The EU has recently introduced a cultural policy. This includes symbolic initiatives, among which is the creation of the `European Cities of Culture' (ECC), that are a primary example of EU attempts at awakening European consciousness by promoting its symbols, while respecting the content of national cultures. This goes together with the realization that the idea of `Europe' as the foundation of an identity is key for the legitimization of the EU. This article addresses the question of European cultural identity (...) as it is appropriated and shaped by the EU in the process of becoming an `imagined community'. It is grounded on a critical systematization of current ideas of Europe as a cultural identity and on a fieldwork analysis of the nine ECCs in 2000. The article argues that if we are to appreciate how Europe is imagined, it is important both to take EU symbolic initiatives seriously, and to try and grasp the specificity of these symbols and the peculiar conditions of their use. (shrink)

Biennials – periodic, independent and international exhibitions surveying trends in visual art – have with startling speed become key nodes in linking production, distribution and consumption of contemporary art. Cultural production and consumption have been typically separated in research, neglecting phenomena, like biennials, sitting in between. Biennials have become, however, key sites of both the production of art’s discourse and where that discourse translates into practices of display and contexts of appreciation. They are, this article argues, key sites of art’s (...) symbolic production. Symbolic production is what makes a work, an artist, or even a genre visible and relevant, providing its sense in a system of classifications and, in an exhibition like a biennial, literally giving it a place in the scene. This article proposes a cultural analysis of biennials, focusing on the Venice Biennale, founded in 1895 and the first of the genre, through which we can trace biennials’ rise and transformations. (shrink)

This article presents a dialogue between Roland Barthes and Paolo Fabbri, which took place on 18 December 1965 in Florence, Italy. Barthes offers an engaging account of his structuralist approach to narrative, as was later published in essay form, ‘Introduction to the Structural Analysis of Narrative’, included in a special issue of Communications (Issue 8, 1966). In a cordial exchange with Fabbri, Barthes provides a more candid presentation of method than found in print, along with critical reflection of the underlying (...) importance of the structuralist approach, as perceived at the time. The interview took place as part of a small conference on narrativity. Participants included Algirdas Julien Greimas, Claude Bremond, Umberto Eco, Jules Gritti, Violette Morin, Christian Metz, and Tzvetan Todorov. Subsequently, a number of these participants contributed articles to the same issue of Communications, on the structural analysis of narrative. (shrink)