The New Italy

Give a toast to the best, most up-to-date, and beautifully photographed reference on Italian wines! The New Italy explores every signifcant development in the country's wine scene, widely considered one of the world's most complex. It gives readers a comprehensive and thorough look at all the country's key wine types, from Barolo, Chianti, and Montepulciano to Sangiovese and the champagne-like sparkling Prosecco. An introduction to Italy's wine styles and winemaking methods is followed by a region-by-region tour of vineyards, from Piedmont in the north to Calabria in the south. Full-color specially commissioned maps, details of the appellations and grape varieties, background on climate and geography, and profles of the leading producers round out this lively portrait.

Neorealism and the "New" Italy centers on neorealist Italian artists' use of compassion as a vehicle to express their characters' interactions. Simonetta Milli Konewko proposes that compassion as an emotion may be activated to unify certain individuals and communities and investigates the mechanisms that allowed compassion to operate during the postwar period. Aiming to produce a deeper understanding of the ways in which Italy is re-encoded and reconstructed, this book explores the formation of Italian identity and redefines neorealism as a topic of investigation.

Italy has seduced generations with its sunshine, landscapes, art treasures and the warmth and vitality of its people, devoted to style, sensuality and the pleasures of life. The reality is less rosy. Italy is as exasperating as it is enchanting. Appalling public services, a rotten political class, the creeping tentacles of the Mafia, the all-forgiving Mother Church and infinitely indulgent ‘mamma’ have long prevented Italians facing up to their collective failings. In ‘The New Italians’, journalist Charles Richards paints a compelling group portrait of the country and people, spanning football to Freemansonry, kickbacks to kidnappings. He concludes that however much things change, the Italians will remain essentially the same, and pull through with their customary ‘brio’.

The Monocle team celebrates the endlessly fascinating and culturally rich country of Japan.

This volume considers Italy's history and examines how Italians became fascinated with the New World in the early modern period.

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.