The Heirs To The Savoia Throne And The Construction Of Italianit 1860 1900

This book explores the evolution of the role of the heirs to the throne of Italy between 1860 and 1900. It focuses on the future kings Umberto I (1844-1900) and Vittorio Emanuele III (1869-1947), and their respective spouses, Margherita of Savoia (1851-1926) and Elena of Montenegro (1873-1952). It sheds light on the soft power the Italian royals were attempting to generate, by identifying and examining four specific areas of monarchical activity: firstly, the heirs' public role and the manner in which they attempted to craft an Italian identity through a process of self-presentation; secondly, the national, royal, linguistic and military education of the heirs; thirdly, the promotion of a family-centred dynasty deploying both male and female elements in the public realm; and finally the readiness to embrace different modes of mobility in the construction of italianità. By analysing the growing importance of the royal heirs and their performance on the public stage in post-Risorgimento Italy, this study investigates the attempted construction of a cohesive national identity through the crown and, more specifically, the heirs to the throne.

This book explores the evolution of the role of the heirs to the throne of Italy between 1860 and 1900. It focuses on the future kings Umberto I (1844-1900) and Vittorio Emanuele III (1869-1947), and their respective spouses, Margherita of Savoia (1851-1926) and Elena of Montenegro (1873-1952). It sheds light on the soft power the Italian royals were attempting to generate, by identifying and examining four specific areas of monarchical activity: firstly, the heirs’ public role and the manner in which they attempted to craft an Italian identity through a process of self-presentation; secondly, the national, royal, linguistic and military education of the heirs; thirdly, the promotion of a family-centred dynasty deploying both male and female elements in the public realm; and finally the readiness to embrace different modes of mobility in the construction of italianità. By analysing the growing importance of the royal heirs and their performance on the public stage in post-Risorgimento Italy, this study investigates the attempted construction of a cohesive national identity through the crown and, more specifically, the heirs to the throne.

Henry Dwight Sedgwick's volume A Short History of Italy is an invaluable book on Italian history, taking a reader from the fall of the Roman Empire to the beginning of the twentieth century. The author gives an insight into the main points of Italian history like the decline and fall of the Western Roman Empire, the conquests at the hands of the Eastern Romans (Byzantines), the Normans, and other peoples, the rise of the Papacy, and the intriguing ministry of Francis of Assisi, the rise of Venice as a prominent medieval power, the Renaissance in all of its glory in science and the arts, the slow and steady movement towards Italian nationalism, the rise of the mafia in Southern Italy and Sicily and much more.

The twentieth century saw a proliferation of media discourses on colonialism and, later, decolonisation. Newspapers, periodicals, films, radio and TV broadcasts contributed to the construction of the image of the African “Other” across the colonial world. In recent years, a growing body of literature has explored the role of these media in many colonial societies. As regards the Italian context, however, although several works have been published about the links between colonial culture and national identity, none have addressed the specific role of the media and their impact on collective memory (or lack thereof). This book fills that gap, providing a review of images and themes that have surfaced and resurfaced over time. The volume is divided into two sections, each organised around an underlying theme: while the first deals with visual memory and images from the cinema, radio, television and new media, the second addresses the role of the printed press, graphic novels and comics, photography and trading cards.

A pioneering work in oral history, this book tells the story of the rise and fall of the industrial revolution and the apogee and crisis of the labor movement through an oral history of Terni, a steel town in Central Italy and the seat of the first large industrial enterprise in Italy. This story is told through a combination of stories, songs, myths and memories from over 200 voices of five generations, woven with a wealth of archival material.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.