About the origins of Anglo-American poetic modernism, one thing is certain: it started with a notion of the image, described variously by Ezra Pound as an ideogram and a vortex. We have reason to be less confident, however, about the relation between these puzzling conceptions of the image and the doctrine of literary positivism that is generally held to be the most important legacy of Imagism. No satisfactory account exists, moreover, of what bearing these foundational principles may have on Pound's later engagement with fascism. Nor is it clear how figures such as the vortex and the ideogram might contribute generally to our understanding of modern visual culture and its compulsive appeal.
Radio Corpse addresses these issues and offers a fundamental revision of one of the most powerful and persistent aesthetic ideologies of modernism. Focusing on the necrophilic dimension of Pound's earliest poetry and on the inflections of materiality authorized by the modernist image, Daniel Tiffany establishes a continuum between Decadent practice and the incipient avant-garde, between the prehistory of the image and its political afterlife, between what Pound calls the "corpse language" of late Victorian poetry and a conception of the image that borrows certain "radioactive" qualities from the historical discovery of radium and the development of radiography. Emphasizing the phantasmic effects of translation (and exchange) in Pound's poetry, Tiffany argues that the cadaverous--and radiological--properties of the image culminate, formally and ideologically, in Pound's fascist radio broadcasts during World War II. Ultimately, the invisibility of these "radiant" images places in question basic assumptions regarding the optical character of images--assumptions currently being challenged by imageric technologies such as magnetic resonance imaging and positron emission tomography.
Synthesizing almost thirty years of Dutch archaeological research in central and southern Italy, this book discusses and compares settlement and land use patterns from the late protohistoric period to the late Roman Republic. Considering both social and environmental factors, the authors analyze the long-term progression of indigenous Bronze Age tribal pastoralist societies towards the complexity of urbanized Roman society. Drawing on a decade of collaboration between Dutch and Italian researchers, this exhaustive study will be of great interest to students and scholars of Mediterranean archaeology.
Renaissance Drama, an annual interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theater, and performance.
This special issue of Renaissance Drama on "Italy in the Drama of Europe" primarily builds on the groundwork laid by Louise George Clubb, who showed that Italian drama was made in such a way as to facilitate its absorption and transformation into other traditions, even when it was not explicitly cited or referenced.
"Italy in the Drama of Europe" takes up the reverberations of early modern Italian drama in the theaters of Spain, England, and France and in writings in Italian, English, Spanish, French, Hebrew, Latin, and German. Its scope is an example of the continuing force of and interest in one of the most rewarding, wide-ranging, and productive early modern aesthetic modes, and a tribute to the scholarship of Louise George Clubb, who, among others, recalled our attention to it.
Weddings in fifteenth-century Italian courts were grand, sumptuous affairs that often required guests to listen attentively to lengthy orations given in Latin. In this book, Anthony D'Elia shows how Italian humanists used these orations to support claims of legitimacy and assertions of superiority among families jockeying for power, as well as to advocate for marriage and sexual pleasure.
Humanists stressed the value of marriage in practical terms as a means for consolidating wealth, forming political alliances, and maintaining power by providing heirs. They also presented women in a positive light, as helpmates and even examples of wisdom and learning. While D'Elia focuses on Italian courts, he also examines ideas about marriage and celibacy from Antiquity to Republican Florence and Reformation Germany, revealing the continuities and distinctions between Italian humanist and Protestant thought on marriage.
In bringing to life this fascinating elite culture, D'Elia makes a valuable contribution to the history of the Renaissance, women, and the family, and to studies of rhetoric and the classical tradition.
In the aftermath of national unification in the 1860s, the Italian army was tasked with molding generations of men from warring regions and different social strata into obedient citizens of a centralized state. Integrating large numbers of the educated middle classes into the young kingdom’s armed forces proved decisive in establishing the army as the “main school” and backbone for mass nationalization. Lorenzo Benadusi examines the intersection of Italian military and civil society over the last century as they coalesced in the figure of the gentleman-officer—an idealized image of an altruistic, charming, and competent ruling class that could influence the choices, values, and behavior of the “new Italians.”
Respectability and Violence traces the relationship between civic virtues and military values from the post-Risorgimento period through the end of World War I, when the trauma of trench warfare made it necessary to again redefine ideas of chivalry and manliness and to accept violence as a necessary tool in defense of society and state. The language of conflict and attitudes about war forged in these decades—characterized by patriotism, heroism, and sacrifice—shaped the cultured bourgeoise into loyalists who ushered in Italy’s transition to a powerful Fascist political system. This unique study of the officer is crucial for understanding the military, social, and political history of Italy.
In The Restoration of the Roman Forum in Late Antiquity, Gregor Kalas examines architectural conservation during late antiquity period at Rome’s most important civic center: the Roman Forum. During the fourth and fifth centuries CE—when emperors shifted their residences to alternate capitals and Christian practices overtook traditional beliefs—elite citizens targeted restoration campaigns so as to infuse these initiatives with political meaning. Since construction of new buildings was a right reserved for the emperor, Rome’s upper echelon funded the upkeep of buildings together with sculptural displays to gain public status. Restorers linked themselves to the past through the fragmentary reuse of building materials and, as Kalas explores, proclaimed their importance through prominently inscribed statues and monuments, whose placement within the existing cityscape allowed patrons and honorees to connect themselves to the celebrated history of Rome.
Building on art historical studies of spolia and exploring the Forum over an extended period of time, Kalas demonstrates the mutability of civic environments. The Restoration of the Roman Forum in Late Antiquity maps the evolution of the Forum away from singular projects composed of new materials toward an accretive and holistic design sensibility. Overturning notions of late antiquity as one of decline, Kalas demonstrates how perpetual reuse and restoration drew on Rome’s venerable past to proclaim a bright future.
In this first comprehensive study of the effect of Lucretius's De rerum natura on Florentine thought in the Renaissance, Alison Brown demonstrates how Lucretius was used by Florentine thinkers—earlier and more widely than has been supposed—to provide a radical critique of prevailing orthodoxies.
To answer the question of why ordinary Florentines were drawn to this recently discovered text, despite its threat to orthodox Christian belief, Brown tracks interest in it through three humanists—the most famous of whom was Machiavelli—all working not as philologists but as practical administrators and teachers in the Florentine chancery and university. Interpreting their direct use of Lucretius within the context of mercantile Florence, Brown highlights three dangerous themes that had particular appeal: Lucretius's attack on superstitious religion and an afterlife; his pre-Darwinian theory of evolution; and his atomism, with its theory of free will and the chance creation of the world.
The humanists' challenge to established beliefs encouraged the growth of a "Lucretian network" of younger, politically disaffected Florentines. Brown thus adds a missing dimension to our understanding of the "revolution" in sixteenth-century political thinking, as she enriches our definition of the Renaissance in a context of newly discovered worlds and new social networks.
In 1420, after more than one hundred years of the Avignon Exile and the Western Schism, the papal court returned to Rome, which had become depopulated, dangerous, and impoverished in the papacy's absence. Reviving the Eternal City examines the culture of Rome and the papal court during the first half of the fifteenth century, a crucial transitional period before the city's rebirth. As Elizabeth McCahill explains, during these decades Rome and the Curia were caught between conflicting realities--between the Middle Ages and the Renaissance, between conciliarism and papalism, between an image of Rome as a restored republic and a dream of the city as a papal capital.
Through the testimony of humanists' rhetorical texts and surviving archival materials, McCahill reconstructs the niche that scholars carved for themselves as they penned vivid descriptions of Rome and offered remedies for contemporary social, economic, religious, and political problems. In addition to analyzing the humanists' intellectual and professional program, McCahill investigates the different agendas that popes Martin V (1417-1431) and Eugenius IV (1431-1447) and their cardinals had for the post-Schism pontificate. Reviving the Eternal City illuminates an urban environment in transition and explores the ways in which curialists collaborated and competed to develop Rome's ancient legacy into a potent cultural myth.
By the third century BC, the once-modest settlement of Rome had conquered most of Italy and was poised to build an empire throughout the Mediterranean basin. What transformed a humble city into the preeminent power of the region? In The Rise of Rome, the historian and archaeologist Kathryn Lomas reconstructs the diplomatic ploys, political stratagems, and cultural exchanges whereby Rome established itself as a dominant player in a region already brimming with competitors. The Latin world, she argues, was not so much subjugated by Rome as unified by it. This new type of society that emerged from Rome’s conquest and unification of Italy would serve as a political model for centuries to come.
Archaic Italy was home to a vast range of ethnic communities, each with its own language and customs. Some such as the Etruscans, and later the Samnites, were major rivals of Rome. From the late Iron Age onward, these groups interacted in increasingly dynamic ways within Italy and beyond, expanding trade and influencing religion, dress, architecture, weaponry, and government throughout the region. Rome manipulated preexisting social and political structures in the conquered territories with great care, extending strategic invitations to citizenship and thereby allowing a degree of local independence while also fostering a sense of imperial belonging.
In the story of Rome’s rise, Lomas identifies nascent political structures that unified the empire’s diverse populations, and finds the beginnings of Italian peoplehood.
Although Robert Klein (1918–1967), well known for his erudition and the originality of his research, was an important, even paradigmatic figure for the field of art history in the twentieth century, no sustained study has yet been dedicated to his work.
Klein undertook to rethink Renaissance art and its history from the Aristotelian notion of technē as early as the 1950s, long before anyone was interested in this other genealogy of Renaissance art. For him, the Mannerist work is intended to create awe and wonder, inviting the viewer to question the technical process, a combination of intelligence and manual skill, that made it possible to realize in this specific form.
As his newly discovered papers and unpublished manuscripts testify, technē and Mannerism are far from being Klein’s only preoccupations. Other concepts have been studied with great originality by Klein, such as mnemonic art, paragone, dream, and responsibility.
This book, proceeding from a conference organized by Villa I Tatti, Kunsthistorisches Institut in Florence, and the Institut national d’histoire de l’art (INHA) in Paris, sheds light on Klein’s investigations as well as on the intellectual journey of an important art historian and philosopher of the past century.
One of the most visited sites in Italy, the Roman Forum is also one of the best-known wonders of the Roman world. Though a highpoint on the tourist route around Rome, for many visitors the site can be a baffling disappointment. Several of the monuments turn out to be nineteenth- or twentieth-century reconstructions, while the rubble and the holes made by archaeologists have an unclear relationship to the standing remains, and, to all but the most skilled Romanists, the Forum is an unfortunate mess.
David Watkin sheds completely new light on the Forum, examining the roles of the ancient remains while revealing what exactly the standing structures embody—including the rarely studied medieval, Renaissance, and Baroque churches, as well as the nearby monuments that have important histories of their own. Watkin asks the reader to look through the veneer of archaeology to rediscover the site as it was famous for centuries. This involves offering a remarkable and engaging new vision of a well-visited, if often misunderstood, wonder. It will be enjoyed by readers at home and serve as a guide in the Forum.
Rome is not one city but many, each with its own history unfolding from a different center: now the trading port on the Tiber; now the Forum of antiquity; the Palatine of imperial power; the Lateran Church of Christian ascendancy; the Vatican; the Quirinal palace. Beginning with the very shaping of the ground on which Rome first rose, this book conjures all these cities, past and present, conducting the reader through time and space to the complex and shifting realities--architectural, historical, political, and social--that constitute Rome.
A multifaceted historical portrait, this richly illustrated work is as gritty as it is gorgeous, immersing readers in the practical world of each period. James McGregor's explorations afford the pleasures of a novel thick with characters and plot twists: amid the life struggles, hopes, and failures of countless generations, we see how things truly worked, then and now; we learn about the materials of which Rome was built; of the Tiber and its bridges; of roads, aqueducts, and sewers; and, always, of power, especially the power to shape the city and imprint it with a particular personality--like that of Nero or Trajan or Pope Sixtus V--or a particular institution.
McGregor traces the successive urban forms that rulers have imposed, from emperors and popes to national governments including Mussolini's. And, in archaeologists' and museums' presentation of Rome's past, he shows that the documenting of history itself is fraught with power and politics. In McGregor's own beautifully written account, the power and politics emerge clearly, manifest in the distinctive styles and structures, practical concerns and aesthetic interests that constitute the myriad Romes of our day and days past.
Biondo Flavio (1392–1463), humanist and historian, was a pioneering figure in the Renaissance discovery of antiquity; famously, he was the author who popularized the term “Middle Age” to describe the period between the fall of the Roman Empire and the revival of antiquity in his own time. While serving a number of Renaissance popes, he inaugurated an extraordinary program of research into the history, cultural life, and physical remains of the ancient world.
The capstone of this research program, Rome in Triumph (1459), has been said to bear comparison with the Encyclopédie of Diderot as the embodiment of the ideals of an age, seeking as it does to answer the overarching question of humanists from Petrarch to Machiavelli: what made Rome great? To answer the question Biondo undertakes a comprehensive reconstruction of Rome’s religion, government, military organization, customs and institutions over its thousand-year history. This volume contains the first edition of the Latin text since 1559 and the first translation into any modern language.
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