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Thesis by Giulia Morosini
Questa tesi si propone di indagare più a fondo i rapporti che sono intercorsi tra Sigismondo Mala... more Questa tesi si propone di indagare più a fondo i rapporti che sono intercorsi tra Sigismondo Malatesta e la Repubblica di Venezia dal 1431 fino alla morte del signore di Rimini, avvenuta nel 1468. Ciò che mi ha spinto a intraprendere questo studio è stata la mancanza, nella storiografia, di un approccio univoco sull'argomento. Ciò probabilmente è avvenuto a causa del fatto che, nella appassionante vita di Sigismondo, così come nella interessantissima storia della Serenissima, questi non rappresentino i momenti più eclatanti. Per entrambe le figure infatti, nel periodo preso in considerazione, vi sono momenti storici maggiormente rilevanti, anche per l'effetto che ebbero sul più grande scacchiere italiano rinascimentale. A causa di ciò, soprattutto se si prende in considerazione la bibliografia sul Malatesti (poiché quella sulla Repubblica, nella maggior parte dei casi, si limita a menzionare di sfuggita Sigismondo), la tendenza prevalente sembra essere quella di liquidare in fretta la questione, attraverso un'analisi, a mio parere, superficiale. Ne deriva quindi una staticità, la quale si dimostra nell'espressione di due linee di pensiero piuttosto rigide e definite, volte l'una a dimostrare l'assoluto pragmatismo e freddezza di Venezia, l'altra ad esagerare l'affezione e il legame "personale" tra i due.
Papers by Giulia Morosini
Killing and Being Killed: Bodies in Battle, 2017
Cultural History, 2018
In her groundbreaking 2012 article, 'Are Emotions a Kind of Practice (and is That What Makes Them... more In her groundbreaking 2012 article, 'Are Emotions a Kind of Practice (and is That What Makes Them Have a History)?', Monique Scheer outlines a theoretical and methodological framework for the history of emotions. We six authors present short descriptions of our research drawing on this theory of emotions as practices, following an overview of Scheer's framework. Encompassing research on groups ranging from early modern Italian military captains, to fin-de-siècle middle-class German mothers, to post-1945 Finnish historians, these cases allow us to consider how examining embodied emotional experiences can enrich our understanding of gender roles, individual choices and historical contexts. To close the essay, Scheer offers her own comments on these projects in progress. Anchored in Pierre Bourdieu's concept of the habitus, Scheer's model views historical changes in emotion as occurring not only because of alterations in words, norms and expectations attached to or associated with emotion but also because of changes in the practices in which
Bruniana e Campanelliana, 27, pp. 261-76, 2021
Gender and Status Competition in Pre-Modern Societies ed. by M. Bayless, J. Liliequist, L. Webb, 2021
Storie di Violenza. Genere, pratiche ed emozioni tra Medioevo ed età contemporanea, 2020
Cultural History, 2018
In her groundbreaking 2012 article, ‘Are Emotions a Kind of Practice (and is That What Makes Them... more In her groundbreaking 2012 article, ‘Are Emotions a Kind of Practice (and is That What Makes Them Have a History)?’, Monique Scheer outlines a theoretical and methodological framework for the history of emotions. We six authors present short descriptions of our research drawing on this theory of emotions as practices, following an overview of Scheer’s framework. Encompassing research on groups ranging from early modern Italian military captains, to fin-de-siècle middle-class German mothers, to post-1945 Finnish historians, these cases allow us to consider how examining embodied emotional experiences can enrich our understanding of gender roles, individual choices and historical contexts. To close the essay, Scheer offers her own comments on these
projects in progress.
The article analyses the symbolic function the body, and in particular wounds and mutilations, ha... more The article analyses the symbolic function the body, and in particular wounds and mutilations, had for the Italian military class in the Renaissance. Therefore, I asked myself the following questions: did wounds and scars have a specific meaning in the military mentality of the Renaissance? If the answer is yes, with what connotation? Did they rely on a moral system which identified the positive and negative characteristics of the military action? In the space of this article, I shall attempt to answer to these questions, well aware of the fact that this subject needs, due to its extent, a wider documentary spectrum. This article aims only to be a preliminary and exploratory work, with the intent to offer some starting points for a consequent reflection. Within the tight space allowed, it is not possible to deeply investigate the mass of more and less famous condottieri who populated Italy during the XV century. Therefore, I preferred to focus my attention on four characters, who cover a time frame from the beginning of the XV century until the first years of the XVI century, namely Braccio da Montone, Sigismondo Malatesta,
Forms and Practices of Presenting Divergent Behaviour in the Late Middle Ages and Early Modern Period., 2016
Conference Presentations by Giulia Morosini
International conference, "Justice carved into the body", Potsdam, 2021
SHE conference, "Emotions in Conflict", Ottawa, 2019
Studying emotions as embodied and culturally informed practices allow for a better understanding ... more Studying emotions as embodied and culturally informed practices allow for a better understanding of the emotional ties and symbolic power relations that held together the military companies of the Italian condottieri during the Renaissance. My paper draws on Monique Scheer's perspective on emotional practices as mobilizing and communicating, connected to the body and the suffering of pain and fear. It will be argued that acquiring prestigious scars and corporeal damages through virtuous fighting required a mobilization of both bodily and emotional strength, in order to endure pain and fear. This mobilization was made possible through physical and military training, since training the body prepared the mind as well for the difficulties of war. In view of a dialectic relationship between the internalization of emotions and the material manifestation of virtues through the body, corporeal damages and scars will be analyzed as cultural symbols as well as the outcome of emotional practices embedded in a military social setting. The communicating aspect is connected with the performative display of scars in daily activity. The sight of the damaged body aroused emotional reactions in others, ranging from imitation to admiration and deference to the captain. The condottiero's exposure of his body communicated and instilled feelings of respect and authority; therefore, the symbolic implications of scars and corporeal damages were a means to reinforce power relations and strengthen the internal cohesion of the mercenary company. Finally, the a-posteriori narration of these emotional practices renders them as signs of "courage" and "ardimento"; in this way, they are inserted into the cultural prestige categories of a closed cultural environment such as the military.
Books by Giulia Morosini
BRUNIANA & CAMPANELLIANA, 2021
Introduction: This text introduces a dossier of essays, resulting from an informal research group... more Introduction: This text introduces a dossier of essays, resulting from an informal research group that has begun, and plans to continue, to work on the subject area and approach of a cultural history of gesture. The scope of the following pages is twofold: firstly, to set a historiographical background of the main directions in which a cluster of disciplines have ploughed the field, and indicate some of the gaps that still need filling; secondly, to signal some specificities of the historical context of the Renaissance that makes it a particularly interesting territory to explore in this perspective.
Keywords: Gesture, Cultural History, Renaissance Italy.
Questa tesi si propone di indagare più a fondo i rapporti che sono intercorsi tra Sigismondo Mala... more Questa tesi si propone di indagare più a fondo i rapporti che sono intercorsi tra Sigismondo Malatesta e la Repubblica di Venezia dal 1431 fino alla morte del signore di Rimini, avvenuta nel 1468. Ciò che mi ha spinto a intraprendere questo studio è stata la mancanza, nella storiografia, di un approccio univoco sull'argomento. Ciò probabilmente è avvenuto a causa del fatto che, nella appassionante vita di Sigismondo, così come nella interessantissima storia della Serenissima, questi non rappresentino i momenti più eclatanti. Per entrambe le figure infatti, nel periodo preso in considerazione, vi sono momenti storici maggiormente rilevanti, anche per l'effetto che ebbero sul più grande scacchiere italiano rinascimentale. A causa di ciò, soprattutto se si prende in considerazione la bibliografia sul Malatesti (poiché quella sulla Repubblica, nella maggior parte dei casi, si limita a menzionare di sfuggita Sigismondo), la tendenza prevalente sembra essere quella di liquidare in fretta la questione, attraverso un'analisi, a mio parere, superficiale. Ne deriva quindi una staticità, la quale si dimostra nell'espressione di due linee di pensiero piuttosto rigide e definite, volte l'una a dimostrare l'assoluto pragmatismo e freddezza di Venezia, l'altra ad esagerare l'affezione e il legame "personale" tra i due.
Killing and Being Killed: Bodies in Battle, 2017
Cultural History, 2018
In her groundbreaking 2012 article, 'Are Emotions a Kind of Practice (and is That What Makes Them... more In her groundbreaking 2012 article, 'Are Emotions a Kind of Practice (and is That What Makes Them Have a History)?', Monique Scheer outlines a theoretical and methodological framework for the history of emotions. We six authors present short descriptions of our research drawing on this theory of emotions as practices, following an overview of Scheer's framework. Encompassing research on groups ranging from early modern Italian military captains, to fin-de-siècle middle-class German mothers, to post-1945 Finnish historians, these cases allow us to consider how examining embodied emotional experiences can enrich our understanding of gender roles, individual choices and historical contexts. To close the essay, Scheer offers her own comments on these projects in progress. Anchored in Pierre Bourdieu's concept of the habitus, Scheer's model views historical changes in emotion as occurring not only because of alterations in words, norms and expectations attached to or associated with emotion but also because of changes in the practices in which
Bruniana e Campanelliana, 27, pp. 261-76, 2021
Gender and Status Competition in Pre-Modern Societies ed. by M. Bayless, J. Liliequist, L. Webb, 2021
Storie di Violenza. Genere, pratiche ed emozioni tra Medioevo ed età contemporanea, 2020
Cultural History, 2018
In her groundbreaking 2012 article, ‘Are Emotions a Kind of Practice (and is That What Makes Them... more In her groundbreaking 2012 article, ‘Are Emotions a Kind of Practice (and is That What Makes Them Have a History)?’, Monique Scheer outlines a theoretical and methodological framework for the history of emotions. We six authors present short descriptions of our research drawing on this theory of emotions as practices, following an overview of Scheer’s framework. Encompassing research on groups ranging from early modern Italian military captains, to fin-de-siècle middle-class German mothers, to post-1945 Finnish historians, these cases allow us to consider how examining embodied emotional experiences can enrich our understanding of gender roles, individual choices and historical contexts. To close the essay, Scheer offers her own comments on these
projects in progress.
The article analyses the symbolic function the body, and in particular wounds and mutilations, ha... more The article analyses the symbolic function the body, and in particular wounds and mutilations, had for the Italian military class in the Renaissance. Therefore, I asked myself the following questions: did wounds and scars have a specific meaning in the military mentality of the Renaissance? If the answer is yes, with what connotation? Did they rely on a moral system which identified the positive and negative characteristics of the military action? In the space of this article, I shall attempt to answer to these questions, well aware of the fact that this subject needs, due to its extent, a wider documentary spectrum. This article aims only to be a preliminary and exploratory work, with the intent to offer some starting points for a consequent reflection. Within the tight space allowed, it is not possible to deeply investigate the mass of more and less famous condottieri who populated Italy during the XV century. Therefore, I preferred to focus my attention on four characters, who cover a time frame from the beginning of the XV century until the first years of the XVI century, namely Braccio da Montone, Sigismondo Malatesta,
Forms and Practices of Presenting Divergent Behaviour in the Late Middle Ages and Early Modern Period., 2016
International conference, "Justice carved into the body", Potsdam, 2021
SHE conference, "Emotions in Conflict", Ottawa, 2019
Studying emotions as embodied and culturally informed practices allow for a better understanding ... more Studying emotions as embodied and culturally informed practices allow for a better understanding of the emotional ties and symbolic power relations that held together the military companies of the Italian condottieri during the Renaissance. My paper draws on Monique Scheer's perspective on emotional practices as mobilizing and communicating, connected to the body and the suffering of pain and fear. It will be argued that acquiring prestigious scars and corporeal damages through virtuous fighting required a mobilization of both bodily and emotional strength, in order to endure pain and fear. This mobilization was made possible through physical and military training, since training the body prepared the mind as well for the difficulties of war. In view of a dialectic relationship between the internalization of emotions and the material manifestation of virtues through the body, corporeal damages and scars will be analyzed as cultural symbols as well as the outcome of emotional practices embedded in a military social setting. The communicating aspect is connected with the performative display of scars in daily activity. The sight of the damaged body aroused emotional reactions in others, ranging from imitation to admiration and deference to the captain. The condottiero's exposure of his body communicated and instilled feelings of respect and authority; therefore, the symbolic implications of scars and corporeal damages were a means to reinforce power relations and strengthen the internal cohesion of the mercenary company. Finally, the a-posteriori narration of these emotional practices renders them as signs of "courage" and "ardimento"; in this way, they are inserted into the cultural prestige categories of a closed cultural environment such as the military.
BRUNIANA & CAMPANELLIANA, 2021
Introduction: This text introduces a dossier of essays, resulting from an informal research group... more Introduction: This text introduces a dossier of essays, resulting from an informal research group that has begun, and plans to continue, to work on the subject area and approach of a cultural history of gesture. The scope of the following pages is twofold: firstly, to set a historiographical background of the main directions in which a cluster of disciplines have ploughed the field, and indicate some of the gaps that still need filling; secondly, to signal some specificities of the historical context of the Renaissance that makes it a particularly interesting territory to explore in this perspective.
Keywords: Gesture, Cultural History, Renaissance Italy.