Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0011
- Subject:
- Music, History, Western
This chapter provides a brief final overview of the role of both scuole grandi and scuole piccole in the musical life of Venice.
This chapter provides a brief final overview of the role of both scuole grandi and scuole piccole in the musical life of Venice.
Alexander Broadie
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198240266
- eISBN:
- 9780191680137
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198240266.001.0001
- Subject:
- Philosophy, Logic/Philosophy of Mathematics, History of Philosophy
Medieval logicians advanced far beyond the logic of Aristotle and the aim of this book is to show how far that advance took them in two central areas. This book focuses upon the work of some of the ...
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Medieval logicians advanced far beyond the logic of Aristotle and the aim of this book is to show how far that advance took them in two central areas. This book focuses upon the work of some of the great figures of the 14th century, including Walter Burley, William Ockham, John Buridan, Albert of Saxony, and Paul of Venice, and deals with their theories of truth, conditions, and validity conditions. It reveals how much of what seems characteristically 20th-century logica was familiar long ago. This book, in its second edition, provides full accounts of supposition of intentional contexts, and of medieval syllogistics.Less
Medieval logicians advanced far beyond the logic of Aristotle and the aim of this book is to show how far that advance took them in two central areas. This book focuses upon the work of some of the great figures of the 14th century, including Walter Burley, William Ockham, John Buridan, Albert of Saxony, and Paul of Venice, and deals with their theories of truth, conditions, and validity conditions. It reveals how much of what seems characteristically 20th-century logica was familiar long ago. This book, in its second edition, provides full accounts of supposition of intentional contexts, and of medieval syllogistics.
Charles King
- Published in print:
- 2004
- Published Online:
- August 2004
- ISBN:
- 9780199241613
- eISBN:
- 9780191601439
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199241619.003.0003
- Subject:
- Political Science, International Relations and Politics
The Byzantine empire, with its capital in Constantinople, was a quintessentially Black Sea power, yet profiting from the empire's own geography proved difficult. Relations with northern barbarians ...
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The Byzantine empire, with its capital in Constantinople, was a quintessentially Black Sea power, yet profiting from the empire's own geography proved difficult. Relations with northern barbarians were a constant concern. In time the Byzantines ceded control of the sea to the commercial Mediterranean empires of Venice and Genoa. The Italians helped to revive the trading relations that had flourished under the ancient Greeks.Less
The Byzantine empire, with its capital in Constantinople, was a quintessentially Black Sea power, yet profiting from the empire's own geography proved difficult. Relations with northern barbarians were a constant concern. In time the Byzantines ceded control of the sea to the commercial Mediterranean empires of Venice and Genoa. The Italians helped to revive the trading relations that had flourished under the ancient Greeks.
FORTINI BROWN PATRICIA
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265055
- eISBN:
- 9780191754166
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265055.003.0002
- Subject:
- Music, History, Western
This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a ...
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This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.Less
This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.
DEBORAH HOWARD
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265055
- eISBN:
- 9780191754166
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265055.003.0006
- Subject:
- Music, History, Western
This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for ...
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This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions.Less
This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions.
Adam B. Seligman, Robert P. Weller, Michael J. Puett, and Bennett Simon
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195336009
- eISBN:
- 9780199868933
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336009.003.0006
- Subject:
- Religion, World Religions
This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and ...
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This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and sincerity in Shakespeare's Merchant of Venice. Second, it looks at the history of architectural ornament, which is ritual-like in its repetitions and rhythms and in its concern with boundaries and framing. Here the ritual/sincerity tension plays out typically as conflict between ornament and pedagogy. Iconoclasm is a core theme of this section. Finally, it compares the formal features of music to those of ritual. Like ritual, music is a way of establishing and crossing boundaries, and of ordering a messy world through techniques of intonation, rhythm, and ornament. The tension between ritual and sincerity culminates in 20th-century attempts to move beyond the conventions of tonality completely.Less
This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and sincerity in Shakespeare's Merchant of Venice. Second, it looks at the history of architectural ornament, which is ritual-like in its repetitions and rhythms and in its concern with boundaries and framing. Here the ritual/sincerity tension plays out typically as conflict between ornament and pedagogy. Iconoclasm is a core theme of this section. Finally, it compares the formal features of music to those of ritual. Like ritual, music is a way of establishing and crossing boundaries, and of ordering a messy world through techniques of intonation, rhythm, and ornament. The tension between ritual and sincerity culminates in 20th-century attempts to move beyond the conventions of tonality completely.
Yaacob Dweck
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691145082
- eISBN:
- 9781400840007
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691145082.003.0002
- Subject:
- Religion, Judaism
This chapter posits Leon Modena's writing practices within the context of early modern Venice, capital of Hebrew printing and center of manuscript production. The circumstances of Modena's life as ...
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This chapter posits Leon Modena's writing practices within the context of early modern Venice, capital of Hebrew printing and center of manuscript production. The circumstances of Modena's life as well as the cultural world of early modern Venice offer some context for why Ari Nohem (The Roaring Lion, 1840) did not appear in print in the seventeenth century. As a work of criticism, Ari Nohem reflected upon the transmission of Jewish tradition, particularly the transmission of esoteric information and the principles of Jewish law. Modena argued that the printing of legal and kabbalistic books had effected a radical change in the transmission of Jewish tradition, a change that he decried in no uncertain terms at several points. Ari Nohem polemicized against one medium, print, in the form of another, manuscript.Less
This chapter posits Leon Modena's writing practices within the context of early modern Venice, capital of Hebrew printing and center of manuscript production. The circumstances of Modena's life as well as the cultural world of early modern Venice offer some context for why Ari Nohem (The Roaring Lion, 1840) did not appear in print in the seventeenth century. As a work of criticism, Ari Nohem reflected upon the transmission of Jewish tradition, particularly the transmission of esoteric information and the principles of Jewish law. Modena argued that the printing of legal and kabbalistic books had effected a radical change in the transmission of Jewish tradition, a change that he decried in no uncertain terms at several points. Ari Nohem polemicized against one medium, print, in the form of another, manuscript.
Jonathan Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.001.0001
- Subject:
- Music, History, Western
This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the ...
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This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.Less
This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.
Ranald Michie
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199280612
- eISBN:
- 9780191712784
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199280612.001.0001
- Subject:
- Economics and Finance, Economic History
This book presents a history of the global securities market. It is the product of over thirty years of research. It covers many aspects of the history of the securities markets from its beginnings ...
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This book presents a history of the global securities market. It is the product of over thirty years of research. It covers many aspects of the history of the securities markets from its beginnings in Medieval Venice through Amsterdam and London to its operations in Tokyo and New York today. It integrates the history of both stocks and bonds, established and emerging markets, stock exchanges and over-the-counter trading, and the crises and continuity that have made the global securities market such a force in the world over the centuries.Less
This book presents a history of the global securities market. It is the product of over thirty years of research. It covers many aspects of the history of the securities markets from its beginnings in Medieval Venice through Amsterdam and London to its operations in Tokyo and New York today. It integrates the history of both stocks and bonds, established and emerging markets, stock exchanges and over-the-counter trading, and the crises and continuity that have made the global securities market such a force in the world over the centuries.
Jonathan Glixon and Beth Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.001.0001
- Subject:
- Music, History, Western
This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the ...
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This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.Less
This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.
Jane A. Bernstein
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195141085
- eISBN:
- 9780199871421
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195141085.001.0001
- Subject:
- Music, History, Western
Venice achieved preeminence as a great publishing center and music printing capital of Renaissance Europe. This book presents a broad overview of the Venetian music press during the mid-16th century. ...
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Venice achieved preeminence as a great publishing center and music printing capital of Renaissance Europe. This book presents a broad overview of the Venetian music press during the mid-16th century. It bridges the gap between music and other disciplines by incorporating music printing into the wider world of the publishing industry, demonstrating that the field of music was no different from any other specialty of the book trade. Within this framework, the singular theme of commercial enterprise runs throughout the study. Stressing the commerce of music and its connection to the printing and publishing industry, the book explores various mercantile activities of the trade from the financing and production to the marketing and distribution of music publications. It also considers the impact print culture had on musicians, delving into the complex relationships that occurred between composers, patrons, and bookmen. Focusing on the two dynastic publishing houses of Scotto and Gardano, the book examines the business practices that these firms followed in the acquisition and selling of music. Their marketing strategies not only minimized competition, but also helped define the musical repertory published in 16th-century Venice.Less
Venice achieved preeminence as a great publishing center and music printing capital of Renaissance Europe. This book presents a broad overview of the Venetian music press during the mid-16th century. It bridges the gap between music and other disciplines by incorporating music printing into the wider world of the publishing industry, demonstrating that the field of music was no different from any other specialty of the book trade. Within this framework, the singular theme of commercial enterprise runs throughout the study. Stressing the commerce of music and its connection to the printing and publishing industry, the book explores various mercantile activities of the trade from the financing and production to the marketing and distribution of music publications. It also considers the impact print culture had on musicians, delving into the complex relationships that occurred between composers, patrons, and bookmen. Focusing on the two dynastic publishing houses of Scotto and Gardano, the book examines the business practices that these firms followed in the acquisition and selling of music. Their marketing strategies not only minimized competition, but also helped define the musical repertory published in 16th-century Venice.
James Johnson
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780520267718
- eISBN:
- 9780520948624
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267718.001.0001
- Subject:
- History, European Modern History
“The entire town is disguised” declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks—nobles, clergy, imposters, seducers, con men—could be found mixing at every ...
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“The entire town is disguised” declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks—nobles, clergy, imposters, seducers, con men—could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. This book offers a spirited analysis of masking in this carnival-loving city. It draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.Less
“The entire town is disguised” declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks—nobles, clergy, imposters, seducers, con men—could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. This book offers a spirited analysis of masking in this carnival-loving city. It draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.
Dominique Guellec
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199216987
- eISBN:
- 9780191711831
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199216987.003.0002
- Subject:
- Economics and Finance, Development, Growth, and Environmental
This chapter addresses the genesis and evolution of the patent system, since the first patent statute was issued in Venice in 1471, until the international harmonization pressures of patent regimes ...
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This chapter addresses the genesis and evolution of the patent system, since the first patent statute was issued in Venice in 1471, until the international harmonization pressures of patent regimes at the end of 20th century. The European Patent Office (EPO), which began its activity in 1978, has established a common examination procedure and common standards for patenting all over Europe. The main characteristics of modern patent systems are discussed, which include the subject matter (technical inventions in Europe), priority rule (first to file), inventive step, a statutory duration of twenty years after filing, prior examination of applications before grant, inventive step as minimum degree of novelty, disclosure of the protected invention, and the possibility of various restrictions on patent rights, such as compulsory licensing or working requirements.Less
This chapter addresses the genesis and evolution of the patent system, since the first patent statute was issued in Venice in 1471, until the international harmonization pressures of patent regimes at the end of 20th century. The European Patent Office (EPO), which began its activity in 1978, has established a common examination procedure and common standards for patenting all over Europe. The main characteristics of modern patent systems are discussed, which include the subject matter (technical inventions in Europe), priority rule (first to file), inventive step, a statutory duration of twenty years after filing, prior examination of applications before grant, inventive step as minimum degree of novelty, disclosure of the protected invention, and the possibility of various restrictions on patent rights, such as compulsory licensing or working requirements.
Stefania Tutino
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199740536
- eISBN:
- 9780199894765
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199740536.003.0003
- Subject:
- Religion, Philosophy of Religion
This chapter analyzes the repercussions of Bellarmine’s theory in the controversy over the Venetian Interdetto. It starts by examining the very problematic issue of clerical exemption, from which the ...
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This chapter analyzes the repercussions of Bellarmine’s theory in the controversy over the Venetian Interdetto. It starts by examining the very problematic issue of clerical exemption, from which the controversy over the Interdetto started. It then examines in detail the polemical battle that opposed Bellarmine to Paolo Sarpi, and then it explains the political context in which the controversy has to be situated through an analysis of the trials conducted by the Roman Inquisition and by the Index against some theologians who wrote in support of Venice. By looking at the controversial resolutions on those cases, this chapter explains the significance of the political and religious issues at stake for the definition of the nature and limits of political authority and its relationship with ecclesiastical authority.Less
This chapter analyzes the repercussions of Bellarmine’s theory in the controversy over the Venetian Interdetto. It starts by examining the very problematic issue of clerical exemption, from which the controversy over the Interdetto started. It then examines in detail the polemical battle that opposed Bellarmine to Paolo Sarpi, and then it explains the political context in which the controversy has to be situated through an analysis of the trials conducted by the Roman Inquisition and by the Index against some theologians who wrote in support of Venice. By looking at the controversial resolutions on those cases, this chapter explains the significance of the political and religious issues at stake for the definition of the nature and limits of political authority and its relationship with ecclesiastical authority.
David Laven
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780198205746
- eISBN:
- 9780191717147
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205746.001.0001
- Subject:
- History, European Modern History
This work deals principally with the fate of Venice and Venetia during the first twenty years of the so-called second Austrian domination. It begins by providing background to the period, by ...
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This work deals principally with the fate of Venice and Venetia during the first twenty years of the so-called second Austrian domination. It begins by providing background to the period, by examining the fall of the Venetian Republic in 1797, and its early experiences of foreign domination during the Napoleonic era. It then focuses on the nature of Habsburg rule during the reign of Francis I. Challenging longstanding assumptions about the supposedly repressive and exploitative and nature of Austrian control, it highlights the difficulties faced by the authorities in balancing the needs of Venetia with wider considerations of imperial policy, and in particular the tensions generated by the retention of significant elements of the Napoleonic machinery of government established during the period 1806-1814. The central aim of the book is to move away from the traditional Risorgimento historiography, which focuses on unrest, to explain why Venetia was perhaps the most politically passive area in Europe in the two decades after the collapse of the Napoleonic Empire. The final section of the book examines the developments that took place in the period after Francis I's death in 1835, which permitted the outbreak of revolution in 1848.Less
This work deals principally with the fate of Venice and Venetia during the first twenty years of the so-called second Austrian domination. It begins by providing background to the period, by examining the fall of the Venetian Republic in 1797, and its early experiences of foreign domination during the Napoleonic era. It then focuses on the nature of Habsburg rule during the reign of Francis I. Challenging longstanding assumptions about the supposedly repressive and exploitative and nature of Austrian control, it highlights the difficulties faced by the authorities in balancing the needs of Venetia with wider considerations of imperial policy, and in particular the tensions generated by the retention of significant elements of the Napoleonic machinery of government established during the period 1806-1814. The central aim of the book is to move away from the traditional Risorgimento historiography, which focuses on unrest, to explain why Venetia was perhaps the most politically passive area in Europe in the two decades after the collapse of the Napoleonic Empire. The final section of the book examines the developments that took place in the period after Francis I's death in 1835, which permitted the outbreak of revolution in 1848.
Beth L. Glixon and Jonathan E. Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.003.0004
- Subject:
- Music, History, Western
This chapter comprises case studies of four different 17th-century theaters that present a variety of impresarial models. Despite being the first public opera theater, S. Cassiano had difficulty ...
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This chapter comprises case studies of four different 17th-century theaters that present a variety of impresarial models. Despite being the first public opera theater, S. Cassiano had difficulty maintaining a stable opera company, and had a number of different impresarios during the first two decades of mounting opera. The Novissimo was a newly built theater dedicated to opera, built on the grounds of a monastery. Although it attracted operatic stars and enthusiastic audiences, it too suffered continual financial difficulties. S. Aponal was owned by cittadini rather than patricians, and provided an inexpensive, if small, venue for opera. S. Luca, which began to present opera only after Marco Faustini left S. Cassiano, managed to present high quality opera within a short time, after a rather shaky start.Less
This chapter comprises case studies of four different 17th-century theaters that present a variety of impresarial models. Despite being the first public opera theater, S. Cassiano had difficulty maintaining a stable opera company, and had a number of different impresarios during the first two decades of mounting opera. The Novissimo was a newly built theater dedicated to opera, built on the grounds of a monastery. Although it attracted operatic stars and enthusiastic audiences, it too suffered continual financial difficulties. S. Aponal was owned by cittadini rather than patricians, and provided an inexpensive, if small, venue for opera. S. Luca, which began to present opera only after Marco Faustini left S. Cassiano, managed to present high quality opera within a short time, after a rather shaky start.
Christopher Prendergast
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691155203
- eISBN:
- 9781400846313
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691155203.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter examines éblouissement in Marcel Proust's Venice in À la recherche du temps perdu. It suggests that Proust's sensibility and imagination were “religious” insofar as they were animated by ...
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This chapter examines éblouissement in Marcel Proust's Venice in À la recherche du temps perdu. It suggests that Proust's sensibility and imagination were “religious” insofar as they were animated by the wish to intuit from a “feeling.” From the perspective of more rigorously conceived religious belief and doctrine, however, the chapter argues that such wish was pure folly, in many ways the blind alley of a writer for whom religious faith was not a plausible option, but who was also indifferent to what had come to replace religion—the secular narratives of “progress” underpinning the enlightenment project of “modernity.” That Proust suspected it was folly is clear from his indictment of John Ruskin with the charge of idolatry.Less
This chapter examines éblouissement in Marcel Proust's Venice in À la recherche du temps perdu. It suggests that Proust's sensibility and imagination were “religious” insofar as they were animated by the wish to intuit from a “feeling.” From the perspective of more rigorously conceived religious belief and doctrine, however, the chapter argues that such wish was pure folly, in many ways the blind alley of a writer for whom religious faith was not a plausible option, but who was also indifferent to what had come to replace religion—the secular narratives of “progress” underpinning the enlightenment project of “modernity.” That Proust suspected it was folly is clear from his indictment of John Ruskin with the charge of idolatry.
C. L. Barber
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691149523
- eISBN:
- 9781400839858
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691149523.003.0007
- Subject:
- Literature, Criticism/Theory
This chapter examines Shakespeare's The Merchant of Venice. This play as a whole is not shaped by festivity in the relatively direct way as in Love's Labour's Lost and A Midsummer Night's Dream. The ...
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This chapter examines Shakespeare's The Merchant of Venice. This play as a whole is not shaped by festivity in the relatively direct way as in Love's Labour's Lost and A Midsummer Night's Dream. The play's large structure is developed from traditions which are properly theatrical; it is not a theatrical adaptation of a social ritual. And yet analogies to social occasions and rituals prove to be useful in understanding the symbolic action. The chapter pursues such analogies without suggesting, in most cases, that there is a direct influence from the social to the theatrical form. Shakespeare here is working with autonomous mastery, developing a style of comedy that makes a festive form for feeling and awareness out of all the theatrical elements, scene, speech, story, gesture, role which his astonishing art brought into organic combination.Less
This chapter examines Shakespeare's The Merchant of Venice. This play as a whole is not shaped by festivity in the relatively direct way as in Love's Labour's Lost and A Midsummer Night's Dream. The play's large structure is developed from traditions which are properly theatrical; it is not a theatrical adaptation of a social ritual. And yet analogies to social occasions and rituals prove to be useful in understanding the symbolic action. The chapter pursues such analogies without suggesting, in most cases, that there is a direct influence from the social to the theatrical form. Shakespeare here is working with autonomous mastery, developing a style of comedy that makes a festive form for feeling and awareness out of all the theatrical elements, scene, speech, story, gesture, role which his astonishing art brought into organic combination.
Jane A. Bernstein
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195141085
- eISBN:
- 9780199871421
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195141085.003.0007
- Subject:
- Music, History, Western
This chapter focuses on the two most important music printing presses of 16th-century Venice: the House of Scotto and the House of Gardano. It presents histories of the two dynastic firms, tracing ...
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This chapter focuses on the two most important music printing presses of 16th-century Venice: the House of Scotto and the House of Gardano. It presents histories of the two dynastic firms, tracing their development from the founding of the presses through several generations of bookmen.Less
This chapter focuses on the two most important music printing presses of 16th-century Venice: the House of Scotto and the House of Gardano. It presents histories of the two dynastic firms, tracing their development from the founding of the presses through several generations of bookmen.
Filippo de Vivo
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780199227068
- eISBN:
- 9780191711114
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199227068.001.0001
- Subject:
- History, European Early Modern History
Today, in an age of spin-doctoring and media power, we take it for granted that information and politics affect each other. This book investigates the political uses of communication in 16th- and ...
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Today, in an age of spin-doctoring and media power, we take it for granted that information and politics affect each other. This book investigates the political uses of communication in 16th- and 17th-century Venice. Unlike traditional book history, it defines communication broadly, encompassing orality and literacy, manuscript and print: from council debates to written reports, newsletters, rumours, graffiti, and pamphlets. The book combines political and cultural history, urban history, and the history of the book. Chapters 1-3 discuss communication at different levels: the government; the political arena of factions and professional informers; the city of ordinary people without personal connection with the authorities. Chapters 4-6 analyse the interaction between these spheres both in peace and in conflict (e.g., during the Venetian Interdict of 1606-7, in which Paolo Sarpi played a prominent role as information strategist). The book rethinks the boundaries of early modern politics. Traditional political historians view events from the upper windows of government buildings, while social historians have taught us to look at history from below. Neither perspective is sufficient in isolation. Even secretive oligarchs ensconced inside the Ducal Palace were constantly preoccupied by their vociferous subjects in the squares below. Politics involved not just patricians but ordinary people. They were denied any institutional political role and, in Venice's proverbially pacific history, mostly abstained from extra-institutional collective activities like rioting. Barred from political action, however, they participated in political communication, a form of political action which could influence the conduct of high politics.Less
Today, in an age of spin-doctoring and media power, we take it for granted that information and politics affect each other. This book investigates the political uses of communication in 16th- and 17th-century Venice. Unlike traditional book history, it defines communication broadly, encompassing orality and literacy, manuscript and print: from council debates to written reports, newsletters, rumours, graffiti, and pamphlets. The book combines political and cultural history, urban history, and the history of the book. Chapters 1-3 discuss communication at different levels: the government; the political arena of factions and professional informers; the city of ordinary people without personal connection with the authorities. Chapters 4-6 analyse the interaction between these spheres both in peace and in conflict (e.g., during the Venetian Interdict of 1606-7, in which Paolo Sarpi played a prominent role as information strategist). The book rethinks the boundaries of early modern politics. Traditional political historians view events from the upper windows of government buildings, while social historians have taught us to look at history from below. Neither perspective is sufficient in isolation. Even secretive oligarchs ensconced inside the Ducal Palace were constantly preoccupied by their vociferous subjects in the squares below. Politics involved not just patricians but ordinary people. They were denied any institutional political role and, in Venice's proverbially pacific history, mostly abstained from extra-institutional collective activities like rioting. Barred from political action, however, they participated in political communication, a form of political action which could influence the conduct of high politics.
