Le donne silenziate: in this first instalment, Hannah Burfield focuses on the general background of unequal power dynamics within Italy. She expands on traditionalism, in anticipation of the 20th century emergence of feminism

“There’s no better way to encapsulate it: Mavi is pure, casual magic”: Anja Gogo discloses her fieldnotes of a gem worth discovering, from the Internet to the Internet.

Reflecting post-election, Olivia Solomons provides the contextual grounds that led to a far-right outcome, exploring the unique position of Italy’s young voters, contrasting other European countries.

Iza and I never imagined looking back on a poem we wrote in Year 10. We hope our words can be mirrors for other young identities, equally conflicted, equally searching for themselves.

Harriet Gilbert Savage frames the unique aliveness of Strangers I know, reviewing and exploring the complex paradox of simultaneous proximity and distance.

With a welcome deviation from traditional Renaissance focus, Camilla Allibone celebrates Battiferra’s transcendence. In terms of the female image, she analyses her portrait as literal art and as a symbolical vector.

With a deeply immersive viewpoint, Harriet Gilbert Savage explores the Neapolitan phoenix through second-hand encounters, leaving us enchanted by the city’s inescapable magnetism.

Retracing back to life’s simple pleasure, Anja Gogo challenges the utopic aura of the dolce far niente, exploring what it really means to be maestri dell’improvvisare.

With her first article as columnist, Camilla Allibone proposes a rediscovery of the celebrated Italian Renaissance through the lens of the female experience.

As Valentine’s and singles’ day approach, Anja Gogo interviews the Italians’ perspective on love, exploring the difficulties and benefits of online dating

In the occasion of Holocaust Memorial Day, Anja Gogo pays her own cinephile tribute by reviewing Life is beautiful, navigating controversies and deeper meanings.

Jenny Frost reviews Paolo Sorrentino’s latest film, The Hand of God, which explores the director’s childhood and his life-saving obsession with Diego Maradona.