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Food security is one of the most complex problems that the world is facing today. This paper discusses the role of international trade in food security and analyzes whether there is a real option to promote or attract land investments, alongside domestic production and international trade for the nations touched by food insecurity. Considering food security as a common purpose for all nations, independently of their level of development or political ideologies, the research concludes that serious cooperation within international agricultural trade negotiations represents the main step towards resolving the most important world challenges such as achieving global food security alongside "Green Growth". International trade is connected with economic development: free trade brings on medium and long term economic growth. Fighting against poverty requires efficient economic policies and, due to the high degree of economic integration reached by the international economy, this is possible only if governments cooperate with each other and with international organizations, avoiding protectionism.

After the beginning of the experience of the center-left government in the early sixties, Italy proposes an independent and original foreign policy, consistent with its position in the Mediterranean, across the border between East and West. The preferred partner within the Warsaw Pact is Romania, considered the vanguard of a political process of internal liberalization and of political emancipation of Eastern Europe from Soviet-communism. So far, the limited historiography on the Italo-Romanian relationships has taken into account almost exclusively the economic and trade agreements. This paper, on the basis of largely unpublished documentation at the Senato della Repubblica and at the Central State's Archive in Italy, analyzes instead the main international issues of the meetings between Bucharest and Rome, namely the Détente, the Sino-Soviet conflict, the peace building in the South-East Asia, the Middle-East, the CSCE. The unpublished diary of statesman Amintore Fanfani, Minister of Foreign Affairs from 1965 to 1968, reveals how the Italian ruling class has a substantial confidence in Ion Gheorghe Maurer and Corneliu Mănescu and high expectations around an alleged non-alignment of Romania. On the other hand, the correspondence from the Italian Embassy in Bucharest for Aldo Moro (Minister of Foreign Affairs from 1969 to 1972 and from 1973 to 1974), describes the violent and authoritarian temper of the regime established by Ceauşescu in his country. In any case the Italian strategy seems then to reappraise the special partnership with Romania, in favor of a multilateral approach to the problem of Détente within the continental conference on Security and Cooperation in Europe.

A review essay on a book by the Minister Foreign Affairs, Commission for the Publication of Diplomatic Documents, I Documenti Diplomatici Italiani, Ottavo Serie 1935-1939 ([Italian Diplomatic Documents, Series VIII 1935-1939. Vols. IX and X] Rome: Instit Poligrafico & Zecca Stato, 2003).

This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay's second half, the Fund's support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.

The Nordic Region offers innovative interpretative approaches and models to overcome the "dilemma between security and prosperity". In this region, integration and fragmentation have been well-balanced and grounded on diversity. The first aim of this article is to explain the reasons for peace in Nordic Europe, a task sometimes more difficult than explaining wars. Historical cases of pacific resolution of disputes and the possible reasons for those policies are considered. Finally, the theoretical foundations of these approaches and how they influenced the political institutions are also analyzed.

This article discusses the phenomenon of self-harming or "non-Suicidal Self-In-jury" (nSSI). The International Society for the Study of Self-Injury defines non-sui cidal self-injury as the deliberate, self-inflicted damage of body tissue without suicidal intent and for purposes not socially or culturally sanctioned." The article discusses the cultural and social representations of self-injury, what is implied in it, who engages in it, and for what reasons. A lot can be deduced from interviews with self-harmers who use it to gain control over bad feelings and stress, by hurting their body and participating in risky behaviour. This dangerous activity often has more complicated sides with reference to rituals and spiritual associations to bloodletting, cleansing of all evil and healing, absolution and much wanted peace of mind. Finally, the changes in self-harming discourse and channels of communication are discussed. It has opened up during the last two decades with the arrival of social media. The self-harmers have built their own subcultures with special aesthetics and often preferring theatrical staging or performances instead of verbal expres-sion. These channels can have an uncanny power and influence over young and vulnerable people. The conclusion of the article is that all this requires an informed discussion as a special world, a special angst which is expressing itself in ways that might develop into suicidal behaviour if it is not taken seriously.