Katia Pizzi

The cultural identities of European cities

Contents: Katia Pizzi/Godela Weiss-Sussex: Introduction - Martin Liebscher: Vienna: The Narcissistic Insult - Katia Pizzi: Trieste: A Dissident Port - Nagihan Haliloglu: Istanbul Criteria: The Construction of a City Identity - Nevena Dakovic: Imagining Belgrade: The Cultural / Cinematic Identity of a City at the Fringes of Europe - Peter Burke: Myths of Venice - Iain Fenlon: Sounding the City: Music, Monteverdi and Mantuan City Identity - Adrian Rifkin: Bayreuth, World City? Or: The Provincial Village as Global Denkmal ... - Stephen Brockmann: Nuremberg and Its Memories - Godela Weiss-Sussex: Berlin: Myth and Memorialization - Michael Sheringham: Paris - City of Names: Toponymic Trajectories and Mutable Identities - Paul Melo E Castro: Lisbon on Screen: Aspects of Portugals Capital in Portuguese Cinema - Guido Rings: Madrid: Neo-colonial Spacing in Contemporary Spanish Cinema?

Storia e memoria ai confini nordorientali d’Italia

Abstract Il presente saggio propone una rilettura dei siti memoriali maggiori –le foibe e il campo di internamento Risiera di San Sabba –a Trieste e sui confini nordorientali d’Italia nel periodo del dopoguerra e della Guerra Fredda. Preso a prestito dal contenitore disciplinare dei memory studies e, in particolare, dagli sviluppi più recenti sulla memoria transculturale (Erll, Rothberg) e sulle ‘memorie fratturate d’Italia’ (Foot), l’impianto critico del saggio si arricchisce e si allarga a comprendere un approccio originale alla memoria formulato dallo storico dell’arte di formazione warburghiana Michael Baxandall, che vede nella metafora lamellare della ‘duna di sabbia’ un modello cogente di memoria. Il saggio rivisita le fragili e conflittuali memorialità del confine triestino alla luce di questa chiave di lettura originale, con particolare attenzione per il cinema e la letteratura.

Dancing and Flying the Body Mechanical: Five Visions for the New Civilisation

This article explores Futurist technophilia and some more or less latent technophobia, in the period after 1918. Fuelled by the economic and industrial advancements of the so-called “Giolittian age,” as well as an extensive employment of war technology in the First World War, the Futurist technological imagination remains both robust and wide-ranging in the postwar period. Resonant of nineteenth-century French and Italian literary traditions, Filippo Tommaso Marinettis official position clusters round the powerful, if hackneyed, images of the steam train and the motorcar. A number of fellow Futurists, however, explore technology in more original and, in some cases, more persuasive fashions. From the technology of flying employed first-hand by Fedele Azari to Enrico Prampolinis mechanical applications on the European stage, from Anton Giulio Bragaglias experimental cinema to Ivo Pannaggis and Vinicio Paladinis technological rebirth in marxian key, the Futurists’ approach to technology is characterised throughout by a problematic counterpoint of modernity and tradition. If the Futurist officialdom ultimately relies on the latter, numerous alternative experiences testify to their vibrant strife towards the former.

Gender, confession and ethnicity: women writers and Trieste

Located on the north-eastern border of Italy, Trieste was incorporated within Italy in 1918, when it lost the central position it had enjoyed for centuries as the main port of the Austro-Hungarian Empire, becoming financially and historically marginal. Though speaking predominantly Italian, or, rather, a Venetian-based dialect, the local population was ethnically mixed. To this date Trieste remains a border city, weighed down by its peripheral position vis-a-vis Italy, on one side, and the Balkans on the other. Traditionally, many women from Trieste wrote and published, arguably more so than anywhere else in Italy, due to better and more sustained access to education under Austria-Hungary. This article discusses a number of women writers from Trieste with a view to reassessing the role they played in constructing the myth of Trieste in opposition to widespread local discourses, such as italianita, triestinita and ‘border anxiety’. In Allieve di Quarta, the Jewish novelist Haydee pursues a nationalist agen...

Guido and Giorgio Voghera: A ‘Secret’ Anxiety of Influence

AbstractThe aim of the present paper is to introduce two little known figures of twentieth-century Triestine literature: Guido Voghera and his son Giorgio. The reason for a joint presentation, which will become apparent in the course of the paper, derives from the fact that Giorgio, who only started publishing after the death of his father, took over entirely the themes and style of his fathers single fictional work, the novel Il segreto (1961).