its broad-margined pages include over eighty musical examples, reproductions of engravings, photographs, manuscript pages, programs, broadsides and proclamations, sketches of opera houses and opera house floor plans, as well as tables, color illustrations of probable costumes, and a forty-nine page bibliography of sources consulted.

The writing is admirable: balanced and elegant jargon-free prose that is often impassioned and sometimes funny, but always precise and provocative.

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Opera and Sovereignty is not a history of eighteenth-century Italian opera but a rich and complex series of interconnected arguments that deal with the social context of opera seria in terms of its patronage system, production methods, and reception. Though at least partly the products of sovereign political forces, opere serie could and often did support change as well as reinforce the status quo and should not be thought of as mere establishment propaganda. For one thing, the performances of the operas of the day, especially given the prime donne and primi uomini who appeared in them, were not that easy for anyone to control.

To understand these complex and frequently expensive artistic products, one must go beyond their printed scores to reconstruct actual performances, the acclaim accorded virtuoso singers, the often dazzling sets and costumes, patronage support and strictures, even the physical structures of the theaters where the operas were performed.

By appealing to feeling rather than ratiocination, these arias — often different in successive performances — communicated with their ecstatic listeners at the level not so much of plot as of the myths 33 whose transformation throughout the century Feldman chronicles. Opera and Sovereignty is divided into nine chapters plus an important epilogue. Five of these chapters are devoted to such general topics as the nature of operatic performance and reception, arias as a form of exchange, celebration and the special nature of operatic time, myths of sovereignty, and the late- century reappearance on the opera stage of mothers and a new sort of bourgeois family.

The remaining, interspersed, four chapters are case-studies of the circumstances of particular performances in Parma in , Naples in , Perugia in , and French-occupied Venice in These changes were made to de-emphasize the murderous and incestuous aspects of the Phaedra story to make it more suitable for a performance patronized by the archducal dynasty. With this provocative but persuasive conclusion Feldman concludes her rich and exceptionally well- informed study.

Roma: Libreria Editrice Vaticana, Edition, introduction, and notes by Olimpia Pelosi. Verga, Pirandello e altri siciliani. Lecce: Edizioni Milella, Il discorso procede con un capitolo dedicato alle valenze simboliche del vino nella prosa verghiana. Nei due capitoli successivi viene esaminata una possibile influenza linguistico-tematica della poesia romanesca di Giuseppe Gioacchino Belli su Verga. La seconda parte si apre con una lettura de Il fu Mattia Pascal di Luigi Pirandello: Gibellini sottolinea come il personaggio e il suo autore siano accomunati dalla ricerca di un senso ultimo delle cose, in un mondo travolto dallo scetticismo copernicano.

Il critico si sofferma diffusamente su Berecche e la guerra, novella che ha per protagonista un professore dalle fantasie filogermaniche, per molti aspetti simile allo stesso scrittore, posto di fronte al dilemma della guerra. Di Mario Grasso viene proposto un commento sui Guerrieri di Riace Canto XXIV : in questo poema il tema classico del connubio fra amore e morte si fonde con quello parallelo della follia amorosa. Leone, ed. The Pamphilj and the Arts is a collection of seventeen essays given at a conference at Boston College in October Helping to revise this rather negative assessment of the barochetto, these scholars use the life of Cardinal Benedetto Pamphilj as a lens through which to reexamine arts patronage in the early eighteenth-century.

Six lunettes depicting scenes from the life of the Virgin were originally commissioned by Cardinal Pietro Aldobrandini to decorate the vault of his private chapel. The remaining essays focus on the life of Benedetto Pamphilj. It seems that Pamphilj never threw himself into religious and political issues with the same fervor as he had when pursuing his cultural interests. The total amount spent on his paintings was unexpectedly small, due in part to the fact that he collected still life paintings, which were less expensive.

Daria Borghese reveals that, in sharp contrast to the modest amount spent on his paintings, the cardinal spared no expense on feasts and ephemeral entertainments. Stephanie Walker reconstructs this now-lost object and suggests that its extravagant design and great expense paralleled its significance as a means of communicating status. The final section examines the written word in the life of Pamphlj.

By taking the pseudonym Fenicio Larisseo, Pamphilj assumed the identity of a shepherd whose simple life sharply contrasted with that of Baroque Rome. Minor suggests that within the bucolic Arcadian setting, Benedetto could freely explore love and desire without fear of public criticism. Ugo Foscolo and English Culture. London: Legenda, Nella compagine del voluminoso carteggio, in cui a riflessioni di ordine privato sono intercalate disquisizioni critico-letterarie, Parmegiani discerne la costante di temi e stilemi sentimentali che tradiscono una sostenuta, per quanto sottile, presenza sterniana.

Se la prima sezione del quarto e conclusivo capitolo ribadisce la predilezione foscoliana per la letteratura inglese ed individua nel teatro shakespeariano, nella poesia sepolcrale e negli scritti di Pope, le letture che valsero a nutrire ed assecondare il proprio interesse, Parmegiani si sofferma nella sezione finale sulle ultime pagine del carteggio risalenti invece al decennio trascorso in Inghilterra.

Partecipe di un consistente e costruttivo dialogo critico con altri studiosi, Parmegiani non trascura di sondare, nel corso della propria disamina, il circostante terreno di ricerca presentando al lettore un resoconto attento ed attuale. Il libro costituisce in questa prospettiva un compendio indispensabile agli studi, tuttora in fieri, sui variegati rapporti intrattenuti da Foscolo con la cultura inglese. A questo elaborato mosaico Parmegiani ha avuto il merito di aggiungere con la propria indagine un autorevole tassello mancante.

Oriani e la narrazione della nuova Italia. Massa: Transeuropa, Il secondo capitolo, La narrazione della nuova Italia, tratta del rapporto tra Oriani e Carducci. Un attento esame della corrispondenza di Oriani mette in luce il difficile rapporto che lo scrittore intrattiene nei suoi ultimi anni con gli editori, primo fra tutti Ricciardi, che, dopo gli scarsi risultati di vendite de La rivolta ideale , rifiuta di pubblicare la raccolta di articoli Fuochi di bivacco edita poi da Laterza nel Sul materialismo leopardiano.

Tra pensiero poetante e poetare pensante. Milano: Mimesis, Nel laboratorio intellettuale dello Zibaldone, infine, il lettore contemporaneo viene sfidato a nuove interrogazioni sulla condizione umana e orientato verso una originalissima e vitale chiave ermeneutica. Byron and the Rhetoric of Italian Nationalism. New York: Palgrave Macmillan, Despite his seemingly lifelong personal and political meanderings, Byron is remembered for his consistent — though at times reluctant — support of the disenfranchised and downtrodden.

Nevertheless, Byron remained committed to the pursuit of liberty from tyranny in all its guises no matter where, or from whom, the source. The book invites readers to envision modes of rhetoric and perceptions of Italian nationalism through a Byronic lens. Here, Schmidt makes manners relevant to the struggle for Italian liberation. In July of , when Byron set sail on the Hercules to join the war for Greek independence, he intended to return to Italy.

The poet succumbed to complications from a fever while he was still in Greece and he died during the spring of The latter have been brought to the attention of a wide public due to the success of the MTV reality show Jersey Shore in The volume is divided into three sections.

The first section collects articles originally published on the website i-Italy. For Cappelli this vision is, to a certain extent, a fiction in that it both ignores the diversity that characterizes the diaspora and romanticizes its links with the home country. Jerry Krase ironically reflects on his own past as a teenager in a period when everyone used ethnic slurs to refer to out-group members and paid a lot of attention to looking cool, in order to underscore how ethnic and other stereotypes have always existed and have been used against all groups in the U.

Chiara Montalto discusses the role of youth subcultures in helping individuals find their place and their voice, and also advocates the importance of discussing differences within the Italian American community, a point shared by Chiara Roberto. He argues that protest as a sole strategy can never be successful unless it is paired with an effort to construct a distinctive culture. Section two presents interviews with prominent Italian American intellectuals: Maria Laurino, Donna Chirico, Nancy Carnevale, Gianfranco Norelli, and the Italian journalist Aldo Grasso, all of whom agree on the importance of analyzing and debating the Guido phenomenon instead of trying to dismiss it.

He argues that Guidos are the target of criticism and disgust because they represent popular culture, rather than the high culture that other members of the community identify with. Senator Diane Savino closes the collection of essays reminding Italian Americans that the Guido culture has been an outlet for young people who needed an identity that they could embrace, and that the real enemies are not the youngsters who created the subculture but rather those who distort it and exploit it in order to make a profit.

The various contributions to this volume offer a glimpse into an important process of maturation within the Italian American intellectual community. Indeed, the first step in such processes is always the recognition of internal complexity and of a plurality of voices. That this complexity was negated in the past is comprehensible, since ethnic minorities need to show a well recognizable and unified public face in order to gain acceptance.

But such acceptance is not in question today, and Italian Americans need to move on and shift from a defensive to an analytical stance. It is significant that while, until recently, Donald Tricarico was almost alone in paying attention to Italian American youth styles, it is becoming more and more mainstream today to study identity practices among members of Italian American groups. It is only by accepting this basic principle about the way identity processes work that the Italian American community can make progress, and for that reason, I see this volume as a first step in the right direction.

Postscritto a Giorgio Bassani. Saggi in memoria del decimo anniversario della morte. I primi tre interventi sono dedicati al ricordo di Bassani. Valerio Capozzo compie un ottimo lavoro di ricostruzione, tramite la disamina della corrispondenza tra Edoardo Lebano e Bassani, di una fase americana dello scrittore. Stimolante e quanto mai originale la lettura in chiave biopolitica di Andrew Bush del romanzo del , Una lapide in via Mazzini.

Sul Bassani potenziale studioso ed emulatore petrarchesco si articola il saggio di Roberta Antognini. Attraverso una decifrazione intertestuale, James T. Chiampi rintraccia ascendenti letterari illustri del Giardino e in altre opere. Interrogandosi sul significato di emancipazione, Tim Parks effettua una disamina storica sul Giardino cogliendo un peculiare atteggiamento del romanziere nei confronti delle divisioni sociali e del loro potenziale creativo. Cristina M. Cristiano Spila si occupa del Bassani ecologista, mentre Maurizio Del Ministro prende in esame la causa animalista nella vita dello scrittore.

Every culture can be said to have undoubtedly been affected by extraneous influences throughout its development. Traces of these effects can be found in the customs, language, literature and art of a culture. The trilingual abstract of each article is an effective strategy, enabling comprehension by scholars of Croatian and Italian Studies alike, as well as a wider audience, and ensures the dissemination of the topic material of each article. Preceded by a one-page preface, presented in both Croatian and Italian, the scope of the entire collection and the research is both outlined and contextualized.

Consisting of four review articles, interspersed throughout the collection, eleven original scientific papers, and one preliminary communication, presenting the early development of completely original research centered upon previously unknown artistic findings, the collection presents a wide range of information. This contact is traced to the beginning of spiritual growth on the Croatian coast, emerging from Latin culture.

Similarly, this series of articles employs a variety of research methodologies including literary criticism, linguistic analysis, intertextual and intermedial approaches, meteorological investigation into paremiology, and cultural analysis based upon archeological findings and the creations of goldsmiths.

They bring to the fore the intrinsic linguistic and literary dynamicity of the Adriatic coastal areas while highlighting the fluidity of identity in an area replete with numerous and diverse socio-cultural and historical influences. The article presents original research on a preserved photographic album — Alcuni lavori di Francesco Salghetti-Drioli riprodotti fotograficamente — discovered in Como, Italy. The photographic reproductions were made by the famous Zadar photographer Tomaso Burato Dubrovnik Zadar ; the album was published in Zadar in April of on the occasion of the wedding of Simeone Salghetti with Emma Drioli.

As such, its importance to the history of photography is inestimable. The collection provides an excellent overview of the subject literature in review articles, presents original research in original scientific papers, and introduces previously unknown research in a preliminary communication. As a result, these conference proceedings are a valuable font of information for those who are new to the field and require a solid foundation from which to begin their research, as well as seasoned scholars desiring to keep up-to-date with contemporary research.

This collection of essays reinforces the fact that the call for further research in this area is more than justified. Graces Received. Painted and Metal Ex-votos from Italy. New York: John D. Calandra Italian American Institute, The book is organized in the traditional manner for a monograph and catalogue. The volume opens with an account of the historical development of the ex-votos written by folklorist and Religious Studies scholar Leonard Bernard Primiano also owner of the collection exhibited at the Calandra Institute ; the subsequent article, written by Sciorra, assesses the importance of the ex-votos for Italian Americans; and the third and last essay, by Professor of Art Kate Wagle, discusses the changes of the ex-votos and their displacement from a strictly traditional religious context to a more secular environment.

The volume concludes with a catalogue of the exhibition. The color reproductions are excellent and include succinct details about material and dimensions of the artifacts displayed. The subject is a vast and various territory which provides a curious and at times dramatic study, for it introduces the reader to a whole range of objects offered in fulfillment of a vow or prayer uttered in some crisis of personal or community history. Votive gifts are forms of devotion transferred to Christianity from pagan religions of antiquity; the Etruscans, for instance, made offerings as thanks for answered prayers concerning health and fertility As Primiano explains, the Latin term ex voto short for ex voto suscepto indicates a Catholic votive offering in gratitude for a miracle received 9.

One useful elucidation provided by the author, quoting Mariolina Rizzi Salvatori, is related to the form given to the ex-votos, which fall into fixed types. The two common categories are anatomical ex-voto ex-voto anatomico and painted ex-votos tavolette votive. The least sophisticated and also artistically the humblest of those votive forms is the anatomical ex-voto, made of metal, wood, or wax, which typically represents a small image of a limb or part of the body that has been cured of sickness in response to an appeal to divine intercession.

On the other hand, the painted ex-votos draw or symbolize either the peril or crisis in which deliverance has been granted, or alternatively the special favor conceded, together with the figure of the holy being — saint or Virgin — who has granted it in response to a vow. Primiano, while describing his passion for ex-votos, also addresses the question of commodification and consumption of religious images outside their traditional religious context.

As the author suggests, the significance attached to these specific commodities differs markedly from one person buyer to another according to their contexts of consumption Often, votive paintings chronicling the emigration experience are located in churches in Italy as thanksgiving tokens for divine interventions in maritime disasters or accidents of all kinds. The practice of showing gratitude for heavenly intercession has continued among Italian Americans in the United States in the form of home altars, yard shrines, or more complex artistic votive structures known as la centa or il cinto She explains that despite the changes in material and production of ex-votos from unique silver or gold handcrafted objects to silver-plated, mechanically mass-produced items, the meaning and the intent remain intact.

While most of the elements represented in the ex-votos, including anatomical parts, soldiers, and children, have essentially survived from ancient culture, the montage of those objects with photographs, x- rays, and written narrative reflects a more contemporary and secular culture. The reinterpretation and the new use of ex-votos by contemporary artists do not mean a loss of their original meaning; rather, it is an acknowledgement of their profound cultural roots.

It is intriguing to see how the essays in this volume work together, providing illuminating connections that confirm that the theme of art and devotion in Italy is a rich and rewarding one. But they are also much more — an assortment of pertinent suggestions on the whole subject of votive art in Italy.

Furthermore, the book makes major contributions toward understanding how people express their needs through religion and how the material world of votive offerings expresses the sacred. Francesca M. Postfazione Gabriella Romani. Milano: Garzanti, Bruck wrote memoirs of the Shoah in a variety of publications, including novels, short stories, autobiographical pieces, and newspaper articles. All of these writings engage the arduous and lengthy process of coming to terms with the past.

Bruck wrote in Italian, claiming that the foreignness of this language allowed her a necessary distance from the events she recounts; she therefore constitutes a prominent and relatively early example of a growing literary group, in Italy: translingual and transnational writers, i. The book Privato is a diptych made up of two biographical accounts with different addressees and tones. Being posthumous, these letters have an acknowledged interlocutor but also, clearly, are addressed to the reading public as the vehicle for preserving and handing down the memory of deceased loved ones — in the tradition of testimonial literature but also of personal memoirs.

The dialogue implicit in the epistolary genre provides a potent means of communication between different cultures and different generations, as well as an invitation to the obligation to remember. Like the book as a whole, this text centers on a number of friends above all others in this group, Primo Levi, whose death in is an important subject of reflection for Bruck and family members, including deceased ones. The running trope of apostrophe to the dead mother brings back to life, as it were, a mother with whom Bruck had a difficult and short-lived relationship.

In this interpretive text, Romani rightly notes, for example, the apparent contradiction of the title of this book, which aims to recapture, through the fiction of a posthumous dialogue, an absence: the realm of family and affections evoked by the title is inseparable from the collective outcry against the all-too public horrors of the Shoah. Romani also discusses the role of empathy in literature about the Holocaust and connects it to the need for empathy in more recent literature by migrant writers: even as the profound differences between these two genres must be respected, both types of literature suggest that diversity invites an empathetic sharing of experiences and of memory.

Leicester: Troubadour, Il film, dunque, testimonia un atteggiamento interiorizzato da parte del regista che conferma un discorso di egemonia da parte del Nord. Vetri Janak Nathan prende in esame il film di Tornatore La sconosciuta e si focalizza sulla doppiezza esistenziale degli extracomunitari e degli italiani, facendo riferimento al concetto di in between di Homi K.

Bhabha in relazione sia alla trama discorsiva sia alle strategie stilistiche del regista. I giovani raccontano gli anziani. Il contributo del VideoConcorso Francesco Pasinetti alla riflessione su invecchiamento, dialogo intergenerazionale e trasmissione culturale in Italia. Venezia: Editrice Cafoscarina, Grazie al comune interessamento sono nate negli ultimi anni alcune iniziative culturali e pedagogiche indirizzate ad un un largo pubblico intergenerazionale. Nel capitolo quinto, ultimo della prima parte, Cavigioli propone il testo delle interviste fatte ai giovani partecipanti al concorso: un tessuto organico in cui si elaborano le motivazioni, i contenuti e gli obiettivi dei diversi progetti filmici e si accenna alle tecniche utilizzate.

Alcune domande sono generali, ad esempio, Come vedono gli anziani e i rapporti tra generazioni? Il confronto tra giovani ed anziani, illustrato nel capitolo I da cortometraggi come Cogli la differenza e Fermati e dimmi cosa ne pensi! Collegati al confronto tra giovani ed anziani sono il tema della memoria, trattato nel capitolo II, e quello del territorio, accolto nel capitolo III. La storia lascia un segno che viene raccolto dai giovani nel loro attraversamento dello spazio urbano.

Fotografia e letteratura. Torino: Bollati Boringhieri, What is the relation between photography and literature? Why would a writer be drawn to photography? What good could come of a marriage between the two? Why does photography continue to inspire such peculiar concerns? Are the anxieties it arouses simply anxieties about representation itself? In what sense are photographic and literary representation enmeshed? None of this, however, is intended to diminish the attention and care Ceserani devotes to the distinctly modern phenomenon of photography and to its perturbing effect on those who have witnessed its emergence and ongoing development.

As with most thematic studies, one worries that the mere assembly of examples will substitute and exhaust the need for rigorous argumentation. Ceserani, however, is no stranger to studies of a thematic stripe, and is an agile enough thinker to sidestep the pitfalls others might not so deftly elude. True, he does not advance any new theory of the relation of photographic representation to other forms of representation, literary or otherwise, nor does he engage in sustained, polemical debate with any of the many critical sources he draws upon of which he seems to have an encyclopedic knowledge.

Similarly rewarding is an even briefer discussion, later in the same chapter, of Roland Barthes , a figure in literary theory who has been seen as a bridge between structuralism and post-structuralism, and thus a promising and problematic figure to examine in light of the discussions over photographic meaning and representation. An especially lengthy reflection is given on the place of photography in the work of Antonio Tabucchi , which, even as a stand-alone piece, is an excellent essay on how recurring themes such as dreams and hallucinations, perception and time, as well as reproduction and rupture, coalesce in the presence of photography in his works.

Ceserani quotes so extensively from the sources he uses as examples that one feels, reaching the end of his book, that one has read parts of hundreds of other books. Much of the pleasure ultimately afforded is that of looking over the myriad fleeting impressions thus gathered. Photography emerges, not as a profanation of reality, but as part of what constitutes our access to reality itself, and as a bottomless reservoir for literary exploration.

La scrittura terapeutica. Saggio su Gianni Celati. Bologna: Archetipolibri, In her study, Anna Maria Chierici analyzes with great insight the therapeutic function of literary activity as it has been worked out by Gianni Celati since the middle of the s. The most important works of this period are the following collections of short stories: Narratori delle pianure , Quattro novelle sulle apparenze , Verso la foce , Cinema naturale , and Costumi degli italiani But, in these same years, Celati also commits himself to making three documentaries under the influence of the Italian photographer Luigi Ghirri, documentaries that Chierici examines at length, too Strada provinciale delle anime, ; Il mondo di Luigi Ghirri, ; Visioni di case che crollano, Chierici also takes into account all the essays published by Celati in this time period, as well as the long interviews he gave in the last fifteen years, and the bibliography of his work see Bibliografia, The book is divided in two long chapters, preceded by an Introduzione 30 , where Chierici sketches the outline of her argument.

She sums up the coordinates of his early work done under the supervision of Italo Calvino, who was his mentor in the literary world and helped him to produce his first book Comiche, , published by an important publisher, Einaudi. Chierici also retraces here the first Celatian approach to literary language.

Therefore, because of the relevant role that perception holds in the Celatian view, the heuristic sense of one of his most important key-words, apparenza, is fully explained and laid out in these pages. Moreover, this is also the sense of the theatrical experiment conducted by Celati on a text by the ancient Greek playwright Aristophanes the Ploutos in Senegal between and the text of the play is included in the Appendice, Another writer from Emilia-Romagna whose influence is mentioned in these pages is Antonio Delfini. Chierici closes her study by summing up its most important conclusions, and alludes to future elaboration of the influence of Zavattini, Delfini and Guerra on Celati.

Oxford: Peter Lang, But, Cullen contends, neither group truly engaged with the reality of Turin. Although successful in constructing an intellectual community modeled on the Enlightenment coterie, the political diversity and elite composition of its members proved limiting in an era of nascent mass party politics. With the fascist suppression of Rivoluzione liberale, Gobetti was forced to abandon open political activism and launched in its stead a new literary review, Il baretti.

I personaggi femminili nelle commedie di Dario Fo e Franca Rame. Firenze: Franco Cesati Editore, Le figure femminili costituiscono un nucleo portante nel lavoro dei due commediografi. La seconda e la terza parte del volume sono divise, in maniera analoga, in capitoli e sottocapitoli che individuano tipologie di donne diverse ma tutte ugualmente sfruttate e violate. Entrambe hanno il coraggio di prendere parte attiva in una guerriglia che le sfrutta e le vittimizza e in cui, tuttavia, giocano un ruolo di estrema importanza. Si tratta comunque di uno stratagemma artistico, necessario.

La voce della Rame rimane, sempre e comunque, nitidamente femminile e non per questo meno femminista. Aereo nel tono ma denso di intuizioni, il saggio principale non tradisce le aspettative di chi, a ragione, vi cercherebbe nuovi squarci ermeneutici sulla poetica di Savinio.

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Il sorriso di Palinuro. Roma: Edizioni Studium, Calvino e il teatro: storia di una passione rimossa. Bern: Peter Lang, In questo studio Enrica Maria Ferrara mira a ricostruire la vocazione teatrale di Calvino con poche risorse a sua disposizione. Passate in rassegna le recensioni di Calvino, la Ferrara inquadra questa nuova poetica. This book provides a broad-ranging account of the shifts occurring in Italian cinema between and as the result of changing production practices and policies in both film and television. Though the author describes her project as a transverse analysis of the film industry during this period, she offers abundant information on cinema in Italy during the preceding decades as well.

Furthermore, she does not restrict her analysis to the industrial aspects of filmmaking, but devotes considerable attention to topics of representation, and particularly to the tropes of national history, memory, mourning, and landscape. An exception to this tendency is the box-office success of popular comedies.