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Giustina Renier Michiel, one of the most prolific female authors of early nineteenth-century Italy, is often remembered and celebrated as a Venetian patriot. During her lifetime, however, her literary identity was neither singular nor completely cohesive. Indeed, reading her manuscript writing alongside her more famous publications (including her history of Venetian festivals) illustrates the delicate balance Italian authors needed to maintain in order to ensure their continued literary success in a period marked by multiple and rapid regime changes. While obliged to work within the power structures established by their new political overlords, they nonetheless needed to remain sensitive to the tastes of Italian readers, who were subjected to the political occupation of their territory. Renier Michiel's experience demonstrates how it was possible to balance patriotism, political deference, and professional self-promotion with the goal of establishing a lasting cultural legacy.
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Biographical writing in the early nineteenth century offers a window onto the malleability of gender norms for Italian women in the period. In the world of letters, women writers deemed worthy of biographical treatment after their deaths were often ascribed masculine traits. Attributes such as intelligence and courage, when they complemented a women’s “feminine essence,” served to illustrate her superiority over her female peers. In this sense, posthumous, laudatory biographies constituted signs of both intellectual and social success of women who could simultaneously abide by the constraints of femininity and move beyond them. The current essay demonstrates the conditions that made departures from gender norms possible following the French Revolution in Venice by studying the cases of Giustina Renier Michiel and Isabella Teotochi Albrizzi.
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"Gender, Mediation and Popular Education in Venice, 1760-1830 examines how women with enough cultural capital could turn their identity as representatives of "the public" - those on the receiving end of education - to their advantage, producing knowledge under the guise of relaying it. Author Susan Dalton looks at the question of how elite women turned their reputation for ignorance into an opportunity to establish themselves as authors at the dawn of the nineteenth century in Venice. Many literary figures saw women as a group in need of education. By deploying essentialist understandings of femininity, whereby women possessed superior moral virtue but deficient rationality, these women entered the publishing world as cultural mediators, identified by contemporaries as key players in the social projects of public education and moral edification central to the European Enlightenment. Focussing on Isabella Teotochi Albrizzi and Giustina Renier Michiel, both renowned Venetian authors, the author introduces two well-known Italian women of letters to English-speaking scholars; re-evaluates the impact of their writing in Italy and raises questions about female authorship across Europe; broadens our conceptions of gender norms; and enriches our knowledge of a little-known period of women's writing in Italy. This volume is an essential resource for students and scholars alike interested in women's and gender history, early modern history and social and cultural history"--
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A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.
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In the age of the Grand Tour, foreigners flocked to Italy to gawk at its ruins and paintings, enjoy its salons and cafés, attend the opera, and revel in their own discovery of its past. But they also marveled at the people they saw, both male and female. In an era in which castrati were "rock stars," men served women as cicisbei, and dandified Englishmen became macaroni, Italy was perceived to be a place where men became women. The great publicity surrounding female poets, journalists, artists, anatomists, and scientists, and the visible roles for such women in salons, academies, and universities in many Italian cities also made visitors wonder whether women had become men. Such images, of course, were stereotypes, but they were nonetheless grounded in a reality that was unique to the Italian peninsula. This volume illuminates the social and cultural landscape of eighteenth-century Italy by exploring how questions of gender in music, art, literature, science, and medicine shaped perceptions of Italy in the age of the Grand Tour.
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One of the most famous Venetian women of her time, Isabella Teotochi Albrizzi (1760-1836) was known not only for her salon, but also for her published works. One of these pieces, Teotochi Albrizzi's Ritratti (1807), a series of literary portraits, reveals Europe's concern over the simulation of virtue in a society beginning to judge merit by behavior and self-presentation rather than birth. Teotochi Albrizzi's portraits demonstrate the strategies used to discern character and how the author drew on ideas concerning sexual difference in the realm of aesthetics to address concerns raised by shifting practices of sociability.
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Being women provided them with a particular perspective, expressed first-hand through their letters. Dalton shows how Lespinasse, Roland, Renier Michiel, and Mosconi grappled with differences of ideology, social status, and community, often through networks that mixed personal and professional relations, thus calling into question the actual separation between public and private spheres. Building on the work of Dena Goodman and Daniel Gordon, Dalton shows how a variety of conflicts were expressed in everyday life and sheds new light on Venice as an important eighteenth-century cultural centre.
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Whereas much of the literature on women and the French Revolution continues to see political activity as incommensurate with a desire to behave properly as a woman, studying the correspondence of Marie-Jeanne Roland from 1788 to 1793 shows how she combined political action with respect for gender norms in the last six years of her life. Both while living in the countryside near Lyon and in Paris itself, Roland assumed three roles which she deemed proper to a woman patriot: inciting revolutionary action, formulating policy, and informing others of revolutionary events. The importance of each of these roles shifted with changes in political climate, as did Roland’s conception of what constituted appropriate female behaviour. What made these changes possible was Roland’s ability both to adapt her political strategy to her circumstance and to create a mutable gender code to fit her political needs.
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This chapter provides an overview of the situation in Montreal and Toronto in the second half of the nineteenth century, a time when municipal government was
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