Early modern Venice was an exceptional city. Located at the intersection of trade routes and cultural borders, it teemed with visitors, traders, refugees and intellectuals. It is perhaps unsurprising, then, that such a city should foster groups and individuals of unorthodox beliefs, whose views and life styles would bring them into conflict with the secular and religious authorities. Drawing on a vast store of primary sources - particularly those of the Inquisition - this book recreates the social fabric of Venice between 1640 and 1740. It brings back to life a wealth of minor figures who inhabited the city, and fostered ideas of dissent, unbelief and atheism in the teeth of the Counter-Reformation. The book vividly paints a scene filled with craftsmen, friars and priests, booksellers, apothecaries and barbers, bustling about the city spaces of sociability, between coffee-houses and workshops, apothecaries' and barbers' shops, from the pulpit and drawing rooms, or simply publicly speaking about their ideas. To give depth to the cases identified, the author overlays a number of contextual themes, such as the survival of Protestant (or crypto-Protestant) doctrines, the political situation at any given time, and the networks of dissenting groups that flourished within the city, such as the 'free metaphysicists' who gathered in the premises of the hatter Bortolo Zorzi. In so doing this rich and thought provoking book provides a systematic overview of how Venetian ecclesiastical institutions dealt with the sheer diffusion of heterodox and atheistical ideas at different social levels. It will be of interest not only to scholars of Venice, but all those with an interest in the intellectual, cultural and religious history of early-modern Europe.
Forged from the many conversations Charlotte Chandler conducted with director Federico Fellini over the course of fourteen years, and featuring a forward by Billy Wilder, I, Fellini is a portrait of one of Italy's greatest filmmakers in his own words. In the book, Fellini recounts the stories behind his classic films La Dolce Vita, 8 1/2, La Strada, and others, describing the inspirations from which they arose and the struggles to get them filmed. He also speaks at length on actors Marcello Mastroianni, Anita Ekberg, Sophia Loren, and Anna Magnani, and on directors Roberto Rossellini, Ingmar Bergman, and Michelangelo Antonioni.
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
Introduction A Not So Solitary Genius: Traversing Authorial Politics and Methodological Anxieties An Ambiguous Adherence: Esotericism in Fellini?s Work and Collaborations 1 Tullio Pinelli Neutralizing Tragedy: A Pattern from La strada On A Metaphysical Fellowship: Transcending Christianity Nothing but Images: La voce della luna 2 Ennio Flaiano Frivolously Yours: The Public Dispute over Authorship The Self as Monster: Satire and Compassion in La dolce vita A Light in the Night: Negotiating Epiphany from I vitelloni to 8 1/2 3 Bernardino Zapponi The Script as Collage: The Unbound Notebooks of the 1970s Popular Culture and Neurosis: Toby Dammit and Beyond 4 The Poets An Organic Mind: Brunello Rondi from La dolce vita to Provad?orchestra You Are My Labyrinth: The Poetic Brotherhood with Pier Paolo Pasolini Eroticism as Dream and Nightmare: A Dialogue with Brunello Rondi Remembering Corporality: Tonino Guerra in Amarcord and E la nave va Maternal Pre-grammaticality: Pasolini, Guerra, and Zanzotto Conclusion Notes Bibliography Index
In Transatlantic Fascism, Federico Finchelstein traces the intellectual and cultural connections between Argentine and Italian fascisms, showing how fascism circulates transnationally. From the early 1920s well into the Second World War, Mussolini tried to export Italian fascism to Argentina, the “most Italian” country outside of Italy. (Nearly half the country’s population was of Italian descent.) Drawing on extensive archival research on both sides of the Atlantic, Finchelstein examines Italy’s efforts to promote fascism in Argentina by distributing bribes, sending emissaries, and disseminating propaganda through film, radio, and print. He investigates how Argentina’s political culture was in turn transformed as Italian fascism was appropriated, reinterpreted, and resisted by the state and the mainstream press, as well as by the Left, the Right, and the radical Right. As Finchelstein explains, nacionalismo, the right-wing ideology that developed in Argentina, was not the wholesale imitation of Italian fascism that Mussolini wished it to be. Argentine nacionalistas conflated Catholicism and fascism, making the bold claim that their movement had a central place in God’s designs for their country. Finchelstein explores the fraught efforts of nationalistas to develop a “sacred” ideological doctrine and political program, and he scrutinizes their debates about Nazism, the Spanish Civil War, imperialism, anti-Semitism, and anticommunism. Transatlantic Fascism shows how right-wing groups constructed a distinctive Argentine fascism by appropriating some elements of the Italian model and rejecting others. It reveals the specifically local ways that a global ideology such as fascism crossed national borders.
8 1/2 is among the greatest films of one of the masters of Italian cinema, Federico Fellini. This is the first English translation of the dialogue and the first complete continuity script of 8 1/2. This richly comic work, long recognized as the most important expression of the director's views about himself and his art, communicates to its viewers an understanding of the processes of filmmaking itself. 8 1/2 is the story of a director's efforts to make a film; it depicts the conditions of creativity, the struggle waged between the individual and the world, a struggle that finally makes some sense out of life and art.
Federico Fellini is considered one of the greatest cinematic geniuses of our time, but his films were not produced in isolation. Instead, they are the results of collaborations with some of the greatest scriptwriters of twentieth-century Italy. Inspiring Fellini re-examines the filmmaker’s oeuvre, taking into consideration the considerable influence of his collaborations with writers and intellectuals including Pier Paolo Pasolini, Ennio Flaiano, Tullio Pinelli, and Andrea Zanzotto. Author Federico Pacchioni provides a portrait of Fellini that is more complex than one of the stereotypical solitary genius, as he has been portrayed by Fellini criticism in the past. Pacchioni explores the dynamics of Fellini’s cinematic collaborations through analyses of the writers’ independently produced works, their contributions to the conceptualization of the films, and their conversations with Fellini himself, found in public and private archival sources. This book is an invaluable resource in the effort to understand the genesis of Fellini’s artistic development.
According to the American Film Institute, La Strada is one of the most popular films in cinema history. The performances of Giulietta Masina as the waif Gelsomina, Richard Basehart as the Fool, and Anthony Quinn as the strongman Zampano, who buys Gelsomina from her mother and takes her with him on the road, have been acclaimed for their power and sometimes ridiculed for their sentimentality. The debates over what these characters and the story they enact represent--a Christian parable, a journey of self-discovery, a tale of beauty and the beast--and the position of the film within the neo-realist genre, continue today. This new translation and critical edition of the continuity script for La Strada is the only accurate guide to the film in any language. The notes to the shooting script enable the reader to reconstruct some of Fellini's changes while shooting the film. The edition also contains an introduction which analyzes the work's place in film history and within the so-called "crisis of neo-realism," and provides for the first time in English a number of articles on the film's production. Fellini's most important interviews and statements on La Strada are included as well. Finally, two of the best critical analyses of the film, by Frank Burke and Peter Harcourt, are reprinted, along with a number of the contemporary reactions by critics from France (Andre Bazin), Italy (Guido Aristarco), and the United States--including a description of its reception at the Venice Film Festival. The illustrations include some of Fellini's original drawings made during the shooting of the film.
Federico Fellini’s script for perhaps the most famous unmade film in Italian cinema, The Journey of G. Mastorna (1965/6), is published here for the first time in full English translation. It offers the reader a remarkable insight into Fellini’s creative process and his fascination with human mortality and the great mystery of death. Written in collaboration with Dino Buzzati, Brunello Rondi, and Bernardino Zapponi, the project was ultimately abandoned for a number of reasons, including Fellini’s near death, although it continued to inhabit his creative imagination and the landscape of his films for the rest of his career. Marcus Perryman has written two supporting essays which discuss the reasons why the film was never made, compare it to the two other films in the trilogy La Dolce Vita and 81⁄2, and analyze the script in the light of It’s a Wonderful Life and Fredric Brown’s sci-fi novel What Mad Universe. In doing so he opens up an entire world of connections to Fellini’s other films, writers and collaborators. It should be essential reading for students and academics studying Fellini’s work.
Between 1238 and 1239, the notorious Jewish convert Nicholas Donin persuaded Pope Gregory IX to condemn the Talmud, prompting European kings to intervene. Only King Louis IX of France agreed to a public disputation in 1240, subjecting the Talmud to scrutiny. Prominent Jewish and Christian figures debated Jesus in the Talmud. The Talmud was condemned between 1241 and 1242, but the Church of Paris, responding to Jewish pleas, allowed an appeal. Scholars were commissioned to translate portions of the Talmud, resulting in two anthologies titled Extractiones de Talmud—the first translation of this work. Still, this did not save the Talmud from burning.
Federico Chabod (1901-1960) was one of Italy's best-known historians, noted for his study of Italian history in a European context. This is the first English translation of his most important book. Although he carried out his extensive archival research for this work from 1936 until 1943, the fall of fascism and Chabod's active participation in the Resistance delayed its completion. When it was published in 1951, it was immediately hailed as a masterpiece. Chabod intended to write a new kind of diplomatic history-- one in which political history is seen as part of a larger historical whole. He does not present a detailed chronological account of Italian foreign policy during the period studied, but rather the "moral and material" underpinnings of that policy. In fact, he crafts a highly developed portrait of an age, with the real subjects being the Italian state and society, the ruling class and political culture. This work offers readers a superb picture of post-Risorgimento Italy and an outstanding example of Chabod's historiographical method. Originally published in 1996. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
With the advancement of cybernetics, avatars, animation, and virtual reality, a thorough understanding of how the puppet metaphor originates from specific theatrical practices and media is especially relevant today. This book identifies and interprets the aesthetic and cultural significance of the different traditions of the Italian puppet theater in the broader Italian culture and beyond. Grounded in the often-overlooked history of the evolution of several Italian puppetry traditions – the central and northern Italian stringed marionettes, the Sicilian pupi, the glove puppets of the Po Valley, and the Neapolitan Pulcinella – this study examines a broad spectrum of visual, cinematic, literary, and digital texts representative of the functions and themes of the puppet. A systematic analysis of the meanings ascribed to the idea and image of the puppet provides a unique vantage point to observe the perseverance and transformation of its deeper associations, linking premodern, modern, and contemporary contexts.
This book is the result of ten years’ of scientific research carried out by the authors on Isla de los Estados. The research includes their doctoral thesis and many published scientific papers related to the island. The book is divided into two principal parts. The first part covers different social and natural aspects of this remote island and includes chapters on the scientific and historical background, physiography with topographical and hydrographical descriptions, climate and oceanographic circulation, vegetation and geology (including stratigraphy, structural geology and geological history). The second part comprises a reconstruction of the paleoenvironmental, paleoclimatic and paleogeographic history of the island from the Last Glacial Maximum to the present, correlating with other paleoecological records from the southern part of Isla Grande de Tierra del Fuego and Patagonia. This second part also includes a geomorphological chapter with a characterization of the principal erosive glacial landforms on Isla de los Estados constructed by means of morphometric analysis, inventories, maps, paleogeographic and glacial models, and a paleoecological chapter evaluating the palaeoenvironment and palaeoclimatic conditions that prevailed during the Late Pleistocene-Holocene times based on pollen and diatom analysis from three 14C-dated peat bogs and lakes. Finally, the book concludes with a review of the island’s archaeology and the relationship between the palaeoenvironmental history and human occupation of this island.
Meet today's almost fascists and learn the warning signs to intercept them on the road from populism to dictatorship. With The Wannabe Fascists, historian Federico Finchelstein offers a precise explanation of why Trumpism and similar movements across the world belong to a new political breed, the last outcome of the combined histories of fascism and populism: the wannabe fascists. This new type of populist politician is typically a legally elected leader who, unlike previous populists who were eager to distance themselves from fascism, turns to totalitarian lies, racism, and illegal means to destroy democracy from within. Drawing on almost three decades of research on the histories of fascism and populism around the world, this book lays out in clear language what the author calls the "four pillars of fascism"—xenophobia, propaganda, political violence, and ultimately dictatorship. Finchelstein carefully explains how and why wannabe fascists like Trump, Bolsonaro, and Modi embrace the first three pillars but don't quite succeed in dictatorship and total suppression of the popular vote. The Wannabe Fascists stresses the importance of preventing despots from reaching this tipping point and offers a clear warning for what's at stake.
In this audacious psychological thriller where nothing is what it seems, a man facing death makes a life-changing choice that puts him—and the people he loves—in serious trouble. Ted McKay had it all: a beautiful wife, two daughters, a high-paying job. But after being diagnosed with a terminal brain tumor he finds himself with a gun to his temple, ready to pull the trigger. Then the doorbell rings. A stranger makes him a proposition: why not kill two deserving men before dying? The first target is a criminal, and the second is a man with terminal cancer who, like Ted, wants to die. After executing these kills, Ted will become someone else's next target, like a kind of suicidal daisy chain. Ted understands the stranger's logic: it's easier for a victim's family to deal with a murder than with a suicide. However, as Ted commits the murders, the crime scenes strike him as odd. The targets know him by name and possess familiar mementos. Even more bizarrely, Ted recognizes locations and men he shouldn't know. As Ted's mind begins to crack, dark secrets from his past seep through the fissures. Kill the Next One is an immersive psychological thriller from an exciting new voice.
This volume is the first monograph devoted to the philosophy of Taurus of Beirut, and provides a long-awaited analysis of his texts and their first English translation. Through close examination of the extant witnesses, Petrucci gives a new account of Middle Platonism based on a fresh approach to the theological and cosmological view of Taurus. In this way, the book contributes substantially to the debate on Post-Hellenistic Platonism from the point of view of both exegetical methods and philosophical doctrines, and offers a starting point for a new understanding of many aspects of ancient thought.
This comparative philosophy of law book aims at formulating a new analytical approach to the Islamic legal tradition based on ‘juridical categories’, a concept that facilitates comprehension and understanding of juridical phenomena. Building upon legal comparativism and legal pluralism, this project intends to avoid bias caused by universalizing Western categories when analyzing foreign juridical notions, which inevitably results in the miscomprehension of non-Western ideas and institutions. Unlike existing literature, this project will not focus on substantive comparisons between normative contents, but on the ‘juridical perspectives’ that helped to shape the Islamic and Western legal orders.The book focuses on the most relevant juridical questions regarding the Islamic and Western legal perspectives, such as the different visions regarding juridical spatiality, the role of human reason and the relationship between law, man and the divinity. While contributing to legal philosophy, this work intends also to develop and define a new interdisciplinary approach, aiming to provide a starting point for novel analyses in research fields such as legal comparativism, legal pluralism, and constitutional law. Finally, by formulating a new interdisciplinary approach, it will provide a foundational discussion of a continuously evolving subject that will never be exhaustively explored. As such, it aims at broadening scholarly reflections on the relationship between the West and Islam, eventually placing these concepts within a suitably comprehensive and contextualized framework. "Published in cooperation with gLAWcal - Global Law Initiatives for Sustainable Development, Hornchurch, Essex, United Kingdom".
Zusammenfassung: GLOBAL ISSUES Series Editors: Jim Whitman · Paolo D. Farah This comparative law book aims at formulating a new analytical approach to constitutional comparisons, assuming as a starting point the different legal perspectives implied in the (Sunni) Islamic outlook on the juridical phenomena and the Western concept of law, with particular reference to constitutionalism. The volume adopts a wider and comprehensive viewpoint, comparing the different ways in which the Islamic sharī ʿa and Western legal categories interact, regardless of substantive contents of specific provisions, thus avoiding conceptual biases that can sometime affect present literature on the matter. The book explores the various dynamics subtended to the interactions between sharī ʿa and Western constitutionalism, providing a new classification to the different contemporary models. The philosophical and legal comparisons are analyzed in a dynamic way, based on a wide range of contemporary constitutional systems, virtually encompassing all the States in which Sunni Islam plays a major cultural role, and taking also into consideration non-State actors and non-recognized actors. Federico Lorenzo Ramaioli, PhD, is an Italian diplomat and lawyer,presently serving as Deputy Head of the Mission of the Italian Embassy to Doha, Qatar. He is Senior Research Associate at gLAWcal. In the past, he worked for two years with the Catholic University of Milan in the fields of Philosophy of Law and Legal Methodology. After entering the diplomatic service, he continued his research activity in law, with particular reference to the Muslim world and to the Far East. He is the author of Islamic State as a Legal Order (Routledge, 2022) and has published various articles in peer-reviewed journals, including Journal of Comparative Law, Suffolk Law Review, Rivista della Cooperazione Giuridica Internazionale, and Orientalia Parthenopea
To Joel ButonWhen he was still a child.When you could already see a little glint,if attentively looking into his eyes.A glint slowly lighting in the darkness.And from that fragile glint, guessing in him, little child,the birth of his great dream.A Lost Little Girl left Her Happy Thoughtby Federico ParraDrawings Anastasia S. ParraPrefaceThis is a storyof courage and changing.A fairy tale, a great adventure, a growth.A nemesis, a social and personal revolution.Passing through the features of the high-sounding French names,you will enter in Alice’s Wonderland through its ventricles and narrow streets.You will meet the Aristocats and then you will go backto the 101 Dalmatians in a dreamy Paris.You will encounter distant memories of charactersknown only in the imagination of children, andyou will meet other real but carelessly and unfortunately unknown characters!In this story, you will cross a good partof the vast and colorful world of fairy tales.You will travel with few bags to fill,at every single stop.Through a small arc of white roses, you will enterthe garden of a faraway fairyland.You will enter a world that, in some way,it belongs to us and leads us to the true realityof our childhood...When animals and plants were able to speak.When a small stone could be magical.And when every happy thought,could also come true tomorrow!J. D. Goodman
Almost O.K. presents an honest, biographical recounting of the life and death of the authors son from the authors perspective and of his personal recovery from such tragedy. He includes a review of the vocabulary and diagnostic tools used by psychiatrists to diagnose mental illnesses, focusing on depression and schizophrenia. The author also tells the story of his research to find a scientific theory of how the brain works, and how he was able to put together a comprehensive explanation of suicide along with recommendations to reduce the rate of suicide.
On November 12, 2002, at the age of twenty-two, my son Mitchell committed suicide. His sudden and unexpected death sent me reeling down a path I needed to travel if I ever wanted to escape the forest of grief and loss in which I found myself. This book recounts my journey to come to terms with the death of my son. The path I started downto fulfill a promise I had made to my son while he was alive, to find answers to the mental problems he sufferedtook me places I had not anticipated. The path became a network of four intersecting paths, and my journey took me far beyond the death of a son to the human condition where we are governed by forces, both internal and external, over which we have little control and little understanding. Intricately connected, the four paths explored in this book are: 1) the autobiographical: the story of my life with my son Mitchell as we struggled with the mental problems that eventually led to his suicide. 2) the diagnostic: the various diagnostic tools available to psychiatrists, which illustrate the level of knowledge in the field and show some of the failings of our present approach to mental disorders. 3) historical fiction: narrative accounts of the lives and deaths by suicide of both historical and fictional characters, including the son of Queen Isabela of Spain; Meriwether Lewis; Vincent Van Gogh; Miguel, a slave working at the Count of Valencianas silver mine, La Boca del Infierno, in 18th-century Mexico; and Michele, a passenger on the Titanic. By telling these stories, sometimes in the first person, I found a way to express my own anguish and pain, something I could not do directly, as well as a way to explore further my relationship with my son and my sons complexity and fullness as a person. 4) scientific explanation of how the brain works: a theory of how the brain works, explaining in detail how mental images and thoughts are formed and travel through the nervous system, how we live in a world of illusions, and how mental illness can be explained in these terms. These four paths are intricately connected and reinforce each other in the book. The diagnostic explains in technical terms what the autobiographical recounts; the autobiographical recounts events which help to explain the complexities and subtleties of human behavior within the context of how the brain works; the historical fiction ties into the autobiographical elements and the diagnostic. The book also confronts the issue of suicide, itself. It answers that elusive question: Why do people commit suicide? The book presents a personal, honest, biographical testimonial of the experience of the suicide of a son. The book speaks from experience, not some abstract philosophical point of view. The organization and contents of the book are unique, a weaving together of four distinct yet related subjects: the suicide of a son, the classification of mental illnesses, narratives of historical fiction, and a theory of how the brain works. The most outstanding feature of this book is that it presents for the first time, to my knowledge, a comprehensive theory of the brain that explains mental disorders such as dementia, delirium, depression, manic depression and schizophrenia. For the first time, suicide is placed in a scientific context, and why and how it happens is explained. In particular, the brain theory here is presented in a simplified form accessible to most, particularly because of the anecdotes and stories that help illustrate how the brain functions and malfunctions. The book also deals with other related subjects: the importance of love in our lives; the possibilities of past lives; how to deal with grief and loss; the possible reasons for the rise of suicide rates in industrialized nations; the failures of the system to cure and prevent suicide and other mental disorders; and possible directions that therapies and medications might explore in the future. The writing is forceful
Acknowledged as the premier Italian guide, this revised handbook includes updated ratings of restaurants--more than 500--and hotels. It also features dozens of locations of related interest, including best places for ice cream, pastry, pizza, and coffee.
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