After la dolce vita : a cultural prehistory of Berlusconi's by Alessia Ricciardi PDF

By Alessia Ricciardi

ISBN-10: 0804781494

ISBN-13: 9780804781497

ISBN-10: 0804781508

ISBN-13: 9780804781503

ISBN-10: 080478258X

ISBN-13: 9780804782586

This publication chronicles the dying of the supposedly leftist Italian cultural institution through the lengthy Nineteen Eighties. in the course of that point, the nation's literary and highbrow leading edge controlled to lose the prominence passed it after the top of global conflict II and the defeat of Fascism. What emerged as a substitute used to be a uniquely Italian model of cultural capital that intentionally shunned any serious wondering of the existing order. Ricciardi criticizes the improvement of this new hegemonic association in movie, literature, philosophy, and artwork feedback. She specializes in a number of turning issues: Fellini's futile, late-career critique of Berlusconi-style advertisement tv, Calvino's overdue flip to reactionary belletrism, Vattimo's nihilist and conservative responses to French poststructuralism, and Bonito Oliva's stream of paintings commodification, Transavanguardia.

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In La dolce vita, Fellini limits his directorial intervention to an almost unconscious chronicling of the materialization of the Italian society of spectacle, the taking root of a transnational community in Rome, the symbolic capital of the post­modern empire. Sweetness  This empire is signified throughout the film by the perpetual recurrence of popular songs (the 1960s hit “Patricia”), fashion models (the iconic Nico in the castle of Bassano di Sutri), international movie starlets (Anita Ekberg playing the temptress Sylvia), and absurd or meaningless occurrences that explode into media circuses (the newscast of the provincial “miracle”).

The chapter ends with an examination of Vattimo’s recent confession, Ecce comu (2007), in which he reneges to a degree on the pledges of his earlier writings and explains his eleventh-hour return to communist politics in terms of a rediscovery of religious faith. In the epilogue, “Softness,” I analyze the rhetoric of Achille ­Bonito Oliva’s writings on Transavanguardia, a movement that encompasses well-­ established painters such as Francesco Clemente, Sandro Chia, Enzo Cucchi, and Mimmo Paladino.

In writing this book, I have often pondered Foucault’s expressed wish in “The Masked Philosopher” to dream of a criticism that would not judge but rather bring a book, a sentence, an idea to life. Although the limits of critical analysis may be all too clear, it nevertheless seems to me possible to keep meaningful ideas alive while judging well the questions that demand a cogent response. 1 Sweetness The Italian Metamorphosis from La dolce vita to Ginger and Fred In his Prison Notebooks, Antonio Gramsci argued that Italian intellectuals historically have preferred the cosmopolitan, universal, and aristocratic self-image derived from the mythic and rhetorical traditions of the Roman Empire and the Catholic Church.

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After la dolce vita : a cultural prehistory of Berlusconi's Italy by Alessia Ricciardi

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