I Verdi tedeschi fra Germania ed Europa: evoluzione e nuove sfide

This paper aims at highlighting the main steps in the growing process of the German Green party. Originally a heterogeneous mixture of different social and political movements, bound by core values such as environmentalism, a strong antinuclear ideology and pacifism, Bündnis 90/Die Grünen emerged as the most successful novelty in the German political landscape of the last 40 years. The first part briefly reconstructs how the leadership of Annalena Baerbock and Robert Habeck managed in recent years to pacify the tensions between the two main factions within the party, the moderate Realos and the more left-leaning Fundis, and how the two co-leaders successfully changed the perception of the Greens in the German public debate, turning what was a constantly tension-ridden movement into a cohesive political formation ready to take on national government responsibilities. The second part explores the main problems posed by this new stage in the life of the Greens, focusing on three main levels: the resurgence of tensions within the party, potential struggles with the coalition partners on the government agenda, and finally the difficult challenges awaiting on the European and international level

La “resistibile ascesa” del falso mito di Sergej Djagilev nella storia dei Teatri Imperiali

L’articolo ricostruisce le tappe fondamentali del processo politico di nazionalizzazione delle produzioni dei Teatri Imperiali durante il regno degli zar Alessandro III e Nicola II, mettendo a fuoco le cause che determinarono l’aspra contesa tra gli artisti occidentalisti pietroburghesi del Mondo dell’Arte e gli slavofilisti moscoviti del Circolo di Savva Mamontov. In questo contesto emerse la figura di Sergej Djagilev, di cui si ricostruiscono le complesse vicende in patria che lo portarono a cercare il riscatto all’estero, dove fiorì il falso mito dell’impresariocreatore dello spettacolo della sintesi delle arti. Esso è falso perché si fonda sull’appropiazione di meriti, sottratti indebitamente a coloro che ne furono i veri ideatori.The article focuses on the fundamental stages of the productions nationalization political process in the Imperial Theatres under the Tsars Alexander III and Nicholas II. It clarifies the causes that led to the bitter dispute between the St. Petersburg Westernizers artists of the World of Art and the Moscow Slavophilists of Savva Mamontov’s Circle. In this context, the figure of Sergei Diaghilev emerged, whose complex events in Russia are reconstructed. Diaghilev sought redemption for his failed projects abroad. Here the false myth of the impresario-creator of the synthesis of the arts flourished. The myth is false because it is based on the appropriation of merits, unduly subtracted from those who were the true creators

Il diritto di replica dell’«attore militante»: Vittorio Gassman e la stampa teatrale (1950-1959)

Il saggio ripercorre l’intenso e controverso rapporto intercorso fra Vittorio Gassman e la stampa teatrale, in particolare, negli anni che vanno dall’enorme successo di pubblico dell’Amleto (1952) al ciclo di spettacoli che copre gli anni dal 1955 al 1958. Sempre in bilico fra la profonda attitudine introspettiva ed un desiderio innato di compiacere il pubblico, Gassman intesse uno strettissimo legame con la stampa, arrivando a contribuire egli stesso al racconto di sé, attraverso interventi e rubriche in quotidiani e riviste. Protagonista del primo fenomeno di ‘neodivismo’ del dopoguerra incarna infatti un divismo teatrale di nuovo genere, trovandosi (sin dalle sue prime prove) al centro di celebrazioni ed elogi, come di critiche feroci.The essay traces the intense and controversial relationship between Vittorio Gassman and the theatrical press, in particular, in the years from the enormous public success of Hamlet (1952) to the cycle of performances covering the years from 1955 to 1958. Always on the borderline between a profoundly introspective attitude and an innate desire to please the public, Gassman forged a close bond with the press, even contributing to the story of himself, through interventions and columns in newspapers and magazines. Protagonist of the first phenomenon of 'neo-divorism' of the postwar period, he embodies in fact a new kind of theatrical stardom, finding himself (since his first tests) at the center of celebrations and praise, as well as fierce criticism

Mapping and Maps in Digital and Public History

It is logical that the generalization of digital approaches in history is leading to a democratization of the graphic representation of the data produced by these processes. Rather than presenting long series of examples, this very cursory chapter seeks to fuel reflection on our uses: why do we visualize historical data? Is it for illustrative purposes, to “show” our historical object and make it understandable to a large audience? Or is it, on the contrary, because the raw data is unintelligible to us, and visualization is therefore a heuristic tool intended for their exploration? The central point of my argument is based on a typology of sources and uses, a double entry table which is intended as a kind of decision-making aid for those seeking to make their data speak in the right way to the right audience

Digital Public Archaeology

This essay introduces Digital Public Archaeology and its relation with neigh-boring fields of research and practice. This is achieved by reviewing, exemplifying andcritically reflecting upon a selection of relevant themes, including traditions, modes ofdigital engagement, crowdsourcing, 3D visualisation and simulation, and data science

Gaming and Digital Public History

Over the past 50 years the part of digital games in our everyday’s mediause has consistently grown. They are thus an extremely revealing source for publichistory. This chapter argues that digital games are among other things a‘historicalform.’They are not merely products of entertainment, but as cultural artifacts com-municate perceptions of history. Digital games are also‘historical sources.’Becausethey are developed from the inside of societies, they are shaped by cultures and pol-itics. Furthermore, digital games are‘historical research tools’.Historical simula-tions can help to understand historical structures and processes. There are howeverpractical, methodical and technical challenges for public historians. Historiansmust have a comprehensive knowledge of a vast field of academic disciplines fromgame and media studies, political sciences, sociology to anthropology and philoso-phy. A historical analysis of games must search for historical game influences butalso for other historical conditions and influences

Introduction

This handbook provides a systematic overview of the present state of interna-tional research in digital public history (DPH). Detailed individual studies by interna-tionally renowned public historians, digital humanists and digital historians elucidatecentral issues in the field and present a critical account of the major public history ac-complishments, research activities, practices with the public and of their digital con-text. The handbook applies an international and comparative public history approach,looks at its historical development, focuses on technical background and on the use ofspecific digital media, software’s and digital tools. It offers a bibliography adapted toeach chapter. The Handbook analyses connections with local communities and differ-ent publics worldwide when engaging in digital activities with the past, and indicatedirections for future research, practices andteaching activities. Its aim is to delimit thefield as it is situated between digital humanities, digital history and public history

Learning Public History by doing Public History

How should we teach public history undergraduate students the digitalliteracy and skills they will need in their future careers as public historians? Thisessay examines the current state of teaching digital public history at American uni-versities and considers our obligations as public history educators when it comes topreparing our students for future careers in public history work. Using a case studyfrom one digital public history course, the essay also discusses some of the manychallenges faced by public history educators as we teach our students to be moredigitally proficient

The Historiographical Foundations of Digital Public History

Establishing the historiographical foundations in any field is a difficult orat least risky business. It entails granting a certain homogeneity and a good deal ofcoherence to practices, perspectives, and trends that do not necessarily have either ofthese properties and, to a great extent, to not aim to acquire them. This is more dif-ficult in the case at hand because the adjectives“public”and“digital”refer in prin-ciple to two distinct branches or trends within the discipline of history, each of whichhas its own referents. Today, however, they tend on the whole to be confused witheach other, or at least to overlap. If the aim of public history is to reach a wide audi-ence that includes historians and citizens in the collective discussion of the past, thenit must use the dominant ecosystem: the digital one. Obviously, public history encom-passes very different practices, not only in terms of their origin but also because, for afew years now, and even more so with its internationalisation, it has been turning intoa broad field where several realities that were previously separated now coexist. Inturn, most digital history is public history, starting with the pioneering project“Valleyof Shadow.”In short, traditional history can continue to operate within the parametersof the printed world, but public history cannot and should not.This text proposes looking at the backgrounds of digital history and public his-tory separately. On the one hand (digital), it selects three precursors: Paul Otlet,Vannevar Bush, and Roberto Busa. On the other hand (public), it examines the orig-inal North American model, local history, and popular history, not to mention oralhistory. From there, it presents the moment in which the public and the digital over-lap, presenting some of the problems and challenges public digital history faces