My thesis explores the motivations behind the use of Apulian dialect in modern rap music.  As dialect monolingualism is becoming less common in Southern Italy, dialect has found other ways to be part of society. Dialect, a language of typically older generations, is finding itself inserted into one of the newest genres of music, rap. Although at first, the two are from seemingly different worlds, they combine perfectly to express Apulian pride.  Famous Apulian artists like Caparezza, Sud Sound System, and Boomdabash have started to use dialect in their raps for a variety of reasons, ranging from its more flexible syllable structure to its ability to connect back to their Apulian roots. This research draws on interviews with Apulian rappers, producers, and even a mayor, to provide an answer behind this linguistic phenomenon. Lyrics are also broken down to further explain the particular context for each artist.

The fast fashion industry’s economic success, yet continuous failure to address labor exploitation, has been a long-standing issue. By using the pronto moda industry in Prato, Italy as a case study in understanding the exploitative nature of the fast fashion business model, I argue that the success of the fast fashion industry comes at the cost of laborers' livelihoods. Due to globalization and the restructuring of the clothing industry, the manufacturing process has become increasingly complex and multi-layered. This intricate system has created a new context for the workforce, such as the possibility for individuals to seek work abroad. The mobile workforce has thus become a hallmark of globalization. In this situation, undocumented migrant workers are particularly vulnerable to exploitation because of the barriers they face as immigrants. Additionally, I analyze the Wenzhou Model and the concept of guanxi in relation to the Chinese diaspora. Undocumented migrant workers in co-ethnic firms are especially vulnerable because employers use guanxi as a mechanism of normalizing exploitation. 

The starting point of my thesis was canto XXVI of Dante’s Inferno, the canto of Ulysses: not only is it one of the most memorable cantos of the Inferno, it is also the main subject of an entire chapter in Primo Levi’s Se questo è un uomo. Indeed, there are far many more references to Dante that Primo Levi makes throughout his works, from a psychological analysis of count Ugolino (canto XXXIII) in I sommersi e i salvati, to his awareness of and appreciation for the formidable power of poetry. The innumerable allusions to Dante are indicative of a connection that is deeper than simply a textual one; rather the Inferno acts as an intricate framework through which Levi can contemplate and challenge questions on ethics, morality and the human existence. Furthermore, Dante’s work also allows us the opportunity to pose questions about Levi as a survivor of Auschwitz and a writer: indeed, both Dante and Levi shared a pressing need to communicate their experiences to others. The ineffability associated with both experiences highlights numerous challenges regarding memory that continue to persist today. To connect Primo Levi and Dante is to create a cohesive cultural narrative that taps into public memory and to question what the true meaning of justice and salvation in the face of tragedy is.