In December 1805 a violent anti-French rural insurgency broke out in the mountainous area around Piacenza, in the States of Parma. Castell’Arquato was one of the centres of this rebellion: local leaders devised a strategy that, using to advantage the dominant French imperial discourse of competent and progressive government, saved the town from the anticipated reprisals. Close reading of this particular case of narrative ingeniousness brings into focus the larger issue of agency local Italians were able to derive from the French quest for stability in the region.

Celebrity scandals are a useful tool to reveal the pervasiveness of expected ways of behaving within a particular culture or society. Italy of the early 1960s was particularly marked by these kinds of scandals, including that of singer Mina’s pregnancy by Corrado Pani in 1963. This article takes this scandal as a case study to explore how star image in this period in Italy was influenced by the established ideologies that governed social convention, morality, and traditional gender roles. It examines in detail the ways in which the popular press reported on this scandal, using the reports that covered the announcement of the pregnancy and then the birth to cast light on the extent to which the mainstream social values and ideas regarding the status quo and expected ways of behaving for women in Italy during the early 1960s were destabilised and/or reasserted through the star persona of Mina.

This essay reconstructs the emergence of a growing sensitivity towards animal welfare in Italy during the so-called ‘liberal’ years. An examination of the origins and activities of animal protection societies, the debate on use of animals for scientific experimentation, and the earliest provisions for animal protection, reveals a growing concern for animal welfare in Italy too during the course of the twentieth century. This was channelled by the liberal-bourgeois values of the time: public decency, moderation, and goodwill towards animals as well as humans were all seen as signs of ‘civilisation’ and ‘progress’. It was claimed that foreign influence, particularly British, was of vital importance in such developments in Italy, including both the thoughts of the anti-vivisectionists and the work and propaganda of the societies for animal protection. This essay also examines the 1913 Law, which was the first important Italian legislation governing animal welfare and protection.

This article explores the trajectory of the Italian comic archetype, ‘The Opportunist’, and how it illuminates, and allows us to draws connections between, numerous junctures of modern Italian history. The caricature ‘Arlecchino’, deriving from the masked ‘types’ of the commedia dell’arte of the fifteenth and sixteenth centuries, is an historic exemplar of the Italian ‘everyman’ who simultaneously evades and exploits the established order in order to ‘get by’, ‘get ahead’ and survive. Filmmakers of la commedia all’italiana such as Mario Monicelli, Dino Risi and Lina Wertmuller, employed this caricature of the wily – yet ultimately harmless – petty crook in their work. They did so not in order to reinforce prejudices of Italians as self-serving and apathetic, but in order to examine what it meant to ‘survive’ 20 years of Fascism and the socio-political turmoil of post-war Italy. Examining how this caricature has historically evolved according to its ever-shifting social milieu illuminates not only certain defining moments of Italian history, but also how this archetype has contributed to popular understandings about Italy’s past and its people.

This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.

This paper provides an empirical analysis of the result of the referendum on constitutional reform held in Italy on 4 December 2016. The votes against (59.1%) won by a significant margin, with an unexpectedly high turnout at the polls and more than 33 million citizens voting. Using as a point of departure the polls carried out prior to and following the referendum, in which Italians said they were essentially in favour of the reform proposed by the prime minister, the essay focuses on the mistakes made by Matteo Renzi that discouraged Italians from voting Yes. These touch on all aspects of the referendum: 1) the parliamentary process, 2) its combination with electoral law, 3) institutional communication, and 4) his political analysis and strategic approach. The final section evaluates the effects of the referendum result on the Italian political system, emphasising the setback to reformism and the strengthening of the anti-system parties that support leaving the Euro (in particular the Movimento 5 Stelle).