italian Faculty Books
“Machiavellian”―used to describe the ruthless cunning of the power-obsessed and the pitiless―is never meant as a compliment. But the man whose name became shorthand for all that is ugly in politics was more engaging and nuanced than his reputation suggests. Christopher S. Celenza’s Machiavelli: A Portrait removes the varnish of centuries to reveal not only the hardnosed political philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover.
Machiavelli’s hometown was the epicenter of the Italian Renaissance in the fifteenth century, a place of unparalleled artistic and intellectual attainments. But Florence was also riven by extraordinary violence. War and public executions were commonplace―Machiavelli himself was imprisoned and brutally tortured at the behest of his own government. These experiences left a deep impression on this keen observer of power politics, whose two masterpieces―The Prince and The Discourses―draw everywhere on the hard-won wisdom gained from navigating a treacherous world. But like many of Machiavelli’s fellow Florentines, he also immersed himself in the Latin language and wisdom of authors from the classical past. And for all of Machiavelli’s indifference to religion, vestiges of Christianity remained in his thought, especially the hope for a redeemer―a prince who would provide the stability so rare in Machiavelli’s worldly experience.
La fin du monde reste un motif prégnant de l’imaginaire col- lectif, elle dessine un tableau aux variations inépuisables en lit- térature comme dans les autres arts. Si les horreurs du contem- porain semblent marquer une rupture sur laquelle bute l’ap- préhension de l’homme, en revanche l’angoisse ou l’espérance liées à la fin sont ataviques, au point que même le positivisme le plus récent n’a pu totalement les oblitérer. Ce constat sous- tend l’ensemble des contributions de ce recueil, qui interro- gent des démarches issues de contextes historico-culturels dif- férents – de l’Antiquité classique à nos jours. Abordant des questions aussi diverses que complémentaires, elles s’organi- sent autour des axes suivants : téléologies à/dans l’œuvre ; seuils, passages, transitions ; les temps d’après ; usages poli- tiques de la fin.
If the gaze can be understood to mark the disjuncture between how we see ourselves and how we want to be seen by others, The Cosmetic Gaze— in Bernadette Wegenstein’s groundbreaking formulation—is one through which the act of looking at our bodies and those of others is already informed by the techniques, expectations, and strategies (often surgical) of bodily modification. It is, Wegenstein says, also a moralizing gaze, a way of looking at bodies as awaiting both physical and spiritual improvement. In The Cosmetic Gaze, Wegenstein charts this synthesis of outer and inner transformation. Wegenstein shows how the cosmetic gaze underlies the “rebirth” celebrated in today’s makeover culture and how it builds upon a body concept that has collapsed into its mediality. In today’s beauty discourse—on reality TV and websites that collect “bad plastic surgery”—we yearn to experience a bettered self that has been reborn from its own flesh and is now itself, like a digitally remastered character in a classic Hollywood movie, immortal. Wegenstein traces the cosmetic gaze from 18th-century ideas about physiognomy through television makeover shows and facial-recognition software to cinema—which, like our other screens, never ceases to show us our bodies as they could be, drawing life from the very cosmetic gaze it transmits.
Agota Kristof et stephen Vizinczey quittent leur pays natal, la Hongrie, suite à la révolution antitotalitaire de 1956. Si leurs routes ne se sont jamais croisées – la première s’exile en Suisse et adopte le français, le deuxième s’installe au Canada et apprend l’anglais –, depuis cette date pourtant leurs livres n’ont cessé de témoigner d’une histoire partagée – bien que vécue de manière profondément personnelle – dont seule la fiction ne saurait rendre compte. C’est justement sur ce dialogue qui s’établit en secret et à distance que cet essai se penche et s’interroge. Complément et prolongement des contributions critiques publiées jusqu’à présent sur chacun de ces écrivains, il propose une analyse thématique et plurielle qui, au lieu de mettre en place un système de comparaisons plus ou moins fondées, préfère se servir des textes de l’un pour mieux appréhender ceux de l’autre. Ainsi, c’est par le biais de la juxtaposition que les nombreux allerretour entre passé et présent, vicissitudes individuelles et mémoire collective, dévoilent leur sens le plus profond. Et cela dans le but, non pas de recentrer le discours autour des procédés rhétoriques favorables à toute sorte de pratique quelque peu documentaire, mais plutôt d’évaluer les potentialités de la littérature et de l’art en général lorsqu’il s’agit de “réparer les fautes”, accommoder souvenirs et blessures afin qu’ils déclenchent un récit, peut-être véritable, mais pas nécessairement véridique.
Human bodies have been represented and defined in various ways across different cultures and historical periods. As an object of interpretation and site of social interaction, the body has throughout history attracted more attention than perhaps any other element of human experience. The essays in this volume explore the manifestations of the body in Italian society from the 14th through the 17th centuries.
Adopting a variety of interdisciplinary approaches, these fresh and thought-provoking essays offer original perspectives on corporeality as understood in the early modern literature, art, architecture, science, and politics of Italy. An impressively diverse group of contributors comment on a broad range and variety of conceptualizations of the body, creating a rich dialogue among scholars of early modern Italy.
Il volume prende in esame le inedite Annotationes quaedam super Artem Poeticam Horatii di Alessandro Piccolomini, testimoniate da un manoscritto autografo conservato per la Biblioteca Comunale di Siena. Tra i numerosi spunti offerti dalle glosse oraziane, la ricerca cerca di mettere a fuoco quelli che meglio permettono di valutare la poetica di Piccolomini nel ricco contesto della riflessione critica del pieno c inquecento: la portata sapienzale della poesia ed i suoi rapporti con la filosofia; la complessa dialettica tra diletto e giovamento poetico, significamente oscillante nel confronto tra le Annotationes ed il commento alla Poetica Aristotelica, pubblicato dallo setsso Piccolomini nel 1575.
Many of us find ourselves confronted with rudeness every day and don’t know how to respond. P.M. Forni, the author of the acclaimed Choosing Civility, has the answer. In The Civility Solution, he provides more than 100 different situations, and shows us how to break the rudeness cycle. How would you respond to the following?
Most people would agree that thoughtful behavior and common decency are in short supply, or simply forgotten in hurried lives of emails, cellphones, and multitasking. In Choosing Civility, P. M. Forni identifies the 25 rules that are most essential in connecting effectively and happily with others. In clear, witty, and, well…civilized language, Forni covers topics that include:
* Think Twice Before Asking Favors
* Give Constructive Criticism
* Refrain from Idle Complaints
* Respect Others’ Opinions
* Don’t Shift Responsibility and Blame
* Care for Your Guests
* Accept and Give Praise
Finally, Forni provides examples of how to put each rule into practice and so make life-and the lives of others-more enjoyable, companionable, and rewarding.
Choosing Civility is a simple, practical, perfectly measured, and quietly magical handbook on the lost art of civility and compassion.
The body as an object of critical study dominates disciplines across the humanities to such an extent that a new discipline has emerged: body criticism. In Getting Under the Skin, Bernadette Wegenstein traces contemporary body discourse in philosophy and cultural studies to its roots in 20th-century thought—showing how psychoanalysis, phenomenology, cognitive science, and feminist theory contributed to a new body concept—and studies the millennial body in performance art, popular culture, new media arts, and architecture. Wegenstein shows how the concept of bodily fragmentation has been in circulation since the 16th century’s investigation of anatomy. The history of the body-in-pieces, she argues, is a history of a struggling relationship between two concepts of the body—as fragmented and as holistic. Wegenstein shows that by the 20th century these two apparently contradictory movements were integrated; both fragmentation and holism, she argues, are indispensable modes of imagining and configuring the body. The history of the body, therefore, is a history of mediation; but it was not until the turn of the 21st century and the digital revolution that the body was best able to show its mediality.
After examining key concepts in body criticism, Wegenstein looks at the body as “raw material” in 20th-century performance art, medical techniques for visualizing the human body, and strategies in popular culture for “getting under the skin” with images of freely floating body parts. Her analysis of current trends in architecture and new media art demonstrates the deep connection of body criticism to media criticism. In this approach to body criticism, the body no longer stands in for something else—the medium has become the body.
This volume comprises original contributions from 17 scholars whose work and careers Ronald Witt has touched in myriad ways. Intellectual, social, and political historians, a historian of philosophy and an art historian: specialists in various temporal and geographical regions of the Renaissance world here address specific topics reflecting some of the major themes that have woven their way through Ronald Witt’s intellectual cursus. While some essays offer fresh readings of canonical texts and explore previously unnoticed lines of filiation among them, others present “discoveries,” including a hitherto “lost” text and overlooked manuscripts that are here edited for the first time. Engagement with little-known material reflects another of Witt’s distinguishing characteristics: a passion for original sources. The essays are gathered under three rubrics: “Politics and the Revival of Antiquity”; “Humanism, Religion, and Moral Philosophy”; and “Erudition and Innovation.”