The publication in English of this classic work will be welcomed by students and researchers in early modern European history, culture and politics. The Revolt of Naples examines one of the major events in the years of `revolution' in Europe in the 1640s: the revolt by the people of the Kingdom of Naples against the Spanish monarchy which ruled over them. Villari analyses the preconditions of the revolt, going back to its roots in the late 16th Century and discussing economic, social and political developments in the Kingdom.
Naples is always a shock, flaunting beauty and squalor like nowhere else. It is the only city in Europe whose ancient past still lives in its irrepressible people. In 1503, Naples was the Mediterranean capital of Spain's world empire and the base for the Christian struggle with Islam. It was a European metropolis matched only by Paris and Istanbul, an extraordinary concentration of military power, lavish consumption, poverty and desperation. It was to Naples in 1606 that Michelangelo Merisi fled after a fatal street fight, and there released a great age in European art - until everything erupted in a revolt by the dispossessed, and the people of an occupied city brought Europe into the modern world. Ranging across nearly three thousand years of Neapolitan life and art, from the first Greek landings in Italy to the author's own, less auspicious, arrival thirty-something years ago, Street Fight in Naples brings vividly to life the tumultuous and, at times, tragic history of Naples.
Savvy Italians will tell you that Neapolitans are considered the cleverest, most imaginative, most romantic, and the most entertaining people in the country. The world's finest men's fashions are Neapolitan, Italy's most celebrated popular songs and a high proportion of popular and operatic singers are Neapolitan—starting with Enrico Caruso. Sophia Loren and Toto are famously Neapolitan. Divorce Italian Style and Marriage Italian Style were based on plays written by the great Neapolitan Eduardo de Filippo. If you check the Italian literary awards year after year, you will find an amazingly high proportion of Neapolitans walking off with the highest honors. Naples has been a great creative center for hundreds of years. Neapolitan creativity has survived centuries of foreign occupation, widespread misery, the end of its role as a great capital city, repeated natural catastrophes, and terrible epidemics. What accounts for the creativity of Naples? The sorcerer Virgil is said to have created a Golden Egg, inside a crystal sphere, to save Naples from natural catastrophe. The egg, locked in an iron cage, was buried beneath a castle—still known as the "Egg Castle"—to give it stability and to give eternal life to Naples. Michael Ledeen suggests some surprising answers in a highly original exploration of Neapolitan life and death that ranges from religion to organized crime, war and violence. His deep affection for this remarkable city and its people is evident on every page.
How do people excluded from political life achieve political agency? Through a series of historical events that have been mostly overlooked by political theorists, Martin Breaugh identifies fleeting yet decisive instances of emancipation in which people took it upon themselves to become political subjects. Emerging during the Roman plebs's first secession in 494 BCE, the plebeian experience consists of an underground or unexplored configuration of political strategies to obtain political freedom. The people reject domination through political praxis and concerted action, therefore establishing an alternative form of power. Breaugh's study concludes in the nineteenth century and integrates ideas from sociology, philosophy, history, and political science. Organized around diverse case studies, his work undertakes exercises in political theory to show how concepts provide a different understanding of the meaning of historical events and our political present. The Plebeian Experience describes a recurring phenomenon that clarifies struggles for emancipation throughout history, expanding research into the political agency of the many and shedding light on the richness of radical democratic struggles from ancient Rome to Occupy Wall Street and beyond.
The most important figure of seventeenth-century Neapolitan music, Francesco Provenzale (1624-1704) spent his long life in the service of a number of Neapolitan conservatories and churches, culminating in his appointment as maestro of the Tesoro di S. Gennaro and the Real Cappella. Provenzale was successful in generating significant profit from a range of musical activities promoted by him with the participation of his pupils and trusted collaborators. Dinko Fabris draws on newly discovered archival documents to reconstruct the career of a musician who became the leader of his musical world, despite his relatively small musical output. The book examines Provenzale's surviving works alongside those of his most important Neapolitan contemporaries (Raimo Di Bartolo, Sabino, Salvatore and Caresana) and pupils (Fago, Greco, Veneziano and many others), revealing both stylistic similarities and differences, particularly in terms of new harmonic practices and the use of Neapolitan language in opera. Fabris provides both a life and works study of Provenzale and a conspectus of Neapolitan musical life of the seventeenth century which so clearly laid the groundwork for Naples' later status as one of the great musical capitals of Europe.
Opera Production II was first published in 1974. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. For the world of opera this is an indispensable basic reference work which provides essential information about more than 350 operas. Producers, singers, directors, students, orchestras, and audiences will find useful, concise information in this handbook, a sequel to the author's earlier book Opera Production I: A Handbook, which contains similar information about more than 500 other operas. While the first volume concentrates on more familiar operas, this book is devoted principally to lesser known works, both old and new, including many as yet unperformed contemporary operas. The details given about each opera are those needed to assess the production requirements for a given work: the number and importance of settings; size of orchestra, chorus, and ballet; number of singers, their relative importance and individual requirements; vocal and acting demands of performers, including vocal ranges in most cases; plot synopsis; and brief historical material to anchor the reader in the necessary knowledge of the period and source of the libretto. The information is compressed into capsule form so that anyone using the book can tell at a glance the suitability of a work to the particular facilities, talents, or tastes of an opera company or its public. In addition to the reference material, there is a chapter "Production Problems in Handel's Opera" by Randolph Mickelson, a helpful feature since nine of Handel's operas are included and they are apt to pose special production problems.
2011 Winner of the Phyllis Goodhart Gordan Book Prize of the Renaissance Society of America Naples in the sixteenth and seventeenth centuries managed to maintain a distinct social character while under Spanish rule. John A. Marino's study explores how the population of the city of Naples constructed their identity in the face of Spanish domination. As Western Europe’s largest city, early modern Naples was a world unto itself. Its politics were decentralized and its neighborhoods diverse. Clergy, nobles, and commoners struggled to assert political and cultural power. Looking at these three groups, Marino unravels their complex interplay to show how such civic rituals as parades and festival days fostered a unified Neapolitan identity through the assimilation of Aragonese customs, Burgundian models, and Spanish governance. He discusses why the relationship between mythical and religious representations in ritual practices allowed Naples's inhabitants to identify themselves as citizens of an illustrious and powerful sovereignty and explains how this semblance of stability and harmony hid the city's political, cultural, and social fissures. In the process, Marino finds that being and becoming Neapolitan meant manipulating the city's rituals until their original content and meaning were lost. The consequent widening of divisions between rich and poor led Naples's vying castes to turn on one another as the Spanish monarchy weakened. Rich in source material and tightly integrated, this nuanced, synthetic overview of the disciplining of ritual life in early modern Naples digs deep into the construction of Neapolitan identity. Scholars of early modern Italy and of Italian and European history in general will find much to ponder in Marino's keen insights and compelling arguments.
