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Lorenzo Polizzotto examines the educational, religious, political, and philanthropic practices of the Florentine youth confraternity of the Purification. Founded in 1427 at a time of unbounded optimism in Florence's future, the Purification was entrusted with the socialization of the youths.With the right education and training, these youths were expected eventually to lead Florence to its manifest destiny.The Purification's educational practices were solidly grounded in religious and humanist principles. In concert with the other youth confraternities, the Purification pioneered an educational programme which influenced pedagogical practices throughout Europe until the middle of the twentiethcentury. Its success made it an attractive prize for the contending political forces in Florence, becoming first an instrument of Medici ambitions and then of Savonarolan radical millenarism. Once Florence fell under the permanent rule of the Medici, the Purification sought to serve the city byturning to philanthropy, which it dispensed as a moral and educational duty.
Since the 16th century, Paris has been a leading arbiter of taste and the ultimate source of luxury goods for Europe and the world. However, the origins of the luxury trades of Paris and their role in the wider economic development of France and Europe have been relatively little examined by historians. This volume provides an entry into some of the many questions raised by the growth of the luxury trades, by bringing together eight detailed case studies of specific trades with five more wide-ranging and theoretical contributions. It therefore offers both the results of entirely new research and a range of new perspectives and methodological reflections on the subject as a whole. Essential to economic and social historians of Early Modern France, the book will also be of interest to all students of material culture.
Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker Schlöndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored.