New Books in Italian Studies Marshall Poe

In the winter of 1873, Nissim Shamama, a wealthy Jew from Tunisia, died suddenly in his palazzo in Livorno, Italy. His passing initiated a fierce lawsuit over his large estate. Before Shamama’s riches could be disbursed among his aspiring heirs, Italian courts had to decide which law to apply to his estate—a matter that depended on his nationality. Was he an Italian citizen? A subject of the Bey of Tunis? Had he become stateless? Or was his Jewishness also his nationality? Tracing a decade-long legal battle involving Jews, Muslims, and Christians from both sides of the Mediterranean, The Shamama Case: Contesting Citizenship Across the Modern Mediterranean (Princeton UP, 2022) offers a riveting history of citizenship across regional, cultural, and political borders.
On its face, the crux of the lawsuit seemed simple: To which state did Shamama belong when he died? But the case produced hundreds of pages in legal briefs and thousands of dollars in lawyers’ fees before the man’s estate could be distributed among his quarrelsome heirs. Jessica Marglin follows the unfolding of events, from Shamama’s rise to power in Tunis and his self-imposed exile in France, to his untimely death in Livorno and the clashing visions of nationality advanced during the lawsuit. Marglin brings to life a Dickensian array of individuals involved in the case: family members who hoped to inherit the estate; Tunisian government officials; an Algerian Jewish fixer; rabbis in Palestine, Tunisia, and Livorno; and some of Italy’s most famous legal minds.
Drawing from a wealth of correspondence, legal briefs, rabbinic opinions, and court rulings, The Shamama Case reimagines how we think about Jews, the Mediterranean, and belonging in the nineteenth century.
Geraldine Gudefin is a French-born modern Jewish historian researching Jewish family life, legal pluralism, and the migration experiences of Jews in France and the United States. She is currently a research fellow at the Hebrew University’s Avraham Harman Research Institute of Contemporary Jewry, and is completing a book titled An Impossible Divorce? East European Jews and the Limits of Legal Pluralism in France, 1900-1939.
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In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune’s Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy.
In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune’s Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come.
Baker’s book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans.
Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu.
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After the turbulent years of the Napoleonic Wars and the Congress of Vienna’s attempt to guarantee peace and stability across Europe, a new revolutionary movement emerged in the southern peripheries of the continent. 
In Southern Europe in the Age of Revolutions (Princeton University Press, 2023) Dr. Maurizio Isabella examines the historical moment in the 1820s when a series of simultaneous uprisings took the quest for constitutional government to Portugal, Spain, the Italian peninsula, Sicily and Greece. Dr. Isabella places these events in a broader global revolutionary context and, decentering conventional narratives of the origins of political modernity, reveals the existence of an original popular constitutional culture in southern Europe.
Dr. Isabella looks at the role played by secret societies, elections, petitions, protests and the experience of war as well as the circulation of information and individuals across seas and borders in politicising new sectors of society. By studying the mobilisation of the army, the clergy, artisans, rural communities and urban populations in favour of or against the revolutions, he shows that the uprisings in the South—although their ultimate fate was determined by the intervention of more powerful foreign countries—enjoyed considerable popular support in ideologically divided societies and led to the introduction of constitutions. Isabella argues that these movements informed the political life of Portugal and Spain for many decades and helped to forge a long-lasting revolutionary tradition in the Italian peninsula. The liberalism that emerged as a popular political force across southern Europe, he contends, was distinct from French and British varieties.
This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.
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The remarkable, and permanently influential, papal history known as the Liber pontificalis shaped perceptions and the memory of Rome, the popes, and the many-layered past of both city and papacy within western Europe. In Rome and the Invention of the Papacy: The Liber Pontificalis (Cambridge University Press, 2020), Dr. Rosamond McKitterick offers a new analysis of this extraordinary combination of historical reconstruction, deliberate selection and political use of fiction, to illuminate the history of the early popes and their relationship with Rome. She examines the content, context, and transmission of the text, and the complex relationships between the reality, representation, and reception of authority that it reflects.
The Liber pontificalis presented Rome as a holy city of Christian saints and martyrs, as the bishops of Rome established their visible power in buildings, and it articulated the popes' spiritual and ministerial role, accommodated within their Roman imperial inheritance. Drawing on wide-ranging and interdisciplinary international research, Rome and the Invention of the Papacy offers pioneering insights into the evolution of this extraordinary source, and its significance for the history of early medieval Europe.
This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.
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Today, fighting with dagger versus dagger, or with knife versus knife, is not a common scenario that people might expect to face. However, it was more common in the Middle Ages and in the Renaissance, when it was normal for people to wear a dagger on their belt. Arguments or fights with daggers could break out; and while duels were more often fought with swords, combatants could also agree to do so with daggers.
Carlo Parisi's Dagger Fencing: The Italian School (Fallen Rook, 2016)is not a book on modern knife fighting; rather, it is a book dealing with the historical knife fighting of Renaissance Italy. The modern blade aficionado will also find material of interest. The book offers several views of short bladed weapons that were developed and tested when cold steel was the king of weaponcraft and when duels were more common than today.
Carlo Parisi was born in Northern Italy in 1974. He has always been interested in weapons and martial arts, and the two met in Historical Fencing, which he began practising in roughly 1998. A few years later, he started doing his own research, and became a member of HEMAC in 2003. Since then, he's been teaching classes at various events in Europe, and set up his own club in 2011. His main interests are sabres and daggers, but he studies a variety of weapons and methods. This is his first book on fencing.
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On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices. 
Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period. 
Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics. 


Post Zang Tumb Tuuum at Fondazione Prada

Maaza Mengiste's Project 3541


On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right’. Art Monthly, April 2017. Read and weep.
Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations.
Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l’esilio, L’America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art.
Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.
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