By Beverly Allen
Greater than the other country, Italy -- from its imperial prior to its subordinate current, from its colonial forays to its superb isolation -- embodies the myriad and contradictory ancient kinds of nationhood. This quantity covers quite a number topics drawn from Italy and in a foreign country to review Italian nationwide identity.
Whether contemplating opera or Ninja Turtles, the essays demonstrate how cultural id is developed and manipulated -- a subject made pressing via the inflow of African, Indochinese, and jap eu immigrants into Italy at the present time. themes contain exile, nationalism, and imagined groups, Italy's colonial "unconscious", and Mussolini's adventures in North Africa.
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Extra resources for Revisioning Italy: National Identity and Global Culture
H. M. Ling in "Masculine State, Feminine Society: A FeministPostcolonial Interpretation of East Asia's Capitalist Developmental State" (unpublished paper delivered at the 1995 American Political Science Association meeting, Chicago). 7. Etienne Balibar, Race, Nation, Class: Ambiguous Identities (London: Verso, 1991), 96. 8. See Mary Bucci Bush's story "Drowning" for a fictionalized treatment of this historical phenomenon as it came to her in family stories (San Diego: Parentheses Writing Series, 1995).
Nationalisms and Sexualities. 21. , Feminine Feminists: Cultural Practices in Italy (Minneapolis: University of Minnesota Press, 1994), 153-70. 22. For a key discussion of global culture, see Arjun Appadurai, "Disjuncture and Introduction I 19 Difference in the Global Cultural Economy," Public Culture: Bulletin for the Center of Transnational Cultural Studies 2. (1990): 1-24. 23. See Homi K. Bhabha's discussion of cultural dissemination in The Location of Culture (New York and London: Routledge, 1994); see also the recent anthology edited by Angelika Bammer, Displacements: Cultural Identities in Question (Bloomington and Indianapolis: Indiana University Press, 1994), Julia Kristeva, Nations without Nationalism, trans.
Carlo Collodi's Pinocchio, first published in 1880, captures in allegorical form the fate of backward Italy always awaiting its true liberation to modernity. Collodi was a disenchanted supporter of the original Risorgimento. The mischievous puppet aspires to true childhood, but his bad behavior seems to condemn him to perpetual puppethood. Only after demonstrating human virtue does he become a real boy. His path of metamorphosis follows the track of Italian history, from a puppet forced to move to the reflexes of others, to a donkey (a symbol for adherence to church doctrine favored by nineteenth-century anticlericals), to an autonomous personality (courtesy of a completed Risorgimento) (Boime 1986, 68).