Academic literature on the topic 'Venice (Italy) – History – 15th century'
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Journal articles on the topic "Venice (Italy) – History – 15th century"
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Pashkin, Nikolai. "International Politics and the Greek-Latin Union at the European Church Councils in the First Half of the 15th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 274–84. http://dx.doi.org/10.15688/jvolsu4.2020.6.22.
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Introduction. The article is aimed at studying the negotiations on the Greek-Latin Church Union at the Church Councils in Constance (1414–1418) and Basel (1431–1449), which were the predecessors of the Council of Ferrara-Florence (1438–1439) in this matter. Since they were generated by internal processes in the Latin West, they originally had not direct relationship to Byzantium. Methods and materials. The reason for the appeal of Councils to the problem of the Church Union should be sought in the field of Western international policy. It acted here as a tool for solving political problems by different actors. Analysis. At the Council of Constance the discussion of the Greek-Latin Union was initiated by Poland and Lithuania, who used it as a means of political propaganda against the Teutonic Order. The Council of Basel subsequently entered into direct negotiations with Byzantium. The reason for this was at first internecine strife in the Duchy of Lithuania, which interfered with Poland, the Teutonic Order and King Sigismund. The Council initiated consideration of the Church Union in order to support the Lithuanian Duke Švitrigaila in the struggle for the throne. As a result Byzantium was included also in the negotiations with the Council of Basel. But in 1435 Švitrigaila was defeated in the clash with Poland and its ally Duke Sigismund Kęstutaitis. This defeat undermined the influence of Sigismund of Luxembourg at the Council of Basel. The King began his rapprochement with the Pope and Venice, and the Council of Basel was influenced by their political rivals, such as Milan and France. The theme of the Church Union at the Council became an instrument of struggle for political interests between these groups of political subjects. As a result, the struggle led to sharp disputes over the choice of the place for the Greek-Latin Council. The main options were Italy and French Avignon. The Byzantines chose the first option. But Byzantium was not the subject of the policy that created the situation of this choice. In the West this policy has led to significant changes. Results. The results of the negotiations on the Church Union at the Council of Basel displayed the fall of the role of imperial policy in the Latin West, which was represented by the King and Emperor Sigismund Luxembourg. The Empire was losing control of Italy. The result was the withdrawal of the papacy from its influence and the strengthening of Venice. Their union stood behind the Council of Ferrara-Florence. Outside Italy this Council has not received recognition.
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Szymanowicz, Adam. "Cossacks in the service of the Third Reich." Scientific Journal of the Military University of Land Forces 195, no. 1 (March 17, 2020): 87–102. http://dx.doi.org/10.5604/01.3001.0014.0263.
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The origins of Cossacs probably date back to the 15th and 16th centuries. Cossacks appeared both in the south-eastern areas under the authority of the Commonwealth and in the south-west of Moscow. They played a significant role in the history of our country, fighting together with the Crown and Lithuanian armies in the wars against the Tatars, Turks, Moscow and Sweden. However, they also caused uprisings which seriously weakened the Commonwealth. In the 16th century, Cossack troops in the service of the rulers of Moscow were formed, used for conquests made by this country. Cossacks also suppressed uprisings and rebellions against tsarist authorities. During the civil war in Russia, a significant part of them sympathized with the Whites. After the Bolshevik occupation of the Cossack territories, there was repression compared by Lenin to the Vendée genocide during the French Revolution. Persecution also took place there during the collectivization and the Great Terror. Many Cossacks emigrated. Some of them in Germany, where they later began cooperation with the Nazis, especially after the Third Reich’s aggression against the USSR. After occupying the Cossack territories, the German authorities created local Cossack self-government structures. The first Cossack formations fighting on the Wehrmacht side also began to appear. During the war, tens of thousands of Cossacks who fought in German uniforms in the USSR, occupied Poland, Yugoslavia and northern Italy. They were used primarily to conduct anti-partisan activities. At the end of the war, the Cossacks tried to avoid Soviet captivity and surrender to the Western Allies’ troops. However, as a result of the British-Soviet agreement, they were handed over to the Soviet authorities, which condemned them to a tragic fate.
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Lehmann, L. Th. "Underwater archaeology in 15th and 16th-century Italy." International Journal of Nautical Archaeology 20, no. 1 (February 1991): 9–11. http://dx.doi.org/10.1111/j.1095-9270.1991.tb00290.x.
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Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (January 2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.
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Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.
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Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.
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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century America.
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Chojnacki, Stanley. "Kinship Ties and Young Patricians in Fifteenth-Century Venice." Renaissance Quarterly 38, no. 2 (1985): 240–70. http://dx.doi.org/10.2307/2861664.
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Regimes and families: historians have recently enriched our understanding of the patrician regimes of late-medieval and Renaissance Italy by analyzing relations among their component social units. This essay will contribute to this literature by throwing some light on the social structure and practices of the ruling class of fifteenth-century Venice. For a long time, but with quickening rhythm in the last decade or so, historians of Venice have been charting various currents that ran through the Venetian patriciate. On the whole, though, they have preferred to concentrate on political and economic groupings, less on the family and kinship patterns that fascinate investigators of other cities, notably Florence.
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Layton, Evro. "The History of a Sixteenth-century Greek Type Revised." Historical Review/La Revue Historique 1 (January 20, 2005): 35. http://dx.doi.org/10.12681/hr.169.
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<p>This article attempts to study the history of a sixteenth-century Greek type in Italy. The type was produced under the auspices of Cardinal Marcello Cervini who wished to publish some of the manuscripts from the Vatican Collections. Cervini commissioned the Roman printer Antonio Blado to be in charge of the project. Since Blado did not own Greek type and had no experience with Greek he invited Stefano Nicolini da Sabbio, the noted printer of Greek in Venice, to come to Rome and take charge of the cardinal's project. The scholar-scribe Nikolaos Sophianos also joined the project along with Benedetto Giunta, a bookseller in Rome who represented the cardinal. The Greek font designed and cut for this project appeared in several works in Rome and was designated by scholars as Greek 1. To this day nobody has been able to match Greek 1 with the handwriting of any of the scribes working in Italy during this period. When the association of Sophianos with the cardinal's project came to an end, Greek 1 became very much in demand and was used by a number of well-known printers in Rome, Florence and Venice. It required a series of legal actions to prove that Greek 1 belonged to Sophianos who finally took possession of his type and other equipment. He used it to print a number of publications. The type later passed into the hands of Vasileios and Hippolitos Valeris and later to some other minor publishers of Greek liturgical books. It was still in use as late as the mid-1580s.</p>
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Lowe, Kate. "Elections of Abbesses and Notions of Identity in Fifteenth- and Sixteenth-Century Italy, with Special Reference to Venice*." Renaissance Quarterly 54, no. 2 (2001): 389–429. http://dx.doi.org/10.2307/3176782.
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Ceremonies of election to abbess were occasions of great display. Election to this highest of offices was the defining moment of a successful nun's life, and thereafter self-identity became crucial. This article examines an anatomy of an election of 1509 by a nun from San Zaccaria in Venice; the illustrated chronicle of Santa Maria delle Vergini in Venice dated 1523, written by an anonymous nun; and the visual representation (in a range of media) of various abbesses from Florence, Pavia, and Venice. Success in election conferred the possibility of personality and consequently legitimated personalized representation.
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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.
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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.
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Proietti, Noemi, Graziella Roselli, Donatella Capitani, Claudio Pettinari, Stefania Pucciarelli, Sara Basileo, and Fabrizio Scognamiglio. "Characterization of Handmade Papers (13th–15th century) from Camerino and Fabriano (Marche, Italy)." Journal of Cultural Heritage 42 (March 2020): 8–18. http://dx.doi.org/10.1016/j.culher.2019.07.014.
Full textDissertations / Theses on the topic "Venice (Italy) – History – 15th century"
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Norris, R. Mae. "Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600)." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.
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Jauch, Linda. "Women, power and political discourse in fifteenth-century northern Italy." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/252268.
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Maglaque, Erin. "Venetian humanism in the Mediterranean world : writing empire from the margins." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.
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My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
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Pesuit, Margaret. "Representations of the courtesan in sixteenth-century Venice : sex, class, and power." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37227.pdf.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Jones, Scott Lee. "Servants of the Republic : patrician lawyers in Quattrocento Venice." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42517.
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Lawyers have widely been recognized as playing a role in the transition from the medieval to the modem state. Their presence in Renaissance Venetian politics, however, remains largely unexplored. Relying primarily on a prosopographical analysis, the thesis explores the various roles played by lawyers, dividing those roles into three main categories: diplomats, territorial governors, and domestic legislators. What emerges is a clear pattern of significant involvement by legally trained patricians in the Venetian political system. Noble lawyers were most often ambassadors, serving in many of the principal courts inside and outside of Italy as Venice was extending her influence on the Italian peninsula. They also served as administrators of Venetian rule throughout the Venetian terraferma (mainland) state. Lastly, their domestic political officeholding further confirms their continuing participation, as they held many of the most important domestic offices throughout the Quattrocento. The thesis ends with short biographies of each of the nearly three-dozen lawyers who make up this study, as well as chronologies of the offices they held. These chronologies include archival references for each office.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.
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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Neveu, Marc J. "Architectural lessons of Carlo Lodoli (1690-1761) : indole of material and of self." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100663.
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Original contribution. A discussion of Carlo Lodoli's bi-fold understanding of indole (inherent nature); with respect to both meaning in architecture and the education of architects.Carlo Lodoli (1690--1761) exists as a footnote in most major history books of modern architecture. He is typically noted for either his influence on the Venetian Neoclassical tradition or as an early prophet to some sort of functionalism. Though I would not argue his influence, I doubt his role in the development of a structurally determined functionalism. The issue of influence is always present as very little of his writings have survived and his built work amounts to a few windowsills. He did, however, teach architecture. I propose to explore the pedagogic potential of Lodoli's lessons of architecture.
Lodoli's teaching approach was not necessarily professional in that he did not instruct his students in the methods of drawing or construction techniques. Rather, his approach was dialogical. The topics were sweeping, often ethical, and ranged from the nature of truth to the nature of materials. Existing scholarship pertaining to Lodoli most often focuses upon his students' production of texts, projects, and projections. Andrea Memmo's Elementi dell'Architettura Lodoliana (1786, 1833) and Francesco Algarotti's Saggio sopra l'architettura (1756) are both specifically named by the respective authors as advancing Lodoli's architectural theories. Often overlooked are the apologues, or fables, used by Lodoli in lessons to his students. The main source for these fables is the Apologhi Immaginati (1787). Others were included in Memmo's Elementi. Apologues from both sources have been translated for the first time into English and can be found in Appendix I of the dissertation.
I look specifically to these stories to understand and illustrate Lodoli's approach to making, teaching and thinking. This is understood through Lodoli's characterisation of the identity of materials and of the self. Within this dissertation I intend to flesh out the textual and architectural fabric surrounding the pedagogic activities of the Venetian Friar known as the Socrates of Architecture, Carlo Lodoli.
Books on the topic "Venice (Italy) – History – 15th century"
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Palladio's legacy: Architectural polemics in eighteenth-century Venice. Venezia: Marsilio Editori, 2011.
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Tanner, Tony. Venice desired. Cambridge, Mass: Harvard University Press, 1992.
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Tanner, Tony. Venice desired. Oxford: Blackwell, 1992.
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The paradise of cities: Venice in the 19th century. New York: Doubleday, 2003.
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Paradise of cities: Nineteenth-century Venice seen through foreign eyes. London: Viking, 2003.
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Hanley, Keith, and Emma Sdegno. Ruskin, Venice and nineteenth-century cultural travel. Venezia: Cafoscarina, 2010.
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Venice, myth and Utopian thought in the sixteenth-century: Bodin, Postel and the virgin of Venice. Aldershot, Hampshire, Great Britain: Ashgate, 1999.
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Venice and Amsterdam: A study of seventeenth-century elites. 2nd ed. Cambridge, UK: Polity Press, 1994.
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Bulgarelli, Massimo. All'ombra delle volte: Architettura del Quattrocento a Firenze e Venezia. Milano: Electa, 1996.
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Rhodes, Dennis E. Silent printers: Anonymous printing at Venice in the sixteenth century. London: British Library, 1995.
Find full textBook chapters on the topic "Venice (Italy) – History – 15th century"
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Tavoni, Mirko. "The 15th-Century Controversy on the Language Spoken by the Ancient Romans." In The History of Linguistics in Italy, 23. Amsterdam: John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.33.03tav.
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Carpinato, Caterina. "Lingua e letteratura (neo)greca a Ca’ Foscari: 1868-2018." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/004.
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The essay aims to outline the history of the teaching of Modern Greek at Ca’ Foscari University of Venice: it started with its foundation in 1868, with Costantino Triantafillis, and was interrupted for more than a century from 1890. This paper also deals with the history of the discipline from 1868 until today, with an eye on the connection with the political and cultural life of the country and on the relationship with other disciplines (such as Ancient Greek language and literature and Byzantine civilization). After an interval of a century classes of Modern Greek started up again at Ca’ Foscari in 1994-95 thanks to the teaching of Lucia Marcheselli Loukas. Since 1998 the teaching has been revived with a tenured professor and, in the last twenty years, it has trained graduate students and young scholars who today play a cultural and linguistic role of mediation between Italy and Greece.
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Galbraith, John Kenneth, and James K. Galbraith. "Banks." In Money. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691171661.003.0003.
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This chapter discusses the history of banks as one of three progenitors of money, the others being mints and treasury secretaries or finance ministers. Banking had a substantial presence in Roman times, then declined during the Middle Ages as trade became more hazardous and lending came into conflict with the religious objection to usury. The Renaissance saw the revival of money due in part to trade. It is fair to say that the decline and revival of banking took place in Italy. The banking houses of Venice and Genoa are acknowledged as the precursors of modern commercial banks. The chapter also considers how banking that developed from the seventeenth century spawned cycles of euphoria and panics. Finally, it examines the case of John Law, who established a bank in France that was authorized to issue notes in the form of loans, with the state as the principal borrower.
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Weigel, Sigrid. "Defamatory Images: Disfiguration in Physiognomy and Caricature’s Two Bodies." In Grammatology of Images, 118–69. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500153.003.0006.
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The chapter departs from the controversy about the ‘Muhammed Caricatures,’ interpreted as a religious war between comparable fundamentalist positions (ban of pictures vs. freedom of press), and analyses the iconographic tradition the individual cartoons refer to. Their pictorial rhetoric, typical for the genre's tension between critique and defamation, initiates a) a theoretical investigation of the genre and its relation to the joke in reference to the psychoanalytic approach (Freud, Kris, Gombrich) and b) an archaeology of the caricature/ pictorial satire beyond the mainstream narrative of the genre, whose origin usually is seen in the invention of ‘caricatura’ as distorted portrait in 16th-century Italy. In contrast, the chapter traces the history of pictorial satire back to the religious war of the 15th century, iconoclasm, and the defamatory image policy of the 14th century (Schandbilder), and interprets the invention of the distorted likeness in relation to the emergence of physiognomics. The last part summarizes these paths in a new theoretical approach to the political theology of the genre, namely, the caricature's two bodies.
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"The Importance of Thinking as Anarchists." In Thinking as Anarchists, edited by Giovanna Gioli and Hamish Kallin, 3–37. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474483131.003.0001.
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This introduction explains the importance of the 1984 international gathering of anarchists in Venice and grounds Volontà in the history of 20th century anarchism. After May 1968 and the militant radicalism in 1970s Italy, the leading intellectuals of the international anarchist movement were trying to think through “what now?” Anarchism, like the revolutionary left more broadly, was caught between a series of epochal shifts. The early 1980s saw the onset of what we would now call “neoliberalism”, entailing a dramatic transformation of the role of the state, work, rates of inequality, and the rise of consumerist individualism. Industrial employment went into freefall across the Global North, reconfiguring the global geographies of exploitation and class. Anarchism itself endured an existential challenge, subsumed in its political form under the so-called “new social movements”, with the ecological and feminist movements in particular taking the lead. These issues are not historical curiosities: the essays in this volume have lost none of their power in attempting to address these paradoxes not only in theory, but with the urgency of renewing a sense of what anarchism is (and could be) within a libertarian movement that can realistically strive to change the world.
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Kindl, Ulrike. "Leggere Thomas Mann in Laguna." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/021.
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In the form of a personal memoir, this essay outlines the work of the distinguished scholar Ladislao Mittner (1902-75) and the development of German studies at the University of Venice in the second half of the 20th century. Mittner arrived at Ca’ Foscari in 1942 and took charge of German studies in the first Italian Faculty of Foreign Languages and Literatures (established in 1954), and became a point of reference for over thirty years. During these years, he decisively shaped the guidelines of the discipline at Ca’ Foscari. Due to his own plurilingual Hapsburg roots, he considered a good command of languages pivotal. This is why he can also be considered a pioneer of the establishment of German language teaching as an independent subject from literature, which was not a self-evident truth at the time. However, he also underlined the importance of the literary text through very refined critical tools. He was an acute philologist and a broad-minded historian who, from the very beginning, added to the German courses such subjects as Germanic Philology, History of the German Language, Philosophy and Music of the German-speaking countries, transforming German studies in Italy into a modern and open-minded field of studies, far from just technical knowledge. From the beginning his vision of the German world was in a context of comparative cultures. Mittner’s work provided the firm basis for the educational commitment required to meet the daily challenge of a multicultural Europe.
Conference papers on the topic "Venice (Italy) – History – 15th century"
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Salvalaggio, Matteo, Michele Monego, and Simone Maioli. "AN INTEGRATED APPROACH AIMED AT THE PROTECTION OF CULTURAL HERITAGE: FROM THE GEOMATIC SURVEY TO HBIM AND AR REPRESENTATION OF VILLA PISANI (STRA, ITALY)." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12075.
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The topic of Cultural Heritage preservation has gained an increasing attention during last decades. The protection of such complex and delicate manufacts require the intervention of experts from different field (e.g. archaeology, restoration, survey, 3D modeler, structural engineering, architecture), addressed towards an integrated and multidisciplinary scientific approach. Recently, technology advancements have involved many scientific disciplines, affecting both the investigation tools and the data computing. In this paper, an approach aimed at assessing the health status and preserving a heritage building is presented and applied to a case study, exploiting the most effective tools nowadays available. Based on the so-called knowledge path, the study started from the analysis of historical data, through the collection of in-situ measures and towards the construction of a 3D digital model where the information is stored. In particular, a set of images taken by drone and processed by the photogrammetric technique of Structure from Motion, were used to produce detailed point clouds, mesh model, DEM and orthophotos that collect an accurate geometrical documentation, useful to analyse the conservation status and the crack pattern. Based on the detailed model from geomatic survey and drawings, a Heritage Building Information Modelling (HBIM) database was collected with the possibility of managing historical, geometric, structural and health status information. In the end, the study focused on the availability of the information collected for non-professional users or professionals from different fields, who do not have access to data kept in commercial database. Partly, this resulted in the elaboration of an augmented reality (AR) model, accessible by common mobile applications. The case study is Villa Pisani in Stra (Venice, Italy), a well-known example of venetian villa built in the XVIII century which hosted many protagonists of the European contemporary history.