This essay attempts to read a number of interventions in Italian new media over the last decade as both a response to and an implicit critique of posthumanism. After a brief discussion of the principal terms in question—new media, interaction, and posthumanism—and a survey of the most important contributors to the discourse of posthumanism in Italy, the essay maps the principal features of Italian media as embodied by the works of three contemporary new media artists. These characteristics include the privileging of a prosthetic model for understanding interaction and more generally the staging of interaction as moments of poiesis. They also include more recently the cancellation of the boundaries between ‘scientific’ and cultural images. The essay insists that by foregrounding the primacy of Italian cultural patterns for determining how meaning is generated in new media, Italian new media artists implicitly critique a reifying tendency among posthuman observers in Italy. The essay concludes with a broad assessment of the importance of poiesis for an Italian technological imaginary.

Sidney Tarrow has identified a ‘cycle of contention’ taking place in Italy between 1966 and 1972; Tarrow characterises the left-wing terrorism of the late 1970s as an after-effect of this cycle. However, there was a second cycle of contention between 1972 and 1979, incorporating the left-wing ‘armed struggle’ milieu alongside a group of related mass movements (notably the ‘area of Autonomia’, the ‘movement of 1977’ and the ‘proletarian youth movement’). The second cycle, unlike the first, was met with repression, and with the exclusion of its ideological and tactical innovations from the political mainstream. The difference between the two cycles relates to the role played by the Italian Communist Party, which functioned as a ‘gatekeeper’ in each case; the party's engagement with the first cycle can be characterised as inclusive, while its engagement with the second cycle was unremittingly exclusive.

This article aims to provide a systematic, comparative analysis of two of the main women's mass publications in order to trace continuities and changes in the development of women's role in the public sphere in Italy. The analysis begins with an elaboration of the social and political context, which is crucial for the understanding of media texts in general. It shows how the existence of only limited political spaces in post-war Italian society due to the polarisation of Catholicism and communism delayed both an open political discourse on women's conditions and the gradual development of an autonomous and lay feminist movement. Noi Donne of Union Donne Italiene (UDI) was closely aligned with and financed by the Italian Communist Party (PCI) and lacked any substantial autonomy until the early 1970s, while Cronache of the Catholic women's organisation Centro Italiano Femminile (CIF) was a faithful instrument for the propagation of those Catholic concepts of femininity that were redefined and reinforced by the Vatican in the Catholic publication Civiltà Cattolica.

Lorenzo Valerio (1810–1865), though a key figure in Piedmontese and Italian politics, a newspaper editor of note and a leading light of both the Associazione Agraria and the Associazione Italo-Slava, has not been accorded in recent years the attention he merits. With the publication, however, of the first four volumes of his correspondence, it is now possible to map more precisely Valerio's activities and influence, in Risorgimento Italy and far beyond it. These letters provide their principal editor, Adriano Viarengo, with the opportunity to review a number of crucial historiographical questions in Risorgimento scholarship, among them, the nature of moderate hegemony, the political vision of the Sinistra subalpina, and the complex relations between Italian patriots and Slav Romantic nationalists active within the Austrian Empire. This article is designed both to portray Valerio and his world, and to reflect upon the contribution Viarengo has made, whether in his introductions to the correspondence or in his ancillary essays, to the study of the Risorgimento.

This article reviews the considerable progress that has been made in modern Italian women's and gender history over the last decade. It puts forward the argument that such history, whose roots lie primarily in the feminist movement of the 1970s, was until recently consigned to the margins of the historical establishment but is now beginning to make a much greater impact. The article looks at the richness of the current wave of new publications and the wide range of topics they cover but argues that in a number of areas the historiography is still somewhat uneven. It also suggests that there is a pressing need for works of synthesis to draw together the research that has been done to date.

This article has two related aims. First, it examines the most up-to-date studies relative to Italian military justice during the First World War, and seeks to set them in the context of the historical debate since the late 1960s. Secondly, and more specifically, it focuses on recently uncovered evidence regarding staggeringly high numbers of previously unknown summary executions in the Italian army. It explores the significance of these findings for understanding the character of the Italian military justice system as well as that of the war conducted by Italy's ruling élites between 1915 and 1918.