Browsing by Subject "Italy"

Setting

Objectives

Design

Results

Conclusions

Purpose

Methods

Inclusion criteria

Result

Conclusions

Bridging the disciplines of art history and cross-cultural studies using a feminist interpretive lens, this dissertation challenges historical narratives of exceptionalism and Eurocentrism through analysis of patterns in sixteenth- and seventeenth-century women’s engagement with expanding worlds through their networks and visual representations of world-traveling people and imported objects. To arrive at an inclusive understanding of the significant relationship between the visual arts and cultural exchange, this dissertation offers a new perspective on the cross-cultural circulation that hallmarked early modern Europe by foregrounding women artists, who as a group have been traditionally excluded from the historical record. A data-driven methodology is used to analyze European women’s access to cross-cultural encounters with cosmopolitan courtiers, enslaved people, and imported curios of Asia, Africa, and the Americas through a database of 249 artists designed and populated for this dissertation. Visual analysis of artworks by a subset of these artists is conducted to understand the relationship between women’s worldly encounters and their subsequent creative choices in depicting artistic subjects that came to be considered exotic, thus positioning the artist as cultural mediator. This research makes a dual contribution: first, it challenges persistent narratives that frame women artists’ access to the world as unavoidably limited by gendered social norms. Second, it constructs a new narrative centered on cross-cultural exchange that moves beyond the limits imposed by traditional accounts that focus exclusively on male artists or treat women artists as anomalies. The first key finding of this dissertation challenges popular narratives that present early modern women artists as “magnificent exceptions” or as products of unusually tolerant environments. This project decenters traditional focal points of individual artists and cities through a database used to map artists’ connections and sites of encounter. The data visualized through maps, graphs, and tables demonstrate the geographic breadth and continuity of European women’s artistic activity. These analyses evince many nodes of activity to support the artists’ cross-cultural exposure. The volume of representations in which women artists engaged with wider worlds demonstrates that they actively participated in the history of cross-cultural circulation, rather than existing outside it. By restoring women’s rightful places in this history, we gain the opportunity to assess whether women artists challenged pre-existing imagery and attitudes of cultural imperialism. The second key finding stems from case studies organized by scales of physical and cultural distance, a structure that enables assessment of the relationship between the intimacy of the artist-subject encounter and the quality of the resulting representation. First, investigation of portraits of world-travelers artists encountered in courtly settings addresses whether women’s depictions aligned with conventional representations of the same subjects. Then, examination of women’s representations of manufactured curiosities and naturalia from Asia, Africa, and the Americas explores how such depictions distinctively relate to European desires for universal power and possession. Finally, this dissertation works to center the erasures of Black figures in visual constructions by women artists in early modern Italy by assessing how women’s representational choices participate in the perpetuation or subversion of pre-existing cultural narratives. These three lines of analysis circumvent the draw to exceptionalize certain figures by focusing on sets of relationships and bringing unnamed figures into the framework. Ultimately, although the artists’ choices conform to some racially biased conventions, they also open the possibility of collaboration with foreign individuals; pay homage to the production of artists from different continents; and create expansive roles for imaginary characters represented as Black. This analysis contributes to our understanding of women’s complex intersectional positions in matrices of variable power and access, and to the debate on their roles as producers of knowledge and culture.

My dissertation, Fascist Fiction: Inventing the Lesser Evil in Italy and Brazil, accounts for the resilience of fascism by tracing the rhetoric of the “lesser evil”—a discursive practice constitutive of fascism—through contemporary politics and literature in Italy and Brazil. By invoking the looming presence of a graver, more insidious threat the rhetoric of the lesser evil legitimizes fascist violence against dissidents and vulnerable populations. Through an analysis of texts by fascist philosopher Giovanni Gentile and his Brazilian counterpart Miguel Reale, I reveal that the rhetoric of the lesser evil is a constitutive part of fascist discourse and that in Italy and Brazil this aspect of fascist doctrine met a favorable combination of subjective and objective conditions which has allowed it to thrive within democratic structures. Finally, I argue that when moral claims such as the lesser evil work to obfuscate the understanding of traumatic and violent events within the public sphere, novels––precisely because of their putative fictionality––can offer persuasive counter-histories that re-contextualize fascist crimes and sometimes provoke acts of reparative justice by the State. My dissertation advances scholarship on the transcultural reach of fascist ideology: it contributes to an understanding of fascism’s place within a broader tradition of right-wing thought that continues to shape present-day politics in Europe and the world, and enriches our perception of the powers of literary forms.

Development has been studied as a project pursued by imperialist nations to strengthen the social and economic order of empire and to curb communism. It was deployed just as frequently, however, in sovereign spaces. This project examines the efforts of the Italian intellectuals who led the Svimez thinktank to organize the economic development of southern Italy in the post-war era. I draw upon materials from Italy’s national archive and those published by Svimez between 1968 and 1988. Whereas imperial development sought to strengthen empire, Italian development sought to strengthen the nation. To understand the intellectual origins of post-war Italian development I turn to events that rocked the nation during the interwar period and appeared to many as a national crisis. That included labor uprisings in response to rising prices beginning in 1919 and the financial crisis of the 1930s. These events oriented technical intellectuals within Milan’s Catholic and socialist milieu to social issues and the wholeness of the nation. After the war, Svimez leaders continued to focus on such questions. They deployed statistical and economic techniques to show southern stagnation was also a crisis that threatened the nation’s integrity.

To address it, they turned to capital. Industrial capital would extend the nation’s economic fabric to the places where it was most irrational and produce the homogeneity believed to be a defining characteristic of a nation. Christian Democracy, experiencing its own electoral crisis, supported the calls for a regional development agency but reframed it as a project of social justice. This language derived from documents they drafted while organizing their party in 1942, which imagined catholic social doctrine as the foundation of the post-fascist state. Italian development became part of the post-fascist project to renew the state’s moral authority and its role as a mediator between capital and labor. I conclude Italian development was response to a national crisis that envisioned a restoration and expansion of the conditions of Italian capitalism.

This dissertation compares the responses of Italian Jewish and Catholic intellectuals to the process of secularization and modernization triggered by Italian national unification (1861-1870). Arguing that, in the case of Italy, the borders separating Jewish and Catholic communities have been more porous than generally thought, my research intends to destabilize simplistic historiographical oppositions based on a dichotomous anti-/philo-Semitic approach. In comparing Judaism and Catholicism vis à vis the new, modern, and secular nation-state, I offer a more complex picture of the relation between these two religions. In order to avoid presenting a one-sided account, my comparative approach brings together studies and perspectives from different fields. The first three chapters analyze a wide variety of sources, ranging from official speeches to journal articles, archival documents, and literature. I analyze the Commemoration of the Capture of Rome (1870) given by Roman mayor Ernesto Nathan in 1910 and Salvatore De Benedetti’s 1884 Opening Address at the University of Pisa on The Hebrew Bible as a source for Italian literature, as well as articles published in the Jewish journals Il Vessillo Israelitico and Il Corriere Israelitico, the Catholic journal La Civiltà Cattolica, and the anticlerical journal L’Asino. The last chapter focuses on the Jewish historical novel The Moncalvos, written by Enrico Castelnuovo in 1908, investigating the problematic appeal of secularism and Catholicism for a Jewish family settled in Rome. By drawing on this variety of sources, my dissertation both scrutinizes the interrelated role of Jewish, Catholic, and secular culture in Italian national identity and calls for a reconsideration of the starting point of modern Jewish-Catholic dialogue, well before the events following the Shoah, the rise of the State of Israel, and the Second Vatican Council declaration Nostra Aetate.

This dissertation examines the contributions of apothecary craftsmen and their medicinal retailing practices to emerging cultures of scientific investigation and experimental practice in the Italian port city of Venice between 1565 and 1730. During this important period in Europe’s history, efforts to ground traditional philosophical investigations of nature in a new material culture of empirical and experimental practice elicited significant debate in scholarly communities. Leading the way in advancing the authority of “experience” were Europe’s medical practitioners divided between university-trained physicians and guild-regulated apothecaries and surgeons. In Italy, humanist praise for the practical arts and new techniques of analyzing inherited texts influenced sixteenth-century university physicians to redefine the medical discipline in terms of its practical aims to intervene in nature and achieve useful effects. This led to an important revival in northern Italian universities at Ferrara and Padua of the classical Greek writings on the empirical disciplines of anatomy and pharmacy. In the sixteenth century the university at Padua, under the patronage of the Republic of Venice, was the site of Europe’s first public botanical garden, anatomical theater and clinical demonstrations. The university also hosted important experimental practitioners such as Andreas Vesalius, Galileo Galilei and William Harvey, and remained a leading center of medical investigation attracting an international faculty of students and professors until the eighteenth century. At the same time, the study of Aristotelian natural philosophy in original Greek texts was largely emancipated from the faculty of theology at Padua, nurturing innovative discourses on experimental method by figures such as Giacomo Zabarella and the anatomist Fabricius Aquapendente.

The unique intellectual climate at Padua has thus attracted significant scholarly attention in the history and philosophy of early modern science. However, the university’s important relationships with the thriving world of artisan guilds and their commercial practices in the nearby city of Venice have not received due attention in historical scholarship. To address this issue, this dissertation focuses upon a unique group of guild-trained medical practitioners in Venice – apothecaries – to trace the circulations of materials, skills, and expertise between Padua and the Venetian marketplace. Drawing on the methods of urban history, medical anthropology, literary studies and intellectual history, I conceptualize Venice as an important “contact zone,” or space of dialogue between scholarly and artisanal modes of investigating and representing nature between the latter sixteenth and early eighteenth centuries. In particular, I focus upon emerging apothecary strategies for retailing nature to public audiences through their medicinal creations, printed books, licensing petitions, and their pharmacy shops. Through these practices, apothecaries not only marketed commercial remedies during a period of growing interest in pharmaceutical matters, but also fashioned their own expertise as learned medical practitioners linking both theory and practice; head and hand; natural philosophy and practiced skill. In 1565 Venice’s apothecaries made their first effort to define their trade as a liberal profession in establishing a College of Apothecaries that lasted until 1804. Already by the turn of the eighteenth century, however, Venice’s apothecaries had adopted the moniker as “Public Professors” and engaged in dialogue with leading professors at Padua for plans to institute a new school of “experimental medical chemistry” with the prior of the apothecary college proposed as its first public demonstrator. Looking to a wide variety of statements on the urban pharmacy in Venice in published medical books, pharmacopeias, trade manuals, literary works, civic rituals and archival licensing and regulatory decrees, I trace the evolution of the public apothecary trade in Venice, paying particular attention to the pharmacy’s early modern materialization as a site of cultural and intellectual exchanges between the artisan workshop and the university world inhabited by scholars.

My readings of these sources lead to three important conclusions regarding the significance of apothecary retailing to the scientific culture of early modern Italy. First, the urban terrain of artisan practice in a merchant republic must be placed alongside the traditionally studied princely courts and universities as a fertile ground for dialogue between artisans and scholars in the study of nature. Second, apothecary investments in processing and retailing nature during this period made significant contributions to the material culture of early modern science in both mediating a growing pharmacopeia of exotic materials imported from around the globe, and in fashioning workshop models for the first university chemical laboratories instituted at Padua in the eighteenth century. And third, apothecary marketing strategies expressing their own medical expertise over nature’s materials articulated a fusion of textual learning and manual skill that offered some of the earliest profiles of the experimental practitioner that was eventually adopted in the public discourse of the experimental New Sciences by the latter seventeenth century.

The Carmelite friars were the last of the major mendicant orders to be established in Italy. Originally an eremitical order, they arrived from the Holy Land in the 1240s, decades after other mendicant orders, such as the Franciscans and Dominicans, had constructed churches and cultivated patrons in the burgeoning urban centers of central Italy. In a religious market already saturated with friars, the Carmelites distinguished themselves by promoting their Holy Land provenance, eremitical values, and by developing an institutional history claiming to be descendants of the Old Testament prophet Elijah. By the end of the 13th century the order had constructed thriving churches and convents and leveraged itself into a prominent position in the religious community. My dissertation analyzes these early Carmelite churches and convents, as well as the friars’ interactions with patrons, civic governments, and the urban space they occupied. Through three primary case studies – the churches and convents of Pisa, Siena and Florence – I examine the Carmelites’ approach to art, architecture, and urban space as the order transformed its mission from one of solitary prayer to one of active ministry.

My central questions are these: To what degree did the Carmelites’ Holy Land provenance inform the art and architecture they created for their central Italian churches? And to what degree was their visual culture instead a reflection of the mendicant norms of the time?

I have sought to analyze the Carmelites at the institutional level, to determine how the order viewed itself and how it wanted its legacy to develop. I then seek to determine how and if the institutional model was utilized in the artistic and architectural production of the individual convents. The understanding of Carmelite art as a promotional tool for the identity of the order is not a new one, however my work is the first to consider deeply the order’s architectural aspirations. I also consider the order’s relationships with its de facto founding saint, the prophet Elijah, and its patron, the Virgin Mary, in a more comprehensive manner that situates the resultant visual culture into the contemporary theological and historical contexts.

My dissertation investigates how hospitality among Eritreans is criminalized by Europe’s border security system. Eritreans create autonomous structures of care to confront the securitization of European borders and the discriminatory distribution of resources in Italy. When prosecutors accuse refugees of illegal squatting and human trafficking, they misunderstand refugee solidarity as exploitative and profit seeking. Using profit to distinguish trafficking from humanitarianism develops during the movement to abolish slavery. My dissertation extends abolitionist debates, about the co-imbrication of humanitarian sentiment with the rise of industrial capitalism, by showing how this logic is used to define humanitarianism as non-for-profit. I argue that the economies of care Eritrean refugees rely upon to seek asylum have their own cultural histories and humanitarian paradigms are inadequate to evaluate them. By bringing abolitionist debates to bear on Europe’s asylum system my work reveals a fundamental contradiction faced by refugees who have the right to seek asylum but no legitimate means to arrive at sites of refuge. My work extends postcolonial scholarship on refugees in Europe by showing how Eritreans articulate political conflict about sovereignty through the political asylum system. My dissertation shows how political conflict in the Eritrean diaspora, coupled with structural inequality in Italy, influenced the politics of a human trafficking case against certain Eritrean refugees. My work exposes bias in humanitarian practices that lead to cultural misunderstanding and criminalization.

Filmmakers shared in the social and political struggles that took place globally around the year 1968, by registering the movements and forging new approaches to filmmaking. Focusing on the cases of France and Italy, this dissertation explores how different sonic strategies were deployed at the time in the staging of the emerging voices—feminist struggle, workers’ fight—and to counter dominant discourses, particularly those broadcast on official media. Political films in the seventies often relied on the promise of Eisensteinian montage to awaken spectators’ consciousness. Yet, those years were also marked by a distrust and a critique of the visual: Laura Mulvey definition of the “male gaze” or Guy Debord critique of the “society of spectacle” amongst others challenged the frameworks of representation. I argue that some directors turned to the soundtrack of their films to stake a position within the political debates of the time. For Deleuze, this moment coincided with the advent of cinema into a true audio-visual media: sound emancipated itself from images. I suggest that this new autonomy closely tracks the emancipation of the repressed voices from institutions’ discursive codings. Interlacing film and sound studies with history, “The Sound and the Flurry of 1970s French and Italian Cinema” focuses on works by Chantal Akerman, Claude Faraldo, Marco Ferreri, Elio Petri, and Ettore Scola in their contexts. Analyses of this corpus mobilize the concepts of asynchrony and polyphony as investigative tools into both the relationships between sounds themselves and the relationship between sound and image. The use of asynchrony—as theorized by Pudovkin—allows for a representation of the social conflicts as collective experience while still rendering the individual struggle. The polyphonic dimension of soundtracks enabled directors to stage the conflicts and challenges carried by these emerging voices. The simultaneous diffusion of multiple and dissonant sounds allowed movies at once to grasp and partake in 1970s political, aesthetic and social tensions.

My dissertation, Wanderers in Contradiction. The Italian Road to Modernism (1903-1922), analyzes how a generation of intellectuals approach the cultural revolution brought by Modernism. In Chapter One, dedicated to Pirandello’s essay On Humor, modernist themes, such as the perception of life as an unstoppable and unrepresentable flux, are examined in the Italian work that best represents them in the context of nineteenth-century ‘negative thought.’ Chapter Two, which is devoted to the writings of Giovanni Papini and Giuseppe Prezzolini, and Chapter Three, in which I focus on the work of Ardengo Soffici and Aldo Palazzeschi, analyze the ‘positive’ response to Modernism. These intellectuals highlighted how the cultural crisis was an opportunity to reject dangerous forms of essentialism, and opened the way for a new form of art committed to the representation of contingency. Conversely, Chapter Four, which deals with Giovanni Boine and Piero Jahier, and Chapter Five, on Scipio Slataper and Carlo Michelstaedter, illustrate the ‘negative’ reaction to the modernist crisis of values. These authors, who abandoned a purely epistemological perspective in favor of a religious or ethical one, manifest an anti-modernist thread within Modernism itself. Therefore, my research contributes to three different general areas of scholarship: literature, philosophy, and history. Broadly speaking, it advances the understanding of Italian culture and the way Italian intellectuals participate in and are influenced by European interactions. It also engages with philosophical debates concerning the crisis of metaphysical Foundations, including the role of Italian writers in this process.