Italian Autonomia Movement

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

“Crocicchio” by Ardengo Soffici is a poem written in the era of the historic avant-garde in which Italy was facing a technological revolution; railways, cars and trams were all being transformed and as such the country saw a rise in the Italian Futurist movement. This movement praised all things modern by exploring new forms and technologies, treating them as a spectacle to be revered. The influence of these futuristic ideologies is clear in Crocicchio as Soffici paints a series of pictures of city life characterised by the chaos and activity which he experiences in his passing.

When the Paris Commune was established it was France’s first attempt at a proletarian dictatorship. This means for the period of three months and ten days Paris gave power to the working people. It was an event that inspired the world to stand up for injustice and the first event in the world that had prominent female figures voicing their opinions. The conclusion of this event counted for the death of over 30,000 people, with the arrest and imprisonment of 50,000 people and 4,000 being deported to New Caledonia. To commemorate the last weeks of the Paris Commune the French have built a wall called, the Communards’ Wall at Père Lachaise cemetery. To commemorate the people who have loss their lives for the revolution, the wall is the people’s symbol of liberty and ideals. The Paris Commune is the first proletarian revolution led by the people for the people. However, the Commune was not victorious, but brought around the idea of power to the people and that the people had a stronger say than anyone- the beginnings of a revolutionary

Cosimo traditionally has been accused of destroying Florentine liberties, these ancient liberties are more of an illusion than a reality, he only had to make the formula of those he was evicting. To not be taken by surprise like the Albizzi, he perfected the system by not changing in the law’s actual administration, but in the spirit of law he changed everything, it was a rule to fill high official positions by drawing lots. The process was manipulated so that only the names of the men who could be depended upon were drawn. The independent mood of the two municipal assemblies neutralized by making an exceptional procedure the rule by dictatorial powers were now granted for a fixed term that

Rivera wrote a short exposition; but we observe the drastic impacts of the new world on the characters. Watching the characters deal with the juxtaposition of before and after chaos ensuing is very engrossing. Some resist the change and others deny it. In response, the characters must find their way through this world and can only survive by revising their mindset. However, the story is surreal and disoriented because it lacks definition of time and space. Elapsing time is only understood with the present of a new character within the scenes. Also, the staging of this production amplifies this feeling of confusion. Metal walls—one with a sliding door, a gated

A major part of society, ranging from the beginning of time until present day, has been the aspect of social classes and the distinguishing features between the different levels. In Giuseppe Di Lampedusa’s novel The Leopard, through the use of different characters to symbolize the different social classes and the relationships between them, the author successfully distinguished and defined the different groups in nineteenth century Italian society. A special spotlight is shown on the aristocracy as that is the class the main character, Prince Fabrizio, belongs to. It is seen through the novel quite clearly the distinction between the different social classes ,the relationships between them, and why characters in the different classes behave as they do.

It talked about how there was little space, and dirty conditions. According to the text I know that they had such little space to live in, they built another house so they didn’t live on the streets. After reading the text I know they had to live with rats in their airshafts and houses. Airshafts are little homes. According to the story I know that the immigrants had to live in dirty conditions and didn’t have much space because they had to live in small tenements. Tenements are apartments, but the immigrants lived in small tenements. After righting about the immigrants lives and how they lived, I am now going to conclude this essay.

Meanwhile, the issue of police imposition and terror is a paramount problem in Gamboa de Baixo (pgs. 87-114). With too many incidents of police randomly attacking the neighborhood. Infiltration of drugs and runners selling to customers who come from the more affluent and middle-class communities of the city give the police reason to arbitrarily target and have military-like invasions on the people (pgs. 89-114). Throughout chapter four. Perry gives account after account of the vicious way that the police occupy Gamboa de Baixo, and the horror of being afraid of them and the drug dealers. Significance of the “O muro,” the wall exposes the divide between Gamboa de Baixo and the economically superior communities above them on Cortorno Avenue and the narrative that all who live below the wall are criminals (pgs. 88-90). Police corruption is rampant as they used extortion and theft from drug dealers and illegal searches, seizures beating, and verbal abuse using derogatory language (p.89). Keisha Khan-Perry was an eye witness to this terrorism by the police in

The spectacle of detention centres does not only lie within public perception but also within the architecture of the facility (Grinceri, 2016, p170-171). The barbed wired fence of detention centres is an example. It allows the spectators (citizens) to witness the enclosure of refugees while simultaneously binding refugees within its constraints, punishingly (Pugilese, 2008, p206-207). The visibility provided by the wired fence enables photography and videoing, thus acting as a spectacle.

The poem’s tone in the first stanza is inquisitive, yet not in the way of curiosity, but the in the grieving sense of asking why, if the government is supposedly so omnipotent, do acts of violence still occur in author’s homestead. Surveillance seems like a useful tool and works to prevent domestic terrorism and violence from outside its network, but simply and routinely neglects the violence within its network caused by its own citizens (Nelson 165). It is in this vein that Giovanni later remarks, “Who saw what I heard/Who knows how to make sense of it (101)”, in order to highlight the discordant nature of her surveillance. While her family may be safe from the violence of radicalized ideologists, why doesn’t the same surveillance protect her mother from the hands of her father, a much simpler and directed

Throughout the novel, I’m Not Scared the hero, Michele, realises that the adult world is not as innocent and caring as he originally thought. Niccolo Ammaniti’s novel takes the reader on a journey through an innocent and too trusting world seen through the eyes of a nine year old boy, Michele. It is set in Southern Italy in the hot summer of 1978. Michele finds a dirty, incoherent boy, Fillipo, chained in a hole hidden outside his village, but is too scared to speak of it. He begins to connect the boy, his own impecunious parents, and an unexplained visitor, with a headline kidnapping that has the whole country on edge. Michele discovers that people around him, particularly his father, are capable of cruel actions.

	The tragedy is not Antonio's previous two years of unemployment- it is that he has no future in his new job, due to the theft of his bike. Antonio must face this tragedy with no public support other than his friend Baiocco. Baiocco's willingness to help with his friends and his optimistic response to Maria constitute another case of human optimism. This form of optimism pervades the film with Antonio's perseverance and determination to find the stolen bike. These events stimulate the viewer's mind to think of solutions related to Antonio's situation, perhaps to try to solve problems of post-war Italy such as crime, famine, health issues, living condition, etc.; ills that have affected society then and now around the globe.

The poem commences with a third person narrative voice. This persona describes the terrorist as enjoying the moment, ‘The terrorist has already crossed the street. / The distance keeps him out of danger, / and what a view – just like the movies:’ (5-7). By describing the situation as movie-like, it shows that the terrorist values his life over others as he situates himself at a distance where he can observe safely. This idea is also expressed through the fact that the language is factual, observational and unemotional, conveying the emotional detachment of the terrorist towards the pain and suffering he will inflict. The use of language in this is vastly different to that of ‘Lot’s Wife’ with the contrast of emotional language and factual language. The descriptions of the individuals are detached with mundane characteristics, such as the ‘crummy gloves’ (26), only being mentioned. This creates the sense that these individuals are less important than him, showing that the terrorist looks down on them. Throughout the piece, there is a sense of dramatic irony, with the terrorist knowing something that the people entering and exiting the bar don’t. This introduces the idea that the terrorist perceives this situation as comedic. This idea is continued with the use of time intervals marking the countdown of the detonation.

Michelangelo Antonioni’s L’eclisse is a quiet and sad film with a theme of human detachment and alienation. He shows the difficulty of connection in an alienating modern world by focusing on the environment and isolation of characters. One of the first things that is strikingly noticeable in L’eclisse is Antonioni’s set-up of the environment. With the discordance of the music in the opening credits and the long shots that emphasize the empty space, we immediately get a sense of uncomfortable isolation in the beginning of the film. Antonioni throws us into the middle of an ending of a relationship. He starts the scene with a still shot of a lamp, then pans over to Riccardo sitting in silence, almost like another object. Then he quickly cuts to a shot of Vittoria on the opposite side of the room. This editing makes empty space a defining factor for this environment. Antonioni uses this focus on spacial distancing to alienate and isolate the characters. The two are clearly separated from each other, showing both a physical and emotional disconnection. Also, the motion of the camera seems to illustrate the disconnect in their relationship. The lack of dramatic movement by the camera represents the lack of emotional connection between them. Therefore, the motion of the camera illustrates the emotions of the character as much as what is actually framed within the image itself. There is also an obsession with touch, mostly on Vittoria’s part. With the constant lack in communication

This paper aims to make an analysis of the short story entitled, “The Vendetta”, written by Guy de Maupassant. “Vendetta”, which means “revenge” in the English language, is the core of this short story, and the concept from which the main character depends upon in order to survive. The story revolved around the revenge of the Widow Saverini because of the death of her son Antoine Saverini. Antoine was killed by a man named, Nicolas Ravolati, who was the object of revenge of Antoine’s mother. The death of her son, and her plot for revenge made her restless and sleepless at nights, thus, motivating her to avenge the death of Antoine.