With more than 180 films during a career spanning several decades, Jesus Franco (1930-2013) was an extraordinarily prolific and chameleon-like Spanish director, covering virtually every genre from horror to film noir, adventure and erotic, and adapting to all kinds of productions. A one-of-a-kind filmmaker, he was boldly original in the themes, style, and in his idea of cinema. This book examines his life and career between his first short film to the moment he cut his ties with his home country and became an "international" director, with a detailed production history and critical analysis of his films, placing his work within the social and political context of Spanish culture, politics, and cinema. Franco's most critically praised works are covered, namely such cult horror classics as The Awful Dr. Orlof and The Diabolical Dr. Z, as well as his working relationship with Orson Welles, whom he was to direct in a 1964 unfinished adaptation of Treasure Island. Detailed production history and critical analysis of his films are provided, placing his work within the context of Spanish culture, politics, and film industry. The book also includes plenty of never-before-seen bits of information and in-depth discussion of Franco's previously uncovered scripts, essays, and short films, as well as his unmade projects of the period.
This second edition of the Modern Italian Grammar: A Practical Guide is an innovative reference guide to Italian, combining traditional and function-based grammar in a single volume.
An innovative practical reference grammar, combining traditional and function-based grammar in a single volume, this is the ideal reference grammar for intermediate and advanced learners at advanced secondary level and above.
In Dynamics of Morphological Productivity, Francesco Gardani explores the evolution of the productivity of the noun inflectional classes of Latin and Old Italian, covering a span of almost 2,000 years – an absolute novelty for the theory of diachrony and for Latin and Italo-Romance linguistics. By providing an original set of criteria for measuring productivity, based on the investigation of loanword integration, conversions, and class shift, Gardani provides a substantial contribution to the theory of inflection, as well as to the study of the morphological integration of loanwords. The result is a wealth of empirical facts, including data from the contact languages Etruscan, Ancient Greek, Germanic, Arabic, Byzantine Greek, Old French and Provençal, accompanied by brilliant and groundbreaking analyses.
Based on previously unexplored archival documentation, this book offers the first general overview of the history of Italian eugenics, not limited to the decades of Fascist regime, but instead ranging from the beginning of the 1900s to the first half of the 1970s. The Author discusses several fundamental themes of the comparative history of eugenics: the importance of the Latin eugenic model; the relationship between eugenics and fascism; the influence of Catholicism on the eugenic discourse and the complex links between genetics and eugenics. It examines the Liberal pre-fascist period and the post-WW2 transition from fascist and racial eugenics to medical and human genetics. As far as fascist eugenics is concerned, the book provides a refreshing analysis, considering Italian eugenics as the most important case-study in order to define Latin eugenics as an alternative model to its Anglo-American, German and Scandinavian counterparts. Analyses in detail the nature-nurture debate during the State racist campaign in fascist Italy (1938–1943) as a boundary tool in the contraposition between the different institutional, political and ideological currents of fascist racism.
Groundwater amounts to 97% of available global freshwater resources. Emphasising the crucial importance of this in the context of increasing population, climate change and the overall global water crisis, Francesco Sindico offers a comprehensive study of the emerging body of international law applicable to transboundary aquifers.
The aim of the EU Directive 2014/95/EU, requiring the mandatory disclosure of non-financial information (NFI) by large undertakings and groups, is to rebuild trust with stakeholders. This book aims to summarize the relevant literature about company information with particular reference to the voluntary vis a vis mandatory NFI.
This is the true story of Vito Ciancimino--Don Vito da Corleone, the "Mayor of the Corleones"--who spent forty years in the grip of death, mafia, politics, business deals and the secret service. Don Vito recounts years of clandestine and previously censored contacts between politicians and the mafia--between the Italian State and the Cosa Nostra. The key witness is Massimo, the penultimate and hitherto closest of Don Vito's five children, who has given his personal testament for the first time. His account rewrites some of the most important events of Italy's recent history. If Roberto Saviano's Gomorra revealed the workings of the mafia system from street level, Francesco La Licata and Massimo Ciancimino's Don Vito tells us about the people who held the reins of power. In the words of Attilio Bolzoni of Republica: "This is the portrait of a man who was a key player from post war Italy to our days in one of the most daunting of Italian affairs, a figure who inspired fear, a devil. He was friend with mafia bosses and great politicians, of killers and respectable gentlemen. Vito Ciancimino was the incarnation of power itself, maybe the most hated and feared, the most suspected and worshipped, man of Palermo and of the whole Sicilian society.
Title first published in 2003. Much has been written about the problems minorities encounter in Western European and North American cities. This insightful volume acknowledges the deep-rooted nature of inequalities and discrimination, but seeks ways of ameliorating and eradicating them from positive stories of minority involvement in regeneration.
Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers. This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence. This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton.
The 1960s and the 1970s marked a generational shift in architectural discourse at a time when the revolts inside universities condemned the academic institution as a major force behind the perpetuation of a controlling society. Focusing on the crisis and reform of higher education in Italy, The University as a Settlement Principle investigates how university design became a lens for architects to interpret a complex historical moment that was marked by the construction of an unprecedented number of new campuses worldwide. Implicitly drawing parallels with the contemporary condition of the university under a regime of knowledge commodification, it reviews the vision proposed by architects such as Vittorio Gregotti, Giuseppe Samonà, Archizoom, Giancarlo De Carlo, and Guido Canella, among others, to challenge the university as a bureaucratic and self-contained entity, and defend, instead, the role of higher education as an agent for restructuring vast territories. Through their projects, the book discusses a most fertile and heroic moment of Italian architectural discourse and argues for a reconsideration of architecture’s obligation to question the status quo. This work will be of interest to postgraduate researchers and academics in architectural theory and history, campus design, planning theory, and history.
Tiki torches, cocktails, la dolce vita, and the music that popularized them—Mondo Exotica offers a behind-the-scenes look at the sounds and obsessions of the Space Age and Cold War period as well as the renewed interest in them evident in contemporary music and design. The music journalist and radio host Francesco Adinolfi provides extraordinary detail about artists, songs, albums, and soundtracks, while also presenting an incisive analysis of the ethnic and cultural stereotypes embodied in exotica and related genres. In this encyclopedic account of films, books, TV programs, mixed drinks, and above all music, he balances a respect for exotica’s artistic innovations with a critical assessment of what its popularity says about postwar society in the United States and Europe, and what its revival implies today. Adinolfi interviewed a number of exotica greats, and Mondo Exotica incorporates material from his interviews with Martin Denny, Esquivel, the Italian film composers Piero Piccioni and Piero Umiliani, and others. It begins with an extended look at the postwar popularity of exotica in the United States. Adinolfi describes how American bachelors and suburbanites embraced the Polynesian god Tiki as a symbol of escape and sexual liberation; how Les Baxter’s album Ritual of the Savage (1951) ushered in the exotica music craze; and how Martin Denny’s Exotica built on that craze, hitting number one in 1957. Adinolfi chronicles the popularity of performers from Yma Sumac, “the Peruvian Nightingale,” to Esquivel, who was described by Variety as “the Mexican Duke Ellington,” to the chanteuses Eartha Kitt, Julie London, and Ann-Margret. He explores exotica’s many sub-genres, including mood music, crime jazz, and spy music. Turning to Italy, he reconstructs the postwar years of la dolce vita, explaining how budget spy films, spaghetti westerns, soft-core porn movies, and other genres demonstrated an attraction to the foreign. Mondo Exotica includes a discography of albums, compilations, and remixes.
Der Künstler Francesco Matarrese unternimmt in diesem Notizbuch eine Neulektüre von zwei Texten der Moderne: In einer »extremen Begegnung« stellt er Recentness of Sculpture (Neuerdings die Skulptur) des amerikanischen Kunstkritikers Clement Greenberg von 1967 einem Auszug aus Lotta contro il lavoro! (Kampf gegen die Arbeit!) des italienischen politischen Philosophen und wichtigen Theoretikers des Operaismus Mario Tronti aus dem Jahr 1965 gegenüber. Eine »Fernbegegnung«, so Matarrese, »an einem der höchsten Punkte, [...] der heute für eine Diskussion über Kunst und Politik vorstellbar ist.« Aus der Betrachtung und dem Vergleich von Greenbergs Modernismuskonzeption und der politischen, marxistischen Thesen Trontis entwickelt der Autor seine Überlegungen zu einer abstrakten oder Nicht-Kunst, die radikal außerhalb zu sein vermag. Neben einem Faksimile von Trontis Originalmanuskript enthält das Notizbuch dessen aktuellen Kommentar auf die von Matarrese an ihn gestellte Frage: »Kann man wirklich außerhalb sein?«. Francesco Matarrese (*1950) lebt in Bari und Rom. 1978 gab er im Telegramma di rifiuto seine Verweigerung künstlerischer Produktion bekannt (»a refusal of abstract labor in art«) und begann, einen unmöglichen Katalog von Nicht-Kunstwerken zu erstellen.
This is the true story of Vito Ciancimino - Don Vito da Corleone, the 'Mayor of the Corleones' - who spent forty years in the grip of death, mafia, politics, business deals and the secret service. Don Vito recounts years of clandestine and previously censored contacts between politicians and the mafia - between the Italian State and the Cosa Nostra. The key witness is Massimo, the penultimate and hitherto closest of Don Vito's five children, who has given his personal testament for the first time. His account rewrites some of the most important events of Italy's recent history. In the words of Attilio Bolzoni of Republica: 'This is the portrait of a man who was a key player from post war Italy to our days in one of the most daunting of Italian affairs, a figure who inspired fear, a devil. He was friend with mafia bosses and great politicians, of killers and respectable gentlemen. Vito Ciancimino was the incarnation of power itself, maybe the most hated and feared, the most suspected and worshipped, man of Palermo and of the whole Sicilian society'. If Roberto Saviano's Gomorrah revealed the workings of the mafia system at street level, Francesco La Licata and Massimo Ciancimino's Don Vito tells us about the people who held the reins of power.
The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and commerce. In Come Together, author and visual artist Francesco Spampinato assembles an international roster of forty of today's most exciting and influential collectives, from design studios like Project Projects and political performance artists The Yes Men to flash mob provocateurs Improv Everywhere and the multimedia artists Assume Vivid Astro Focus. Alongside visual portfolios of their best work are in-depth interviews addressing each group's unique motivations, processes, and objectives. What emerges is a shared desire to turn viewers into producers and to use commercial mass-media strategies to challenge prevailing social, political, and cultural power structures. Come Together is an essential resource and inspiration for students, art lovers, and anyone interested in the cutting edge of visual culture.
This book examines two civic initiatives in Europe and analyses their evolution through the institutionalisation of their practices, local public effects, and established models for action at broader scales. Drawing from the concepts of civic action, problematic situations, public problems, and experience, this book coins the concept of direct civic action to explore civic initiatives beyond sectorial categories. It draws from the histories, everyday activities, and encounters with new problematic situations of a Slovak and a French initiative. It analyses the institutionalisation of their internal practices, their public cultural services, the models for action they establish in broader networks of initiatives, and how institutionalisation affects their experimentation and innovation. This book uses two case studies of civic initiatives in France and Slovakia, examining how the experimental and institutionalised approaches to problematic situations of civic initiatives are associated with the generation and continuative reproduction of public goods and policies. It also explores how local initiatives establish national and international networks and models for direct civic action. This book is aimed at scholars interested in civic initiatives, urban planning, public policies, innovation studies, and urban sociology. It is intended to engage members of civic initiatives by offering insights into organisational dynamics and their impact on public issues. Furthermore, it appeals to public officials and policy-makers who aim to establish policies that promote civic initiatives and encourage direct civic action.
Vol. 1 No.2 Year 2005 contains the following writings: Childhood, an international perspective, by the editors; Salute from Piero Marrazzo president of Region Lazio, Italy; Artistic creativity a cross-cultural perspective by Sharon Bailin; Knowledge and (de)legitimation by Francesco Mattei; Sportization of body. Notes for a research programme by nicola porro; Drugs perception amongst youth in a Southern Italian city. an empirical research by Maurizio Esposito; Social representations of child sexual abuse, by Loredana Pedata.
A stark departure from traditional philology, What is Authorial Philology? is the first comprehensive treatment of authorial philology as a discipline in its own right. It provides readers with an excellent introduction to the theory and practice of editing ‘authorial texts’ alongside an exploration of authorial philology in its cultural and conceptual architecture. The originality and distinction of this work lies in its clear systematization of a discipline whose autonomous status has only recently been recognised (at least in Italy), though its roots may extend back as far as Giorgio Pasquali. This pioneering volume offers both a methodical set of instructions on how to read critical editions, and a wide range of practical examples, expanding upon the conceptual and methodological apparatus laid out in the first two chapters. By presenting a thorough account of the historical and theoretical framework through which authorial philology developed, Paola Italia and Giulia Raboni successfully reconceptualize the authorial text as an ever-changing organism, subject to alteration and modification. What is Authorial Philology? will be of great didactic value to students and researchers alike, providing readers with a fuller understanding of the rationale behind different editing practices, and addressing both traditional and newer methods such as the use of the digital medium and its implications. Spanning the whole Italian tradition from Petrarch to Carlo Emilio Gadda, this ground-breaking volume provokes us to consider important questions concerning a text’s dynamism, the extent to which an author is ‘agentive’, and, most crucially, about the very nature of what we read.
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