Ruth Glynn

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.

This book presents important position statements by scholars who have made contribution to the understanding of the social and political mechanisms underlying Aldo Moro's targeting and death. It covers Giuseppina Mecchia's exploration of philosophical understandings of the Moro kidnap and murder.

This book presents important position statements by scholars who have made contribution to the understanding of the social and political mechanisms underlying Aldo Moro's targeting and death. It covers Giuseppina Mecchia's exploration of philosophical understandings of the Moro kidnap and murder.

In the second half of the twentieth century, the Italian historical novel provided an unrivalled number of best sellers and publishing 'phenomena'. The success of the genre is closely related to a more general interest in revisiting the past in the light of a changed understanding of the nature, or philosophy, of history. This study aims to explore the particularly marked increase in the production and popularity of the historical novel in the period between the mid-1960s and the early 1990s, with reference to current debates on the nature of history. It presents a theoretical framework which establishes the centrality of philosophy of history to the development of the genre. The employment of this framework opens out the discussion of literary change to the consideration of historiographical developments and wider critical debate. The theoretical insights gained inform the close textual analysis provided in the chapters dealing with novels written by five of Italy's foremost contemporary writers: Leonardo Sciascia, Vincenzo Consolo, Sebastiano Vassalli, Umberto Eco, and Luigi Malerba.