Britain, Ireland and the Italian Risorgimento, edited by Nick Carter, London, Palgrave Macmillan, 2015, xii + 233 pp., £60 (hardback), ISBN 978-1-137-29771-6

Modern Italy ◽  
2016 ◽  
Vol 21 (1) ◽  
pp. 110-111
Author(s):  
Eugenio F. Biagini
Keyword(s):  
1980 ◽  
Vol 10 (38) ◽  
pp. 26-49
Author(s):  
Martin Zerlang
Keyword(s):  

Signalement af arbejderlitteraturen omkring 1900


2002 ◽  
Vol 6 (1) ◽  
pp. 76
Author(s):  
Maggie Brooks
Keyword(s):  

Modern Italy ◽  
2013 ◽  
Vol 18 (1) ◽  
pp. 81-94 ◽  

The Reinterpretation of Italian Economic History: From Unification to the Great War is the first major study of the liberal Italian economy to appear in English for more than 20 years. It is also the first based on new statistical reconstructions of industrial and aggregate development for the period. Above all, the book represents the culmination of over four decades of ‘painstaking, meticulous, sophisticated and innovative research by one of Italy's finest economic historians' (Toniolo 2007, 130).


The Soil ◽  
1917 ◽  
Vol 1 (3) ◽  
pp. 137
Author(s):  
A. T. ◽  
V. ◽  
N. ◽  
I. R.
Keyword(s):  

Author(s):  
Vito Adriaensens

Zigomar was the criminal mastermind of French writer Léon Sazie’s eponymous serial novel, or feuilleton, which appeared in the newspaper Le Matin between 1909 and 1910. It was in 1911, however, through a cinematic adaptation in six episodes by the Éclair Film Company and its leading director, Victorin-Hippolyte Jasset, that Zigomar and his Z-gang shot to worldwide fame. Serial detective fiction was certainly not new at the time, Éclair and Jasset led the way in 1908 with the famous Nick Carter series and multiple adaptations and imitations of Sherlock Holmes that had flooded the screens for years; however, the elevation of a criminal figure was still a very recent phenomenon—with Danish precursors such as Dr. Nikola (Viggo Larsen, 1909), Zigomar helped pave the way for classics such as Louis Feuillade’s Fantômas series (1913–14). Abel argues that Jasset’s Zigomar, played by Alexandre Arquillière, strengthened Sazie’s by transforming him into an immoral bourgeois gentleman, "a capitalist entrepreneur pushed to the point of excess" (Abel 1998: 358). As such, Zigomar was one of the first modernist antiheroes to grace the silver screen, an illustrious criminal who undermined bourgeois society by upsetting the social order and preying on its members— not, coincidentally, the cinema’s target audience.


2016 ◽  
Vol 9 (2) ◽  
pp. 281-283
Author(s):  
David I. Kertzer
Keyword(s):  

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