Giuseppe Fava

Antonio Salvo was a mafioso, but he did not traffic in narcotics, he did not run weapons, he did not kill anyone and he did not take part in the 'ordinary' mafia activities. Salvo was a business man, one of the wealthiest business men in Sicily. He took an interest in all important lines of business and had close political connections at the highest levels in Rome. He represented another, but not less important side of the mafia. He was a central part of the far-reaching network of economic and political interests that dominated Sicily through decades. This book analyses the economic and political activities of the mafia on the basis of the latest source material and explains how the mafia has succeeded in surviving, protecting, and flourishing in post-war Italy.

The past two decades have witnessed increasing opposition to mafia influence and activities in Italy. Community organizations such as Libera, founded in 1995, and Addiopizzo, originating in 2004, exemplify how Italian society has tried to come together to promote antimafia activities. The societal opposition to mafia influence continues to grow and the Internet has become a frontline in the battle between the two groups. The Italian Antimafia, New Media, and the Culture of Legality is the first book to examine the online battles between the mafia and its growing cohort of opponents. While the mafia's supporters have used Internet technologies to expand its power, profits, and violence, antimafia citizens employ the same technologies to recreate Italian civil society. The contributors to this volume are experts in diverse fields and offer interdisciplinary studies of antimafia activism and legality in online journalism, Twitter, YouTube, digital storytelling, blogs, music, and photography. These examinations enable readers to understand the grassroots Italian cultural revolution, which makes individuals responsible for promoting justice, freedom, and dignity.

Italian Literature in the Nuclear Age: A Poetics of the Bystander explores the overlooked position of the bystander in the Nuclear Age by focusing on the Italian situation as a paradigmatic case. Host to hundreds of American atomic weapons while lacking a nuclear arsenal of its own, Italy's status was an ambiguous one: that of an unwilling—and in many ways passive—accomplice. Inspired by Seamus Heaney's dictum that "there is no such thing as innocent by-standing," the book frames Italy's fraught mix of implication and powerlessness not only as a geopolitical question, but as a way to rethink the role of the sidelined intellectual in the face of mass extinction. Italian Literature in the Nuclear Age includes discrete chapters on the major Italian intellectuals of the time: Italo Calvino, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, and Leonardo Sciascia. Conscious of their own political marginalization, these authors address the atomic question through a wide range of experimental forms, approaching the nearly unthinkable theme in allusive and oblique ways. Often dismissed as disengaged, inconsistent, or merely playful, these works demand instead a political reading capable of recognizing their confrontation with the paradoxes of the nuclear age.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This book provides both a historical account of the circumstances that led to la rivoluzione italiana and an explanation of why it took place after decades of complacency. It deals with major events that occurred within the Italian party political system between 1976 and 1991.

In the early hours of an August 2007 morning a gunfight broke out in an Italian restaurant in Duisburg, Germany; in less than five minutes over seventy shots were fired into the bodies of six men. Both the victims and the assassins were members of the 'Ndrangheta crime organization. Calabria's Mafia had brazenly shown its savage influence outside Italy for the first time. In The Honored Society award-winning investigative reporter Petra Reski reveals the Mafia menace lurking throughout the world-- from espresso bars in Palermo to European halls of parliament to the corporate headquarters of enormous agricultural firms. In haunting and exquisite prose she explores the Byzantine structure of the 'Ndrangheta, Cosa Nostra and other mafia clans throughout Italy -- the code they live by, the destruction they wreak, how they operate within the country and how they operate internationally. She shows how these syndicates dominate everything from nuclear waste disposal to hotel chains to the marijuana trade in Australia and cocaine trafficked throughout the world. Reski shows how figures such as Silvio Berlusconi were made by the Mafia, and how those who dared to defy its codes were broken. A searing portrait of the criminals who have come to control not only Italy but vast swathes of the globe, The Honored Society is a journalistic tour de force.

Werner Schroeter was a leading figure of New German Cinema. In more than forty films made between 1967 and 2008, including features, documentaries, and shorts, he ignored conventional narrative, creating instead dense, evocative collages of image and sound. For years, his work was eclipsed by contemporaries such as Wim Wenders, Rainer Werner Fassbinder, Werner Herzog, and Alexander Kluge. Yet his work has become known to a wider audience through several recent retrospectives, including at the Museum of Modern Art, New York. Written in the last years of his life, Days of Twilight, Nights of Frenzy sees Schroeter looking back at his life with the help of film critic and friend Claudia Lenssen. Born in 1945, Schroeter grew up near Heidelberg and spent just a few weeks in film school before leaving to create his earliest works. Over the years, he would work with acclaimed artists, including Marianne Hopps, Isabelle Huppert, Candy Darling, and Christine Kaufmann. In the 1970s, Schroeter also embarked on prolific parallel careers in theater and opera, where he worked in close collaboration with the legendary diva Maria Callas. His childhood; his travels in Italy, France, and Latin America; his coming out and subsequent life as an gay man in Europe; and his run-ins with Hollywood are but a few of the subjects Schroeter recalls with insights and characteristic understated humor. A sharp, lively, even funny memoir, Days of Twilight, Nights of Frenzy captures Schroeter’s extravagant life vividly over a vast prolific career, including many stories that might have been lost were it not for this book. It is sure to fascinate cinephiles and anyone interested in the culture around film and the arts.