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Palermo's heart lies hidden under its many outer layers. In this unusual guide to the beautiful Sicilian capital, Roberto Alajmo uncovers each stratum to reveal its true character. Although disguised as a tourist's handbook, Palermo has much more to offer than ordinary recommendations for the intrepid traveler. Alajmo gives an insight into the city from a lifelong resident's point of view, showcasing its hidden cultural and culinary jewels; portraying its people, and their secrets; touching on its politics and contentious mafia involvement. Seeing Palermo with one's own eyes is an ineffable experience, even for Alajmo; the essence of the city, its beauty, is the only aspect left to the reader to discover.

A generation of Italian authors dedicated their lives, their works, and their voices to the primary driving force behind twentieth-century narratives of World War II. Renata Viganò was an active member of the Italian Resistance during World War II, and, like many of her male counterparts, she depicted the actions of the brave people who contributed to and participated in the partisan movement. Unlike her counterparts, however, Viganò vividly portrayed the experiences of women, notably women on the front line, in her posthumously published Matrimonio in brigata, here translated for the first time in English as Partisan Wedding.

"If it had not been for them, the women . . . who got used to `men's business,' . . . the partisan army would have lost a vital, necessary force." The women in Partisan Wedding joined the struggle for many reasons; some for their husbands, others for their fathers, brothers, or sons; some for a sense of justice and the desire to do what was right. Whatever the cause, Viganò demonstrates that women maintained the ability to nurture and to care, to preserve their female qualities in the face of war.

Because of her own role as a partisan, the stories in Partisan Wedding are based on Viganò's personal experiences. Two stories in the collection are specifically autobiographical: "Acquitted" and "My Resistance." Relating her own plight to find her husband, a partisan commander, after his sudden arrest, "Acquitted" aptly conveys Viganò's struggle to maintain her strength in the face of complete helplessness. "My Resistance" is a personal account of her own experiences during the war and the women she met along the way.

Partisan Wedding is an invaluable contribution to the literature of the Second World War, completing the picture of those involved in the struggle for freedom. Viganò's remarkable prose, equally beautiful and terrible in its description of the minute details of human suffering and sacrifice, opens a window to a world that has rarely been seen, and a world not easily forgotten.

Pier Paolo Pasolini (1922–75) was one of the most important Italian intellectuals of the post–World War II era. An astonishing polymath—poet, novelist, literary critic, political polemicist, screenwriter, and film director—he exerted profound influence on Italian culture up to his untimely death at the age of fifty-three. This revised edition of what the New York Times Book Review has called “the standard Pasolini biography” introduces the artist to a new generation of readers.

Based on extensive interviews with those who knew Pasolini, both friends and enemies, admirers and detractors, Pasolini Requiem chronicles his growth from poet in the provinces to Italy’s leading “civil poet”; his flight to Rome in 1950; the scandalous success of his two novels and political writing; and his transition to film, where he started as a contributor to the golden age of Italian cinema and ended with the shocking Salò, or the 120 Days of Sodom. Pasolini’s tragic and still unsolved murder has remained a subject of contentious debate for four decades. The enduring fascination with who committed the crime—and why—reflects his vital stature in Italy’s political and social history.

Updated throughout and with a new afterword covering the efforts to reopen the investigation—and the legal maelstrom surrounding Pasolini’s demise—this edition of Pasolini Requiem is a riveting account of one of the twentieth century’s most controversial, ever-present iconoclasts.

Sharp-witted and sharp-tongued, Arcangela Tarabotti (1604-52) yearned to be formally educated and enjoy an independent life in Venetian literary circles. But instead, at sixteen, her father forced her into a Benedictine convent. To protest her confinement, Tarabotti composed polemical works exposing the many injustices perpetrated against women of her day.

Paternal Tyranny, the first of these works, is a fiery but carefully argued manifesto against the oppression of women by the Venetian patriarchy. Denouncing key misogynist texts of the era, Tarabotti shows how despicable it was for Venice, a republic that prided itself on its political liberties, to deprive its women of rights accorded even to foreigners. She accuses parents of treating convents as dumping grounds for disabled, illegitimate, or otherwise unwanted daughters. Finally, through compelling feminist readings of the Bible and other religious works, Tarabotti demonstrates that women are clearly men's equals in God's eyes.

An avenging angel who dared to speak out for the rights of women nearly four centuries ago, Arcangela Tarabotti can now finally be heard.

A lively and concise survey of current scholarship on difficult but fascinating texts by this Epicurean poet and philosopher

 

In recent years Greece and Spain have seen an influx of immigrants from nearby developing nations. And as their foreign populations grew, both countries' national medias documented the change and, in the process, shaped perceptions of the immigrant groups by their new countries and the world.      

 

Picturing Immigration offers a comparative study of the photojournalistic framing of immigrants in these two southern European nations. Going beyond traditional media analysis, it focuses on images rather than text to explore a host of hot topics, including media representation of minorities, immigration, and stereotypes.

John Henderson examines the relationship between religion and society in late medieval Florence through the vehicle of the religious confraternity, one of the most ubiquitous and popular forms of lay association throughout Europe. This book provides a fascinating account of the development of confraternities in relation to other communal and ecclesiastical institutions in Florence. It is one of the most detailed analyses of charity in late medieval Europe.

"[A] long-awaited book. . . . [It is] the most complete survey of confraternities and charity, not only for Florence, but for any Italian city state to date. . . . This book recovers more vividly than other recent works what it meant to be a member of a confraternity in the late middle ages."—Samuel K. Cohn, Jr., Economic History Review

"Henderson offers new and fascinating information. . . . A stimulating and suggestive book that deserves a wide readership." —Gervase Rosser, Times Higher Education Supplement

How do the places where people live help structure and restructure their sociopolitical identities and interests? In this book, renowned political geographer John A. Agnew presents a theoretical model that addresses the relation of place to politics and applies it to a series of historicogeographical case studies set in modern Italy.

For Agnew, place is not just a static backdrop against which events occur, but a dynamic component of social, economic, and political processes. He shows, for instance, how the lack of a common "landscape ideal" or physical image of Italy delayed the development of a sense of nationhood among Italians after unification. And Agnew uses the post-1992 victory of the Northern League over the Christian Democrats in many parts of northern Italy to explore how parties are replaced geographically during periods of intense political change.

Providing a fresh new approach to studying the role of space and place in social change, Place and Politics in Modern Italy will interest geographers, political scientists, and social theorists.

Poggio Civitate in Murlo, Tuscany, is home to one of the best-preserved Etruscan communities of the eighth through the sixth centuries BCE. In this book, Anthony Tuck, the director of excavations, provides a broad synthesis of decades of data from the site.

The results of many years of excavation at Poggio Civitate tell a story of growth, urbanization, ancient industrialization, and dissolution. The site preserves traces of aristocratic domestic buildings, including some of the most evocative and enigmatic architectural sculpture in the region, along with remnants of non-elite domestic spaces, enabling illuminating comparisons across social strata. The settlement also features evidence of large-scale production systems, including tools and other objects that reflect the daily experiences of laborers. Finally, the site contains the story of its own destruction. Tuck finds in the data clear indications that Poggio Civitate was methodically dismantled, and he posits hypotheses concerning the circumstances around this violent social and political act.

            Following its creation as a country in 1861, Italy experienced a wave of dueling that led commentators to bemoan a national “duellomania” evidenced by the sad spectacle of a duel a day. Pamphlets with titles like “Down with the Duel” and “The Shame of the Duel” all communicated the passion of those who could not believe that a people supposedly just returned to the path of progress and civilization had wholeheartedly embraced such a “barbaric” custom. Yet these critics were consistently countered by sober-minded men of rank and influence who felt that the duel was necessary for the very health of the new nation.

            Steven C. Hughes argues that this extraordinary increase in chivalric combat occurred because the duel played an important role in the formation, consolidation, and functioning of united Italy. The code of honor that lay at the heart of the dueling ethic offered a common model and bond of masculine identity for those patriotic elites who, having created a country of great variety and contrast for often contradictory motives, had to then deal with the consequences. Thus dueling became an iconic weapon of struggle during the Risorgimento, and, as Italy performed poorly on the stage of great power politics, it continued to offer images of martial valor and manly discipline. It also enhanced the social and political power of the new national elites, whose monopoly over chivalric honor helped reinforce the disenfranchisement of the masses. Eventually, the duel fed into the hypermasculinity and cult of violence that marked the early fascist movement, but in the end it would prove too individualistic in its definition of honor to stand up to the emerging totalitarian state. Although Mussolini would himself fight five duels at the start of his career, the duel would disappear along with the liberal regime that had embraced it.

In AD 79, Mt. Vesuvius erupted in two stages. While the first stage was incredibly destructive, it was the second stage, a so-called pyroclastic flow, that inundated Pompeii with a combination of superheated gases, pumice, and rocks, killing tens of thousands of people and animals and burying them in ash and mud.

During excavations of the town in 1863, Giuseppe Fiorelli, the director of the dig, poured plaster of paris into a cavity under the soil revealed by a workman's pick. When the plaster set and the mound was uncovered, all were amazed to see the secret that the ground had held for 1,800 years: a detailed cast of an ancient Pompeian such as no one had seen before, frozen in the instant of dying and complete in every respect, including outlines of the clothes he was wearing at the time of the destruction. The bodies, photographed and exhibited in the specially built Pompeii Museum, completely changed the world's ideas of life in ancient Italy.

Pompeii's Living Statues is a narrative account, supported by contemporary documents, of the remarkable discovery of those ancient victims preserved in the volcanic mud of Vesuvius.

Eugene Dwyer examines these casts and related records, the originals of a number of which (along with their museum) were lost in World War II bombing. As he considers the casts as archaeological and cultural pieces, he also discusses Pompeii and its artifacts in the context of Italian unification and party politics, the development of modern excavation methods, and the challenges of maintaining a very large archaeological site. Dwyer's clear organization and writing style, combined with a collection of photographs and engravings, make for a fascinating exploration of Pompeii and its victims.

In describing the intensity of political life in ancient Pompeii, Cicero remarks, "at Pompeii it's difficult" (Pompeis difficile est). Drawing on thousands of fragmentary writings--campaign posters, graffiti, inscriptions, and business receipts--recovered in the excavations of lava- and mud-covered Pompeii, James L. Franklin assembles evidence from the eras of emperors Augustus through Vespasian to prove the validity of Cicero's statement.
By collecting, sifting, and cross-referencing these varied documents, Franklin proves it possible to trace the major political alliances of the times, explore the remains of their houses, and find traces of their personalities. A few families, like the powerful Holconii, developers of the region's most famous grape vine, prove to have been steady players throughout Pompeii's history; but most families rose and fell within two generations at most. Chapters examine the men and families most prominent in each imperial period, including an analysis of their houses, and concludes with family trees. The documents themselves, elsewhere difficult to access, are prominently featured and translated in the text, making these discussions available and vivid to all readers.
This book is the first such attempt to cross-reference and animate all kinds of writing found at this legendary site. Outside of the city of Rome itself, this is the largest collection of writing from Roman antiquity, and it has lain mostly unexamined in the course of three centuries of excavations at Pompeii. This volume will interest not only students of Pompeii and classical scholars, but also historians, political scientists, sociologists, and enthusiasts of human behavior of all eras.
James L. Franklin is Professor of Classical Studies, Indiana University.

The Italian Dominican friar Silvestro Mazzolini da Prierio (1456–1527), known as Prierias, is chiefly remembered as the church official designated to respond to Luther’s 95 theses of December 1517—a response blamed for fanning the flames of the Reformation throughout Europe. In Prierias, Michael Tavuzzi presents the first full biography of this little-known, yet eminent, sixteenth-century ecclesiastic, as well as an account of his wide-ranging literary works.
Tavuzzi shows that, aside from being Luther’s first opponent, Prierias played a key role in significant early-sixteenth-century controversies such as the cases of Reuchlin, Erasmus, and Pomponazzi. Drawing on previously untapped primary sources, Tavuzzi traces Prierias’s early career as preacher, professor, inquisitor, and administrator, and places him in the context of the struggles fought between unreformed and observant friars during the Renaissance. Prierias’s activities as Master of the Sacred Palace, his long-standing and bitter conflict with Cardinal Cajetan, and especially his forceful writings warning against the threat of witches and witchcraft are also described. Focusing closely on Prierias’s clash with Luther, Tavuzzi accounts for its development and illuminates the ecclesiological issues at stake. Prierias reveals the little-known world of the friars on the eve of the Reformation.

At the age of twenty-five, Primo Levi was sent to Hell. Levi, an Italian chemist from Turin, was one of many swept up in the Holocaust of World War II and sent to die in the German concentration camp in Auschwitz. Of the 650 people transported to the camp in his group, only 15 men and 9 women survived. After Soviet liberation of the camp in 1945, Levi wrote books, essays, short stories, poetry, and a novel, in which he painstakingly described the horrors of his experience at Auschwitz. He also spent the rest of his life struggling with the fact that he was not among those who were killed.

In Primo Levi and the Politics of Survival, Frederic D. Homer looks at Primo Levi's life but, more important, shows him to be a significant political philosopher. In the course of his writings, Levi asked and answered his most haunting question: can someone be brutalized by a terrifying experience and, upon return to "ordinary life," recover from the physical and moral destruction he has suffered? Levi used this question to develop a philosophy positing that although man is no match for life, he can become better prepared to contend with the tragedies in life.

According to Levi, the horrors of the world occur because of the strength of human tendencies, which make relationships between human beings exceedingly fragile. He believed that we are ill-constituted beings who have tendencies toward violence and domination, dividing ourselves into Us and Them, with very shallow loyalties. He also maintained that our only refuge is in education and responsibility, which may counter these tendencies. Homer calls Levi's philosophy "optimistic pessimism."

As Homer demonstrates, Levi took his past experiences into account to determine that goodwill and democratic institutions do not come easily to people. Liberal society is to be earned through discipline and responsibility toward our weaknesses. Levi's answer is "civilized liberalism." To achieve this we must counter some of our most stubborn tendencies.

Homer also explores the impact of Levi's death, an apparent suicide, on the way in which his work and theories have been perceived. While several critics discount Levi's work because of the nature of his death, Homer argues that his death is consistent with his philosophy. A book rich in brutally honest philosophy, Primo Levi and the Politics of Survival compels one to look at serious questions about life, tragedy, optimism, solidarity, violence, and human nature.

Public lettering in all its forms—official inscriptions on
buildings, commercial graphics, signs, epitaphs on tombstones,
graffiti—is a fixture of urban life. In Public
Lettering, Armando Petrucci reconstructs the history of
public writing in the West and traces its social functions
from the eleventh century through the modern period.

Taking the city of Rome as a case study, Petrucci begins
with a consideration of the first civic inscriptions after
ancient times. Substantial chapters on the uses of public
writing in the industrial revolution and the early twentieth
century prepare the way for his provocative discussions of
public lettering in the the contexts of fascism, post-war
radicalism, and the student revolutions of 1968 and 1977.

Throughout, Petrucci is concerned with the relations
between the functions and styles of letters and the places
where they appear. Writing, he argues, is one of the
instruments of public power; display lettering is often the
image and mirror of power itself, making the social use of
written forms a type of conquest. Because of Rome's role as
a “World-City,” Petrucci's interdisciplinary study has
wide-ranging implications for our understanding of the social
function of graphic design.