This book explores the concept of diffused religion as it is found in contemporary society, resulting from a vast process of religious socialisation that continues to pervade our cultural reality. It provides a critical engagement with a framework of non-institutional religion that is based on values largely shared in society by being diffused through primary and secondary socialisation. Cipriani also contends that these very values which give form to diffused religion can also be seen in themselves as their own kind of religion. As a result, they go beyond secularisation and favour the religious continuum extending around the world of diffused religions. This work will be of great interest to scholars in the Sociology of Religion and to anyone wanting to learn more about the social aspects of religion.
In adopting an international perspective that goes beyond the conventional framework of western theology, this volume bridges the divide between European and North American scholars through its careful retrieval of their common theoretical and research interests. Cipriani provides a critical analysis of both classical thought and contemporary currents in this readable text, aimed at both experts and students. He has achieved a broadening in the scientific approach to the study of religion.
In adopting an international perspective that goes beyond the conventional framework of western theology, this volume bridges the divide between European and North American scholars through its careful retrieval of their common theoretical and research interests. Cipriani provides a critical analysis of both classical thought and contemporary currents in this readable text, aimed at both experts and students. He has achieved a broadening in the scientific approach to the study of religion.
Sociology of Religion represents a documented introduction to the history of sociological thought as applied to religious phenomena. It examines both the substantive and functional definitions of religion that are more open, pluralistic, and not inscribed in a single explanatory horizon or within a single confessional perspective. The contributors' concerns are carefully written to show all sides of the argument. Roberto Cipriani argues for the simple definition that the sociology of religion is an application of sociological theories and methods to religious phenomena. Historically, close ties between sociology and the sociology of religion exist. The slow and uneven development of theory and methods affects the sociology of religion's development, but the latter has also benefited from increasing precision and scientific validity. Other sociological writers agree and disagree about different approaches. Some assume it is a militantly confessional or anti-confessional; others remain neutral within their work.
The main purpose of this book is to provide the first comprehensive analysis of suicide in psychiatric patients. 95 per cent of those who commit suicide had a psychiatric disorder and yet suicide is rarely investigated in psychiatric patients. The book provides a relevant contribution to the prediction and prevention of suicide. This is a first book devoted to the subject with comprehensive chapters, including epidemiology, risk factors, preventive strategies and available treatments.
Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories--even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim, giallo is a fluid and dynamic genre that has evolved throughout the decades. This book examines the many facets of the giallo genre --narrative, style, themes, and influences. It explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, discussing their impact on society, culture and mores.
Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
The history of Italian cinema includes, in addition to the renowned auteurs, a number of peculiar and lesser-known filmmakers. While their artistry was often plagued with production setbacks, their works--influenced by poetry, playwriting, advertising, literature, comics and a nonconformist, sometimes antagonistic attitude--were original and thought provoking. Drawing from official papers and original scripts, this book includes much previously unpublished information on the works and lives of post-World War II filmmakers Pier Carpi, Alberto Cavallone, Riccardo Ghione, Giulio Questi, Brunello Rondi, Paolo Spinola, Augusto Tretti and Nello Vegezzi.
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
In an eclectic career spanning four decades, Italian director Riccardo Freda (1909-1999) produced films of remarkable technical skill and powerful visual style, including the swashbuckler Black Eagle (1946), an adaptation of Les Miserables (1947), the peplum Theodora, Slave Empress (1954) and a number of cult-favorite Gothic and horror films such as I Vampiri (1957), The Horrible Dr. Hichcock (1962) and The Ghost (1963). Freda was first championed in the 1960s by French critics who labeled him "the European Raoul Walsh," and enjoyed growing critical esteem over the years. This book covers his life and career for the first time in English, with detailed analyses of his films and exclusive interviews with his collaborators and family.
The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.
This book explores the concept of diffused religion as it is found in contemporary society, resulting from a vast process of religious socialisation that continues to pervade our cultural reality. It provides a critical engagement with a framework of non-institutional religion that is based on values largely shared in society by being diffused through primary and secondary socialisation. Cipriani also contends that these very values which give form to diffused religion can also be seen in themselves as their own kind of religion. As a result, they go beyond secularisation and favour the religious continuum extending around the world of diffused religions. This work will be of great interest to scholars in the Sociology of Religion and to anyone wanting to learn more about the social aspects of religion.
The primary objective of this collection is to examine the ways in which religion, culture and politics converge in configuring the contradictions of post-war Italy’s cultural history, starting from the assumption that conducting a critical reflection on Italian postwar visual culture requires investigating the inevitable impact of Catholic religion on everyday life in its social, political and cultural dimensions. The volume takes advantage of the privileged position of cinema to explore and critique religion’s influence on the Italian cultural landscape. This edited anthology thus seeks to probe how religion is experienced, practiced, criticized and represented from various methodological perspectives (historical, philological, aesthetic, psychoanalytical, popular studies, etc.) through four main sections: ‘Propaganda and Censorship’, ‘Framing Belief: Pasolini and Petri’, ‘Religion in Italian Popular Cinema’ and ‘Ancient Rituals, Modern Myths’.
This book presents: 1) an urban-studies panorama on the emergence of a built/landscape continuum following the anthropic expansion at the geographic scale and the consequent demise of the city/country divide; 2) an in-depth theoretical analysis of disparate landscape constructs, culminating in the proposal of a comprehensive spatial paradigm addressing both manmade and natural contexts; 3) the in-situ transcription of the proposed spatial paradigm into a landscape installation implementing a territorial narrative in the Sierra Madre Oriental of Mexico. Foreword by Peter G. Rowe and afterword by Elisa C. Cattaneo. By virtue of its openness, fluidity, and volatility, fluctuating between heterogeneity and diversity, today’s built/landscape continuum exhibits analogies with distinct notions of landscape. The book determines an open-ended classification of contemporary space-making strategies exceeding the urban and metropolitan ambit, through a comparative anatomy of global case studies ranging from hard to soft: geotechnics or applied geographies, machinic micro-ecologies, aesthetic prostheses for operative metabolism, cybernetic utopias, atmospheric assemblages, psychic spheres, creole horizons, semiotic landscapes, geopolitical landscapes, geophilosophical excavations. The proposed spatial paradigm, accommodating aggregates of artificial and living systems, physical and mental spaces, and machinic and cultural landscapes, intends to reconcile the traditionally opposed ‘scientific-cognitive-metabolist’ and ‘cultural-geophilosophical-territorialist’ visions of the landscape. The resulting model transcends the exhausted myths of urban space, metropolitanism, and their filiations, in favor of a new form of urbanity and its attributes. Parts of the work were developed in the frame of research projects of Universidad de Monterrey and Parque Ecológico Chipinque and the IDAUP of UniFE and Polis. The target audience of the book is researchers, teachers, and advanced students engaged in landscape and urban studies with a prevalent focus on theory. The book can also benefit professional and institutional audiences looking for ethical/methodological orientation.
Tonino Valerii is one of Italy's best genre film directors. Starting out as Sergio Leone's assistant on For a Few Dollars More (1965), he went on to direct spaghetti westerns that stand out among the most accomplished in their class--Day of Anger (1967), The Price of Power (1969), A Reason to Live, a Reason to Die! (1972) and My Name Is Nobody (1973). He also directed the outstanding giallo My Dear Killer (1972). This book examines Valerii's life and career in depth for the first time, with exclusive interviews with the filmmaker, scriptwriters and actors, and critical analysis of his films.
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