1968, with the aim of providing a theoretical and historical reference for the critical decade analysed in the following sections. What is missing from this early account of the women’s movement is an emphasis on cultural change and on the role that the US played in the redefinition of an Italian national identity after the Second World War. Chapter 3 is the core of the volume: it gives us a detailed and exhaustive map of groups, collectives and of the differences between them, while highlighting key moments of the broader historical events. Chapters 4, 5 and 6 focus on Rome, Turin, and Naples respectively. Here Bracke presents material from archives and interviews and emphasises local specificities: she focuses on reproductive rights, sexual health clinics and selfhelp groups in Rome, trade-union feminism in Turin, and feminist creative forms of expression in Naples. Following these three chapters, the author includes another chapter of reflection in broader terms, focusing on Berlusconism and the crisis of 1980s feminism. The conclusion effectively summarises the outcomes of the volume’s extensive inquiry. While the goal of the book is fully achieved through an intelligent use of sources and a deep knowledge of Italy’s intricate political and social history, there are some minor flaws, especially in relation to the goals and focuses declared in the introduction. The most evident weakness of this translated edition is the lack of a specific preface or epilogue addressing an Italian audience, and with it a discourse on the erasure of feminism as a political, social and cultural movement from the memory of Italy’s past. Moreover, transnational connections between Italian feminism and feminists in other countries are not fully explored, and very little information is given, compared to the attention this topic receives in the first pages of the book. Finally, the lack of a table of contents creates confusion and frustration for the reader, and the lack of a specific methodological note and of detailed records on the use of archival sources and oral interviews leaves the scholar without the means to deepen and expand Bracke’s inquiry.

中文翻译：

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Ieri, oggi e domani。意大利电影，由 Pedro Armocida 和 Boris Sollazzo 编辑，威尼斯，Marsilio Editori，2019 年，351 页，28,00 欧元（平装本），ISBN：978-88-297-0209-1

1968 年，旨在为以下部分分析的关键十年提供理论和历史参考。对妇女运动的早期描述中缺少的是对文化变革以及美国在二战后重新定义意大利民族认同方面所发挥的作用的强调。第 3 章是本书的核心：它为我们提供了详细而详尽的地图，涵盖了群体、集体及其之间的差异，同时突出了更广泛的历史事件的关键时刻。第 4、5 和 6 章分别关注罗马、都灵和那不勒斯。在这里，Bracke 展示了来自档案和采访的材料，并强调了当地的特点：她关注罗马的生殖权利、性健康诊所和自助团体、都灵的工会女权主义、那不勒斯的女权主义创造性表达形式。在这三章之后，作者又包括了另一章更广泛的反思，重点关注贝卢斯康主义和 1980 年代女权主义的危机。结论有效地总结了该卷广泛调查的结果。虽然本书的目标是通过明智地使用资料来源和对意大利错综复杂的政治和社会历史的深入了解而完全实现的，但仍有一些小缺陷，尤其是在介绍中声明的目标和重点方面。这个翻译版本最明显的弱点是缺乏针对意大利观众的特定序言或结语，以及关于从意大利过去的记忆中抹去作为政治、社会和文化运动的女权主义的论述。而且，与本书第一页对这一主题的关注相比，意大利女权主义与其他国家女权主义者之间的跨国联系并未得到充分探讨，所提供的信息也很少。最后，目录的缺乏给读者带来了困惑和挫败感，缺乏具体的方法论注释和使用档案资料和口头访谈的详细记录使学者无法深化和扩展布拉克的探究。 .