European Languages and Literatures

Contents:

PART I: THE CULTURES OF FASHION: Moda and moderno; The Book of the
Courtier and the discourse on fashion: Sprezzatura, gender, ‘national
identity’. PART II: THE FABRIC OF CITIES: NATIONS, EMPIRE IN COSTUME BOOKS
BY CESARE VECELLIO AND GIACOMO FRANCO: Mapping the world: dress in
Cesare Vecellio’s costume books (1590, 1598); Power, history and
dress in Giacomo Franco’s costume plates (1610–1614). PART III:
BEYOND SPREZZATURA: FASHION AS EXCESS: Sister Arcangela Tarabotti:
hair, wigs and other vices; La moda and its technologies: Agostino
Lampugnani’s La Carozza da nolo, ovvero del vestire e usanze alla
moda (The rented carriage or of clothing and fashionable habits,
1648–1650). Bibliography; Index.
Includes 8 color and 48 b&w illustrations
June 2014 278 pages
Hardback 978-1-4724-1170-9 $109.95 $87.96*
ebook PDF 978-1-4724-3603-0
ebook ePUB 978-1-4724-3604-7
www.ashgate.com/isbn/9781472411709
“Eugenia Paulicelli presents a convincing argument for the crucial
signifi cance of clothing and fashion in the mentalities of early modern
Europe; her book is richly informed by the research of economic,
social, and feminist historians, historians of dress, and by her own
alertness to the links between past and present in the ways that dress
is presented today. Her narrative incorporates close readings of a wide
and interesting array of early modern writings, and offers a wealth of
intriguing examples—the fashionable rosary, the mustachioed gallant,
the revolver-toting Frenchwoman—as well as possibilities for further
work in the fi eld.”
—Ann Rosalind Jones, Smith College
“In the sixteenth and seventeenth centuries fashion came to
characterize a ‘modern’ new world, one in which changes in shapes,
materials, colors and manners had to be recognized and understood.
Eugenia Paulicelli’s book is a spectacular investigation of the discourse
of fashion in early modern Italy, from Baldassarre Castiglione toz Cesare
Vecellio, to Arcangela Tarabotti. In this book you will fi nd yourself
immersed in an early modern society obsessed with civility, love, vice,
dissimulation and, of course, fashion.”
—Giorgio Riello, University of Warwick
The fi rst comprehensive study on the role of Italian fashion and Italian
literature, this book emphasizes the centrality of Italian literature and
culture for understanding modern theories of fashion and gauging
its impact in the shaping of codes of civility and taste in Europe
and the West. Using literature to uncover what has been called
the “animatedness of clothing,” the author explores the political
meanings that clothing produces in public space.
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An Istituto Luce documentary entitled La Grande adunata delle forze femminili (Great parade of female forces) illustrates the ambivalent policy of the fascist regime towards the roles and images of women and reveals links between fashion, the policy that governed it and political culture during the fascist regime. 1 The documentary describes a rally that took place in Rome on 28 May 1939, chronicling a massive female parade organised by Mussolini himself. This national gathering of women from all over Italy that celebrated the twentieth anniversary of the founding of the Fasci giovanili di combattimento was an occasion to display women as an integral part of the national body politic through their uniforms, and their roles in the family and society. The film shows women from the Red Cross, students, athletes from the Orvieto Academy representing a wide range of sports, women from the countryside and others, all gathered at the Circo Massimo before going on to parade to Piazza Venezia for the welcome salute and speech by Mussolini and other gerarchi. Three distinct moments of the documentary juxtapose shots of women wearing sports uniforms with shots of the women from the countryside wearing regional costumes. These stills illustrate the sharp contrast between the military-like uniformity of the athletes and the women in traditional regional costumes, but also the differences in dress within the latter group of women. Those in regional costume wear accessories such as necklaces, earrings, shawls, lace collars, ornaments and headgear. Their body postures differ from the women wearing the regime-sponsored or sports uniforms: they look as if they are out taking a walk rather than marching. For the majority of these women, the differences in ornamentation were signs of their sense of belonging to strong local traditions of fine artisan craftsmanship, something that

The article examines the concept of Made in Italy in the context of the long history of Italian Fashion and Italian nation building. It wishes to pose some methodological questions: it argues for a more sophisticated understanding of Made in Italy, suggesting that it must be considered in relation to the complexity of the formation of an Italian Style...

Rosa Genoni (Tirano, 1867 - Varese, 1954) was a pioneer in several fields. She was a founding mother of transnational feminism, of peace activism and of the Made in Italy when it was still only being imagined. She was the first woman to be awarded the International Jury Prize for her dress designs at the Universal Exposition of Milan held in 1906. Genoni achieved international recognition as a result of her opposition to WWI. She was the Italian delegate at the 1915 First International Women's Conference in the The Hague. The first historical and analytical essay, in a bilingual edition, reconstructs the life and career of Rosa Genoni, connecting her multiple activities in the fields of fashion and design and their impact on national identity. The case of Rosa Genoni and the multiplicity of her life allow us to understand the long history of the Made in Italy and the relationship between tradition and innovation. To study fashion can revolutionize the writing of history.

Topics and issues in naTional cinem a " This critically elegant and highly readable book tackles anew how fashion and cinema combine social history with aesthetics. Impressively well researched, Italian Style is a compelling exploration of how the fashion industry and its costume designers shaped the cultural context of national identity. With vigor and clarity, Paulicelli illuminates such films as Fellini's Roma, Antonioni's Le amiche, and Sorrentino's La grande bellezza. A must-read for anyone with an interest in cinema and passion for this glorious art. " gaetana Marrone, Professor of Italian, Princeton university, uSa " Paulicelli's book is a tour de force of film and fashion scholarship, a beautifully written and authoritative exploration of Italian national identity that will appeal to a wide readership. In mapping out Italy's rich cultural heritage from early twentieth century modernism, through the economic miracle years to the present day, this book sets out to do nothing less than define Italian style as embodied by the dialogue between fashion and film. That Italian Style achieves this is testament to its brilliance. " Stella Bruzzi, Professor of Film and Television Studies, university of Warwick, uK This is the first in-depth, book-length study on fashion and Italian cinema from the silent film to the present. Italian cinema launched Italian fashion to the world. The book is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years. Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, the book explores the process of shaping and inventing an Italian style and fashion that ran parallel to, and at times took the lead in, the creation of an Italian national identity. In bringing to the fore these intersections, as well as emphasizing the importance of craft in cinema, fashion and costume design, the book aims to offer new visions of films by directors such as Nino Oxilia,

Abstract
Costume and fashion have been an integral component of Fellini’s artistic arsenal and have contributed greatly towards the layering and historical montage
of his films. In this article, I will explore the historical implications of Fellini’s use of fashion and costume and the profound impact that they have had on
the aesthetics and texture of his films. Through a close examination of fashion and costume, the chapter highlights Fellini’s contribution towards a new
historiography and archaeology of both Rome/Italy and cinematic form. In the article, Fellini’s cinema, especially La Dolce Vita ( The Sweet Life) in 1960 and Roma ( Fellini’s Roma) in 1971, is approached from both the standpoint of
fashion and from that of the cyclical temporality contained in Benjamin’s theory of fashion, so as to understand not only Fellini but also the contemporaneity of
his approach.

(a cura di), L'Italiano e la creatività. Marchi e costumi, moda e design, Accademia della Crusca-goWare, Firenze 2016; dello stesso anno sono il volume dell'Associazione Internazionale dei professori d'italiano, D. Reichart, C. D'Angelo (a cura di), Moda Made in Italy. Il linguaggio della moda e del costume italiano, Cesati, Firenze 2016 e A. Canonica-Sawina, Le parole della moda. Piccolo dizionario dell'eleganza, Cesati, Firenze 2016. Nell'ambito del progetto delle "Fabric of Cultures", un laboratorio di ricerca creato e diretto da chi scrive, si sta sviluppando un progetto di didattica dell'insegnamento dell'Italiano come LS e le sue applicazioni alla moda, all'arte e al museo; al sito http://thefabricofcultures. com/pedagogy/italian_language/, si possono consultare le pagine su "Italian Language Pedagogy" e su "Praxis", dove è possibile vedere i lavori prodotti dagli studenti, i loro testi e le "pagine cucite" ispirate dall'artista Maria Lai. 2 Chi scrive ha pubblicato sui libri di costumi e, soprattutto, su Cesare Vecellio e Giacomo Franco nella curatela

being continually menaced by supervillains, he must also contend with crises of faith in government entities (e.g., Cap quits in disgust after the infamous Watergate scandal during which President Richard Nixon resigned in disgrace), and personal betrayals and moral ambiguities that neatly mirror the personal and political instability in American society. It is not surprising that after surviving over a half century of identitarian disruptions, Cap/Rogers is finally and conclusively killed in 2007. As Costello notes, Captain America's death is an allegory representing the ''death of the dream'' in which the myth of American virtue and progress must also die (239). Flaws aside, Secret Identity Crisis illustrates how comic book superheroes effectively reflect the anxieties and hopes American society felt throughout the Cold War and post-Cold War, ''postconsensus'' years of the early twenty-first century. While its academic bent might put off casual comic aficionados, it would nevertheless be a useful crossdisciplinary text for students of political science, comic studies, popular culture, or American studies.

In the last few years, a growing body of scholarship has identified the importance of race to explain and interrogate the power of fashion as a multibillion dollar manufacturing industry and as a strong symbolic force. Race, and more in general the politics of fashion, have never been so openly discussed in the fashion industry and in the media as they are today, as is also the case for labels such as “Made in Italy.” Disrupting the traditional narratives of fashion, a growing awareness among consumers has questioned the ethics of the imagery brands disseminate on the internet and of products that degrade race, gender and religious belief. Following these lines and drawing on fashion and translation studies, I would like to offer a critical examination of the relationship between the Harlem based designer Dapper Dan and the house of Gucci. In particular, the essay highlights the notion of difference inherent in the process of translation as it is practiced by minoritarian groups, which as a result become socially visible. One of the questions posed in the paper is how can cultural translation actually be practiced in order to change existing power relations regulating class, gender and race, rather than consolidate them.

In the last few years, a growing body of scholarship has identified the importance of race to explain and interrogate the power of fashion as a multibillion dollar manufacturing industry and as a strong symbolic force. Race, and more in general the politics of fashion, have never been so openly discussed in the fashion industry and in the media as they are today, as is also the case for labels such as “Made in Italy.” Disrupting the traditional narratives of fashion, a growing awareness among consumers has questioned the ethics of the imagery brands disseminate on the internet and of products that degrade race, gender and religious belief. Following these lines and drawing on fashion and translation studies, I would like to offer a critical examination of the relationship between the Harlem based designer Dapper Dan and the house of Gucci. In particular, the essay highlights the notion of difference inherent in the process of translation as it is practiced by minoritarian groups, which as a result become socially visible. One of the questions posed in the paper is how can cultural translation actually be practiced in order to change existing power relations regulating class, gender and race, rather than consolidate them.