Bound by Distance takes its place among a growing body of scholarship the goal of which is to challenge the kind of thinking that reproduces the "West" as a stable and homogenous political and discursive entity. The Italian nation, with its peculiar process of formation, the continuous tensions between its own northern and southern regions, and its history of emigration, provides an important case for complicating and reassessing concepts of national, racial, economic, and cultural dominance. The author analyzes the interactive space of the history of Italian state formation, Italian subaltern literature, Italian emigrant writing, and the current situation of North African and Asian immigrants to Italy, in order to contest the "feigned homogeneity" of the Italian nation and to complicate and reassess concepts of national, racial, economic, and cultural dominance.
In these essays Pasquale Verdicchio stresses the need to view the cultural works of minority groups not solely from the perspective of their immigrant roots, but primarily as post-emigrant products. Through writings on diverse figures such as Antonio Gramsci, the Super Mario Brothers, or Spike Lee, and on subjects that range from literature to sculpture and photography, the author closes in on a possible intellectual synthesis for what might be considered the most complex question of this end of century: What is the identity and place of a minority individual?
The House Is Past brings together writing from a period spanning 1978-1998. It is the compilation of a portion of a life spent in a language that is borrowed and adapted, the document of an instance of cultural transition and transformation. The poetic trajectory is not simply linear and transformative, because Pasquale Verdicchio engages a variety of forms and manipulates language towards the integration of many cultural sources. The tide of the collection, reminiscent of Adorno, is a reflection on this possibility of working in tandem between languages and cultures, between histories and existences. The House is Past refers to the house as both a place of historical reference and historical loss. The past is a point of departure and reference, and the house a flexible construct, the materials of which are assembled according to the poet's cultural needs.
Working toward an analysis of how photography has contributed to the construction of an Italian 'type' to serve the mandates of the new nation in the 1860s, this book engages writers and photographers who have attempted to address this in their works. From Giovanni Verga and Italo Calvino to the conceptual visual works of Tommaso Campanella in words and Luigi Ghirri in photographs; from the Arcadic gaze of Baron von Gloeden to the revolutionary vision of Tina Modotti, the works analyzed in this book have all been major contributors in the shaping of our contemporary visual education. While I am mostly concerned with Italy, the ideas that populated this work are globally applicable and relevant. Works on the photographic image that engage the specificity of representation related to specific groups, race, ethnicity or gender have found, in the isolation of images by thematic terms, an eloquent ground for specific visual formations. Looters, Photographers, and Thieves seeks to contribute to this fascinating discourse and the constantly evolving realm of figurative possibilities it opens up. This books is a locus for the collection and accumulation of images produced in the shaping of notions of citizenship and cultural relevance in nineteenth and twentieth century Italy. The arguments and images of each chapter thread through each other to propose ways by which to approach disparate subjects and forms in order to envision photographers as seers rather than gazers. Working beyond solidified terms of reference in both photography and literature toward more fluid and open spaces, I have chosen photographers that are quite unlike each other in their craft and ideologies: Tina Modotti, Giovanni Verga, Baron von Gloeden, Jacob Riis and Lewis Hine all are seen as contributors in shaping a particular vision of their world that remains relevant in ours.. Given the fact that much of the photography considered within the pages of this book is in dialogue with, or the product of, national or colonial programmatic agendas, it is only fair to ask what potential spaces for intervention upon them might remain if this is not done outside of established disciplinary bounds.
Literary Criticism. Cultural Studies. In San Diego, California, between June 15 and June 17, 1996, two writers sit before a microphone and exchange ideas on a number of burning issues with which they have both had to contend for over twenty years. Literature, the politics of publishing, identity, culture, post-emigrant culture, ethnicity, pluriculturalism, Americanism, Canadianism, nationalism, the use of writers' associations: these are some of the themes that Antonio D'Alfonso and Pasquale Verdicchio tackle in this casual yet intense duologue. Antonio D'Alfonso has published over a dozen books and works as an editor and publisher, and Pasquale Verdicchio is the author of a dozen books and is head of the Writing Program in the Department of Literature at the University of California, San Diego.
In these essays Pasquale Verdicchio stresses the need to view the cultural works of minority groups not solely from the perspective of their immigrant roots, but primarily as post-emigrant products. Through writings on diverse figures such as Antonio Gramsci, the Super Mario Brothers, or Spike Lee, and on subjects that range from literature to sculpture and photography, the author closes in on a possible intellectual synthesis for what might be considered the most complex question of this end of century: What is the identity and place of a minority individual?
Bound by Distance takes its place among a growing body of scholarship the goal of which is to challenge the kind of thinking that reproduces the "West" as a stable and homogenous political and discursive entity. The Italian nation, with its peculiar process of formation, the continuous tensions between its own northern and southern regions, and its history of emigration, provides an important case for complicating and reassessing concepts of national, racial, economic, and cultural dominance. The author analyzes the interactive space of the history of Italian state formation, Italian subaltern literature, Italian emigrant writing, and the current situation of North African and Asian immigrants to Italy, in order to contest the "feigned homogeneity" of the Italian nation and to complicate and reassess concepts of national, racial, economic, and cultural dominance.
Poetry. "There is always distance in language. Readers and writers move in this distance, between the innumerable points that define their positions. The poems of NOMADIC TRAJECTORY are but notations of absence and displacement. A nomad reads the landscape s/he travels, considering all the changes that may have taken place since the last passage. Language unveils its possibilities seductively, all that is needed is the first step toward it. Travelers in the world thus become travelers between worlds" -Pasquale Verdicchio.
The House Is Past brings together writing from a period spanning 1978-1998. It is the compilation of a portion of a life spent in a language that is borrowed and adapted, the document of an instance of cultural transition and transformation. The poetic trajectory is not simply linear and transformative, because Pasquale Verdicchio engages a variety of forms and manipulates language towards the integration of many cultural sources. The tide of the collection, reminiscent of Adorno, is a reflection on this possibility of working in tandem between languages and cultures, between histories and existences. The House is Past refers to the house as both a place of historical reference and historical loss. The past is a point of departure and reference, and the house a flexible construct, the materials of which are assembled according to the poet's cultural needs.
Working toward an analysis of how photography has contributed to the construction of an Italian 'type' to serve the mandates of the new nation in the 1860s, this book engages writers and photographers who have attempted to address this in their works. From Giovanni Verga and Italo Calvino to the conceptual visual works of Tommaso Campanella in words and Luigi Ghirri in photographs; from the Arcadic gaze of Baron von Gloeden to the revolutionary vision of Tina Modotti, the works analyzed in this book have all been major contributors in the shaping of our contemporary visual education. While I am mostly concerned with Italy, the ideas that populated this work are globally applicable and relevant. Works on the photographic image that engage the specificity of representation related to specific groups, race, ethnicity or gender have found, in the isolation of images by thematic terms, an eloquent ground for specific visual formations. Looters, Photographers, and Thieves seeks to contribute to this fascinating discourse and the constantly evolving realm of figurative possibilities it opens up. This books is a locus for the collection and accumulation of images produced in the shaping of notions of citizenship and cultural relevance in nineteenth and twentieth century Italy. The arguments and images of each chapter thread through each other to propose ways by which to approach disparate subjects and forms in order to envision photographers as seers rather than gazers. Working beyond solidified terms of reference in both photography and literature toward more fluid and open spaces, I have chosen photographers that are quite unlike each other in their craft and ideologies: Tina Modotti, Giovanni Verga, Baron von Gloeden, Jacob Riis and Lewis Hine all are seen as contributors in shaping a particular vision of their world that remains relevant in ours.. Given the fact that much of the photography considered within the pages of this book is in dialogue with, or the product of, national or colonial programmatic agendas, it is only fair to ask what potential spaces for intervention upon them might remain if this is not done outside of established disciplinary bounds.
Literary Criticism. Cultural Studies. In San Diego, California, between June 15 and June 17, 1996, two writers sit before a microphone and exchange ideas on a number of burning issues with which they have both had to contend for over twenty years. Literature, the politics of publishing, identity, culture, post-emigrant culture, ethnicity, pluriculturalism, Americanism, Canadianism, nationalism, the use of writers' associations: these are some of the themes that Antonio D'Alfonso and Pasquale Verdicchio tackle in this casual yet intense duologue. Antonio D'Alfonso has published over a dozen books and works as an editor and publisher, and Pasquale Verdicchio is the author of a dozen books and is head of the Writing Program in the Department of Literature at the University of California, San Diego.
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