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This clear and precise text intelligently traces the presence of Italians in Florida from Christopher Columbus through New Spain, the British possession of Florida, and into the twenty-first century, thus allowing its readers a panoramic understanding of the Italian experience in Florida. Italian Bookshelf world.

This consideration is of particular importance because nearly half of the Italian peninsula belonged to the Spanish crown for hundreds of years prior to the unification of the Italian State. Similarly, the rich detail and the enthusiastic narration found in this text is at times anachronistic, forcing the reader to sometimes move through several decades of history on a single page, only to revisit some of those same years later in similar contexts of this work.

This aspect grants his book an authentic view into the personal nature of the Italian American community in Florida. The detailed histories of so many Italian Americans there allow contemporary readers to relate to the maturation of this ethnic group, providing them with a semantic understanding of how the large Italian American community in Florida has taken its shape in the twentieth century. Indeed, the enormous internal migration of Italian Americans within the United States is a topic often ignored in the interest of focusing on established communities of Italians and Italian Americans.

The irony is that the very territorial fluidity of the Italian American people that first brought Italian immigrants to the United States to allow them to more easily establish themselves in cities and towns favorable to their particular needs and wants. The very lack of social crystallization in this once entirely itinerant community is what allows Italian Americans such a powerful national presence today as well as a common national character and history.

As Mormino rightly indicates, Italian American unity in Florida and throughout the United States is regularly found despite the great cultural, historical, and linguistic fragmentation amongst immigrant Italians as well as the spatial and communicative separation of most Italian American communities prior to the second half of the twentieth century.

Current mass migration of Italian Americans from areas that historically held large Italian American populations in the Northeastern, Midwestern, and Western parts of the United States to Southeastern and Southwestern states that historically held very small communities of Italian Americans, is transforming the Italian American reality from an often regional ethnic group into a national social presence.

This communal change acknowledges its common social history as well as its success in achieving, as a group, comfortable integration into dominant American society and the attainment of the very American dream that the immigrants from Italy originally hoped to provide for their descendants.

Florida today has become the fourth largest state in the union, with a population that is a mosaic of different cultural, linguistic, and racial communities. Italian Bookshelf is a very present and contemporarily relevant part of this multicultural society. Although the author rarely focuses on how Floridian Italian Americans identify within their own group, the later chapters of Italians in Florida underline the achievements of well known and influential Italian American individuals in Florida, thus allowing readers to question how the larger Italian American community identifies itself in its new American context.

The examination of a notable few who have achieved success, wealth, or fame does not assure that these individuals also associate with the very same Italian American community from which their forefathers came. Indeed, in Italians in Florida one can see how Italian Americans are more American now than at any other part in their history; presently, because of the small number of immigrants from Italy, this change is expected to continue.

In Florida, however, this transformation is not a threat to the nature of its Italian community. Mormino regularly emphasizes how the State greatly benefits from a national Italian American bourgeoisie migration that understands Italian culture to be a chosen luxury far more than an expression of personal ethnic identity.

The scope of this work accurately illustrates the history of Italians in Florida. Aside from Gary Mormino, few historians have studied the Italian presence in Florida in such a way that its community is shown to belong to nearly five hundred years of continuous American history. More works like this book by Mormino are needed in Italian studies as they are excellent resources for students of Italian American culture; moreover, they offer the average reader a panoramic social reference that is rarely seen in cultural studies.

Alan G. Hartman, Mercy College Portia Prebys, ed. These young people are often, of course, not Italian but foreign college students, a great many of them American. For those involved in academe it comes as no surprise, for study abroad has been growing rapidly in popularity. In some institutions it has become almost a rite of passage, and in a few it has even become a requirement for graduation.

Italian Bookshelf Educating in Paradise: Thirty Years of Realities and Experiences of North American Colleges and Universities in Italy, editor Portia Prebys offers some interesting statistics: in there were 10, students traveling to Italy through North American college and university programs assuming that a number of institutions pass underneath the radar, my guess is that this number may well be higher. Florence and Rome, not surprisingly, host the largest numbers of American students, coming in, respectively, at 4, and 3, The increasing numbers of students as well as the growing numbers of American sponsoring institutions have made evident the need for an organizational entity able to coordinate and integrate this not insignificant influx with the existing Italian structures.

Equally important, the book offers a back-room look at the potential hurdles and bureaucratic difficulties faced by American institutions in the organization and administration of programs in Italy. Part of the book is also devoted to describing the cultural programs and events initiated by the AACUPI in order to foster collaboration and interaction between American and Italian students, faculty, and administrators.

While readers may find Educating in Paradise contains too many association-specific details in the first part, at the same time they will also find substantive information and data. Though the book is probably most useful for faculty and administrators who have direct dealings with programs abroad, it is likely that readers, whether or not they have now or are planning to have a program in Italy, will have some regular contact either with programs or with participating students, and will find this book to be a good source of information and reflection.

Nuova edizione riveduta e ampliata. Milano, Bibliografica, Segatori e V. Chicago: The University of Chicago Press, Se si interrogano le varie versioni della storia di Pinocchio, incluse le trasposizioni filmiche da Giulio Antamoro a Comencini e Benigni , si conferma questo suo status di icona nazionale. Le strade che si possono aprire in questo senso sono molte. Dietro la scelta della direzione teorica intrapresa dalla StewartSteinberg, incontriamo, fra gli altri, i nomi di Freud, Foucault, Althusser, Roberto Esposito, e il biologo Rudolf Virchow.

Proprio in questo sta il merito della Stewart-Steinberg: mettere in evidenza che alle questioni relative alle dinamiche culturali va premesso lo studio dei loro fondamenti teorico-critici. Il misterioso spirito della fiaba di Collodi ci invita a giocare con gli spiriti e le ossessioni della Nuova Italia, anticipandone le matrici moderniste.

Enciclopedie medievali: Storia e stile di un genere. Lavis, Italy: La Finestra, This slim volume provides an overview of encyclopedias written between the sixth and sixteenth centuries. Italian Bookshelf such anthologies Before more detailed enumerations of achievements during two periods, we find a capsule characterization of each phase : from the sixth century through the twelfth the main preoccupation was transmission of the GrecoRoman heritage, while anthologists of later years — spurred by developments central to the Renaissance of the Twelfth Century — strove to satisfy the need to incorporate a wealth of scientific knowledge furnished by Greco-Arabic sources, as well as a rising demand for materials caused by the increasing number of schools and universities.

As is true of other works cited in this section, the third, tripartite compilation, widely diffused and translated, aspired to put all of human knowledge into the hands of clerics, the ultimate goal being salvation. A discussion of anthologies in the vernacular refers to such scholars as Brunetto Latini and Ramon Llull, before turning to Italian encyclopedias dating from the crucial period around the year Italian Bookshelf volume are inventories of the contents of certain collections touched on some more complete than others; and a bibliography The analysis evinces a laudably clear and careful treatment of its subject.

Those familiar with medieval studies will recognize that it offers no new material, which is, of course, in keeping with its nature as propaedeutic to a dissertation. Enciclopedie medievali will be of greatest utility to those possessing a sound grasp of Italian, who desire an easy entry into the field. Too often previous modes of thought remain entirely enigmatic to later audiences.

Michael T. Ward, Trinity University Roberta Antognini. Il Progetto Autobiografico delle Familiares di Petrarca. Milano: LED, Il libro della Antognini raccoglie per la prima volta il frutto di una ricerca iniziata dalla sua tesi di PhD e pubblicata finora solo in forma parziale. Italian Bookshelf Piuttosto che un insieme eterogeneo di testi isolati, a detta della studiosa, anche le Familiares formano una raccolta compatta che nasconde una struttura profonda, le cui ragioni filosofiche sono fornite da Petrarca stesso Il progetto petrarchesco, secondo la studiosa, nascerebbe da una riflessione sul rapporto tra tempo e memoria ispirata alle Confessioni di Agostino Italian Bookshelf elegante, questa lettura di Agostino si ricollega agli studi di Eugene Vance e Paul Ricoeur, e riesce a fornire al lettore delle Familiares un approccio interessante e produttivo.

In questa lunghissima sezione del libro, la studiosa dimostra con grande efficacia come la dialettica di intentio e distentio sia riconoscibile dietro la struttura della raccolta e di singole lettere, come per esempio nel libro VII , nella discussione sul tempo che si trova nel libro X , oppure nella complessa architettura del libro XII La metafora in Dante.

Firenze: Leo Olschki Editore, Italian Bookshelf armati [ Per quanto riguarda il primo impiego, nella profezia di Brunetto ove il dolce fico, v. Silvia Finazzi si occupa delle metafore scientifiche nella Commedia, con speciale attenzione alla rappresentazione della corporeitas luminosa Si veda, a questo proposito, in particolare la fine analisi di Par. Italian Bookshelf Albert Russell Ascoli.

Dante and the Making of a Modern Author. Cambridge: Cambridge UP, Twenty years later, all Italianists will agree that Ascoli has fully justified the wait. Dante and the Making of a Modern Author is a brilliant work, comprehensive in scope, convincing in its conclusions, abounding in original insights, exhaustively researched, philologically rigorous, theoretically sophisticated.

The volume is a permanent contribution to Dante scholarship, but it will command a wider audience; anyone interested in the medieval or modern idea of authorship will need to ponder this book. Ascoli therefore divides his book into two parts.

He treats the earlier works in the first part, the Monarchia and Comedy in the second. In both he demonstrates that Dante sought to legitimate his authority by moving among its textual, social, political, and ecclesiastical forms rather than by confining himself to any one of them. Italian Bookshelf nobility depends neither on genealogy nor antiquity is a strategy of selflegitimation; it allows the poet to corroborate the absolute sovereignty of emperor and philosopher within his domain, to limit the extent of these domains, and to fill the space he has opened with a new conception of personal authority.

Ascoli also astutely demonstrates that by adopting the role of disinterested, third-person commentator, Dante sidesteps the suspicion that he does not owe his authority to the illustriousness of his vernacular, as he claims, but has generated its status to substantiate his own.

These bifurcated Dantes, Ascoli argues, are not rescinded by the seamlessly sutured poeta-personaggio and the formal unity of the Commedia; they rather delineate the preconditions of its selfrepresentational strategies.

The Commedia and Monarchia in fact exhibit the same tension between impersonal authority and individual will as the earlier works, but Dante more imaginatively masks their internal conflict. Yet even here, as Dante delimits the power of Church and Empire by asserting the unassailable dominion of the one in spiritual, the other in temporal affairs, he authorizes himself in a new way, Ascoli argues, as a Daniel-like prophet-messenger from God, at once subject to crown and miter and outside their jurisdiction.

At the same time, by joining Virgil and his bella scola, Dante de-historicizes himself. In Purgatorio , Dante reaffirms and interrogates these two predicates of poetic authority. Dante in turn becomes one with Paul and the other human authors of the Bible: a fittingly authoritative conclusion, this, to a superb book, whose learning and intelligence do justice to the author it treats.

Paris: Presses Sorbonne Nouvelle, In this volume, the articles share the theme of the dialogue of a given author with and within his own works. The underlying premise of this issue is that each contributor examine a work in prose, ideally a letter, and a work in verse by the same author, with an eye to seeing how the author developed his thinking or commented on his own writing.

The Avant-Propos by Anna Fontes Baratto does an excellent job of preparing the reader for what follows. She reminds us that Italian literature has as its first examples dialogue poetry, as in the case of St Francis 7 , who addresses God directly.

She reminds the reader that medieval Italian literature has a precise audience, and that authors were in constant dialogue with their contemporaries. More often than not, this dialogue took the form of an exchange of letters 8. Such interactions allowed these authors not only to speak to their readers and to their critics, but also to respond to these interlocutors. Italian authors, in their epistles, were also able to address their own works and to respond to their own poetry. Le Lay argues convincingly that Guittone developed his ideas over a long period, that he was not suddenly swayed by political events such as the battle of Montaperti, and that if a conversion occurred, it was as Guittone moved from purely lyric poetry to a higher moral tone and to a position of greater literary authority Robin sees a conversation among these three texts.

Italian Bookshelf Compiuta Donzella. For Robin, the lady in question is not the receiver of the message, but the speaker of the words that Canzone I addresses to a real person, Corrado da Starleto, an important literary patron, an individual familiar with the Occitan corpus, since he requested that Uc de Saint Circ compose the Donatz Proensals for him Later in time is Franco Sacchetti, whose concerns were somewhat different.

In the beginning, the sun is a symbol of equality, representing a balance between temporal and spiritual powers. Gagliano brings sonnets from the Rerum vulgarium fragmenta together with the letters. The anti-Avignon tone of these works has been noted previously; Gagliano adds that the two texts share a prophetic stance adopted by Petrarch, in part in imitation of Dante, as Petrarch sought to wear the same moral, political and cultural crown as his predecessor She notes how both texts address the critical issues of fleeting time, the approach of death, concerns of last days and of personal reputation Most of the authors appear very familiar with scholarship in France and in Italy, less so with scholarship in the English-speaking world only Battesti seems aware of work being done in North America.

The essays in this volume are interesting, although this reviewer has the sense of the group speaking to itself. How much this volume will add to the knowledge of scholars of medieval Italian literature is hard for me to judge.

I found the arguments of the authors convincing, the idea of bringing different works by a same author together a useful starting point. I would have liked to see some discussion by the editor of the volume of an interchange among the four featured authors, but perhaps that is too much to ask.

Wayne Storey, eds. Petrarch and the Textual Origins of Interpretation. Leiden: Brill, This volume contains ten essays by noted literary scholars and philologists which were originally presented at a conference held at Columbia University on 10 December, The great poet cannot be read correctly, she argues, unless we understand the interplay between his texts and their material preparation and reception in fourteenth-century manuscript culture.

As Barolini writes, even when literary critics do not engage in philology, they are obliged to acknowledge if their opinions are — or, conversely, are not — philologically based. Each in its individual way, the essays of the volume revolve around the theme of Petrarch both as a humanist writer and as a medieval book-maker. As an example, she notes that sixteenthcentury editors of the Canzoniere attached the rubrics of In vita and In morte to the two divisions of the collection, rubrics not authorized by Petrarch himself.

After the rubrics became standard, later editions questioned the break at canzone , since Laura does not die until sonnet ; some went so far as to postpone In morte until the later poem, even though Petrarch clearly intended the second portion to begin at In a similar vein, Barolini writes, the twentieth-century scholar Ernest Hatch Wilkins hypothesized that the first portion in the so-called pre-Chigi form of the collection ended at the anniversary poem , even though the actual Chigi form has the break occurring after Again, the intent of providing a narrative continuity to the poetic collection outweighed the philological data that placed the division elsewhere.

Rather, it is more accurate to describe it at that time as a collection of loose quaternions. Warkentin then notes that a folded page in one of the quires demonstrates that a folio was subsequently added to it. That information subverts the view posited by Wilkins that Petrarch always compiled his poetry in a deliberate, orderly fashion; it suggests, rather, a more casual accumulation of works on the part of the poet. Similarly, H. Storey concludes that the final copy of Rerum vulgarium fragmenta may not necessarily reflect his wishes for the work.

Del Puppo re-examines the value of descripti, manuscripts clearly derived from other manuscripts, which, as copies, can be ruled out in a philological stemma. Del Puppo demonstrates how descripti can help emend a text, as well as illustrate its reception among literati in later centuries. Italian Bookshelf Genesis of the Triumphi.

In his letters Petrarch spells out that he follows Cicero — indeed, he explains, that is why he entitles his letter collection as Familiares. Petrarch complains that the scholar cites classical authors to show off his erudition without a profound understanding of them. While less philological than those dealing with Rerum vulgarium fragmenta, the studies on the minor works illustrate that the poet Petrarch cannot be divorced from the humanist philologist Petrarch.

Taken individually, each of the studies represents an important contribution to Petrarch scholarship. But taken together, the volume represents a tour de force in Italian medieval studies. Giovanni Bellini. London: Reaktion Books Ltd. Italian Bookshelf raffigurazione di un dolore universale che si ritrae sul viso del Cristo morto.

Lo stesso avviene con la rappresentazione della Madonna con bambino che sfuma, con Bellini, la sua configurazione astratta e di maniera. Va infine menzionato il ruolo di Bellini come Pictor Nostri Domini, ossia pittore ufficiale della Repubblica. Questo libro si presenta con una superba veste grafica, riccamente corredato di magnifiche illustrazioni delle opere di Bellini e di alcuni suoi contemporanei. Ne risulta un libro estremamente piacevole, con una narrativa che avvince ed affascina.

William McCuaig. Chicago: U of Chicago P, The author interjects only to analyze and judge the sources passed down through history. Several fundamental questions are raised: did King Giannino exist? Was he of royal blood? Which sources can we trust and why? The author succinctly and methodically answers each one.

With two letters patent from the tribune, the revelation of his noble birth, and a defective seal from the same Roman leader, Giannino decides to research his past and the court of France, and share his tale with only his closest friends. A friar and close friend of Giannino seizes the moment to proclaim that the true king of France, Jean I, is within the walls of Siena and should be recognized as such.

In Chapter 6, Falconieri confronts the Istoria head on and summarizes some of his fundamental findings, with particular emphasis on proving that Giannino existed and did, for the most part, what the Istoria recounts. Falconieri convincingly argues that the Istoria is not a forgery, although Giannino himself was guilty of falsifying numerous documents to champion his cause. The first is the recorded deliberation of the Sienese government, dated 27 October The second is a letter dated 16 April from Pope Innocent VI to the King and Queen of Naples in which the pope writes that Giannino and his mercenary army, camped just outside Avignon, constituted a diplomatic problem at that time.

On the one hand, the author sheds light on where the myth ends and where the truth begins in the story of Giannino di Guccio; on the other, he offers the reader a unique view of fourteenth-century history through the example of one merchant and his quest to become king of France. Although the author provides a compelling, wellresearched conclusion, complete with a useful and comprehensive bibliography, it is important to note that he also acknowledges the doubts that remain and the unresolved problems surrounding Giannino and the Istoria del re Giannino di Francia.

Dante on View. Aldershot, UK: Ashgate, The second section deals with the visual tradition of Dante and the Commedia. Thanks to the Pre-Raphaelites paintings on Dante and particularly the work of D. The final section is dedicated to contemporary visual and multimedia works. Italian Bookshelf century film adaptations of the Commedia as a whole. Instead of limiting his analyses to the cinematic use of Dantesque material, Wagstaff shifts perspective: from Dante in the cinema to Dante and the cinema.

Wagstaff thus highlights the similarites between dolce stil novo and neorealismo as new languages for aesthetic innovation and renewal. Demetrio S. Letterati a corte. Ferrara, Firenze, Mantova. Loffredo Editore: Napoli, This study is an interesting and useful contribution to the understanding of the intricate and productive cultural exchanges among the Renaissance courts of Milan, Mantua, Ferrara and Florence. Bregoli Russo touches on a number of important aspects of cultural production at these courts and explores the interplay among politics, literary taste, interpersonal relationships and cultural aspirations of rulers and scholars.

Much progress has been made in recent years on the understanding of cultural exchange in northern Italian courts during the fifteenth century. Italian Bookshelf most recent and important contributions to this area. The first third of the book is composed of an introduction and seven short chapters numbered two to seven.

The remaining fourteen chapters form a monograph-in-miniature of the cultural and political milieu of Ludovico Gonzaga, Bishop-elect of Mantua Several of the above-mentioned chapters shed light on the broader context of cultural and political influences and relationships among Northern Italian courts.

It is however disappointing that most of the essays provide only brief and sketchy examples of these cultural connections, thus leaving the reader wanting to know more. Finally, the text does not appear to have undergone rigorous editorial revisions, which might have honed arguments, clarified chronology both within and among the chapters, eliminated repetitions, and avoided some misprints.

Nevertheless, this study represents a useful guidebook for undergraduate and graduate students of the Italian Renaissance and a springboard for scholars wishing to explore further this interdisciplinary area. Il Quattrocento e il Cinquecento. Storia della letteratura italiana.

A cura di Andrea Battistini. Bologna: Il Mulino, Il libro di Riccardo Buscagli costituisce uno dei sei volumi della Storia della letteratura italiana diretta da Andrea Battistini. Il primo capitolo, infatti, delinea un quadro storico e culturale del Quattrocento. La parte finale si occupa dei centri del sapere: le corti, le scuole, le accademie e le biblioteche. Di nuovo il capitolo si apre con una trattazione storico-culturale per passare poi a descrivere singole figure di intellettuali e letterati.

La trattazione si conclude con una sezione dedicata alla questione della lingua. Seguono poi capitoli dedicati rispettivamente ad Ariosto, Machiavelli e Guicciardini. Il volume si chiude con una bibliografia essenziale e una tavola cronologica delle opere. La precisa collocazione storica di ogni autore e movimento occupa la maggior parte delle pagine del volume. Italian Bookshelf Umberto Carpi, ed. Doglia mi reca ne lo core ardire. Madrid: La Biblioteca de Tenzone, This collection consists of seven essays plus one introductory comment, originally presented at a conference held in St.

Ulrich, Trentino-Alto Adige, in July As the title indicates, the conference was dedicated to studies on a single poem by Dante. To summarize briefly, in the poem Dante encourages women to reject the amorous advances of those men who do not embrace virtue; he then engages in a lengthy denigration of the vice of greed. Only one essay stands apart from the others in this regard. The first contribution, by Domenico De Robertis, is little more than a note on a particular crux within the poem.

In fairness, it is the only article which did not originate with the conference, and it was included in the volume, the editor explains, as a last-minute replacement. Italian Bookshelf of the troubadours, and therefore made similar statements in his poem. He seemingly supplanted his radical ideas of love with conventional ones.

Dante abandoned the male readership because it was men who were responsible for his exile. Lastly, Enrico Fenzi notes how the poem presents the mercantile degradation of old ideals and reflects the historical movement towards a new, capitalist society.

The collection is valuable to scholarship, not least because it presents the work of several Spanish scholars, thereby reinforcing the fact that interest in Dante is a worldwide phenomenon. But of equal importance, each essay, with differing degrees of success, presents valuable insights into this intriguing work. At the same time, however, it must be said that the collection would have benefitted greatly from better editing. Some of the essays are simply too long; at times they cover ground treated in earlier contributions, include lengthy paraphrases of the canzone, or deviate into material that can best be called extraneous.

Such repetitions, therefore, were unnecessary. That said, however, the ideas expressed by these critics are intriguing and worthy of scholarly consideration. Cornelison and Scott B. Montgomery, eds. Medieval and Renaissance Texts and Studies This elegant book delivers what its title promises: a wide-ranging collection of essays that focus on the relationship between art and religion in Italy from the eleventh through the fifteenth centuries.

Joanna Cannon tells us in her afterword that the Italian focus is something of a novelty, as prior research has concentrated on northern European and Roman traditions. Most of the essays focus on Tuscany, while only two venture into the Veneto, though on the whole there is plenty here to capture and enlighten. Not surprisingly, many of the essays focus on the sorts of works one expects to associate with this theme: altarpieces, paintings, and the like, the sort of big-statement works that have survived the centuries.

Leanne Gilbertson, in her study of a Trecento St. Many of the essays take into account other significant artifacts, especially relics and reliquaries. Minias organize the decorative scheme of the Florentine church of San Miniato al Monte over the course of centuries. Andrea Kann takes a similar approach in her study of the St. Luke chapel in Santa Giustina in Padua. Zenobius panel from the Florence Cathedral. Beyond their principal arguments these essays often present surprising and new information.

Cornelison shows how the St. Zenobius panel, attributed to the Maestro del Bigallo, functions as both an image and a relic, because it was painted on wood from a dead elm tree associated with a posthumous miracle by the saint. Galganus from the hermit followers who had conserved it.

Not all of the essays succeed without qualification. Some tend to be more descriptive than analytical, while others must confront frustrating evidentiary lacunae. Montgomery deserves credit for acknowledging that despite the extensive and expensive San Miniato propaganda program aimed at advancing the Florentine cult of St. Minias, that of John the Baptist remained dominant. Italian Bookshelf advance a good argument, one is left with the sense that he must retreat to inference before a lack of solid evidence.

Ample, and generally good, black-and-white illustrations round out the offerings. These essays by their very randomness paint an attractive picture of the varieties of devotional practices in the late Middle Ages and Renaissance. They tell a story of how value begets value, even though, as is the case for many of the relics studied, the value of the original object, i.

Under this light these studies shimmer with a different story, that of the relationship between faith and marketing. With a wealth of data gathered from primary and secondary sources, Cox effectively shows that, notwithstanding recurrent misogyny, the tradition of a proto-feminist discourse persisted in elite circles throughout two centuries. This decorous feminine emblem, reinforced in time by renewed moral imperatives, was adopted by Counter Reformation society and henceforth transmitted, above and beyond the antagonism of the Marinist avant-garde, to future generations in Italy and beyond.

It is a merit of this book to have drawn attention to that proto-feminist environment and to the widespread presence of women poets it fostered. Italian Bookshelf fact, although there is no denying that, especially in non-courtly spheres, earlier women humanists had to face male and occasionally female obstructionism, the cultivation of vernacular poetry became popular among women and was for them, and reflectively for their cities, a point of distinction.

These poets, the majority of whom could boast aristocratic lineage or patronage, wrote occasional and correspondence verse and rime of moral and religious inspiration. In the pages devoted to the culture in the age of the Council of Trent, Dionisotti expressly emphasized the importance of literary factors, above all possible moral and religious motivations, a warning of which Cox seems to be intermittently unaware. Dionisotti went on to state that the decline suffered by women writers, of the caliber — it is understood — of the ones that flourished earlier, cannot tenably be attributed to the Council, to the Counter Reformation, or to any moralistic repression of women.

As far as women are concerned, Cox takes a decisive break with that approach as well. In outlining the figure of the intellectual woman of lineage and morality, she necessarily presents the otherwise celebrated writers as deviant from that model on social, thematic, and moral grounds. As Cox writes, future studies will tell us how much women writers of the Counter Reformation were able to accomplish. It is my opinion, however, that a defensible value judgment of their works can be given only if critics will judge them in relation to the models that contemporary male culture was proposing, regardless of whether each woman writer accepted a given model with its assumptions, and enriched it, or contested the model, bringing about surprising innovations.

Italian Bookshelf intenzioni e la nascita del discorso della ragione di Stato. Al fine di conciliare gli interessi dello Stato e le prerogative della Chiesa, in un periodo di intense lotte civili e religiose, egli reagisce in quanto ecclesiastico e letterato. In secondo luogo, il realismo fiorentino presenta una efficacia maggiore rispetto alla lingua usata da Bodin. Botero ne riattualizza il modello, rimodernizzandolo.

Lo studioso illustra quindi come Botero cerchi di determinare quali sono le forze dello Stato e come crescono o diminuiscono, sempre alla ricerca del modo di determinare le cause dei fenomeni sociali. I Tatti Studies The writers consulted archives, libraries, a staff of experts, and enjoyed photo opportunities they would not have had at their home institutions, not to mention the golden opportunity of time off to conduct the research.

Some of the essays included in the volume have been read at various conferences. All but one is in English. Since the construction of the villa presented engineering problems, its site may have been chosen as a spiritual landscape. This is a case study rather than a unique example, according to the author, since there are other examples of noble houses built on sites of religious significance over the centuries that point to an evolution of a spiritual landscape.

There are several photos of Fiesole, a topographic map showing the location of holy sites, churches and convents, a bust of Giovanni, the church of San Girolamo in Fiesole, and the indulgenced steps leading to the villa. The Appendix records the Visitation Record of Bishop Folchi, bishop of Fiesole, to the convents in the neighborhood of the villa in This account is written in Latin.

The study includes seventeen figures of the castle and other related structures that may have inspired the building, Italian in nature, that found fertile ground in France and whose inspiration can be seen as late as the Castle of Fontainebleau He appropriated Roman symbols to usher in a new Golden Age.

Table 1 is a revealing account showing the kind of materials needed to assemble the machinery, payment dates, the number of days taken to construct it, and its final cost. Italian Bookshelf of Tuscany. The essay collection reflects the variety of interdisciplinary research supported by the Villa I Tatti Institute and showcases both established and emerging fields in Italian Renaissance studies.

Roma: Bulzoni Editore, Alcuni dei lavori qui presenti sono brillanti contributi e certamente rimarranno quali punti di riferimento per future riflessioni. Italian Bookshelf Petrarca crea [ I due saggi che chiudono questa sezione, quello di Stephen J. Celenza sul significato essenziale del latino nella poetica di Petrarca, con speciale enfasi alla creazione del latino classico rinascimentale.

Due saggi molto liberamente collegati dal tema della scienza rappresentano il capitolo conclusivo. Italian Bookshelf Drusini e Maurizio Rippa-Bonati riportano la travagliata vita delle spoglie del grande poeta. Cambridge Studies in Medieval Literature This is an expertly guided tour to writings of antiquity and the Middle Ages that address fundamental questions of human language evolution viewed on a teleological axis from Creation to the present.

Fyler profitably explores medieval distinctions between imago and similitudo, as for example in the differences between the sexes, Adam and Eve, even in their names. Over centuries, thinkers and writers speculated on a limited number of intractable central questions, and the author admirably illustrates how the resulting positions on issues have both an absolute and a relative quality, each writer apparently seeking to create a personal and distinctive intellectual profile, acutely aware of prior speculation on, and artistic realization of, dominant themes.

Modern theories of signification are then seen to have impressive classical and medieval precedents, since all signification occurs in a fallen world. In parallel to the language of Eden and that after the Fall, it is recognized that etymology does not dictate later meaning, yet etymology seems to offer the only way back to the purity of origins. Italian Bookshelf signification and purpose. Love, like language, is contaminated by the Fall from Paradise or from the Golden Age.

Fyler shows how even the debate over the propriety of naming private parts of the human body is informed by these larger questions. And a run-down prison it is. Language and the Declining World does not seek to expound any major theories on language and meaning but rather bears careful witness to their treatment by a succession of largely medieval authors, each looking back over his shoulder.

Italian Bookshelf and Chaucer are each shown to have been at pains to assume a personal if not definitive stance toward a cluster of persistent questions. Toronto Italian Studies. Toronto: U of Toronto P, Gittes possesses both these enviable qualities.

Gittes describes the importance, whether direct or indirect, of the Golden Age motif as elaborated by Hesiod, Ovid, Vergil, Horace, Juvenal, Augustine, Boethius and others. Central to his analysis is the observation that this motif, in its general contours among the ancients and the Christians, contains incompatible visions of cultural progression.

Is the advent of Christianity a new Golden Age or was that ideal period terminated with the Fall? Italian Bookshelf Petrarch, groups like merchants and scholars, or even mythological characters more authentic in allegory than in actuality such as Cadmus. These figures, whose innovations must, on the whole, be considered valuable contributions to the society in which they lived, nevertheless cannot compete with those of Eden or the dreamlike Golden Age, which was similarly unspoiled by vice and selfindulgence.

Gittes, to his great credit, does not attempt to force evidence from one category into service for the other; on the contrary, he intelligently frames these opposing views as two ends of a continuum and seeks enlightening discoveries in the grey spaces in between. This is a convincing middle course, and one that quite effectively sets up his discussion of the Decameron later in the study. First of these is the notion that the ultimate success and significance of Fiesole, the general sylvan setting of the Decameron, derived in large measure from its legendary generative and regenerative characteristics e.

In fact, Boccaccio insists on the desirability of unions of dissimilar parts Fiesolan and Florentine in Certaldo, Greek and Trojan in Florence. Boccaccio, then, is at once myth creator and re-creator of a world in dire need of revitalization. In short, it is easy to classify it, like all other significant contributions, as simultaneously useful both in its wide thematic horizons and its highly focused analyses and delightful in its good-humored and stylistically pleasing prose. Leicester, Trobadour, Italian Bookshelf preciso riferimento storico.

A highly polemical figure of the Italian Renaissance, Fra Girolamo Savonarola is well known for his pivotal role in Florentine politics and religious practices in the last decade of the 15th century. Eventually burned at the stake in Piazza della Signoria, where, not coincidentally, he had orchestrated the infamous bonfire of the vanities, he is the subject of constant scrutiny and dialogue among historians, some promoting his sanctity, some alluding to his insanity, others embracing the paradoxical nature of his story.

What has not been sufficiently explored, however, is the impact he made on his female followers, to whom he dedicated a large part of his writings and sermons and who he hoped would become major supporters of his spiritual reformation. Italian Bookshelf control and suppress female visionary activity. Though writers like Lorenzo Polizzotto, E. Ann Matter, and Gabriella Zarri have called attention to these women in their works, this is the first book dedicated to this subject.

She also highlights the pervading influence of St. Chapter two focuses on the Umbrian visionary Colomba Guadagnoli and the Savonarolan tendencies of her tertiary community. Catherine of Siena and Savonarola. As a result, the contribution made by the other female visionaries of the time was obscured, and in some cases almost entirely obliterated.

Herzig proves to be a diligent researcher and faithfully objective writer who has pieced together the story of the female Savonarolan movement that history has so veiled and scattered. That her commitment to technique as an indicator of time and place simultaneously consolidates a historical outlook is enthralling, even though discussions of cultural implications remain fairly slim.

Moving beyond the perceptive capacities of the naked eye, her approach includes the laboratory for analyzing chemical detail , as well as investigative technology e. Luber does not stand alone in her belief of there having been a single journey. It is a challenge to point to weak spots in this remarkable book. Italian Bookshelf semantics be welcomed by the philologist.

Jaffe with Gernando Colombardo. New York: Fordham UP, Every now and then there are books that simply need to be written. Although the frescoes have been known through the centuries the project dates from the years , few people have been able to see them at leisure until the castle was opened biweekly to the public a few years ago. For those who still have not walked through the six frescoed rooms of the Cataio, the spectacular photographs by Mauro Magliani displayed in this book will suffice.

Having admired in person more than once the cycle depicted in the castle, I sense that the photographs do justice to the beauty of the frescoes, even if they cannot obviously wholly convey the space and the architectural breadth in which they are set. The frescoes — which are in good condition overall, although sections in the north walls badly need some restoration — portray a dynastic and political program that celebrates the story and history no matter how improbable of the Obizzi family, which owned the Cataio without interruption until and painstakingly transformed it into a must-see Wunderkammer for noblemen and well-connected intellectuals.

The castle went then to the Estes of Modena and eventually to the Habsburgs, Archdukes of Austria, who used it in the hunting season. It is for this reason that a number of bronzes, Greek, Roman and Etruscan marbles, arms and armors, religious and secular paintings, sacred objects, manuscripts, and rare books collected and displayed there through the centuries found their way to Vienna, where they are, for the most part, still housed.

Politically, the issue became a scandal, and the Italian government passed what was then the first law ever to protect what it considered objects belonging by right to Italy and its national patrimony. Italian Bookshelf beside Pio Enea Obizzi, the builder of the imposing crenellated castle and a condottiere known today as the inventor of the howitzer a medium-sized artillery piece , one should mention his son, Pio Enea Obizzi II. A talented and imaginative man, Pio Enea II added a theater to the Cataio and was a most remarkable sponsor of theatrical performances, as well as a writer of dramatic pieces.

This is why the surname Obizzi is now still known today among the literati. Feeling perhaps that it was beyond the scope of her research, Jaffe does not reconstruct the above history of the building after the frescoes were finished, nor does she give a sense of why the Obizzis were so central to the intellectual, social, artistic, and political life of the Veneto region for centuries. What Jaffe offers, however, is still thoroughly extraordinary: a step-by-step walk through and explanation of the iconography present in the six frescoed rooms: the Genealogical Room, the Room of the Popes, the Ferrara Room, the Room of Prudence and Peace, the Room of San Marco and the Room of Florence.

The painter, who was obviously aided by a number of apprentices since the entire cycle was frescoed within the space of two years, is Battista Zelotti , a gifted artist from Verona whose work is often so close to that of Veronese that he has endured constant confusion with him after his death. Even Vasari, in referring to Zelotti admiringly as Battista da Verona, contributed unwittingly to keep the name of this painter obscure.

Jaffe painstakingly describes in the frescoes some mannerist conceptions of extreme foreshortening of men and elongation of the figure of women there are two marriages in the Obizzi saga and nine women portrayed in total and comments on the challenge that at times the architecture of the rooms must have presented to the painter.

Of historical significance is the fact that we have a handy way to unravel the Obizzi saga through the program invented on paper by the historian, novella writer and poet, Giuseppe Betussi, in his Ragionamento sopra il Catajo Padua, , which the painterly project follows to the hilt. As his biography illustrates, Betussi was a peripatetic writer from the Veneto, a friend of Pietro Aretino and Sperone Speroni, and a respected member of the Accademia degli Infiammati in Padua. He worked for a few years in the service of Pio Enea Obizzi for whom he devised the genealogical line that sees the Obizzi at the center of a number of historical, religious and military events in Italy and beyond, from the year to the time of his writing.

Italian Bookshelf which the members of the Obizzi family were gloriously engaged. Jaffe should be commended for offering the public at large such a spectacularly illustrated book and for arguing forcefully for a recognition of the artistry of Battista Zelotti. Her writing is crisp, well documented, and engaging. Her commentary is both penetrating and light and the images are described with a deft touch. Short of us readers being one of those tourists for whom Betussi wrote his Ragionamento in the 16th century and start ourselves today the trip to the spa land surrounding the Cataio in the Euganean Hills the nearest towns to the castle are well known since antiquity for their mineral baths , we are well rewarded by the book on Zelotti and the marvels of the Cataio that Jaffe so passionately has put together.

Labalme and Laura Sanguineti White, eds. Selections from the Renaissance Diaries of Marin Sanudo. Linda L. Baltimore: Johns Hopkins UP, They are in both Italian and English, and in fact, in the course of our reading, we are encouraged with various devices not to forget the original idiom of the diaries, a Venetian chancellery version of Italian. In cases where it was impossible to find the exact English equivalents for Italian terms, the editors have made practical and very satisfactory decisions.

The Italian word was left in the text, followed by an approximate English translation, or an explanatory note. I started with these comments on the linguistic approach as it is a crucial aspect, to which the editors give great importance. Another question they carefully weigh up is the thematic organization of the material, feeling that it can be justified, even if it inevitably also distorts.

But I agree that the thematic approach is the right one for an anthology focusing on central features of the city. Paolo Margaroni, instead, for his Italian anthology of Sanudo I diarii. Pagine scelte, Vicenza, Neri Pozza, has chosen the chronological approach.

The main text is divided into nine chapters. Italian Bookshelf particularly horrific account of the murder of a Venetian blacksmith at the hands of a serving maid. He now makes use of letters sent to Venice, describing events which had taken place in other states. It includes an interesting discussion, which ends positively, on whether there was any justification for a Venetian ambassador in England The next three chapters are more in line with the Venice which pilgrims, travellers and illustrious visitors would have known, with the advantage naturally of the background information which only an insider can provide.

A review cannot do justice to this volume. It is a splendid addition to our Venetian sources, with its excellently chosen excerpts, clearly explained and contextualized, rendered in a lively, natural language. It should be recommended for all courses on Renaissance Venice and, thanks to its critical apparatus, it will be used in Italy as well as in English speaking countries.

Empires of Islam in Renaissance Historical Thought. Cambridge: Harvard University Press, Italian Bookshelf they regarded the peoples who had recently settled in, and managed to conquer, the lands of the old Byzantine Empire. These they termed, rather indiscriminately, Turks. As Emily Bartels has recently shown in Speaking of the Moor: From Alcazar to Othello Philadelphia: University of Pennsylvania Press, , many writers switched among these terms with no justification.

Thus humanists were not unaware after that the boundaries of their world had expanded beyond those imagined in the time of Christ; and since fitting human events into the structure of Christian providence was a method which continued to enjoy ample play in Renaissance historiography, they were obliged to explain the significance of the Indians within that scheme, some humanists, for example, arguing that the Indians were descended from tribes mentioned in the book of Esdras.

The Turks, by contrast, were less new; they had been discussed, however haltingly, since at least the eleventh century in Western Europe. A steady stream of studies in the last few years have compared views of Turks and of the Indians of the New World, a body of literature that Meserve acknowledges, albeit only in the notes. Italian Bookshelf humanist writings of what made the Turks a threat to scholars: their alleged antipathy to learned, literate culture, and their propensity to destroy books as well as their hostility to learning, whether Christian or not.

Here Meserve pays particular attention to his etymological theories. In fact, Pius II argued, against Coluccio Salutati and many other humanists, that the etymology of Turcus or, as it was more often in the fifteenth century, the feminine Turca did not derive from a metathesis of the Latin word Teucrus.

Some humanists were more ready than others to assert that they had just as much to say as the ancients; most seem to have been quite content to defer to the weighty auctoritas of Strabo in his Geographia and also — a new development in the Quattrocento — to Byzantine sources, such as the Synopsis Historiarum of Ioannes Skylitzes ca. Meserve argues that we should not exaggerate what Westerners or humanists in the West actually knew at this time about even major Islamic empires. Here Meserve pulls together material that is otherwise little known, save among scholars of the history of Western-Islamic relations.

Certain minor problems, nevertheless, remain. At times she appears to posit, or assume, an undifferentiated Western historiographical tradition on the Islamic regions 16 , an assumption that her own varied sources, in their squabbling diversity, seem to belie. Granted, Armenian studies is a highly specialized field, not always well integrated with those many areas of medieval history upon which it bears; a major historian such as Hetoum, nevertheless, deserves more detailed treatment.

Here, Meserve introduces such lesser-known historians as the Augustinian friar Andrea Biglia , and Andrea Redusio , whose work buttresses the notion that an interest in Turkish history was widespread in fifteenth-century Italy. The humanists were scholars, but they were also keenly aware of the danger posed by the Ottomans, who were powerful militarily, who were advancing steadily toward the West, and who, furthermore, were, as Muslims, sensed to threaten European peoples and their civilization quite different from that which intra-European disputes and power plays caused.

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