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Tokidoki, cute and sexy fantasies between east and west: Contemporary aesthetics for the global market
The perceived privileged relationship between Italian art and the nation has been rarely challenged by intellectuals since the unification of the state. This is despite the extraordinary diasporic history of Italy: a history of immigrations, emigrations, invasions, exiles, colonialisms, and fragment...
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Published in: | Portal (Sydney, N.S.W.) N.S.W.), 2008-07, Vol.5 (2), p.1-23 |
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Main Authors: | , |
Format: | Article |
Language: | English |
Subjects: | |
Citations: | Items that cite this one |
Online Access: | Get full text |
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Summary: | The perceived privileged relationship between Italian art and the nation has been rarely challenged by intellectuals since the unification of the state. This is despite the extraordinary diasporic history of Italy: a history of immigrations, emigrations, invasions, exiles, colonialisms, and fragmentations. Furthermore, this history includes the migration and exile of many representative artists. Noteworthy is the case of Italian literature, which is often interpreted and taught as the constituent element of the nation and its language. One of the most important critical goals of contemporary Italian cultural studies is to challenge this privileged relation, by means of theoretical approaches that consider the essential features of globalisation and 'modernity at large' (Appadurai 1996). Within this context, and from this theoretical perspective, we examine the work of Simone Legno, an Italian designer who works in the USA and is strongly influenced by Japanese art and culture (Figure 1). |
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ISSN: | 1449-2490 1449-2490 |
DOI: | 10.5130/portal.v5i2.724 |