A SCHOLARLY BOOK REPOSITORY27 start with H start with H
Drawing on over four thousand pages of primary sources, the intrepid Craig A. Monson reconstructs this fascinating history of crime and punishment in seventeenth-century Italy. Along the way, he explores Italy’s back streets and back stairs, giving us access to voices we rarely encounter in conventional histories: prostitutes and maidservants, mercenaries and bandits, along with other “dubious” figures negotiating the boundaries of polite society. Painstakingly researched and breathlessly told, Habitual Offenders will delight historians and true-crime fans alike.
Mapping the transformation of media activism from the seventies to the present day
Hacked Transmissions is a pioneering exploration of how social movements change across cycles of struggle and alongside technology. Weaving a rich fabric of local and international social movements and media practices, politicized hacking, and independent cultural production, it takes as its entry point a multiyear ethnography of Telestreet, a network of pirate television channels in Italy that combined emerging technologies with the medium of television to challenge the media monopoly of tycoon-turned-prime minister Silvio Berlusconi.
Street televisions in Italy represented a unique experiment in combining old and new media to forge grassroots alliances, fight social isolation, and build more resilient communities. Alessandra Renzi digs for the roots of Telestreet in movements of the 1970s and the global activism of the 1990s to trace its transformations in the present work of one of the network’s more active nodes, insu^tv, in Naples. In so doing, she offers a comprehensive account of transnational media activism, with particular attention to the relations among groups and projects, their modes of social reproduction, the contexts giving rise to them, and the technology they adopt—from zines and radios to social media. Hacked Transmissions is also a study in method, providing examples of co-research between activist researchers and social movements, and a theoretical framework that captures the complexities of grassroots politics and the agency of technology.
Providing a rare and timely glimpse into a key activist/media project of the twenty-first century, Hacked Transmissions marks a vital contribution to debates in a range of fields, including media and communication studies, anthropology, science and technology studies, social movements studies, sociology, and cultural theory.
In 1852 Hosmer moved from Boston to Rome, where she shared a house with actress Charlotte Cushman and soon formed close friendships with such prominent expatriates as Robert and Elizabeth Barrett Browning and fellow sculptors John Gibson, Emma Stebbins, and William Wetmore Story. References to Hosmer or characters inspired by her appear in the work of Nathaniel Hawthorne, Louisa May Alcott, and Kate Field among others. Culkin argues that Hosmer's success was made possible by her extensive network of supporters, including her famous friends, boosters of American gentility, and women's rights advocates. This unlikely coalition, along with her talent, ambition, and careful maintenance of her public profile, ultimately brought her great acclaim. Culkin also addresses Hosmer's critique of women's position in nineteenth-century culture through her sculpture, women's rights advocates' use of high art to promote their cause, the role Hosmer's relationships with women played in her life and success, and the complex position a female artist occupied within a country increasingly interested in proving its gentility.
So begins Fulvio Tomizza's absorbing account of the true story of Maria Janis, a devout peasant woman from the mountains north of Bergamo. Too poor to enter a convent, Maria had set out to serve God by relinquishing the little she had, through renunciation of all food but the bread and wine of communion. Encouraged by the restless village priest Pietro Morali, Maria claimed to have existed in this sanctified state for five years. During this time, she, Morali, and the weaver Pietro Palazzi travel from a little village in the Alps to Rome and then to Venice, where their alleged sacrilege is discovered and they are brought to trial. Both revered as a saint and reviled as a fraud, Maria with her "privilege" inspires and threatens believers within the Church. Combining the historian's precision with the novelist's imagination, Tomizza painstakingly reconstructs her story, crafting a fascinating portrait of sublimated love, ambition, and jealousy.
Heavenly Supper alternates a chronological account of the trial with analyses of each protagonist's life history. Along the way, Tomizza gives voice to the minds and hearts of his characters, allowing them to speak for themselves in their own words. The world he recreates resonates with the fervor of the Counter Reformation when faith and its consequences were rigidly controlled by the Church. As suspenseful as a detective novel, Tomizza's story goes beyond the trial to evoke a panoramic view of seventeenth-century Italian culture.
Presents a comparative and textual exploration of Gramsci's interpretation of Machiavelli's political analyses. This valuable contribution to our understanding of Gramsci includes a comparison of the major Machiavellian ideas such as the nature of political knowledge, the new principality, the concept of the people, and the relation between thought and action, to Gramsci's concepts of hegemony, moral and intellectual reform, and the collective will.
Drawing on extensive research in public and private archives and interviews with family members of fieldworkers, James R. Dow uncovers both details of the SS cultural commissions' work and the continuing vestiges of the materials they assembled. Teams of poorly qualified and ideologically motivated collectors were sent to South Tyrol in Italy and Gottschee in Slovenian Yugoslavia, from which ethnically German communities were to be resettled in the German Reich. Although a mass of information on narratives, songs and dances, beliefs, customs, local clothing and architecture, and folk speech was collected, the research was deeply tainted and skewed by racialist and nationalist preconditions. Dow sharply critiques the continued use of these ersatz archives.
The research and analysis presented here are the work of the late David Frederick Grose, who began this project when no other city site excavations in Italy focused on ancient glass. He confirmed that the Roman glass industry began to emerge in the Julio-Claudian era, beginning in the principate of Augustus. His study traces the evolution of manufacturing techniques from core-formed vessels to free blown glass, and it documents changes in taste and style that were characteristic of the western glass industry throughout its long history.
At the time of Grose’s unexpected passing, his study was complete but not yet published. Nevertheless, the reputation of his work in this area has done much to establish the value and importance of excavating and researching Cosa’s glass. This volume, arranged and edited by R. T. Scott, makes Grose’s essential scholarship on the subject available for the first time.
In evocative prose, complemented by a rich selection of historical images, Richard Owen takes us on a tour through Hemingway’s Italy. He describes how Hemingway first visited the country of the Latins during World War I, an experience that set the scene for A Farewell to Arms. Then after World War II, it was in Italy that he found inspiration for Across the River and into the Trees. Again and again, the Italian landscape—from the Venetian lagoon to the Dolomites and beyond—deeply affected one of the greatest writers of the twentieth century. Hemingway in Italy demonstrates that Italy stands alongside Spain as a key influence on Hemingway’s work—and why the Italians themselves hold Hemingway and his writing close to their hearts.
Evoking in vivid detail the literary world in Rome at the turn of the century, Her Husband tells the story of Silvia Roncella, a talented young female writer, and her husband Giustino Boggiolo. The novel opens with their arrival in Rome after having left their provincial southern Italian hometown following the success of Silvia’s first novel, the rather humorously titled House of Dwarves. As his wife’s self-appointed (and self-important) promoter, protector, counselor, and manager, Giustino becomes the primary target of Pirandello’s satire. But the couple’s relationship—and their dual career—is also complicated by a lively supporting cast of characters, including literary bohemians with avant-garde pretensions and would-be aristocratic esthetes who are all too aware of the newly acquired power of journalists and the publishing establishment to make or break their careers. Having based many of the characters—including Silvia and Giustino—on actual literary acquaintances of his, Pirandello reacted to the novel’s controversial reception by not allowing it to be reprinted after the first printing sold out. Not until after his death were copies again made available in Italy.
Readers will find Her Husband eerily evocative of the present in myriad ways—not the least of which is contemporary society’s ongoing transformation wrought by the changing roles of men and women, wives and husbands.
The ruling elite in ancient Rome sought to eradicate even the memory of their deceased opponents through a process now known as damnatio memoriae. These formal and traditional practices included removing the person's name and image from public monuments and inscriptions, making it illegal to speak of him, and forbidding funeral observances and mourning. Paradoxically, however, while these practices dishonored the person's memory, they did not destroy it. Indeed, a later turn of events could restore the offender not only to public favor but also to re-inclusion in the public record.
This book examines the process of purge and rehabilitation of memory in the person of Virius Nicomachus Flavianus(?-394). Charles Hedrick describes how Flavian was condemned for participating in the rebellion against the Christian emperor Theodosius the Great—and then restored to the public record a generation later as members of the newly Christianized senatorial class sought to reconcile their pagan past and Christian present. By selectively remembering and forgetting the actions of Flavian, Hedrick asserts, the Roman elite honored their ancestors while participating in profound social, cultural, and religious change.
Tarquini sketches the universe of Italian fascism in three broad directions: the regime’s cultural policies, the condition of various art forms and scholarly disciplines, and the ideology underpinning the totalitarian state. She details the choices the ruling class made between 1922 and 1943, revealing how cultural policies shaped the country and how intellectuals and artists contributed to those decisions. The result is a view of fascist ideology as a system of visions, ideals, and, above all, myths capable of orienting political action and promoting a precise worldview.
Building on George L. Mosse’s foundational research, Tarquini provides the best single-volume work available to fully understand a complex and challenging subject. It reveals how the fascists used culture—art, cinema, music, theater, and literature—to build a conservative revolution that purported to protect the traditional social fabric while presenting itself as maximally oriented toward the future.
However swiftly it passes, youth is always with us, a perpetual passing phase, an apprenticeship to the myriad ways of the world, subject of panegyrics and diatribes, romances and cautionary tales from antiquity to our day. This two-volume history is the first to present a comprehensive account of what youth has been in the West and what it has meant through the ages. Brought together by Giovanni Levi and Jean-Claude Schmitt, a company of gifted historians and social scientists traces the changing character and status of young people from the gymnasia of ancient Greece to the lycées of modern France, from the sweatshops of the industrial revolution to the crucibles of Nazi youth.
Monumental in its scope, minute in its attention to detail, A History of Young People takes us into the sensational rituals surrounding youth in Roman antiquity (such as the Lupercalia, with its nudity and whipping) and into the chivalric trials awaiting the privileged young of the Middle Ages. Elisabeth Crouzet-Pavan and Michel Pastoureau explore the elusive question of what defines youth, a concept that over time has reached from infancy to the age of forty. Elliott Horowitz and Renata Ago consider the young in the context of the family--within the different worlds of European Judaism and Catholicism through the Renaissance. Sabina Loriga takes us through three centuries of military experience to temper and complicate our assumptions about the youthful face of war. Michelle Perrot focuses on working-class youth, and Jean-Claude Caron on the young at school. The obedient and the rebellious are here, the cherished and the sacrificed, the children catapulted into adult responsibility, the adults who have yet to forsake the protections of childhood. What emerges in this history as never before is a vast, richly textured picture of youth as a changing constant of culture, society, economics, politics, and art, and as a uniquely complex experience of acculturation in every life.
However swiftly it passes, youth is always with us, a perpetual passing phase, an apprenticeship to the myriad ways of the world, subject of panegyrics and diatribes, romances and cautionary tales from antiquity to our day. This two-volume history is the first to present a comprehensive account of what youth has been in the West and what it has meant through the ages. Brought together by Giovanni Levi and Jean-Claude Schmitt, a company of gifted historians and social scientists traces the changing character and status of young people from the gymnasia of ancient Greece to the lycées of modern France, from the sweatshops of the industrial revolution to the crucibles of Nazi youth.
Monumental in its scope, minute in its attention to detail, A History of Young People takes us into the sensational rituals surrounding youth in Roman antiquity (such as the Lupercalia, with its nudity and whipping) and into the chivalric trials awaiting the privileged young of the Middle Ages. Elisabeth Crouzet-Pavan and Michel Pastoureau explore the elusive question of what defines youth, a concept that over time has reached from infancy to the age of forty. Elliott Horowitz and Renata Ago consider the young in the context of the family--within the different worlds of European Judaism and Catholicism through the Renaissance. Sabina Loriga takes us through three centuries of military experience to temper and complicate our assumptions about the youthful face of war. Michelle Perrot focuses on working-class youth, and Jean-Claude Caron on the young at school. The obedient and the rebellious are here, the cherished and the sacrificed, the children catapulted into adult responsibility, the adults who have yet to forsake the protections of childhood. What emerges in this history as never before is a vast, richly textured picture of youth as a changing constant of culture, society, economics, politics, and art, and as a uniquely complex experience of acculturation in every life.
"Everyone interested in anorexia nervosa . . . should skim this book or study it. It will make you realize how dependent upon culture the definition of disease is. I will never look at an anorexic patient in the same way again."—Howard Spiro, M.D., Gastroenterology
"[This] book is a first-class social history and is well-documented both in its historical and scientific portions."—Vern L. Bullough, American Historical Review
"A significant contribution to revisionist history, which re-examines events in light of feminist thought. . . . Bell is particularly skillful in describing behavior within its time and culture, which would be bizarre by today's norms, without reducing it to the pathological."—Mary Lassance Parthun, Toronto Globe and Mail
"Bell is both enlightened and convincing. His book is impressively researched, easy to read, and utterly fascinating."—Sheila MacLeod, New Statesman
Margaret F. Rosenthal draws a compelling portrait of Veronica Franco in her cultural social, and economic world. Rosenthal reveals in Franco's writing a passionate support of defenseless women, strong convictions about inequality, and, in the eroticized language of her epistolary verses, the seductive political nature of all poetic contests. It is Veronica Franco's insight into the power conflicts between men and women—and her awareness of the threat she posed to her male contemporaries—that makes her literary works and her dealings with Venetian intellectuals so pertinent today.
Combining the resources of biography, history, literary theory, and cultural criticism, this sophisticated interdisciplinary work presents an eloquent and often moving account of one woman's life as an act of self-creation and as a complex response to social forces and cultural conditions.
"A book . . . pleasurably redolent of Venice in the 16th-century. Rosenthal gives a vivid sense of a world of salons and coteries, of intricate networks of family and patronage, and of literary exchanges both intellectual and erotic."—Helen Hackett, Times Higher Education Supplement
The Honest Courtesan is the basis for the film Dangerous Beauty (1998) directed by Marshall Herskovitz. (The film was re-titled The Honest Courtesan for release in the UK and Europe in 1999.)
"Lively and curious reading, particularly in its cascade of anecdote, offered in a breezy, cozy, journalistic style." —Lauro Martines, Times Literary Supplement
"[Bell's] fascinating book is a window on a lost world far nearer to our own than we might imagine. . . . How pleasant to read his delightful, informative and often hilarious book." —Kate Saunders, The Independent
"An extraordinary work which blends the learned with the frankly bizarre." —The Economist
"Professor Bell has a sly sense of humor and an enviably strong stomach. . . . He wants to know how people actually behaved, not how the Church or philosophers or earnest humanists thought they should behave. I loved this book." —Christopher Stace, Daily Telegraph
This book provides the point of departure for anyone wishing to study Huguccio first-hand. It will be worthy reading for students of medieval canon law and an essential addition to all libraries supporting research in medieval studies.
Humanism and Secularization offers a nuanced account of humanists contesting medieval ideas about authority not in order to reject Christianity or even orthodoxy, but to claim for themselves the right to define what it meant to be a Christian. Fubini analyzes key texts by major humanists—isuch as Petrarch, Poggio, and Valla—from the first century of the movement. As he subtly works out these authors’ views on religion and the Church from both biographical and textual information, Fubini reveals in detail the new historical consciousness that animated the humanists in their reading of classical and patristic texts. His book as a whole shows convincingly just how radical the humanism of the first half of the fifteenth century was and how sharply it challenged well-entrenched ideas and institutions. Appearing here in English for the first time, his work provides a model set of readings of humanist texts and a critical perspective on Italian humanism that will alter and enrich discussion and understanding of the nature of the humanist movement.
The disciplines now known as the humanities emerged in their modern form during the Italian Renaissance as the result of an educational movement begun by humanist teachers, writers, and scholars in the early fourteenth century. These educators argued for the usefulness of classical literature as an instrument for training young men and women, not only in the arts of language and eloquence, but also in civic virtue and practical wisdom.
This volume provides new translations, commissioned for the I Tatti Renaissance Library, of four of the most important theoretical statements that emerged from the early humanists’ efforts to reform medieval education: Pier Paolo Vergerio, “The Character and Studies Befitting a Free-Born Youth”; Leonardo Bruni, “The Study of Literature”; Aeneas Silvius Piccolomini (Pope Pius II), “The Education of Boys”; and Battista Guarino, “A Program of Teaching and Learning.”
The original text of these four documents with Craig W. Kallendorf’s translation is also available in a facing-page edition.
The cycle of disciplines now known as the humanities emerged in their modern form during the Italian Renaissance as the result of an educational movement begun by humanist teachers, writers, and scholars of the early Quattrocento. The movement argued for the usefulness of classical literature as an instrument for training young men and women, not only in the arts of language and eloquence, but also in civic virtue and practical wisdom. This volume contains four of the most important theoretical statements that emerged from the early humanists’ efforts to reform medieval education.
The four texts are Pier Paolo Vergerio, “The Character and Studies Befitting a Free-Born Youth”; Leonardo Bruni, “The Study of Literature”; Aeneas Silvius Piccolomini (Pope Pius II), “The Education of Boys”; and Battista Guarino, “A Program of Teaching and Learning.” The Vergerio and Guarino texts appear in English for the first time.
This newest volume in The Works of Giuseppe Verdi series comprises his only two surviving secular choral works: Inno popolare, or Hymn of the People, for unaccompanied male chorus, and Inno delle nazioni, or Hymn of the Nations, for tenor solo, chorus, and orchestra.
Verdi wrote the brief Inno popolare in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, intending that it become an anthem for Italy at a time when the country had just driven away its Austrian overlords. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London’s International Exhibition of 1862. The resulting piece was Inno delle nazioni, the critical edition of which is based on Verdi’s autograph score, preserved at the British Library. Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.
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