JAm It! (Journal of American Studies in Italy), 2024
This article examines the concepts of historical accuracy and truthfulness of the setting in Nath... more This article examines the concepts of historical accuracy and truthfulness of the setting in Nathaniel Hawthorne’s “Rappaccini’s Daughter” (1844) through an analysis of his representation and depiction of Padua, in particular of its University and Botanical Gardens. Though the author had not yet visited Italy at the time of publication, his description of Padua in the tale is vivid and full of apt references that embody the city. Overall, little critical attention has been devoted to the Padua setting of the short story. Given the large use of allegory in Hawthorne’s production, I read the Paduan setting of the tale and all the implications that revolve around it as an allegory of the artist/author’s vast culture. Finally, by comparing the Padua of the tale with subsequent depictions of Italy in Hawthorne’s production such as the Rome of The Marble Faun: Or, The Romance of Monte Beni (1860), I highlight similarities and differences in the treatment of history and setting in his later works.
A un anno dalla scomparsa di Raffaella Carrà, questo articolo si propone di esaminare il suo pers... more A un anno dalla scomparsa di Raffaella Carrà, questo articolo si propone di esaminare il suo personaggio mediatico al fine di individuare quali scelte nello stile comunicativo e quali tappe nella carriera della cantante e show-woman ne abbiano determinato il successo. A partire dall’analisi tematica di un corpus delle sue canzoni, vengono messi in rilievo i messaggi di cambiamento ed emancipazione presenti nella musica di Carrà sin dagli anni immediatamente successivi al ’68. Nella seconda parte del saggio, attraverso un’indagine di alcuni elementi biografici rilevanti e delle testimonianze della stampa, si approfondisce il tema della liberazione sessuale, insieme al rapporto di Carrà con la religione cattolica, particolarmente significativo all’interno del contesto culturale italiano. Si dimostra come, nel corso dei decenni, il personaggio Carrà sia riuscito a trasformarsi, mantenendo però inalterata la capacità di raggiungere un pubblico ampio e variegato tramite un’originale commistione di elementi sacri e profani, conservatori e innovativi. Muovendosi di volta in volta all’interno e al limite di confini che vanno necessariamente problematizzati, Carrà ha giocato con i margini del consentito, sfruttando le possibilità date dalle televisioni pubbliche e private che hanno ospitato i suoi programmi. Questa sperimentazione, come testimonia la sua trasformazione in icona pop in Italia e all’estero, ha contribuito allo sviluppo di nuovi ruoli e nuove immagini di riferimento femminili nel mondo dello spettacolo.
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At a year’s distance from Raffaella Carrà’s passing, this article aims to examine the singer and show-woman’s media persona in order to identify which choices in her communication style and which stages of her career contributed to her immense success. Starting from a thematic analysis of a corpus of Carrà’s songs, we will highlight the messages of change and emancipation featured in the music that she released in the years immediately following the 1968 protests. In the second part of the article, through an investigation of relevant sources from the period in question, such as articles on newspapers and magazines, we will explore the theme of sexual liberation, alongside with Carrà’s relationship with the Roman Catholic Church, which is particularly significant in the Italian cultural context. We will demonstrate how, over the decades, Carrà’s media image has managed to transform itself, while maintaining the ability to reach a wide and varied audience. Thanks to an original mix of sacred and profane, as well as conservative and innovative elements, Carrà successfully tested the limits of her society. In a problematizing fashion, Carrà has skillfully played with the boundaries of what was allowed to women at the time, taking advantage of the possibilities given by the public and private television entities that broadcast her shows. Ultimately, we maintain that Carrà’s experimentation, as evidenced by her celebration as a pop icon in Italy and abroad, contributed to the development of new roles, images, and points of reference for women in the entertainment world.
Romina Francesca Power (Los Angeles, 1951) è un’artista statunitense naturalizzata italiana, nota... more Romina Francesca Power (Los Angeles, 1951) è un’artista statunitense naturalizzata italiana, nota principalmente per la sua carriera musicale. A partire dagli anni Settanta, l’artista si è affermata come cantante e cantautrice, ottenendo molti riconoscimenti in Italia e all’estero, fra i quali la vittoria al Festival di Sanremo nel 1984 con il brano “Ci sarà”, presentato insieme ad Albano Carrisi.
Raffaella Carrà, nome d'arte di Raffaella Maria Roberta Pelloni (Bologna, 1943), è una delle più ... more Raffaella Carrà, nome d'arte di Raffaella Maria Roberta Pelloni (Bologna, 1943), è una delle più famose show-women, cantanti, ballerine, conduttrici e autrici televisive italiane. A partire dagli anni Settanta, si è affermata come icona della televisione e della musica italiana, ottenendo grande popolarità anche oltre i confini nazionali, specie in Spagna e in Sud America.
JAm It! (Journal of American Studies in Italy), 2024
This article examines the concepts of historical accuracy and truthfulness of the setting in Nath... more This article examines the concepts of historical accuracy and truthfulness of the setting in Nathaniel Hawthorne’s “Rappaccini’s Daughter” (1844) through an analysis of his representation and depiction of Padua, in particular of its University and Botanical Gardens. Though the author had not yet visited Italy at the time of publication, his description of Padua in the tale is vivid and full of apt references that embody the city. Overall, little critical attention has been devoted to the Padua setting of the short story. Given the large use of allegory in Hawthorne’s production, I read the Paduan setting of the tale and all the implications that revolve around it as an allegory of the artist/author’s vast culture. Finally, by comparing the Padua of the tale with subsequent depictions of Italy in Hawthorne’s production such as the Rome of The Marble Faun: Or, The Romance of Monte Beni (1860), I highlight similarities and differences in the treatment of history and setting in his later works.
A un anno dalla scomparsa di Raffaella Carrà, questo articolo si propone di esaminare il suo pers... more A un anno dalla scomparsa di Raffaella Carrà, questo articolo si propone di esaminare il suo personaggio mediatico al fine di individuare quali scelte nello stile comunicativo e quali tappe nella carriera della cantante e show-woman ne abbiano determinato il successo. A partire dall’analisi tematica di un corpus delle sue canzoni, vengono messi in rilievo i messaggi di cambiamento ed emancipazione presenti nella musica di Carrà sin dagli anni immediatamente successivi al ’68. Nella seconda parte del saggio, attraverso un’indagine di alcuni elementi biografici rilevanti e delle testimonianze della stampa, si approfondisce il tema della liberazione sessuale, insieme al rapporto di Carrà con la religione cattolica, particolarmente significativo all’interno del contesto culturale italiano. Si dimostra come, nel corso dei decenni, il personaggio Carrà sia riuscito a trasformarsi, mantenendo però inalterata la capacità di raggiungere un pubblico ampio e variegato tramite un’originale commistione di elementi sacri e profani, conservatori e innovativi. Muovendosi di volta in volta all’interno e al limite di confini che vanno necessariamente problematizzati, Carrà ha giocato con i margini del consentito, sfruttando le possibilità date dalle televisioni pubbliche e private che hanno ospitato i suoi programmi. Questa sperimentazione, come testimonia la sua trasformazione in icona pop in Italia e all’estero, ha contribuito allo sviluppo di nuovi ruoli e nuove immagini di riferimento femminili nel mondo dello spettacolo.
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At a year’s distance from Raffaella Carrà’s passing, this article aims to examine the singer and show-woman’s media persona in order to identify which choices in her communication style and which stages of her career contributed to her immense success. Starting from a thematic analysis of a corpus of Carrà’s songs, we will highlight the messages of change and emancipation featured in the music that she released in the years immediately following the 1968 protests. In the second part of the article, through an investigation of relevant sources from the period in question, such as articles on newspapers and magazines, we will explore the theme of sexual liberation, alongside with Carrà’s relationship with the Roman Catholic Church, which is particularly significant in the Italian cultural context. We will demonstrate how, over the decades, Carrà’s media image has managed to transform itself, while maintaining the ability to reach a wide and varied audience. Thanks to an original mix of sacred and profane, as well as conservative and innovative elements, Carrà successfully tested the limits of her society. In a problematizing fashion, Carrà has skillfully played with the boundaries of what was allowed to women at the time, taking advantage of the possibilities given by the public and private television entities that broadcast her shows. Ultimately, we maintain that Carrà’s experimentation, as evidenced by her celebration as a pop icon in Italy and abroad, contributed to the development of new roles, images, and points of reference for women in the entertainment world.
Romina Francesca Power (Los Angeles, 1951) è un’artista statunitense naturalizzata italiana, nota... more Romina Francesca Power (Los Angeles, 1951) è un’artista statunitense naturalizzata italiana, nota principalmente per la sua carriera musicale. A partire dagli anni Settanta, l’artista si è affermata come cantante e cantautrice, ottenendo molti riconoscimenti in Italia e all’estero, fra i quali la vittoria al Festival di Sanremo nel 1984 con il brano “Ci sarà”, presentato insieme ad Albano Carrisi.
Raffaella Carrà, nome d'arte di Raffaella Maria Roberta Pelloni (Bologna, 1943), è una delle più ... more Raffaella Carrà, nome d'arte di Raffaella Maria Roberta Pelloni (Bologna, 1943), è una delle più famose show-women, cantanti, ballerine, conduttrici e autrici televisive italiane. A partire dagli anni Settanta, si è affermata come icona della televisione e della musica italiana, ottenendo grande popolarità anche oltre i confini nazionali, specie in Spagna e in Sud America.
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At a year’s distance from Raffaella Carrà’s passing, this article aims to examine the singer and show-woman’s media persona in order to identify which choices in her communication style and which stages of her career contributed to her immense success. Starting from a thematic analysis of a corpus of Carrà’s songs, we will highlight the messages of change and emancipation featured in the music that she released in the years immediately following the 1968 protests. In the second part of the article, through an investigation of relevant sources from the period in question, such as articles on newspapers and magazines, we will explore the theme of sexual liberation, alongside with Carrà’s relationship with the Roman Catholic Church, which is particularly significant in the Italian cultural context. We will demonstrate how, over the decades, Carrà’s media image has managed to transform itself, while maintaining the ability to reach a wide and varied audience. Thanks to an original mix of sacred and profane, as well as conservative and innovative elements, Carrà successfully tested the limits of her society. In a problematizing fashion, Carrà has skillfully played with the boundaries of what was allowed to women at the time, taking advantage of the possibilities given by the public and private television entities that broadcast her shows. Ultimately, we maintain that Carrà’s experimentation, as evidenced by her celebration as a pop icon in Italy and abroad, contributed to the development of new roles, images, and points of reference for women in the entertainment world.
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At a year’s distance from Raffaella Carrà’s passing, this article aims to examine the singer and show-woman’s media persona in order to identify which choices in her communication style and which stages of her career contributed to her immense success. Starting from a thematic analysis of a corpus of Carrà’s songs, we will highlight the messages of change and emancipation featured in the music that she released in the years immediately following the 1968 protests. In the second part of the article, through an investigation of relevant sources from the period in question, such as articles on newspapers and magazines, we will explore the theme of sexual liberation, alongside with Carrà’s relationship with the Roman Catholic Church, which is particularly significant in the Italian cultural context. We will demonstrate how, over the decades, Carrà’s media image has managed to transform itself, while maintaining the ability to reach a wide and varied audience. Thanks to an original mix of sacred and profane, as well as conservative and innovative elements, Carrà successfully tested the limits of her society. In a problematizing fashion, Carrà has skillfully played with the boundaries of what was allowed to women at the time, taking advantage of the possibilities given by the public and private television entities that broadcast her shows. Ultimately, we maintain that Carrà’s experimentation, as evidenced by her celebration as a pop icon in Italy and abroad, contributed to the development of new roles, images, and points of reference for women in the entertainment world.