Giuseppe Conti
- Published in print:
- 1994
- Published Online:
- September 2018
- ISBN:
- 9780969588542
- eISBN:
- 9781786944887
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780969588542.003.0008
- Subject:
- History, Maritime History
This chapter seeks to examine factors that contributed to the financial distress of Italian shipbuilders during the interwar period. It analyses internal breakdowns within shipping companies, ...
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This chapter seeks to examine factors that contributed to the financial distress of Italian shipbuilders during the interwar period. It analyses internal breakdowns within shipping companies, including weak links within a production chain or conflicts between managers, as well as investigating the role that banks had to play in the failure.Less
This chapter seeks to examine factors that contributed to the financial distress of Italian shipbuilders during the interwar period. It analyses internal breakdowns within shipping companies, including weak links within a production chain or conflicts between managers, as well as investigating the role that banks had to play in the failure.
Mirka Horová
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781526100559
- eISBN:
- 9781526132222
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526100559.003.0011
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter concentrates on Byron’s dramatic representations of Italian history – Marino Faliero, The Two Foscari and The Deformed Transformed. It demonstrates the extent to which ‘play’ – in its ...
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This chapter concentrates on Byron’s dramatic representations of Italian history – Marino Faliero, The Two Foscari and The Deformed Transformed. It demonstrates the extent to which ‘play’ – in its performative and sportive, but also competitive and manipulative senses – underpins Byron’s dramatic rendering of Italy in these works. It also highlights how these works combine the carnivalesque and the grotesque to paint a profoundly disturbing picture of Italy’s past. Indeed, Byron’s Italian dramas use Italian history to reflect on the ways in which European historical progress more generally, and the humanising role of art in that progress, repeatedly, endlessly and inevitably descend into sheer violence. As this chapter contends, Byron’s Italian dramas set up a distinctive, coherent and relentless reading of Italian history through particular episodes of it, a reading that places his ideas about the nature of, and the forces ruling, Italian history, but also history more generally, centre-stage.Less
This chapter concentrates on Byron’s dramatic representations of Italian history – Marino Faliero, The Two Foscari and The Deformed Transformed. It demonstrates the extent to which ‘play’ – in its performative and sportive, but also competitive and manipulative senses – underpins Byron’s dramatic rendering of Italy in these works. It also highlights how these works combine the carnivalesque and the grotesque to paint a profoundly disturbing picture of Italy’s past. Indeed, Byron’s Italian dramas use Italian history to reflect on the ways in which European historical progress more generally, and the humanising role of art in that progress, repeatedly, endlessly and inevitably descend into sheer violence. As this chapter contends, Byron’s Italian dramas set up a distinctive, coherent and relentless reading of Italian history through particular episodes of it, a reading that places his ideas about the nature of, and the forces ruling, Italian history, but also history more generally, centre-stage.
Lidia Luisa Zanetti Domingues
- Published in print:
- 2021
- Published Online:
- October 2021
- ISBN:
- 9780192844866
- eISBN:
- 9780191937224
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780192844866.001.0001
- Subject:
- History, British and Irish Modern History
This monograph provides an in-depth comparison of lay and religious sources produced in Siena (1260-1330) on criminal justice, conflict and violence. Two main trends have been highlighted in the ...
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This monograph provides an in-depth comparison of lay and religious sources produced in Siena (1260-1330) on criminal justice, conflict and violence. Two main trends have been highlighted in the development of criminal justice in late medieval Italy. Firstly, that the practice of revenge was still popular among members of all social classes. Secondly, that crime was increasingly perceived as a public matter that needed to be dealt with by the government, and not by private citizens. These two aspects are partly contradictory, and the extent to which these models reflect the reality of communal justice is still open to debate. The book sheds light on this question through the contribution of religious sources, which scholars have started comparing only very recently to secular ones with regard to these topics. The underlying argument is that religious people were an effective pressure group with regards to criminal justice, thanks both to the literary works they produced and their direct intervention in political affairs, and their contributions have not received the attention they deserve. It is suggested that the dichotomy between theories and practices of ‘private justice’ (e.g. revenge) and of ‘public justice’ (trials) should be substituted by a framework in which three models, or discourses, of criminal justice are recognised as present in late medieval Italian communes: in addition to the trends described above, also a specifically religious approach to criminal justice based on penitential spirituality should be recognised as an influence on the policies of the communes. This case study shows that, although the models were competing, they also influenced each other; and none of them managed, in this period, to eliminate the others, but they coexisted.Less
This monograph provides an in-depth comparison of lay and religious sources produced in Siena (1260-1330) on criminal justice, conflict and violence. Two main trends have been highlighted in the development of criminal justice in late medieval Italy. Firstly, that the practice of revenge was still popular among members of all social classes. Secondly, that crime was increasingly perceived as a public matter that needed to be dealt with by the government, and not by private citizens. These two aspects are partly contradictory, and the extent to which these models reflect the reality of communal justice is still open to debate. The book sheds light on this question through the contribution of religious sources, which scholars have started comparing only very recently to secular ones with regard to these topics. The underlying argument is that religious people were an effective pressure group with regards to criminal justice, thanks both to the literary works they produced and their direct intervention in political affairs, and their contributions have not received the attention they deserve. It is suggested that the dichotomy between theories and practices of ‘private justice’ (e.g. revenge) and of ‘public justice’ (trials) should be substituted by a framework in which three models, or discourses, of criminal justice are recognised as present in late medieval Italian communes: in addition to the trends described above, also a specifically religious approach to criminal justice based on penitential spirituality should be recognised as an influence on the policies of the communes. This case study shows that, although the models were competing, they also influenced each other; and none of them managed, in this period, to eliminate the others, but they coexisted.
Richard Schofield
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781526117045
- eISBN:
- 9781526141910
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526117045.003.0002
- Subject:
- Art, Art History
Florence is a city which demonstrates the power of Local Renaissance traditions and how they could delay the introduction of all’antica architecture. Authoritative medieval communal buildings, ...
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Florence is a city which demonstrates the power of Local Renaissance traditions and how they could delay the introduction of all’antica architecture. Authoritative medieval communal buildings, particularly the Palazzo Vecchio, established an architectural vocabulary which was appropriated for palaces, which, as a rule, were provided with massive rusticated ground-floors or, later, with rusticated corners running up their full height; the majority of Florentine palaces of the Quattrocento and Cinquecento are of this type and were notable for the absence of the orders. The resistance to the orders is remarkable since painters and sculptors had frequently represented buildings, usually biblical or antique, with orders on the façades: and the use on palaces of stucco decoration which represented the orders may have predated the only example of a palace façade decorated with three different orders, Alberti’s Palazzo Rucellai. The power of this tenacious tradition of palace façade- building is powerfully demonstrated by the fate of the Palazzo Rucellai, which, assessed in terms of its influence in Florence, was a failure; no architect copied it. Other examples of attempts to adjust, enrich or disrupt the local tradition of façade-building – particularly Palazzo Medici Riccardi and the Palazzo Bartolini Salimbeni - are discussed.Less
Florence is a city which demonstrates the power of Local Renaissance traditions and how they could delay the introduction of all’antica architecture. Authoritative medieval communal buildings, particularly the Palazzo Vecchio, established an architectural vocabulary which was appropriated for palaces, which, as a rule, were provided with massive rusticated ground-floors or, later, with rusticated corners running up their full height; the majority of Florentine palaces of the Quattrocento and Cinquecento are of this type and were notable for the absence of the orders. The resistance to the orders is remarkable since painters and sculptors had frequently represented buildings, usually biblical or antique, with orders on the façades: and the use on palaces of stucco decoration which represented the orders may have predated the only example of a palace façade decorated with three different orders, Alberti’s Palazzo Rucellai. The power of this tenacious tradition of palace façade- building is powerfully demonstrated by the fate of the Palazzo Rucellai, which, assessed in terms of its influence in Florence, was a failure; no architect copied it. Other examples of attempts to adjust, enrich or disrupt the local tradition of façade-building – particularly Palazzo Medici Riccardi and the Palazzo Bartolini Salimbeni - are discussed.
