“An extraordinary book, a gripping trip back through time to discover a different but still unique Venice and its political intrigues and mysteries” (Art as a Part of Culture). In a medieval Venice ravaged by famine and orgiastic revelries, the protagonists of The Apothecary’s Shop explore the depths of the city and the paths to the supernatural in their search for a missing child. The young Costanza, of the noble Grimani family, has disappeared. Edgardo, the family scribe, vows to return the girl to her family, an ambitious enterprise considering his failing eyesight. Physical ailments and emotional torment hinder Edgardo’s search, for as he undertakes this perilous investigation, images of his own lost love—Kallis, a slave from the Far East who disappeared in a storm years ago—are resurrected. Help arrives in the form of Abella, the only female doctor in Venice. From her, Edgardo learns of occult medical practices and of Sabbatai’s Apothecary, where the city’s most desperate citizens seek heretical remedies and concoctions to sooth their suffering. It is here, however, where the secret of Constanza’s disappearance may lie. Venal physicians and legitimate healers, unscrupulous relatives, mystics and apothecaries, wealthy nobility and the wretched poor, undertakers, Eastern merchants, African slave traders, each plays a role this ingeniously constructed mystery set in the busy and licentious trade port of Venice. “Nobody writes about Venice like Roberto Tiraboschi in The Apothecary’s Shop.” —L’Unità “An extremely elegant intrigue, with cosmopolitan influences that reflect the character of the city, several unlikely plot twists, and the panache to put just enough confidence in the mind of the reader to keep the pages turning quickly.” —Seattle Review of Books
In the twelfth century AD, Venice is little more than an agglomeration of small islands snatched from the muddy tides. The magnificent city-lagoon of Venice, the rich and powerful Serene Republic, is yet to be born. Here, in this northern backwater, a group of artisans have proven themselves to be unrivalled in an art form that produces works of such astounding beauty that many consider it mystical in nature and think its practitioners possessed of otherworldly gifts. They are glassmakers. Presciently aware of the power they wield and the role they will play in the Venice of the future, the Venetian glassmakers inhabit a world of esoteric practices and secret knowledge that they protect at all costs. Into this world steps Edgardo D’Arduino, a cleric and a professional copyist. Edgardo’s eyesight has begun to waver—a curse for a man who makes his living copying sacred texts. But he has heard stories, perhaps legends, that in Venice, city of glassmakers, there exists a stone, the lapides ad legendum, that can restore one’s sight. However, finding men who have knowledge of this wondrous stone proves almost impossible. After much searching, Edgardo meets a mysterious man who offers him a deal: he will lead him to the makers of the lapides ad legendum in exchange for Edgardo’s stealing a secret Arabic scientific text that is kept in the abbey where Edgardo lodges. When a series of horrific crimes shakes the cloistered world of the glassmakers, Edgardo realizes that there is much more at stake than his faltering eyesight. Equal parts The Name of the Rose and The Da Vinci Code, Roberto Tiraboschi’s English-language debut is a gripping historical thriller and a magnificent recreation of Venice in the Middle Ages.
“An extraordinary book, a gripping trip back through time to discover a different but still unique Venice and its political intrigues and mysteries” (Art as a Part of Culture). In a medieval Venice ravaged by famine and orgiastic revelries, the protagonists of The Apothecary’s Shop explore the depths of the city and the paths to the supernatural in their search for a missing child. The young Costanza, of the noble Grimani family, has disappeared. Edgardo, the family scribe, vows to return the girl to her family, an ambitious enterprise considering his failing eyesight. Physical ailments and emotional torment hinder Edgardo’s search, for as he undertakes this perilous investigation, images of his own lost love—Kallis, a slave from the Far East who disappeared in a storm years ago—are resurrected. Help arrives in the form of Abella, the only female doctor in Venice. From her, Edgardo learns of occult medical practices and of Sabbatai’s Apothecary, where the city’s most desperate citizens seek heretical remedies and concoctions to sooth their suffering. It is here, however, where the secret of Constanza’s disappearance may lie. Venal physicians and legitimate healers, unscrupulous relatives, mystics and apothecaries, wealthy nobility and the wretched poor, undertakers, Eastern merchants, African slave traders, each plays a role this ingeniously constructed mystery set in the busy and licentious trade port of Venice. “Nobody writes about Venice like Roberto Tiraboschi in The Apothecary’s Shop.” —L’Unità “An extremely elegant intrigue, with cosmopolitan influences that reflect the character of the city, several unlikely plot twists, and the panache to put just enough confidence in the mind of the reader to keep the pages turning quickly.” —Seattle Review of Books
In the twelfth century AD, Venice is little more than an agglomeration of small islands snatched from the muddy tides. The magnificent city-lagoon of Venice, the rich and powerful Serene Republic, is yet to be born. Here, in this northern backwater, a group of artisans have proven themselves to be unrivalled in an art form that produces works of such astounding beauty that many consider it mystical in nature and think its practitioners possessed of otherworldly gifts. They are glassmakers. Presciently aware of the power they wield and the role they will play in the Venice of the future, the Venetian glassmakers inhabit a world of esoteric practices and secret knowledge that they protect at all costs. Into this world steps Edgardo D’Arduino, a cleric and a professional copyist. Edgardo’s eyesight has begun to waver—a curse for a man who makes his living copying sacred texts. But he has heard stories, perhaps legends, that in Venice, city of glassmakers, there exists a stone, the lapides ad legendum, that can restore one’s sight. However, finding men who have knowledge of this wondrous stone proves almost impossible. After much searching, Edgardo meets a mysterious man who offers him a deal: he will lead him to the makers of the lapides ad legendum in exchange for Edgardo’s stealing a secret Arabic scientific text that is kept in the abbey where Edgardo lodges. When a series of horrific crimes shakes the cloistered world of the glassmakers, Edgardo realizes that there is much more at stake than his faltering eyesight. Equal parts The Name of the Rose and The Da Vinci Code, Roberto Tiraboschi’s English-language debut is a gripping historical thriller and a magnificent recreation of Venice in the Middle Ages.
Europe (in Theory) is an innovative analysis of eighteenth- and nineteenth-century ideas about Europe that continue to inform thinking about culture, politics, and identity today. Drawing on insights from subaltern and postcolonial studies, Roberto M. Dainotto deconstructs imperialism not from the so-called periphery but from within Europe itself. He proposes a genealogy of Eurocentrism that accounts for the way modern theories of Europe have marginalized the continent’s own southern region, portraying countries including Greece, Italy, Spain, and Portugal as irrational, corrupt, and clan-based in comparison to the rational, civic-minded nations of northern Europe. Dainotto argues that beginning with Montesquieu’s The Spirit of Laws (1748), Europe not only defined itself against an “Oriental” other but also against elements within its own borders: its South. He locates the roots of Eurocentrism in this disavowal; internalizing the other made it possible to understand and explain Europe without reference to anything beyond its boundaries. Dainotto synthesizes a vast array of literary, philosophical, and historical works by authors from different parts of Europe. He scrutinizes theories that came to dominate thinking about the continent, including Montesquieu’s invention of Europe’s north-south divide, Hegel’s “two Europes,” and Madame de Staël’s idea of opposing European literatures: a modern one from the North, and a pre-modern one from the South. At the same time, Dainotto brings to light counter-narratives written from Europe’s margins, such as the Spanish Jesuit Juan Andrés’s suggestion that the origins of modern European culture were eastern rather than northern and the Italian Orientalist Michele Amari’s assertion that the South was the cradle of a social democracy brought to Europe via Islam.
Roberto Saviano is best known for his work on the Italian mafia, but Beauty and the Inferno also tackles universal themes with great insight and humanity, with urgency, and often with anger. This important collection includes essays on the legacy of the earthquake at L'Aquila, a town at risk of becoming overrun by mafia; on boxing as an escape route; on the life of the legendary South African jazz singer, Miriam Makeba; on an encounter with Salman Rushdie, and a tribute to Frank Miller, author of the graphic novel 300; on Michael Herr's Dispatches. One essay reflects on the aftermath of the publication of his book and subsequent film, Gomorrah, and how his life has been conditioned by the mafia's death threats, and the final essay in the collection celebrates the life of the Russian journalist Anna Politkovskaya.
Milan and Lombardy have played an important role in the Italian country since the Roman period. This importance is reflected also by the diffusion of stone architecture: a persisting trait of Milan architecture was the use of different stones in the same building. Milan lies in the middle of the alluvial plain of the Po, far from the stone quarries; some waterways were dug out in order to supply the building stones from the surrounding territories. The study of stone as building material was significant at the end of 19th century, but then it was largely neglected by both architects and geologists. So it is significant to suggest a study about the stones employed to build in Milan (Volume 1) in relationship with a petrographic study about the features of the stones quarried in the whole Lombard territory (Volume 2). Volume 2 contains the description of the features of the stones reported in Volume 1. These features include metamorphic and magmatic rocks of the Alpine area; sedimentary rocks and loose materials of the Prealpine area; sedimentary rocks of the Apennine area; and loose sediments of the Padania plain. Some stones, coming from other northern Italian regions, and used in Lombard architecture, are also described. Each stone is described in a "card" containing commercial and historical names, petrographic classification, macroscopic features, mineralogical composition, microscopic features, geological setting, quarry sites, transport to yards, morphology of dressed elements and surface handworking, use in architecture in the whole Lombard territory and abroad and decay morphologies. A particular investigation is addressed to the stones used during the 20th century; a great part of them were never used before in Milan and in Lombardy.
This biography of Macchiavelli is widely regarded as Ridolfi’s masterpiece and is based on much material drawn from private and public archives. It presents a fresh interpretation of Macchiavelli’s career and writings and here, for example the dating of the composition of such famous works as the Prince and the Mandragola is established for the first time. This English translation, when originally published in 1963 included numerous correction and additions which brought it up to date with the most recent studies on Macchiavelli and his works.
The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.
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