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- Cultural Studies, Italian Studies, 20th century Avant-Garde, 20th Century Italian Literature, Dystopian Fiction, Cold War and Culture, and 15 moreModern Italian History, History and Memory, Technology And Culture, Lorenzo Chiesa, Technology, Engineering, History, Anthropology, Information Systems, Art History, Architecture, Literature, Media Studies, Artificial Intelligence, and Languages and Linguisticsedit
What do Rihanna, Janelle Monáe and the futurists have in common? A belief in the future and in the aesthetic and political power of technology, argues Dr Katia Pizzi, author of Italian futurism and the machine.
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Katia Pizzi's volume explores unconventional, cosmopolite and polyglot Trieste, a city whose adjacent national borders are a melting pot of peoples, cultures, trades and political activities. The volume is comprised of a chronology, an... more
Katia Pizzi's volume explores unconventional, cosmopolite and polyglot Trieste, a city whose adjacent national borders are a melting pot of peoples, cultures, trades and political activities. The volume is comprised of a chronology, an introduction and signifcant excerpts from works of Trieste writers from the early twentieth century to the present day, with focus on contemporary innovative styles in the literary and technological felds.
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This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and... more
This is the first interdisciplinary exploration of machine culture in
Italian futurism after the First World War. The machine was a primary
concern for the futuristi. As well as being a material tool in the factory
it was a social and political agent, an aesthetic emblem, a metonymy
of modernity and international circulation and a living symbol of past
crafts and technologies. Exploring literature, the visual and performing
arts, photography, music and film, the book uses the lens of European
machine culture to elucidate the work of a broad set of artists and
practitioners, including Censi, Depero, Marinetti, Munari and
Prampolini. The machine emerges here as an archaeology of
technology in modernity: the time machine of futurism.
Italian futurism after the First World War. The machine was a primary
concern for the futuristi. As well as being a material tool in the factory
it was a social and political agent, an aesthetic emblem, a metonymy
of modernity and international circulation and a living symbol of past
crafts and technologies. Exploring literature, the visual and performing
arts, photography, music and film, the book uses the lens of European
machine culture to elucidate the work of a broad set of artists and
practitioners, including Censi, Depero, Marinetti, Munari and
Prampolini. The machine emerges here as an archaeology of
technology in modernity: the time machine of futurism.
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Publicity flyer for the volume Klabjan B. (ed.), Borderlands of Memory. Adriatic and Central European Perspectives. Peter Lang: Oxford, 2019.
Research Interests: European History, Modern Italian History, Border Studies, Contemporary History, Comparative History, and 14 moreHistory and Memory, Central European history, Habsburg Studies, Memory Studies, Yugoslavia (History), Slovenian History, Central and Eastern Europe, Istrian history, Trieste, History of the Adriatic, Contemporary Italian History and Politics, Borders and Borderlands, History of Gorizia, and History of 19th and 20th Century East Central Europe
Il presente saggio propone una disamina di Pinocchio che, riallacciando la figura del burattino collodiano al contesto culturale, artistico e letterario europeo e italiano tra Unità e Grande Guerra, ne lumeggia lo statuto di protesta,... more
Il presente saggio propone una disamina di Pinocchio che, riallacciando la figura del burattino collodiano al contesto culturale, artistico e letterario europeo e italiano tra Unità e Grande Guerra, ne lumeggia lo statuto di protesta, dissidenza e ribellismo. In particolare, Pinocchio emerge come precursore e paradigma di quel ‘misticismo dell’azione’ propugnato dall’ avanguardia futurista, nella celebre formula coniata da Filippo Tommaso Marinetti (1876-1944). Sin dalla Fondazione e Manifesto del Futurismo (1909), ‘Il coraggio, l’audacia, la ribellione, saranno elementi essenziali della nostra poesia’, tuona Marinetti contro la stagnante società borghese, inaugurando una stagione di individualismo e vitalismo che affondano le radici in una congerie di fonti storiche e contemporanee, da Nietzsche al mito mazziniano della giovinezza, dall’élan vital bergsoniano all’azione diretta nell’agone politico teorizzata da Sorel, al pragmatismo di James ad altri ancora.
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The Cold War left indelible traces on the city, where polarities on the global stage crystallised and intersected with political and social dynamics predating and bypassing the Blocs. This collection taps into the rich fabric of memories,... more
The Cold War left indelible traces on the city, where polarities on the global stage crystallised and intersected with political and social dynamics predating and bypassing the Blocs. This collection taps into the rich fabric of memories, histories and cultural interactions of thirteen cities worldwide and the lived experience of urban communities during the Cold War.
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Trieste rappresenta un caso unico tra le citta` italiane. Periferica e incerta nell'identita` sconvolta da ripetuti aggiustamenti del confine geopolitico, la citta` presenta un composito profilo culturale. Controversa, eppure vitalissima... more
Trieste rappresenta un caso unico tra le citta` italiane. Periferica e incerta nell'identita` sconvolta da ripetuti aggiustamenti del confine geopolitico, la citta` presenta un composito profilo culturale. Controversa, eppure vitalissima e incisiva fino ai giorni nostri, la letteratura triestina esprime una cultura sia pure ai margini, e tuttavia mai marginale.
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The Cold War left indelible traces on the city, where polarities on the global stage crystallized and intersected with political and social dynamics predating and bypassing the Blocs....
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... In Censi's work, the human, specifically female, body becomes the privileged medium whereby technology is subsumed and embedded in the ... Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ:... more
... In Censi's work, the human, specifically female, body becomes the privileged medium whereby technology is subsumed and embedded in the ... Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton University Press, 1998), 52; Silvia Evangelisti, ed ...
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Trieste rappresenta un caso unico tra le città italiane. Periferica e incerta nell'identità sconvolta da ripetuti aggiustamenti del confine geopolitico, la città presenta un composito, finanche disorganico e sfilacciato, profilo... more
Trieste rappresenta un caso unico tra le città italiane. Periferica e incerta nell'identità sconvolta da ripetuti aggiustamenti del confine geopolitico, la città presenta un composito, finanche disorganico e sfilacciato, profilo culturale. L'angoscia frontaliera, insieme ai labili e tuttavia ...
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217-J European Studies, xxviii (1998), 217-229 Printed m England ... 'Silentes loquimur': 'foibe' and border anxiety in post-war literature from Trieste ... KATIA PIZZI* University of Kent at Canterbury ... In 1943 and... more
217-J European Studies, xxviii (1998), 217-229 Printed m England ... 'Silentes loquimur': 'foibe' and border anxiety in post-war literature from Trieste ... KATIA PIZZI* University of Kent at Canterbury ... In 1943 and 1945, hundreds, perhaps thousands, of Italians, both
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If cities are palimpsests of history, as Andreas Huyssen suggests, the palimpsest posits a cogent epistemological framework. Periodically de-signified and re-signified, connected and also conflictual, transcultural cities productively... more
If cities are palimpsests of history, as Andreas Huyssen suggests, the palimpsest posits a cogent epistemological framework. Periodically de-signified and re-signified, connected and also conflictual, transcultural cities productively lend themselves to the modular and stratified palimpsestual approach. Hybrid Trieste is a compelling case in point. An eccentric port city located in a cul-de-sac within the wider Mediterranean basin, Trieste is both peripheral and transcultural: an insular city and palimpsest typified by periodic colliding, breaking, and reconstituting into new forms of syncretic and (a)synchronous cultures and memories. Taking Trieste's particular Mediterranean identity as a point of departure, the aim of this article is to revisit several memorial sites, both material and symbolic, where the city's hybrid transcultural memories are mediated and most visibly and productively coalesce. Trieste's Mediterranean transcultural memories demonstrate the extent t...
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In focusing on Italian Trieste and, in particular, on as large as possible a corpus of Triestine poetry contemporary with Kosovel, my paper provides a perspective that is entirely peripheral and “exterior”. Special attention is paid to... more
In focusing on Italian Trieste and, in particular, on as large as possible a corpus of Triestine poetry contemporary with Kosovel, my paper provides a perspective that is entirely peripheral and “exterior”. Special attention is paid to the Futurist avant-garde: the Futurist leader Marinetti considered Trieste as Futurist city par excellence and the first Futurist soirees took place at Teatro Rossetti between 1909 and 1910. Futurism attracted a large group of local artists, some of whom (e.g. Carmelich and Cernigoj) were personally known by and became close to Kosovel, including the poets Sanzin and Miletti, who enthusiastically espoused Futurist linguistic experimentalism, as well as the movement’s national/nationalist tendencies. Poetry of national and romantic inspiration is also of fundamental importance: Slataper’s vitalist approach to the rugged Karst region, though pre-War, provides scope for comparative approaches. Nationalist poetry, much of which officially compromised wi...
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The complex intertwining of history, memory, space, place and identity in borderlands is the topic of this edited collection. Using a transnational analysis of multi-layered cases from the northern Adriatic and Central Europe, the essays... more
The complex intertwining of history, memory, space, place and identity in borderlands is the topic of this edited collection. Using a transnational analysis of multi-layered cases from the northern Adriatic and Central Europe, the essays address fundamental questions in the history of the twentieth century. The geographical areas under scrutiny have experienced regular re-drawings of political borders, reconfigurations of state orders, and changes in ideological frameworks. The symbolic boundaries that formed the mental map of the modern world were located here: West vs East, Latin vs German vs Slavic, European vs Oriental, antifascism vs fascism, capitalism vs communism, etc. These symbolic dimensions influence the local reality, intersecting with international developments and global processes. How these changes in ideology, state and the resulting spatial politics have functioned within varying historical frameworks, and what we can learn from their changing meanings, is the main focus of this volume. Its content represents a privileged perspective on understanding ruptures as well as continuities in memory cultures, commemorative practices, situational identifications and the varying politics of the past in European borderlands.-- List of figures -- Acknowledgments -- Bordering and Memorializing the Northern Adriatic and Central Europe: Introductory Notes on Borderlands of Memory (Borut Klabjan) 1 Changing Legitimations of State Borders and ‘Phantom Borders’ in the Northern Adriatic Regions (Hannes Grandits) 2 Slovene Mapping of Urban Centres in the Austrian Littoral in the Nineteenth and Twentieth Centuries (Marta Verginella) 3 Habsburg Fantasies: Sites of Memory in Trieste/Trst/Triest from the Fin de Siècle to the Present (Borut Klabjan) 4 Divided Legacies, Iconoclasm and Shared Cultures in Contested Rijeka/Fiume (Vanni D’Alessio) 5 The Sonnenwende: From Traditional German Folk Festival to Radical Right-Wing Mobilizing Ritual along Austria’s Language Frontiers (Nancy M. Wingfield) 6 ‘The border took him’: The Ambiguous Peoples of ‘Der Fremde Heimat’ (Pieter M. Judson) 7 ‘Le Terre Redente si presentano a noi come vecchie terre italiche’: Building italianità in the Provincia di Gorizia between the Two World Wars (Matic Batič) 8 Conquest through Architecture? Italy’s Strategies of Appropriation in Alto Adige and the Trentino after 1920 (Klaus Tragbar / Elmar Kossel) 9 Burnt Villages in the Julian March as Memorial Landscapes (Gašper Mithans) 10 Memory, Revision, Resistance: Reviving the Partisan Monuments along the Slovenian-Italian Border (Oto Luthar) 11 Italians or ‘Foreigners’? The Multilayered Memories of Istrian Refugees in Italy 12 Commemorating Anti-Fascism: Remembering TIGR in the Northern Adriatic Borderland following Slovenian Independence (Vida Rožac Darovec) 13 Trieste, Film and the Cold War: Sites of Memory in the Borderlands (Katia Pizzi) -- Notes on Contributor
Research Interests: History, European History, Modern Italian History, Border Studies, Contemporary History, and 14 moreComparative History, History and Memory, Central European history, Habsburg Studies, Memory Studies, Yugoslavia (History), Slovenian History, Central and Eastern Europe, Istrian history, Trieste, History of the Adriatic, Contemporary Italian History and Politics, Borders and Borderlands, and History of Gorizia
Trieste played a key role in the early Cold War, mainly due to its geo-political position on a borderline in south-central Europe. Through an examination of film from both sides of the Iron Curtain, this paper explores the ways in which... more
Trieste played a key role in the early Cold War, mainly due to its geo-political position on a borderline in south-central Europe. Through an examination of film from both sides of the Iron Curtain, this paper explores the ways in which Trieste’s fractured and divided identity aligned itself with and came to reflect the polarizations of the Cold War era.
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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.... more
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.
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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... more
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 ...
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The 500th anniversary of the death of Leonardo da Vinci has brought with it an impressive array of exhibitions including Leonardo da Vinci (Louvre), Leonardo da Vinci: A Life in Drawing (Royal Collection Trust), Leonardo: Experience a... more
The 500th anniversary of the death of Leonardo da Vinci has brought with it an impressive array of exhibitions including Leonardo da Vinci (Louvre), Leonardo da Vinci: A Life in Drawing (Royal Collection Trust), Leonardo: Experience a Masterpiece (National Gallery), and Leonardo da Vinci: A Mind in Motion (British Library), together with shows in Florence, Milan, Budapest and New York.
What have been the challenges for curators in addressing Leonardo's legacy? What have we learnt about Leonardo from the different approaches adopted? How can the complex and fragile artefacts associated with Leonardo be made accessible to today's public? How do temporary exhibitions differ from the long-term custodianship of works by this hugely significant if elusive artist?
A panel of leading curators will discuss these and other issues raised by the Leonardo anniversary.
Speakers
Caroline Campbell (National Gallery)
Per Rumberg (Royal Academy of Arts)
Ana Debenedetti (Victoria & Albert Museums)
Catherine Yvard (National Art Library)
Chair
Ben Thomas (University of Kent Canterbury)
What have been the challenges for curators in addressing Leonardo's legacy? What have we learnt about Leonardo from the different approaches adopted? How can the complex and fragile artefacts associated with Leonardo be made accessible to today's public? How do temporary exhibitions differ from the long-term custodianship of works by this hugely significant if elusive artist?
A panel of leading curators will discuss these and other issues raised by the Leonardo anniversary.
Speakers
Caroline Campbell (National Gallery)
Per Rumberg (Royal Academy of Arts)
Ana Debenedetti (Victoria & Albert Museums)
Catherine Yvard (National Art Library)
Chair
Ben Thomas (University of Kent Canterbury)
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What do Rihanna, Janelle Monáe and the futurists have in common? A belief in the future and in the aesthetic and political power of technology, argues Dr Katia Pizzi, author of Italian futurism and the machine.
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Text for website of the opera Pinocchio (production Philippe Boesmans, libretto Joel Pommerat) first staged at La Monnaie / De Munt Theatre in Brussels on 5 September 2017. The text explores the social and political context of the... more
Text for website of the opera Pinocchio (production Philippe Boesmans, libretto Joel Pommerat) first staged at La Monnaie / De Munt Theatre in Brussels on 5 September 2017. The text explores the social and political context of the original Pinocchio.
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Co-organiser of the Memories of the Future Conference The further into the future you look, the further back in time you seem to get. From our current ‘after the future’ position, where utopias have been crushed under the awareness that... more
Co-organiser of the Memories of the Future Conference
The further into the future you look, the further back in time you seem to get.
From our current ‘after the future’ position, where utopias have been crushed under the awareness that ‘the myth of the future is rooted in modern capitalism’ (Bifo), our imagination persistently draws on an extensive repository of symbols, forms and technologies rooted in history, imagination and memory.
Yet, utopian visions of the future loomed large in the modern age, often fuelled by spectacular advancements in technology, applied arts and industries.
Even though sequential temporalities and cyclical views of the past have become forcefully questioned by new technologies, the past is still a reservoir, repository and treasure-trove of cultural and symbolic signification which continues to be revisited and reconstructed imaginatively by individuals and communities.
The Memories of the Future conference addresses questions such as:
Is memory scrambled, reversed, reconstituted?
Is the future a thing of the past?
Is no future the new future?
How do ancient myths and narratives construct future scenarios?
How are myths and histories re-worked in contemporary artistic practices of the future present?
Keynote speakers
Prof. Alberto Abruzzese
Dr. Malcolm Quinn
The further into the future you look, the further back in time you seem to get.
From our current ‘after the future’ position, where utopias have been crushed under the awareness that ‘the myth of the future is rooted in modern capitalism’ (Bifo), our imagination persistently draws on an extensive repository of symbols, forms and technologies rooted in history, imagination and memory.
Yet, utopian visions of the future loomed large in the modern age, often fuelled by spectacular advancements in technology, applied arts and industries.
Even though sequential temporalities and cyclical views of the past have become forcefully questioned by new technologies, the past is still a reservoir, repository and treasure-trove of cultural and symbolic signification which continues to be revisited and reconstructed imaginatively by individuals and communities.
The Memories of the Future conference addresses questions such as:
Is memory scrambled, reversed, reconstituted?
Is the future a thing of the past?
Is no future the new future?
How do ancient myths and narratives construct future scenarios?
How are myths and histories re-worked in contemporary artistic practices of the future present?
Keynote speakers
Prof. Alberto Abruzzese
Dr. Malcolm Quinn