This paper investigates the actions executed by Italian artists – male and female – centred on interpersonal relationships, at times with an insight into the dynamics of couples or directly involving the public. In Italy, during the 1960s and 1970s, various artists dedicated themselves to what were initially called happenings or actions, and only later became known as ‘performances’, but unlike in the better-known Body Art, the phenomenological exploration of the self and of reality frequently observed in the Arte Povera circle of artists, many welcomed the new sensibility embodied by feminism, which, by redefining gender positioning, emphasised the centrality of the ‘private’ sphere and revived interest in ‘affection’. This is particularly significant in light of the Italian cultural context, where women artists have often looked with suspicion at any initiatives dedicated explicitly to women's issues or at women-only exhibitions.

This article advances a new approach based on ‘varieties of capital’ to explain gendered upward mobility in political parties. Research on gender political advancement unduly neglects women delegates to national party congresses. Our work seeks to redress the imbalance by drawing on data gathered from 5,122 questionnaires issued to national party delegates at 20 national conventions that took place between 2004 and 2013 in Italy. To analyse the data we develop a new framework based on ‘varieties of capital’. Our approach builds on Bourdieu's three types of personal capital – economic, social and cultural – and interprets the findings borrowing analytical tools from recent feminist institutional theory, especially the concept of homosocial capital. Comparisons of male and female party delegates in terms of background and their political trajectories reveal the persistence of an uneven playing field, with gendered hierarchies in Italian political parties confirming an international pattern.

This article analyses the instruction on non-sexist use of the Italian language given by Italian language teachers at different levels of education (Nitti 2018). The objective of the research is to evaluate, via language models presented in class, the preparation of materials, and attitudes to correction, the level of engagement in the use of non-sexist language by teachers who transfer their personal orientation into their teaching practice. The survey was conceived as a follow-up to the Conference on Italian Language and Sexism, held at the University of Modena and Reggio Emilia on 30 March 2017. Questions were formulated following Raccomandazioni per gli usi non sessisti della lingua by Alma Sabatini (1986) and proposals by academic institutions and territorial and legislative bodies. The research falls within the study of educational linguistics, and its aim is to approach contemporary linguistic phenomena through specific theoretical-applicative tools and paradigms of sociolinguistics (Fusco 2012).

The Fascist model of exhibiting power and placing it in museum settings had its origins in the Liberal exhibitions of the late nineteenth century, and in the first exhibitions devoted to the Risorgimento. However, the regime's museum initiatives were numerous, innovative and varied, and many of them have not yet been adequately investigated; those launched in Italy's colonies, in particular, remain largely unexplored. This article highlights the surprisingly extensive network of museums and temporary exhibitions that Fascism initiated in Italian possessions abroad, involving prominent figures from the regime and contemporary culture, and shows how science, culture and nation-building (in both the colonies and the mother country, and between them) were interwoven in the Fascist museological project for the colonies.

This essay focuses on the racialising devices that characterise some Italian colonial novels. Specifically, it looks at two novels of the late 1920s – Enrico Cappellina's Un canto nella notte. Romanzo coloniale and Guido Milanesi's La sperduta di Allah – with the aim of highlighting the continuities and discontinuities between the racist models they endorse. A critical close reading of the texts reveals the degree of interconnection between segregationist and inclusivist interpretations of the cross-racial colonial encounter in the first half of the ventennio. With this perspective, the 1936 imperial turning point, even though critical on the institutional level, appears less so in the cultural field of racist production.

In an article with the challenging title ‘Against Realism’, Alan O'Leary and Catherine O'Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘realism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neorealism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. While the position taken by O'Leary and O'Rawe was certainly provocative, it has served to stimulate thinking about the areas of postwar Italian cinema that had remained in the shadows and unexplored. Starting to focus on an ‘other’ cinema has not had to mean ‘forgetting’ neorealism, but has brought changes to the way that it is studied. Almost ten years later, the challenge seems to be to rethink neorealism as a transnational phenomenon that straddles different periods, genres and contexts; while it has its roots in postwar European culture, it continues to be influential on a global level.

When on 8 March 2020 lockdown was declared in Lombardy, I had a national flag in a drawer waiting for 17 March – the birthday of unified Italy – to be hung down from my balcony just for one single day. Suddenly it seemed to me very natural to begin the ritual early, fixing it carefully and looking at it while it was moving softly in the mild evening breeze, amidst the surreal silence of the neighbourhood riven only by so many, too many ambulance sirens: a suspended time, a time of fear and resistance that I was sharing physically with my fellow citizens, and virtually, with my relatives, friends and colleagues living far away.

Interest in the spread of human capital has grown in recent decades, as it is acknowledged to play an increasingly important role in supporting social and economic development. This paper, starting from the distinction between education – assessed by educational attainment – and literacy proficiency – that is, what people are actually able to do with the written word – examines the distribution of these properties in Italy. Results of analysis show that while the longstanding gap between the North and the South is gradually closing with regard to the distribution of educational credentials, there is still a significant difference in the acquired level of competence. There is also an unexpected result: the regions of the North-West, once the main driver of Italy's economic development, today deploy a smaller stock of human capital than the North-East and Central macro-regions. In light of these findings, improving the education system's effectiveness and creating adequate political, institutional and legal arrangements that favour the development of human capital appear to be an absolute priority for Italy.

Comics are an increasingly popular medium in the twenty-first century. Combining words and images, comics enable the expression of individual and collective histories that straddle languages and cultures, reflecting the multimodality of the cognitive and narrative processes in a multilingual, globalising world. This article proposes an original framework to understand the power of comics as a transcultural medium by exploring the production of Takoua Ben Mohamed, a graphic journalist and comics author born in Tunisia and raised in Rome. These comics visualise histories of migration and translation in Italy and the Mediterranean, questioning notions of homogeneity, authenticity and canonicity of Italian memory and culture. The article engages with the theoretical and methodological framework of the Transnationalizing Modern Languages (TML) research project, exploring the interconnected linguistic and cultural dimensions of memory and translation. The analysis identifies a series of processes termed mediation-translation in Ben Mohamed's comics, which illuminate the constitutive nature of memory and translation in contemporary processes of identification.

In this article, I examine patterns of collective action in the South of Italy, a region where commons scholarship presents several challenges, mainly due to its feudal heritage. In analysing the history of Southern Italian commons, Elinor Ostrom's theories on polycentric governance are adopted. I propose a case study on the mountains of Sila, where collective action was institutionalised through a municipal organisation known as universitas casalium, consisting of the city of Cosenza and its hamlets. This institution collaborated with the royal government, creating a polycentric governance system where institutional functions contentiously intermingled, generating conflicting relations, but also unique governmental arrangements. Yet how did previous historical interpretations miss this point? Documentary evidence provides a clear answer: while the institutional recognition of the universitas casalium can be traced back as far as the twelfth century, a series of institutional reforms initiated in the mid-fifteenth century led to the progressive decline of the local institution and accordingly of the commons economy related to it. This loss of legitimacy derived from the emergence of feudal barons and later of landowners from the middle class, leading to the progressive dissolution of collective action in Sila as Italy moved towards Italian unification in 1861.

The military ossuaries (sacrari militari) that were built to house the remains of fallen soldiers of the First World War offer a striking example of how Italy has dealt with the legacy of Fascism. Located along former frontlines in north-eastern Italy, the ossuaries occupy an ambiguous position in Italian heritage as both national monuments and the remnants of a difficult past. Whereas originally they functioned as instruments of Fascist propaganda, they have been reinvented as monuments of Republican Italy. Thus, while challenging the notion of Fascist remains as ‘difficult heritage’, this article suggests that the ossuaries might be seen as palimpsests that have been overlaid with different and ever-changing memories. To this end, the article traces the afterlives of ossuaries from 1945 to the present in search of evidence of evolving attitudes towards the Fascist period. It also examines a recent resurgence of public interest in the ossuaries in conjunction with the centenary of the First World War.