The Italian Fascist Party in Power was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Although much significant material on the Italian Fascist party became available when the regime collapsed, scholars have not made extensive use of it until now. In this study, which is based on all the available sources, Professor Germino describes the functions of the party, ,explains how it was organized to perform tasks, and discusses conflicts between the party and other power elements in the dictatorship. He reaches a conclusion contrary to that of most other scholars -- that Fascist Italy was a full-fledged totalitarian state resembling Nazi Germany and Soviet Russia in political structure and ideological content.
Professor Carl J. Riedrich of Harvard University writes: "I consider this a major contribution to our knowledge of totalitarian dictatorship. There is nothing in the existing literature that can be compared to it either in terms of depth or analysis, range of documentation or breadth of treatment."
Professor Taylor Cole of Duke University comments: "Professor Germino has presented an excellent case study of the Italian Fascist Party. He has made use of more materials on the Party than any previous writer in English, and has marshalled them effectively to support his contention that the Fascist Party did not differ 'in kind' from [the Nazi and Soviet Communist parties] on the eve of World War II. His conclusion that on most (though not all) basic counts the Italian Fascist system was to be classified as 'totalitarian' is controversial, but it merits the careful attention of all students who are interested in the Italian Fascist period and in totalitarianism."
Italian arts and culture have been a significant influence on Philadelphia dating back to Thomas Jefferson and colonial times. Throughout the ensuing decades, Italian art and architecture styles flourished, and wealthy Philadelphians traveled to Italy and brought back objects to display in emerging institutions of art and culture. New immigration formed neighborhoods—such as South Philly, home to the Italian Market—and Italian business leaders, politicians, artists, musicians and sports figures came to prominence and became part of the social fabric of the city.
This glorious volume, The Italian Legacy in Philadelphia, celebrates the history, impact, and legacy of this vibrant community, tracing four periods of key transformation in the city’s political, economic, and social structures. The editors and contributors chronicle the changing dynamics of the city as Italian immigrants established themselves and as they continue to have lively interactions with people and institutions in Italy.
Interdisciplinary essays, along with nearly 250 gorgeous images, explore the changing perspectives and styles of those who contributed Italian influences. As settlers and their descendants brought everyday cultural practices, memories, and traditions, they created different Italian-American experiences that became important parts of American culture, a legacy that is thriving in contemporary, globalized Philadelphia.
Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction.
A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena.
For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity-all partake in a search for a politically and culturally redeemed Italy.
Noa Steimatsky is associate professor of the history of art and film studies at Yale University.
Authoritative and insightful, The Italian Opera Singers in Mozart's Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today.
An exploration of how film has made legible the Italian long ’68 as a moment of crisis and transition
Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long ’68.
Italian Political Cinema conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country’s history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long ’68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian.
A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time.
The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine.
When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs.
Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table.
The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.
One of the enduring myths about World War Two is that only the Allies liberated occupied Europe. Many countries had anti-fascist Resistance movements, and Italy's was one of the biggest and most politically radical yet it remains relatively unknown outside of its own homeland.
Within Italy many plaques and streets commemorate the actions of the partisans - a movement from below that grew as Mussolini's dictatorship unravelled. Led by radical left forces, the Resistance trod a thin line between fighting their enemies at home and maintaining an uneasy working relationship with the Allies.
Essential for courses on World War Two and European history, Tom Behan uses unpublished archival material and interviews with surviving partisans to tell an inspiring story of liberation.
In Italian Workers of the World, a distinguished roster of contributors examines how the reception of immigrants in their new countries shaped their sense of national identity and shaped the multiethnic states where they settled. Argentina and Brazil welcomed Italian migrants as a civilizing influence, and these immigrant workers played an instrumental part in establishing and leading movements committed to labor internationalism. In the United States, by contrast, the American Federation of Labor's hostility to socialism, internationalism, and unskilled laborers fueled distrust and xenophobia that steered Italian immigrants into ethnically mixed unions like radical Industrial Workers of the World. Essays also focus on specific topics ranging from the work of republican Garibaldians in South America to antifascist currents among Italian migrants in France and the United States, and from a 1912 textile strike in Lawrence, Massachusetts, to Mussolini's invasion of Ethiopia.
Contributors: Antonio Bechelloni, Fernando J. Devoto, Pietro Rinaldo Fanesi, Donna R. Gabaccia, Mirta Zaida Lobato, Fraser M. Ottanelli, Carina Frid de Silberstein, Michael Miller Topp, Angelo Trento, Nadia Venturini, and Elisabetta Vezzosi
For more than 350 years, Italian immigrants have played important roles in the opening and development of the land that is now Michigan, from their participation in the French fur trade up to the present day. Through an emphasis on the family as the essential institution in ethnic group success, Russell M. Magnaghi celebrates the accomplishments of Michigan's famous and not-so-famous Italian sons and daughters as he documents their struggles and achievements. Through the tenacity and hard work of the immigrants and their descendants, Italians in Michigan have progressed from unskilled laborers to some of the highest positions in business, politics, culture, and education.
In the later fifteenth century, the Kingdom of Hungary became the first land outside Italy to embrace the Renaissance, thanks to its king, Matthias Corvinus, and his humanist advisors, János Vitéz and Janus Pannonius. Matthias created one of the most famous libraries in the Western World, the Bibliotheca Corviniana, rivaled in importance only by the Vatican. The court became home to many Italian humanists, and through his friendship with Lorenzo the Magnificent, Matthias obtained the services of such great Florentine artists as Andrea del Verrocchio, Benedetto da Maiano, and Filippino Lippi. After Matthias’s death in 1490, interest in Renaissance art was continued by his widowed Neapolitan queen, Beatrice of Aragon, and by his successors Vladislav I and Louis II Jagiello.
The twenty-two essays collected in this volume provide a window onto recent research on the development of humanism and art in the Hungary of Matthias Corvinus and his successors. Richly illustrated with new photography, this book eloquently documents and explores the unique role played by the Hungarian court in the cultural history of Renaissance Europe.
From the earliest times, successive waves of foreign invaders have left their mark on Italy. Beginning with Germanic invasions that undermined the Roman Empire and culminating with the establishment of the modern nation, Girolamo Arnaldi explores the dynamic exchange between outsider and “native,” liberally illustrated with interpretations of the foreigners drawn from a range of sources. A despairing Saint Jerome wrote, of the Sack of Rome by the Visigoths in 410, “My sobs stop me from dictating these words. Behold, the city that conquered the world has been conquered in its turn.” Other Christian authors, however, concluded that the sinning Romans had drawn the wrath of God upon them.
Arnaldi traces the rise of Christianity, which in the transition from Roman to barbarian rule would provide a social bond that endured through centuries of foreign domination. Incursions cemented the separation between north and south: the Frankish conquerors held sway north of Rome, while the Normans settled in the south. In the ninth century, Sicily entered the orbit of the Muslim world when Arab and Berber forces invaded. During the Renaissance, flourishing cities were ravaged by foreign armies—first the French, who during the siege of Naples introduced an epidemic of syphilis, then the Spanish, whose control preserved the country’s religious unity during the Counter-Reformation but also ensured that Italy would lag behind during the Enlightenment.
Accessible and entertaining, this outside-in history of Italy is a telling reminder of the many interwoven strands that make up the fabric of modern Europe.
Biondo Flavio (1392–1463), humanist and historian, was a pioneering figure in the Renaissance discovery of antiquity; famously, he was the author who popularized the term “Middle Age” to describe the period between the fall of the Roman Empire and the revival of antiquity in his own time. While serving a number of Renaissance popes, he inaugurated an extraordinary program of research into the history, cultural life, and physical remains of the ancient world.
Italy Illuminated (1453), of which this is the second and final volume, is a topographical work describing Italy region by region. Its aim is to explore the Roman roots of modern Italy. As such, it is the quintessential work of Renaissance antiquarianism.
Combining vivid ethnographic detail, postcolonial theory, and readings of Israeli and Palestinian popular texts, Stein considers a broad range of Israeli leisure cultures of the Oslo period with a focus on the Jewish desires for Arab things, landscapes, and people that regional diplomacy catalyzed. Moving beyond conventional accounts, she situates tourism within a broader field of “discrepant mobility,” foregrounding the relationship between histories of mobility and immobility, leisure and exile, consumption and militarism. She contends that the study of Israeli tourism must open into broader interrogations of the Israeli occupation, the history of Palestinian dispossession, and Israel’s future in the Arab Middle East. Itineraries in Conflict is both a cultural history of the Oslo process and a call to fellow scholars to rethink the contours of the Arab-Israeli conflict by considering the politics of popular culture in everyday Israeli and Palestinian lives.
Movements—of people and groups, through travel, migration, exile, and diaspora—are central to understanding both local and global power relationships. But what of more literary moves: textual techniques such as distinct patterns of narrative flow, abrupt leaps between genres, and poetic figures that flatten geographical distance? This book examines what happens when both types of tropes—literal traversals and literary shifts—coexist.
Itineraries of Power examines prose narratives and poetry of the mid-Heian to medieval eras (900–1400) that conspicuously feature tropes of movement. Kawashima argues that the appearance of a character’s physical motion, alongside literary techniques identified with motion, is a textual signpost in a story, urging readers to focus on how the work conceptualizes relations of power and claims to authority. From the gendered intersection of register shifts in narrative and physical displacement in the Heian period, to a dizzying tale of travel retold multiple times in a single medieval text, the motion in these works gestures toward internal conflicts and alternatives to existing structures of power. The book concludes that texts crucially concerned with such tropes of movement suggest that power is always simultaneously manufactured and dismantled from within.
During the 2017 session, the Arkansas Legislative Assembly expanded the state’s complement of official state symbols. The second edition of this statewide bestseller includes an additional chapter on Arkansas’s newest symbol: the state dinosaur, Arkansaurus fridayi.
In It’s Official!, David Ware makes a case for considering the symbols as useful keys to understanding both the Arkansas that has been and the one it hopes to be.
Here is a complete biography of Ivan Aksakov, a prominent intellectual figure in Russia during the reigns of Tzars Alexander II and III. Aksakov began his fiery career as a critic of Slavophilism, a movement created by his brother Konstantin, along with Alexis Khomiakov, the brothers Kireevskii, and others, which sought to divorce Russia from the West and all Western influence. Circumstances, however, turned Aksakov into the fanatical leader of the Slavophiles, making him a passionate nationalist and Pan-Slavist, and a fierce anti-Semite. Although he accepted the reforms of the 1860's, he feared that their results would lead to the further Westernization of Russia; and, toward the end of his life, disillusioned and despairing, he lent a generous hand to reaction.
This book is based on a meticulous study of primary sources such as collected works, correspondence, private memoirs, and recollections.
Ivan the Terrible is infamous as a sadistic despot responsible for the deaths of thousands of innocent people, particularly during the years of the oprichnina, his state-within-a-state. Ivan was the first ruler in Russian history to use mass terror as a political instrument. However, Ivan’s actions cannot be dismissed by attributing the behavior to insanity. Ivan interacted with Muscovite society as both he and Muscovy changed. This interaction needs to be understood in order properly to analyze his motives, achievements, and failures.
Ivan the Terrible: Free to Reward and Free to Punish provides an up-to-date comprehensive analysis of all aspects of Ivan’s reign. It presents a new interpretation not only of Ivan’s behavior and ideology, but also of Muscovite social and economic history. Charles Halperin shatters the myths surrounding Ivan and reveals a complex ruler who had much in common with his European contemporaries, including Henry the Eighth.
For many years, the interrelated histories of prostitution and cities have perked the ears of urban scholars, but until now the history of urban sex work has dealt only in passing with questions of race. In I’ve Got to Make My Livin’, Cynthia Blair explores African American women’s sex work in Chicago during the decades of some of the city’s most explosive growth, expanding not just our view of prostitution, but also of black women’s labor, the Great Migration, black and white reform movements, and the emergence of modern sexuality.
Focusing on the notorious sex districts of the city’s south side, Blair paints a complex portrait of black prostitutes as conscious actors and historical agents; prostitution, she argues here, was both an arena of exploitation and abuse, as well as a means of resisting middle-class sexual and economic norms. Blair ultimately illustrates just how powerful these norms were, offering stories about the struggles that emerged among black and white urbanites in response to black women’s increasing visibility in the city’s sex economy. Through these powerful narratives, I’ve Got to Make My Livin’ reveals the intersecting racial struggles and sexual anxieties that underpinned the celebration of Chicago as the quintessentially modern twentieth-century city.
During the sixteenth and seventeenth centuries, ivory diptych sundials were widely used to determine the time by day or night. These elaborate portable sundials, which could be adjusted for different latitudes, incorporated various devices useful for merchants and others who traveled extensively in Europe. This catalog illustrates in detail Harvard's collection of eighty-three ivory diptych sundials, one of the largest holdings of these instruments in the world. The collection encompasses a comprehensive array of styles and designs from Nuremberg, Paris, and Dieppe, the major centers of their production, as well as from other parts of Europe.
This catalog is the fourth publication of Harvard University's Collection of Historical Scientific Instruments, and the first to appear in twenty-two years. This collection, which was established in 1949 as a resource for the history of science and technology, has one of the three largest university holdings of its kind in the world. It comprises about 15,000 instruments covering a broad range of scientific disciplines dating from 1500 to the present. Illustrated catalogues of other parts of the collection are anticipated in the near future. These will include volumes on early telephones and phonographs, psychological instruments, and apparatus for teaching science in Colonial America.
Newfield views management as neither inherently good nor bad, but rather as a challenge to and tool for negotiating modern life. In Ivy and Industry he integrates business and managerial philosophies from Taylorism through Tom Peters’s “culture of excellence” with the speeches and writings of leading university administrators and federal and state education and science policies. He discusses the financial dependence on industry and government that was established in the university’s early years and the equal influence of liberal arts traditions on faculty and administrators. He describes the arrival of a managerial ethos on campus well before World War II, showing how managerial strategies shaped even fields seemingly isolated from commerce, like literary studies. Demonstrating that business and the humanities have each had a far stronger impact on higher education in the United States than is commonly thought, Ivy and Industry is the dramatic story of how universities have approached their dual mission of expanding the mind of the individual while stimulating economic growth.
In the split second that it took Associated Press photographer Joe Rosenthal to snap the shutter of his Speed Graphic, a powerful and enduring American symbol was born. Iwo Jima: Monuments, Memories, and the American Hero tells the story of that icon as it appeared over the next forty years in bond drive posters, stamps, Hollywood movies, political cartoons, and sculpture, most notably the colossal Marine Corps War Memorial outside Washington, D.C. The book is also a brilliant and moving study of the soldiers who fought one of our bloodiest battles and of the impact of Iwo Jima on the rest of their lives.
When the famous photograph first appeared in newspapers in 1945 it was little more than a grainy outline of massed men and their wafting flag, but for millions it captured the essence of American grit and determination. The Marines pictured were in fact in no immediate danger—they were replacing a small flag planted earlier atop Mt. Suribachi with a larger, more visible one—but to an enthusiastic public they were heroes risking their lives for Old Glory. The Battle of Iwo Jima raged for many days beyond the capture of this one position, and ultimately claimed the lives of almost seven thousand American servicemen, yet already the tableau symbolized victory and, as a politician said at the time, “the dauntless permanency of the American spirit.”
With passion and meticulous care Karal Ann Marling and John Wetenhall illuminate the ironies and misconceptions that proliferated around the two Iwo Jima flag raisings. Pride and nostalgia exalted the glorious epiphany of Rosenthal’s image and suppressed the grisly and at times mundane reality of war. The ordinary men whose action had been immortalized became uneasy celebrities, while the planters of the first flag were doomed to oblivion. From John Wayne’s epic Sands of Iwo Jima to the gargantuan bronze boots of the War Memorial to the parade-floats of Mt. Suribachi done in sweet peas and orchid-colored pompoms, overwrought patriotism blended with true valor.
The authors weave a fast-paced and vivid story from the reminiscences of survivors, rare archival sources, and dozens of documentary photographs. They give the first comprehensive account of the building of the Marine Corps War Memorial, dedicated in 1954. And in a riveting final chapter they follow a group of American veterans who returned to the island in 1985 and met Japanese survivors. Dedicated to the men who fought on Iwo Jima, this groundbreaking study in cultural iconography transcends the icon to show the honor in remembering what really happened.
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