Il Mattinio
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Naples and the Nation
This book addresses Naples’ relationship with Italy, since the introduction of direct mayoral election in 1993 and as articulated in cultural production. It deploys theoretical frameworks pertaining to postcolonialism and cultural accentedness to challenge the historical framing of Naples as Italy’s internal ‘other’ and to reposition the city at the very heart of the Italian cultural imaginary. The book showcases the breadth of texts and media addressing the city-nation relationship, analysing less renowned works of journalism, literature, fashion and film alongside celebrated texts such as Roberto Saviano’s Gomorra, Elena Ferrante’s ‘Neapolitan Novels’ and the soap opera Un posto al sole. It highlights how such works contest perceptions of Naples as diverging from a national norm by emphasising the continuities that align the city with the nation. Though developed with the specificities of Naples in mind, the approach is intended as a model for the study of city-nation relations in other cultural contexts.
"Painting, Politics, and the New Front of Cold War Italy "
The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's 1947 inaugural exhibition and the 1948 and 1950 Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.