48 research outputs found
Corrado Cagli. Transatlantic bridges, 1938-1947
No full textIn the 1930s the young Italian artist, Corrado Cagli was a rising star of the Scuola Romana, supported by the Fascist regime despite being both Jewish and a homosexual. Following the Racial Laws, he fled first to Paris, and then to the USA, where he remained until 1947. Raffaele Bedarida’s new book, Corrado Cagli – La pittura, l’esilio, l’America (1938-1947) Donzelli Editore, 2018 (soon to be translated into English by CPL Editions), focuses on Cagli’s American exile.
While examining Cagli in the context of the artistic and intellectual migration from Europe to the US, Bedarida provides valuable new insight into the specific plight of this Italian Jewish artist, once championed by Fascism and into the complexities of the use of art for cultural diplomacy.
The author combines biography, cultural history, and critical analysis in exploring a decisive period in the life and work of a painter whose complex personality and non-signature style, defy classifications. The book also provides thought-provoking and nuanced arguments on the ideologically based ostracism that Cagli encountered upon returning to Italy in the immediate aftermath of the war. Because of his past as a former regime-endorsed artist, his recent American success, his participation in the liberation of Europe from Nazi-Fascism with the American army, and Jewish exile, Cagli simply did not fit into any of the faction of Italy’s post-war heated cultural disputes.
Based on extensive original research and written with brio, Bedarida’s book is an essential contribution to a growing field of studies that examine how, by welcoming artist and intellectuals in flight from Nazi-Fascism, the United States had been given what Will Norman has called “custodianship for a civilization.
F. Bedarida, La crise de 1886 et le Home Rule, 1958
No full textF. Bedarida, La crise de 1886 et le Home Rule, 1958. In: Revue du Nord, tome 42, n°165, Janvier-mars 1960. pp. 162-163
F. Bedarida, La crise de 1886 et le Home Rule, 1958
No full textF. Bedarida, La crise de 1886 et le Home Rule, 1958. In: Revue du Nord, tome 42, n°165, Janvier-mars 1960. pp. 162-163
F. Bedarida, E. Giuly, G. Rameix, Syndicats et Patrons en Grande-Bretagne, 1980
No full textErbes-Seguin Sabine. F. Bedarida, E. Giuly, G. Rameix, Syndicats et Patrons en Grande-Bretagne, 1980. In: Sociologie du travail, 23ᵉ année n°3, Juillet-septembre 1981. pp. 351-352
Whose Barbarianism? Exhibiting Antifascism, the Resistance, and the Holocaust in Postwar Italy and Now
No full textThe article discusses how antifascism, the Resistance, and the Holocaust have been exhibited in Italy since the end of Mussolini's regime. It uses the exhibition ‘Post Zang Tumb Tuuum,’ held at the Fondazione Prada in Milan in 2018, as a starting point to evaluate curatorial practices in the immediate postwar period. The author positions ‘Post Zang’ as a culmination of a curatorial tradition of Resistance shows, which have their roots in the mid-1940s. To this end, the author performs a close reading of the 2018 exhibition and its individual objects, casting a spotlight on the historical complexities that curator Germano Celant and his team largely elided in wall texts, the catalogue, or other interpretative materials made available to audiences. Through the interpretative framework of the 2018 Milan exhibition, the article highlights two issues: how fascism absorbed and neutralized political dissent by endorsing a relative artistic freedom; and how the Resistance became, in the immediate postwar period, a dominant narrative, which marginalized the Holocaust and promoted a redemptive interpretation of Italian victimhood, which partly absolved the Italians from both collusion with fascism and the Holocaust. This narrative blurred, absorbed and partly obfuscated testimonies and artistic narrations of the Holocaust, thereby in effect using the Holocaust instrumentally to the creation of anti-Nazi narratives of the Resistance
Une première synthèse. F. Bedarida et coll., Normandie 44. Du débarquement à la libération, 1987
No full textGay François-Jean. Une première synthèse. F. Bedarida et coll., Normandie 44. Du débarquement à la libération, 1987. In: Études Normandes, 38e année, n°1, 1989. Barbey d'Aurevilly écrivain normand. pp. 73-74
Histoire générale du travail, Tome III, L'ère des révolutions (1765-1914) par Cl. Fohlen et F. Bedarida, 1960
No full textMottez Bernard. Histoire générale du travail, Tome III, L'ère des révolutions (1765-1914) par Cl. Fohlen et F. Bedarida, 1960. In: Sociologie du travail, 4ᵉ année n°1, Janvier-mars 1962. p. 90
Radici storiche e ipotesi di nuovi approcci alla curatela delle mostre sull’eredità difficile del Ventennio
No full textIl volume presenta le tematiche affrontate nel corso di alta formazione su Cultural Heritage and Memory of Totalitarianism - Eredità culturale e memoria dei totalitarismi realizzato a partire dall'anno accademico 2020-2021 presso la Facoltà di Lettere e Filosofia di Sapienza Università di Roma. La natura interdisciplinare e internazionale del corso di studi, nonché la presenza di docenti operanti in Italia e all'estero, e la scelta di produrre un volume in lingua italiana, rispetto alla dimensione anglofona del corso, rispondono principalmente alla mancanza in Italia, a differenza del contesto internazionale, di uno strumento didattico e scientifico multidisciplinare e comparatistico sulla questione dell'eredità e la postmemoria culturale dei totalitarismi europei, in primis quello italiano del così detto Ventennio. Attraverso un viaggio di rilettura critica di queste difficili eredità, il volume raccoglie i contributi delle lezioni tenute in aula su cultura visiva e sui testi letterari e storici fondamentali per la comprensione del totalitarismo. Lezioni in aula pensate e coordinate in connubio con le lezioni in situ, ovvero le visite criticamente guidate a musei, biblioteche, archivi privati, monumenti, edifici e realizzazioni architettoniche antiche e moderne. I capitoli di questo lavoro sono momenti di una ricerca non esaustiva e tuttora in progress che si prefigge però di rinnovare al presente la conoscenza critica del nostro controverso passato
Status and significance of testing for hepatitis B surface antigen and surface antibody
No full textFollowing Blumberg's discovery of hepatitis B surface antigen (HBsAg), many attempts have been made to develop several in vitro diagnostic techniques for the detection of this antigen and its homologous antibody. The two-dimensional micro-Ouchterlony immunodiffusion has been the first technique used, rapidly replaced by procedures of increasing sensitivity characterized as second-generation and the currently available third-phase tests which include radioimmunoassay (RIA), reverse passive haemagglutination (RPHA), reverse passive latex agglutination (RPLA) and enzyme immunoassay (EIA). Among these, RIA appears to be the most sensitive and specific, whereas EIA, RPHA and RPLA have the advantage of long shelf-life of stable reagents, no need for sophisticated and expensive equipment and no hazard associated with the handling of radioactive isotopes. Moreover, the sensitivity of EIA should increase by objective reading with a colorimeter. The most sensitive method for the detection of surface antibody (anti-HBs) is again RIA, whereas passive haemagglutination (PHA) had the advantage of providing titres. Finally EIA, based on inhibition of a known amount of HBsAg, has at least the same sensitivity as PHA, but has the advantage that reagents are more stable and that it permits screening for both HBsAg and anti-HBs with the same reagents at the same time. The application of these highly sensitive techniques for the detection of HBsAg and anti-HBs has resulted in a consistent reduction in the incidence of post-transfusion hepatitis type B and in a better understanding of the aetiology, epidemiology and natural history of this infection
“Exhibiting Italian Art in the United States”: Intervista a Raffaele Bedarida
No full textAmong Raffaele Bedarida’s most recent studies, Exhibiting Italian Art in the United States from Futurism to Arte Povera: “Like a Giant Screen” (Routledge, 2022) reconstructs through case studies some events that saw Italian contemporary art play a central role within the complex and articulated relations between Italy and the United States during the 20th century. This interview with the author delves into the methodological choices and salient aspects of a study that proceeds from the second Futurism to the beginnings of Arte Povera.Tra gli ultimi studi di Raffaele Bedarida, Exhibiting Italian Art in the United States from Futurism to Arte Povera: “Like a Giant Screen” (Routledge, 2022) ricostruisce tramite case studies alcune vicende che hanno visto l’arte contemporanea italiana giocare un ruolo centrale all’interno di complesse e articolate relazioni tra Italia e Stati Uniti nel corso del Novecento. La presente intervista approfondisce con l’autore scelte metodologiche e aspetti salienti di uno studio che procede dal secondo Futurismo agli esordi dell’Arte Povera.
