Etalage

Conferenza con Giordano Bruno Guerri, Leiden, 10.02.2017

Gabriele d'Annunzio defined the Vittoriale degli Italiani a "book of living stones".
This definition has a vibrant vitality still after 79 years from his death.
The poet donated the Vittoriale to the Italian people for them to remind not only his
literary work and his war feats but also his daily life in his house.
Giordano Bruno Guerri is university docent, historian, museum and publishing manager
and communication expert. Since 2015 he is director of GardaMusei, association of
Italian cities, musea and institutions he promoted and established.

Attendance is free but registration is required (ItaliaansLeiden@gmail.com).



Roma Aeterna

1 december 2016, 19.00 uur
Pianola Museum (Westerstraat 106, Amsterdam)
Stichting Roma Aeterna nodigt uit voor de lanceringsborrel van hun nieuwe themanummer over Rome.

www.romaaeterna.nl





Controversies in Resistance
Friday, 22 April 2016, 15.00, NIOD, Herengracht 380, Amsterdam

Speaker: Giovanni Contini, Italian Association of Oral History
Commentator: Bas von Benda-Beckmann, NIOD

Language: English

The Italian Resistance between 1943 and 1945 has in many ways been misrepresented by post-war historiography.  As Giovanni Contini will illustrate in this lecture, oral history has recently shown that the often trumpeted unanimity of Resistance groups is in large part an embellishment of the past. A case in point is the divergent stance taken by some groups with regard to the use of terrorist attacks in German-controlled cities, a controversy that was soon written out of history. But also the sanctioned memory of the massacres perpetrated by Germans and Italian Fascists obscured the often ambivalent relations between the partisans and civilians following these massacres. The rise of the Italian Resistance was by no means linear and uniform, and instead needs to be viewed as a movement that underwent different stages of struggle, alignment and success. The commentator, Bas von Benda-Beckmann, will connect Contini’s reflections on this more fractured history of the Italian Resistance to broader concerns in the study of Second World War resistance to German occupation and local forms of fascism.

The speaker:
Giovanni Contini was director of the Audiovisual Archive, Archival Superintendency for Tuscany, as well as professor of History of Contemporary Italy, University of Rome La Sapienza.  Having written and taught extensively about the study of oral sources and memory, he is currently president of the Italian Association of Oral History.

The commentator:
Bas von Benda-Beckmann obtained his Ph.D. degree at the University of Amsterdam with a dissertation on German historians and the allied bombings, 1945-2011. He has published on the so-called Velser Affaire, a much-disputed instance of  presumed betrayal affecting members of the Dutch Resistance. As a staff member of the NIOD he is now involved in the research project Very ordinary or quite special? New views on people in the resistance during the German occupation of the Netherlands 1940-1945 and currently works on a monograph on political captivity and the German Polizeigefängnis in Scheveningen. 

You are welcome for drinks after the lecture.

Please confirm your attendance by emailing Helen Koekenbier (h.koekenbier@niod.knaw.nl) before Thursday 21 April 2016.

This public lecture is co-organized by The Amsterdam School for Heritage, Memory and Material Culture, ACCESS EUROPE, NIOD and the Werkgroep Italië Studies.









Nella celebre lettera a Cangrande della Scala leggiamo che, oltre al significato «letterale», la Commedia ne ha anche uno «morale». Dando ascolto a questo suggerimento, nello studio che qui viene proposto s’indaga tale aspetto. Consapevoli però che la questione permea per intero il poema, s’è preferito trattarla in rapporto a un altro tema molto caro a Dante e su cui si è soffermato più volte: la letteratura. L’analisi di questi canti è stata portata avanti con i rigorosi strumenti della critica stilistica, mentre per agevolarne la comprensione, i singoli capitoli si concentrano su dei significati specifici come l’imitazione, la consolazione, la patria, ecc. L’obiettivo è quello di commentare l’idea della letteratura di Dante e il suo messaggio morale. Per lui, difatti, la poesia è un tutt’uno con l’esperienza biografica e perciò non può svincolarsi né da un giudizio etico né dal ruolo di bussola per ritrovare «la diritta via». 
*
In de beroemde brief aan Cangrande della Scala men leest dat de Goddelijke Komedie naast een «letterlijke» ook een «morele» betekenis heeft. Sterker nog, Dante beschouwt literatuur en leven als een eenheid en daarom kan zij dienen als moreel kompas om «het goede pad» terug te vinden.
Het doel van deze studie is om Dantes morele ‘Idee’ te becommentariëren en weer centraal te stellen in de interpretatie van de tekst. De analyse van verschillende canti is gedaan met het instrumentarium van de stilistiek en onderverdeeld in subthematische hoofdstukken, zoals literatuur en imitatie, literatuur als troost, literatuur als vaderland, enz.
De bundel is gepubliceerd bij de prestigeuze uitgeverij Società Editrice Dante Alighieri.

Titel: Un'idea di letteratura nella «Commedia»
Auteur: Gandolfo Cascio
Uitgever: Società Editrice Dante Alighieri, Rome 2015.
ISBN: 9788853437808












Nella celebre lettera a Cangrande della Scala leggiamo che, oltre al significato «letterale», la Commedia ne ha anche uno «morale». Dando ascolto a questo suggerimento, nello studio che qui viene proposto s’indaga tale aspetto. Consapevoli però che la questione permea per intero il poema, s’è preferito trattarla in rapporto a un altro tema molto caro a Dante e su cui si è soffermato più volte: la letteratura. L’analisi di questi canti è stata portata avanti con i rigorosi strumenti della critica stilistica, mentre per agevolarne la comprensione, i singoli capitoli si concentrano su dei significati specifici come l’imitazione, la consolazione, la patria, ecc. L’obiettivo è quello di commentare l’idea della letteratura di Dante e il suo messaggio morale. Per lui, difatti, la poesia è un tutt’uno con l’esperienza biografica e perciò non può svincolarsi né da un giudizio etico né dal ruolo di bussola per ritrovare «la diritta via». 
*
In de beroemde brief aan Cangrande della Scala men leest dat de Goddelijke Komedie naast een «letterlijke» ook een «morele» betekenis heeft. Sterker nog, Dante beschouwt literatuur en leven als een eenheid en daarom kan zij dienen als moreel kompas om «het goede pad» terug te vinden.
Het doel van deze studie is om Dantes morele ‘Idee’ te becommentariëren en weer centraal te stellen in de interpretatie van de tekst. De analyse van verschillende canti is gedaan met het instrumentarium van de stilistiek en onderverdeeld in subthematische hoofdstukken, zoals literatuur en imitatie, literatuur als troost, literatuur als vaderland, enz.
De bundel is gepubliceerd bij de prestigeuze uitgeverij Società Editrice Dante Alighieri.

Titel: Un'idea di letteratura nella «Commedia»
Auteur: Gandolfo Cascio
Uitgever: Società Editrice Dante Alighieri, Rome 2015.


Deze etalage presenteert een keur aan recente publicaties van Nederlandse en Vlaamse Italië deskundigen. 

Aanvullingen op dit overzicht zijn zeer welkom: stuur een berichtje naar de webmaster via webmaster@italiestudies.nl







Jetze Touber, Law, Medicine, and Engineering in the Cult of Saints in Counter-Reformation Rome. The Hagiographical Works of Antonio Gallonio (1556-1605) (Leiden, Brill, 2014)

The Oratorian priest Antonio Gallonio (1556-1605) devoted his life to writing about saints. The thread running through his hagiographical oeuvre was renunciation of this world: humility, subservience and endurance. Yet he engaged with the expertise of lay people, jurists, physicians and engineers, so as to appeal to their interests and convert them. In order to emphasize how saints endured torture, healed disease and exercised piety rather than ingenuity, Gallonio ventured into those secular disciplines, even if he did not endorse them. This book surveys Gallonio’s published and unpublished works and his position in Roman society, to expose the tensions between a theocratic clergy and the self-assertion of skilled and scholarly professionals in the Italian Counter-Reformation.

Minne Gerben de Boer, Apostrofi. Giro d’Italia in 41 columns (Hoevelaken, Epimetheus, 2013)

In deze Giro d’Italia wordt Italië niet sportief doorkruist op de racefiets, maar taalkundig met woorden, in 41 columns. Van Sicilië tot de Veneto, van de villa van Berlusconi tot aan L’Aquila. Het landschap waarin gekoerst wordt is divers: van de klassieke literatuur tot aan de politieke actualiteit en van het merkwaardig gedrag van de premier tot aan die van een cruisekapitein. Een scherpzinnige bundel vol kennis van de Italiaanse taal en cultuur waarin de lezer ook nog te weten komt waar in Nederland voor het eerstcappuccino werd gedronken of waar het woord pizza eigenlijk vandaan komt. 


Henk Bleker, Het andere Italië. 'La famiglia', daar kunnen wij nog wat van leren (Amsterdam, Bertram & De Leeuw, 2013)

Het andere Italië van Henk Bleker is een vurig betoog voor een bredere blik op Italië. De familiesamenleving, de karakteristieke familiebedrijven, de politiek en de rol van Italië in Europa. Nu Italië steevast in het rijtje van probleemlanden wordt genoemd, laat Bleker een tegengeluid horen. Waar wij in onze doorgeschoten verzorgingsstaat erg afhankelijk van de overheid zijn, steunen Italianen vooral op hun families. Daar kan Nederland veel van leren, zegt Bleker. ‘Europa gaat voor Italianen over beschaving en democratie. Nederlanders denken vooral aan de euro – een simpel betaalmiddel. Italië hebben we hard nodig in een Europa dat méér is dan een financiële markt.’


Maria Bonaria Urban, The Construction of the Sardinian Character in Italian Cinema (Amsterdam: Rodopi, 2013)

This volume explores how Sardinians and Sardinia have been portrayed in Italian cinema from the beginning of the 20th century until now, starting from the examination of Sardinian tropes in a wide range of texts – travel writing, fictional sources, essays and academic works. The purpose is to shed light on the cultural construction of the Sardinian character and to reveal the ideology that is behind this process. Hence the volume challenges topics such as the dynamics between verbal and visual imagery, and the intertwining between discourse, images and audience. It addresses the following questions: how was the Sardinian character translated from texts into films? Which strategies were developed to define Sardinian images on screen? For whom were these images intended? Which ideology lies behind the images? Focusing on cultural images within film and literature, this volume is of interest to those working in imagology, comparative, cultural and Italian studies.











Vincenzo Lo Cascio, Dizionario combinatorio italiano (Amsterdam/Philadelphia: Benjamins, 2013)

Le parole di una lingua non sono mai isolate ma si usano in combinazione e non con qualunque parola ma solo con alcune. Per parlare bene bisogna usare le combinazioni appropriate. In italiano si dice un tozzo di pane per indicare un pezzo di pane, ma si dice anche un tozzo di carne? E una discussione si solleva? O si solleva un’obiezione? Una discussione si affronta, ma un’obiezione? In italiano non si dice fare un appuntamento con qualcuno ma fissare o prendere un appuntamento. Ogni lingua preferisce combinazioni diverse e quindi è facile sbagliare quando ci si serve di una lingua straniera. A volte però anche il parlante nativo sbaglia o non è sicuro.

Questo dizionario ricostruisce l’ambiente linguistico di circa 6.500 entrate per aiutare ogni parlante a comunicare in italiano. È destinato allo straniero che ha una conoscenza avanzata della lingua italiana ma anche al parlante nativo che è in cerca della parola giusta. Sarà inoltre molto utile per i traduttori, per il mondo aziendale, scientifico e quello dell'insegnamento. Un dizionario che si distingue dai normali dizionari monolingui e bilingui perché indica sistematicamente le combinazioni lessicali (circa 220.000), molto spesso spiegandole e/o accompagnandole con esempi (12.000) per chiarirne l’uso.



Franco Musarra, «L’antiqua damigella». Dell'ironia nell'Orlando Furioso (Firenze: Franco Cesati, 2013)

Questo studio sull’ironia nell’Orlando Furioso di Franco Musarra mostra, seguendo le linee dei “mali d’amore” e delle “ambizioni politiche e sociali”, come il grande poema dell’Ariosto sia “più avanti” del proprio tempo e partecipi del vitalissimo movimento verso la modernità, pur essendo nato nella società cortigiana del primo Cinquecento, e non vada letto e considerato come opera ad essa “organica”.
Attraversando il poema con la lente dell’ironia, ne mostra la ricchezza umana e linguistica, la molteplicità di livelli che s’intrecciano e si nascondono. Il lettore ha l’impressione che il meraviglioso mondo del testo gli sfugga costantemente, se non ne coglie le implicazioni più profonde in piani che chiedono di essere distinti, ma che contemporaneamente si negano, quasi rifiutando di farsi afferrare. Nella sorprendente capacità di muovere personaggi, di creare combinazioni e sorprese, Ariosto mostra, sorridendo, illusioni, menzogne, sotterfugi, ipocrisie, artifici sociali del suo tempo, attuali ancora oggi.



Susanna de Beer, The Poetics of Patronage. Poetry as Self-Advancement in Giannantonio Campano (Turnhout: Brepols, 2013)

This study examines the system and poetics of literary patronage in the Renaissance by presenting a comprehensive analysis of the poetry of Giannantonio Campano. In this way, it addresses two themes largely overlooked by modern scholarship. Most studies of literary patronage focus on antiquity, the Middle Ages, or on England during the seventeenth and eighteenth centuries. If Renaissance patronage is considered at all, the focus is almost exclusively on social and political networks or on the visual arts. In spite of this, literary patronage in fact forms a crucial context for our understanding of the work and careers of Renaissance writers like Campano.

By analysing Campano’s poetry in relation to his various patronage relationships, this study also offers the first comprehensive introduction to his poetic oeuvre. His poems not only shed light on his own patronage relationships with important Renaissance princes such as Pope Pius II and Federico da Montefeltro, but also revive and appropriate the ancient literary patronage discourse found in the poetry of Horace, Ovid, Martial, and other classical writers. This study not only focuses on the social function of Campano’s poetry, therefore, but also explores its distinct literary character.

Susanna de Beer is lecturer in Neolatin literature at the University of Leiden.

Cyprus and the Renaissance (1450-1650), edited by Benjamin Arbel, Evelien Chayes, and Harald Hendrix. Mediterranean Nexus, vol. 1. Turnhout: Brepols, 2013, 470 p., 31 ill., ISBN 978-2-503-54192-1

From 1489 the strategically well positioned island of Cyprus was part of the dominions of the Republic of Venice, after having been an independent ‘Frankish’ kingdom from 1191, and until its conquest by the Ottomans in 1570. In this Venetian period, the island grew into a remarkable mediator between Eastern and Western traditions. Its rich heritage - antique, byzantine and Frankish - and its unusually diverse population - followers of the Greek rite, but also Latins, Eastern Christians and Jews - started to attract the attention of Western visitors trained in Italian Renaissance culture. The continuous to and fro of Europeans, many of them Venetian, the island’s importance to economic and military strategies, and the allure conferred by a mythological past ('the cradle of Venus herself') stimulated and fostered a generous descriptive and allusive literature. The essays in this book explore these intercultural crossings, and trace their effects in early modern culture.

Essays by: Benjamin Arbel, Daniele Baglioni, Lorenzo Calvelli, Evelien Chayes, Paola Cosentino, Carlo Alberto Girotto, Gilles Grivaud, Angel Konnari-Nicolaou, Enrico Parlato, Paolo Procaccioli, Chris Schabel, Evangelia Skoufari. 

Benjamin Arbel is professor emeritus of Early Modern History at the University of Tel Aviv.

Evelien Chayes is lecturer in French Studies at the University of Cyprus.

Harald Hendrix is professor of Italian Studies at the University of Utrecht.

Jeroen De Keyser (edition) – W.S. Blanchard (translation) Francesco FilelfoOn Exile. Commentationes Florentinae de Exilio. I Tatti Renaissance Library, vol. 55. Cambridge, MA: Harvard University Press, 2013. 512 pp.

 

In de Commentationes Florentinae de Exilio (ca. 1440) bespreekt een prominente groep van Florentijnse aristocraten en humanisten (Leonardo Bruni, Giannozzo Manetti, Poggio Bracciolini, Palla Strozzi…), van wie sommigen uit hun stad zijn verdreven door Cosimo de’Medici, de negatieve gevolgen van ballingschap, zoals armoede en verlies van reputatie, en de beste manier om dit lijden te doorstaan en er zelfs voordeel uit te halen. Deze filosofische dialoog in drie boeken omvat zowel besprekingen van de politieke scène in Florence als anekdotes over beroemde Romeinen en Grieken, lange passages antieke Griekse teksten die hier vaak voor het eerst in het Latijnse westen worden belicht en Aristoteliaanse filosofische discussies. Er zijn ook korte komische intermezzo’s, die vooral de draak steken met Poggio, die wordt afgeschilderd als een een hebzuchtig leeghoofd, veelvraat en dronkaard. Deze uitgave bevat de eerste volledige uitgave van de Latijnse tekst en de eerste volledige vertaling in een moderne taal.

 

Jeroen De Keyser is als onderzoeker verbonden aan de afdeling Latijnse literatuur van de KULeuven.


Jan L. de Jong, The Power and the Glorification. Papal Pretensions and the Art of Propaganda in the Fifteenth and Sixteenth Centuries. University Park PA: Penn State University Press, 2013.

Focusing on a turbulent time in the history of the Roman Catholic Church, The Power and the Glorification considers how, in the fifteenth and sixteenth centuries, the papacy employed the visual arts to help reinforce Catholic power structures. All means of propaganda were deployed to counter the papacy’s eroding authority in the wake of the Great Schism of 1378 and in response to the upheaval surrounding the Protestant Reformation a century later. In the Vatican and elsewhere in Rome, extensive decorative cycles were commissioned to represent the strength of the church and historical justifications for its supreme authority. Replicating the contemporary viewer’s experience is central to De Jong’s approach, and he encourages readers to consider the works through fifteenth- and sixteenth-century eyes. De Jong argues that most visitors would only have had a limited knowledge of the historical events represented in these works, and would likely have accepted (or been intended to accept) what they saw at face value. With that end in mind, the painters’ advisors did their best to “manipulate” the viewer accordingly, and De Jong discusses their strategies and methods.


Andrea Vreede, Super Mario Monti. De professor die Italië en de euro moest redden, Schoorl, Conserve, 2013.

November 2011: In het heetst van de schuldencrisis is het vertrouwen in de flamboyante Italiaanse premier Silvio Berlusconi tot het nulpunt gedaald. President Giorgio Napolitano grijpt in. Berlusconi moet aftreden en oud-eurocommissaris Mario Monti volgt hem op. Met een zakenkabinet moet ‘Super Mario’ nu hervormingen doorvoeren waar het land al 20 jaar op wacht. Hij moet streng bezuinigen en tegelijkertijd de stagnerende economie weer aan de gang krijgen. En de Italianen opvoeden tot oppassende burgers die zich aan de wet houden en belasting betalen. Zal hem dat lukken in een land waar altijd alles moet veranderen, opdat het allemaal hetzelfde blijft?

Andrea Vreede (Amsterdam, 1962) vestigde zich in 1994 in Italië voor de taal en het land. Van 2002 tot 2012 was ze correspondent voor het NOS Journaal. Nu werkt ze vanuit Rome als freelance journalist en Italië-deskundige. Bij uitgeverij Conserve publiceerde ze eerder in de NOS-correspondentenreeks met veel succes het wandelingenboek De magie van Rome waarvan 10.000 exemplaren verkocht werden.







Jeroen de Keyser, Francesco Filelfo. Traduzioni da Senofonte e Plutarco. Respublica Lacedaemoniorum, Agesilaus, Lycurgus, Numa, Cyri Paedia. Alessandria: Edizioni dell’Orso, 2012. 404 pp.


Nel 1429 il giovane Francesco Filelfo (1398-1481) si recò a Firenze, chiamato da Palla Strozzi e Leonardo Bruni, per insegnare allo Studio. Vantava un’ottima conoscenza della lingua greca grazie ai sette anni trascorsi a Costantinopoli, dove aveva non solo sposato la figlia di Giovanni Crisolora, ma anche studiato, in­sieme a Bessarione, con Giorgio Crisococca, cosicché si proclamava il più grande grecista del tempo in Occidente. Durante il soggiorno fiorentino tradusse la Respublica Lacedaemoniorum e l’Agesilaus di Senofonte, dedicati nel 1430 insieme al Lycurgus e al Numa di Plutarco al cardinale Niccolò Albergati. Per la sua ultima e più estesa opera versoria Filelfo tornò a Senofonte, con la Cyri Paedia compiuta nel 1467. Queste traduzioni furono fra i primi incunaboli a essere stampati (la Cyri Paedia nel 1477, le vite plutarchee già nel 1470) e videro numerose ristampe. La traduzione filelfiana della Paedia fu per quasi mezzo secolo l’unica versione a stampa in cui l’Europa rinascimentale potesse leggere questo Fürstenspiegel, e venne ancora ristampata per vari decenni nelle edizioni bilingui del testo senofonteo. Questo volume, nel fornire un’edizione critica delle versioni filelfiane, documenta la genesi e l’evoluzione del testo di un considerevole corpus omogeneo rima­sto finora quasi inaccessibile nella sua forma originale, poiché le stampe cinquecentine, con interventi successivi, hanno alterato nel corso della loro lunga fortuna il dettato di queste traduzioni, pur sempre presentate come il lavoro ‘di Filelfo’.

Jeroen De Keyser è ricercatore presso il Dipartimento di Letteratura latina dell’Università di Leuven.

Maarten Veeger, Ravioliblues. Geluk en gejammer in het land van Berlusconi en Monti, 2012.

Maarten Veeger is correspondent in Italië voor Het Financieele Dagblad en BNR Radio. Daarnaast werkt hij zonder enige regelmaat voor allerlei programma’s als NOS Studio Sport, Nieuwsuur/Nova, Keuringsdienst van Waarden, Tegenlicht, PowNed, RTL Nieuws en HollandSport. In Italië is hij vaste videocolumnist voor dagblad La Stampa. Ook schrijft hij voor Italië in Bedrijf en De Smaak van Italië. Eerder schreef hij de boeken Italiaanse zaken (2010), Turijn, Olympische Stad (2005) en Een Verleidelijk Theater (2004).

Ravioliblues bestellen in Nederland/België kan door € 10 plus € 2 verzendkosten over te maken op ING Bank NL 5140486 t.n.v. M. Veeger, o.v.v. naam en postadres. Het boek wordt vervolgens razendsnel toegestuurd.













Geert Buelens, Harald Hendrix, Monica Jansen, eds., The History of Futurism: The Precursors, Protagonists, and Legacies, Lanham MD, Lexington Books, 2012.

This volume addresses the history and legacy of what is generally seen as the founding avant-garde movement of the twentieth century. Geert Buelens, Harald Hendrix, and Monica Jansen have brought together scholarship from an international team of specialists to explore the Futurism movement as a multidisciplinary movement mixing aesthetics, politics, and science with a particular focus on the literature of the movement.

Futurism began as an artistic and social movement in early twentieth-century Italy. Until now, much of the scholarship available in English has focused only on a single individual or art form. This volume seeks to present a more complete picture of the movement by exploring the history of the movement, the events leading up to the movement, and the lasting impact it has had as well as the individuals involved in it.

Contributors to the volume include Walter L. Adamson; Günter Berghaus; Monica Biasiolo; Francesca Bravi; Sascha Bru; Silvia Contarini; Eleonora Conti; Patricia Gaborik; Laura Greco; Kyle Hall; Federico Luisetti; Stefano Magni; Florian Mussgnug; Marjorie Perloff; Davide Podavini; Jeffrey T. Schnapp; Beatrice Sica; Teresa Spignoli and Dirk Vanden Berghe.

Geert Buelens is Professor of modern Dutch literature at Utrecht University and guest professor at the University of Stellenbosch.

Harald Hendrix is Professor of Italian studies at Utrecht University.

Monica Jansen is Lecturer in Italian studies at Utrecht University and teaches Italian at the University of Antwerp.




Guy Geltner, The Making of Medieval Antifraternalism. Polemic, Violence, Deviance, and Remembrance, Oxford, Oxford University Press, 2012.


The mendicant orders-Augustinians, Carmelites, Dominicans, Franciscans, and several other groups-spread across Europe apace from the early thirteenth century, profoundly influencing numerous aspect of medieval life. But alongside their tremendous success, their members (friars) also encountered derision, scorn, and even violence. Such opposition, generally known as antifraternalism, is often seen as an ecclesiastical in-house affair or an ideological response to the brethren's laxity: both cases registering a moral decline symptomatic of a decadent church. Challenging the accuracy of these views, Geltner contends that the phenomenon exhibits a breadth of scope that on the one hand pushes it far beyond its accustomed boundaries, and on the other supports only tenuous links with Reformation or modern forms of anticlericalism.

Drawing from numerous sources, from theological treatises to poetry and criminal court records, Guy Geltner shows that people from all walks of life lambasted and occasionally assaulted the brethren, orchestrating detailed scenes of urban violence in the process. Their myriad motivations and diverse goals preclude us from associating antifraternalism with any one ideology or agenda, let alone allow us to brand many of its proponents as religious reformers. At the same time, he demonstrates the friars' active role in forging a medieval antifraternal tradition, not only by deviating from their founders' paths to varying degrees, but also by chronicling their suffering inter fideles and thus incorporating it into the orders' identity as the vanguard of Christianity. In doing so, Geltner illuminates a major chapter in Europe's social, urban, and religious history.

Guy Geltner is Professor of Medieval History at the University of Amsterdam and Director of The Center for Medieval Studies Amsterdam. His research focuses on the social, environmental, and religious history of the late Middle Ages, especially in an urban context. He has published The Medieval Prison: A Social History (2008); William of St. Amour'sDe periculis novissimorum temporum (2008), and Defenders and Critics of Franciscan Life (co-edited with Michael F. Cusato; 2009).



Peter Rietbergen, Rome and the World - the World in Rome. The Politics of International Culture, 1911-1921, Dordrecht, Republic of Letters, 2012.

In his new book, Dutch cultural historian Peter Rietbergen turns to the politics of international culture in nineteenth- and twentieth-century Rome. Specifically, he addresses the question why and how, since the foundation of the Italian state in 1861, Rome has sought to retain and, indeed, even enlarge its traditional role as the ‘mother town’ of the culture of mankind, and, also, why and how so many of the world’s nations have established their own cultural presence there.

Rietbergen argues that over the past 150 years, in order to gain an international position the successive regimes of the new state – Liberal, Fascist, Christian Democrat, et cetera – wanted to revitalize the age-long interaction between the “Capital of the World” and the many, increasingly self-conscious national cultures of European and other states. To do so, the various Italian governments attracted international institutions to Rome, organized a ‘universal exhibition’ there in 1911, and, from the 1920s onwards, actively furthered the foundation of foreign cultural academies that today number nearly 20, both European and non-European - a concentration unique in the world.

Most of these acts of (inter-)national cultural politics have taken place in one specific area, the Valle Giulia – an area that was, interestingly, not part of the old town, but offered the possibilities of a cultural perspective orientated towards a dynamic, modern future rather than to a traditional, almost petrified past. Indeed, to stress Italy’s vitality, the Valle was chosen to house a number of newly-founded national institutions that allowed the country to make its own mark there, precisely amidst the palatial abodes of foreign cultures. 

On the basis of an astonishingly wide range of sources – textual, visual and ritual – and with the help of numerous illustrations, Rietbergen shows that the Valle Giulia is an extraordinary “Lieu de Mémoire”, an outstanding symbol of cultural memory in which the unique relationship between Rome and the world becomes visible.

Peter Rietbergen, Ph.D. (Nijmegen 1953), is Professor of Post-medieval Cultural History at the Radboud University, Nijmegen. He published extensively on early modern (cultural) history, as well as on the history of the relations between Asia and the West. In 2005, the revised edition of his successful Europe: A Cultural History was published by Routledge.