Crafting Modern Design in Italy, from Post-War to Postmodernism

The years between 1945 and the early 1980s are the most celebrated in Italy’s design history. From the rhetoric of reconstruction to the postmodern provocations of the Memphis design collective, Italy’s architects played a vital role in shaping the country’s encounter with post-war modernity. Yet as often as this story has been told, it is incomplete. Craft was vital to the realisation of post-war Italian design, and an area of intense creativity in its own right, and yet has been marginalised and excluded in design historiography.

A. Brüll, 1836-1911. [Notice nécrologique, par E. Chevalier. Discours prononcés par J. Carpentier, E. Bertin, J. Armengaud, Chevalier, Salomon.]

Comprend : Discours ; Notice biographique sur M. Achille Brüll

[Lettre de Marguerite Mérentié à Jules Massenet, 1911]

F.1-2 : lettre sur papier de deuil

The waning of the two giants: the electoral decline of the Italian Christian Democratic Party and the Italian Communist Party

Italy is currently experiencing profound political change. One aspect of this change involves the decline in electoral support for the Italian Christian Democratic Party (DC) and the Italian Communist Party (PCI), now the Democratic Party of the Left (PDS). Signs of the electoral decline of both parties began to appear in the late 1970s and early 1980s and accelerated in the late 1980s and early 1990s. The pr imar y purpos e of th is thes is is to expla i n the electoral decline of the DC and PCI/PDS in the last decade. The central question being addressed in this thesis is the following: What factors contributed to the decline in electoral support for the DC and PCI? In addition, the thesis attempts to better comprehend the change in magni tude and direction of the Italian party system. The thesis examines the central question within an analytical framework that consists of models explaining electoral change in advanced industrial democracies and in Italy. A review of the literature on electoral change in Italy reveals three basic models: structural (socioeconomic and demographic factors), subcultural (the decline of the Catholic and Communist subcultures), and pol i tical (factors such as party strategy, and the crisis and collapse of communism in iv Eastern Europe and the former soviet Union and the end to the Cold War). Significant structural changes have occurred in Italy, but they do not invariably hurt or benefit either party. The Catholic and Communist subcultures have declined in size and strength, but only gradually. More importantly, the study discovers that the decline of communism and party strategy adversely affected the electoral performances of the DC and PC!. The basic conclusion is that political factors primarily and directly contributed to the decline in electoral support for both parties, while societal factors (structural and subcultural changes) played a secondary and indirect role. While societal factors do not contribute directly to the decline in electoral support for both parties, they do provide the context within which both parties operated. In addition, the Italian party system is becoming more fragmented and traditional political parties are losing electoral support to new political movements, such as the Lega Nord (LN-Northern League) and the Rete (Network). The growing importance of the North-South and centre-periphery cleavages suggests that the Italian party system, which is traditionally based on religious and ideological cleavages, may be changing.

Horton Family collection, 1912, 1919, 1924, n.d.

Dr. William Hamilton Merritt, Jr. was born in 1865 and died in 1924. He was the son of Jedidiah Prendergast Merritt and Emily Prescott, grandson of William Hamilton Merritt. In 1892 he was married to Maud Claudman Hudson of Memphis, Tennessee and had a daughter and a son. During World War I he commanded the 14th battery at Flanders and after becoming ill served as part of the 9th Canadian Field Ambulance, 3rd Canadian Division, serving at a military hospital in Orpington, Kent, England and in 1917 at a military hospital in France. Dr. Merritt served as alderman and mayor for the city of St. Catharines, Ont. He was also a vice-president of the Imperial Bank of Canada, and served on the board of the Niagara Falls Suspension Bridge. A memorial service was held in St. Thomas Church, St. Catharines, Ont. on April 24, 1924.

The evolution of strategy: thinking war from antiquity to the present

Latin had no word for "strategy", but the East Romans, whom we call the Byzantines, did. This book tracks the evolution of the concept of warfare being subjected to higher political aims from Antiquity to the Present, using Greek, Latin, French, Spanish, Italian, English and German sources. It tracks the rise, fall, and resurrection of the belief in the Roman and later the medieval and early modern world that warfare was only legitimate if it pursued the higher goal of a just peace, which in the 19th century gave way to a blinkered concentration on military victory as only war aim. It explains why one school of thought, from Antiquity to the present, emphasised eternal principles of warfare, while others emphasised, in Clausewitz's term, the "changing character of war". It tracks ideas from land warfare to naval warfare to air power and nuclear thinking, but it also stresses great leaps and discontinuities in thinking about strategy. It covers asymmetric wars both from the point of view of the weaker power seeking to overthrow a stronger power, and from the stronger power dealing with insurgents and other numerically inferior forces. It concludes with a commentary of the long-known problems of bureaucratic politics, non-centralised command and inter-service rivalry, which since the 16th century or earlier has created obstacles to coherent strategy making.

Did the RAI buy it? The role and limits of American broadcasting in Italy in the Cold War

With a 20 million dollar budget and 1,900 staff Voice of America broadcasted in 45 different languages and Italy was one of its main targets. By looking into what went on behind the microphone, this article addresses the extent to which cultural change was planned and structured transnationally, the interactions and interdependencies operating between Washington and Rome, and how a cooperation was achieved despite the fierce resistance of some of RAI’s executives. This allowed to air programmes produced in New York, and led to the launch of the most popular character of Italian radio and television: Mike Bongiorno.

Impegno nero: Italian intellectuals and the African-American struggle

In the aftermath of the Second World War, Italian intellectuals participated in Italy’s reconstruction with an ideological commitment inspired by the African-American struggle for equal rights in the United States. Drawing on the work of many of the leading figures in postwar Italian culture, including Italo Calvino, Giorgio Caproni, Cesare Pavese, and Elio Vittorini, this essay argues that Italian intellectual impegno—defined as the effort to remake Italian culture and to guide Italian social reform—was united with a significant investment in the African-American cause. The author terms this tendency impegno nero and traces its development in the critical reception of African-American writers including W.E.B. DuBois, Langston Hughes, and Richard Wright. Postwar impegno nero is then contrasted with the treatment of African-American themes under Fascism, when commentators had likewise condemned American racism, but had paradoxically linked their laments for the plight of African Americans with defenses of the racial policies of the Fascist regime. Indeed, Fascist colonialism and anti-Semitism were both justified through references to what Fascist intellectuals believed to be America’s greater injustices. After 1945, in contrast, Italian intellectuals advocated an international, interdependent campaign for justice, symbolizing national reforms by projecting them onto an emblematic America. In this way, impegno nero revived and revised the celebrated "myth of America" that had developed in Italy between the world wars. Advancing a new, postwar myth, Italian intellectuals adopted the African-American struggle in order to reinforce their own efforts in the ongoing struggle for justice in Italy.

An entirely new land? Italy’s post-war culture and its fascist past

Scholarship has for decades emphasised the significant continuities in Italian culture and society after Fascism, calling into question the rhetoric of post-war renewal. This essay proposes a reassessment of that rhetoric through the analysis of five key metaphors with which Italian intellectuals represented national recovery after 1945: parenthesis, disease, flood, childhood, and discovery. While the current critical consensus would lead us to expect a cultural conversation characterised by repression and evasion, an analysis of these five post-war metaphors instead reveals both a penetrating re-assessment of Italian culture after Fascism and an earnest adherence to the cause of national re-vitalisation. Foregrounding the inter-relation of Italy’s prospects for change and its continuities with Fascism, these metaphors suggest that post-war Italian intellectuals conceived of their country’s hopes for renewal, as well as its connections to the recent past, in terms that transcend the binary division favoured in many historical accounts.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.

Panorama of immigration for Sao Paulo following the Second World War

This article proposes to analyze the results of a research conducted in the São Paulo Immigrants Memorial, whose purpose was to work with an agreement between the state of São Paulo and the Union, according to which the state committed itself to receive, from May 1947 to 1952, immigrants of different European nationalities. Such immigrants had a specific characteristic that conferred them a peculiar status in the eyes of the United Nations, given the fact that they originated from Germany and Austria and where either displaced persons or refugees who could not or did not want to return to their homelands, for several reasons. Italians represented only 0,12% of this group. Italian immigration to Brazil became significant only after 1950, due to the Brazil-Italy immigration agreements.

Marinetti ultimo mitografo

La ricognizione delle opere composte da Filippo Tommaso Marinetti tra il 1909 e il 1912 è sostenuta da una tesi paradossale: il futurismo di Marinetti non sarebbe un'espressione della modernità, bensì una reazione anti-moderna, che dietro a una superficiale ed entusiastica adesione ad alcune parole d'ordine della seconda rivoluzione industriale nasconderebbe un pessimismo di fondo nei confronti dell'uomo e della storia. In questo senso il futurismo diventa un emblema del ritardo culturale e del gattopardismo italiano, e anticipa l’analoga operazione svolta in politica da Mussolini: dietro un’adesione formale ad alcune istanze della modernità, la preservazione dello Status Quo. Marinetti è descritto come un corpo estraneo rispetto alla cultura scientifica del Novecento: un futurista senza futuro (rarissime in Marinetti sono le proiezioni fantascientifiche). Questo aspetto è particolarmente evidente nelle opere prodotte del triennio 1908-1911, che non solo sono molto diverse dalle opere futuriste successive, ma per alcuni aspetti rappresentano una vera e propria antitesi di ciò che diventerà il futurismo letterario a partire dal 1912, con la pubblicazione del Manifesto tecnico della letteratura futurista e l'invenzione delle parole in libertà. Nelle opere precedenti, a un sostanziale disinteresse per il progressismo tecnologico corrispondeva un'attenzione ossessiva per la corporeità e un ricorso continuo all'allegoria, con effetti particolarmente grotteschi (soprattutto nel romanzo Mafarka le futuriste) nei quali si rilevano tracce di una concezione del mondo di sapore ancora medioevo-rinascimentale. Questa componente regressiva del futurismo marinettiano viene platealmente abbandonata a partire dal 1912, con Zang Tumb Tumb, salvo riaffiorare ciclicamente, come una corrente sotterranea, in altre fasi della sua carriera: nel 1922, ad esempio, con la pubblicazione de Gli indomabili (un’altra opera allegorica, ricca di reminiscenze letterarie). Quella del 1912 è una vera e propria frattura, che nel primo capitolo è indagata sia da un punto di vista storico (attraverso la documentazione epistolare e giornalistica vengono portate alla luce le tensioni che portarono gran parte dei poeti futuristi ad abbandonare il movimento proprio in quell'anno) che da un punto di vista linguistico: sono sottolineate le differenze sostanziali tra la produzione parolibera e quella precedente, e si arrischia anche una spiegazione psicologica della brusca svolta impressa da Marinetti al suo movimento. Nel secondo capitolo viene proposta un'analisi formale e contenutistica della ‘funzione grottesca’ nelle opere di Marinetti. Nel terzo capitolo un'analisi comparata delle incarnazioni della macchine ritratte nelle opere di Marinetti ci svela che quasi sempre in questo autore la macchina è associata al pensiero della morte e a una pulsione masochistica (dominante, quest'ultima, ne Gli indomabili); il che porta ad arrischiare l'ipotesi che l'esperienza futurista, e in particolare il futurismo parolibero posteriore al 1912, sia la rielaborazione di un trauma. Esso può essere interpretato metaforicamente come lo choc del giovane Marinetti, balzato in pochi anni dalle sabbie d'Alessandria d'Egitto alle brume industriali di Milano, ma anche come una reale esperienza traumatica (l'incidente automobilistico del 1908, “mitologizzato” nel primo manifesto, ma che in realtà fu vissuto dall'autore come esperienza realmente perturbante).

«L’Eroica» e la xilografia italiana dal tardo simbolismo all’espressionismo (1911-1917)

Il lavoro di ricerca vuole analizzare, attraverso lo studio specifico della rivista artistico letteraria «L’Eroica» fondata a La Spezia nel 1911 da Ettore Cozzani e Franco Oliva, gli artisti e le situazioni in cui si sviluppa e si diffonde in Italia un linguaggio grafico di tipo fauve-espressionista, in perfetta sintonia con le coeve esperienze straniere. Nello specifico, si è focalizzata l’attenzione sui così detti ‘anni eroici de L’Eroica’ (1911-1917), periodo in cui risulta più evidente il passaggio che si ebbe nel panorama dell’illustrazione italiana da uno stile ancora riconducibile a un linguaggio simbolista a uno, per l’appunto espressionista. Questa rivista, infatti, nella fase conosciuta come “gli anni eroici dell’Eroica” (1911-17), s’interessa in modo quasi esclusivo alla xilografia contemporanea avvalendosi in un primo momento della collaborazione di artisti noti nell’ambito del gusto liberty come, ad esempio, Adolfo De Carolis e dei suoi allievi (Gino Barbieri, Ettore di Giorgio, Antonio Moroni). Tale collaborazione però termina con la cosiddetta “Secessione degli Xilografi”, ossia l’abbandono nel 1914 da parte di De Carolis e dei suoi della testata spezzina, circostanza questa che determinerà un nuovo indirizzo stilistico per la rivista in cui prenderanno sempre più spazio artisti di una generazione più giovane, peraltro già attivi su «L’Eroica» stessa, quali ad esempio Lorenzo Viani, Arturo Martini, Emilio Mantelli, Felice Casorati, Giuseppe Biasi, Roberto Melli e Gino Carlo Sensani, questi ultimi tutti rappresentanti di un espressionismo italiano di primo ordine