This thesis explores a number of interdisciplinary writings on the Italian past by later nineteenth- and early twentieth-century artistically minded critics and cultural commentators, with a view to recovering their historiographical importance. Beginning with an exploration of the parameters and scope of a genre defined as 'aesthetic history', along with some theoretical work grounded in current debates about the nature of historical representation, this thesis goes on to offer in-depth discussion of texts on the Italian past by John Ruskin, Walter Pater, Vernon Lee, Henry James, D. H. Lawrence and Adrian Stokes. By offering a critical reconstruction of each author's thinking about the past, along with the cogent and ill-explored engagements they make with historiographical study, this thesis affords the reader a better understanding of some of the tensions present in historical writing - tensions surrounding issues of epistemology, visuality, psychology and materiality - during what were decades of great change in historical thinking. Moreover, this thesis offers a detailed investigation into the important role played by the Italian past in the aesthetic-historical canon, which in turn produces a more complicated picture of the connections between literature, aesthetics and historiography during this period.

This thesis focuses on US-Italian relations and cultural diplomacy in the early Cold War. Particular attention is devoted to the Congress for Cultural Freedom, an organization of left-wing anti-Communist intellectuals established in 1950 and financed by the CIA. Instead of looking at this organization from a transnational perspective, this work has as the starting point the local dimension of it. In particular, the Italian branch of the CCF: Associazione Italiana per la Libertà della Cultura and the journal Tempo Presente. Differently from other European contexts, the Italian cultural experiment failed in promoting a transnational anti-Communist culture due to domestic factors such as: the political establishment, non-governmental groups with a socialising function and the political culture of the country. This is a contribution taking further the investigation of the Cold War by emphasizing the importance of going “local” for a thorough understanding of transnational relations.

My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical manna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. It is an account of the Florentine circles that used women to forge a collective sense of identity, of the emergence of Simonetta and her equally idealised peers as touchstones in contemporary debates regarding beauty and love, and of their corresponding lack of importance as 'real' women in the conservative republic in which they lived. In doing this, my thesis makes an important contribution to our understanding of how and why female beauty was commodified in the poetry and art of fifteenth- and sixteenth-century Florence.

The thesis analyses US foreign policy toward Italy in the postwar period by considering the multi-faceted nature of the relationship between the countries. It looks at the motivations and challenges facing American visions of a stable anti-communist Italy, as well at the hopes and limitations facing Italian interlocutors in their interaction with the US hegemon. In analysing the overlaps and dissimilarities between policy toward the country and broader approaches in Europe, it explores how the Cold War shaped the US attitude toward Italy and how Italy influenced American conceptualisation of the Cold War. With particular focus on the attempt to bolster anti-communist groups before the first Italian national election in April 1948, it charts the emergence of a perception of success within the Truman Administration vis-à-vis the effectiveness of its efforts to prevent a communist ascension to power. Confident that they had shaped the election outcome, US officials considered intervention as an inaugural case of ‘Political Warfare,’ which was defined as the use of ‘all means short of war’ to achieve national objectives. Such perceptions were significant for how American officials considered events in Italy during the previous years, while it held important ramifications for the future, problematic, trajectory of US-Italian relations and ongoing American efforts to engage in organised Political Warfare.

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This thesis poses a simple but intriguing and powerful question. Can Pope Leo IX (1049-1054) continue to be described as a reforming or reform-minded pope? The approach taken rethinks Leo and rethinks reform and the analysis of each, taken together, leads to a fresh evaluation of what Leo did and how he went about it. This thesis focusses on his pontificate and is not a full life biographical portrait. The historiographical background of the last one hundred and thirty years is comprehensively analysed. This analysis shows that the descriptor of reform has been applied to Leo consistently over that period but that only one attempt has been made to define reform. This thesis puts forward a new definition of reform which is used to provide a framework for evaluation and for clarifying the answer to the thesis question. Leo’s extant papal letters and other sources provide the basis for a new and full analysis of what Leo actually did in his Synods. This analysis shows that Leo used his Synods for complex and multi-faceted purposes. These purposes were not so much to push a reform agenda but more to resolve disputes, to deal with simony and to deal with very many issues related to Church governance. Leo’s letters are also used to analyse afresh the reasons for his many journeys. The analysis shows that Leo’s journeys were undertaken for multiple reasons and were not specifically related to the long standing view that the journeys relate to Leo’s attempt to Europeanise the papacy. Finally the letters are utilised to ask questions of Leo’s overall policy approach to papal governance. This analysis puts forward new ideas about the team in the papal office and reveals a complex landscape of influences. Taken together these strands of analysis show a complex picture and highlight a new perception of Leo and that the long held premise of seeing Leo through the single prism of reform confuses and obscures the real nature of his policy approach and his pontificate. The conclusion of this thesis is that Leo can no longer be accurately described as a reforming pope but rather as an important one who was both a conservative and traditionalist. The implications of this for the grand narrative of the history of eleventh century Europe are considerable. The roles of the other principal actors need to be thought out afresh; the notion of reform itself needs to be reconsidered and the antecedents of the so-called Gregorian reform fall to be re-evaluated.

This dissertation investigates the effects of Revolutionary (1797) and Napoleonic (1806-14) rule on the artistic patrimony of the city of Venice. Its aim is to explore just how far-reaching the spoliation of Venetian buildings was during the short lived Provisional Municipality, as well as in the wake of the suppressions and closures of parish churches, convents, monasteries, and confraternities during the eight years that Venice was part of the Italian Kingdom. Dealing with a vast amount of hitherto unpublished evidence, the dissertation sheds light on the motivations for, and the logistics of, the appropriation, transfer, and disposal of artworks and liturgical furnishings. It investigates the various government bodies involved, and their hierarchies and responsibilities, while a number of case studies detail how the suppressions themselves were carried out, and how the buildings and their contents were treated and affected in their aftermath. The two distinct periods in the history of Venice saw great differences in approaches to artistic patrimony: in 1797, a limited number of artworks had been allocated to France in a peace treaty, while, later on, the sheer quantities of objects made it close to impossible to achieve a systematic method. Using archival materials such as official correspondence, and inventories and valuations drawn up by government delegates, alongside published eighteenth- and nineteenth-century guidebooks of Venice, the thesis provides a detailed account of the effects of Revolutionary and Napoleonic rule on the city’s artistic heritage. In order to do so, it is divided into four chapters. The first two are more general in scope, the first tracing the events of 1797, and the activity of the Committee of Public Instruction and Commission Temporaire des Arts during this time, the second exploring the Demanio administration of state property, and the roles of delegates Pietro Edwards and Giuseppe Baldassini, as well as private sales and auctions, and the removal and transportation of objects from suppressed institutions. Case studies of two diocesan churches, Santa Marina and San Nicolò di Castello, and two monastic foundations, Santa Maria dei Frari and Santa Maria dei Servi, as well as eight scuole grandi follow. Venetian buildings and their patrimony have not yet been studied as much in detail for the period in question as this dissertation endeavours to do. These microcosmic studies will contribute greatly to the understanding of the effects of Revolutionary and Napoleonic France on the artistic patrimony of Europe.

This study has the aim of exploring aspects of youth culture in Italy during the economic boom of the late 1950s and early 1960s. Its theoretical framework lies between the studies around Italian youth culture and those around the Italian Communist Party (PCI), investigating the relationship between young people and contemporary society and examining, for the first time, the relationship of the former with the PCI, its institutions and media organs. The arrival of an Anglo-American influenced pop culture (culture transmitted by the media and targeted at young people) and of its market, shaped the individualities of part of the pre-baby boomers that, finally, were able to create bespoke identities somewhat disconnected from the traditional party-related narrative while remaining on the left of the political spectrum. Pop symbols that blossomed in the late 1950s, such as the striped t-shirt, would characterise the style of young protesters who included them in their collective imagination from the early 1960s onwards. Simultaneously, a flourishing pop market gave space to other cultural experiences including Cantacronache, a group of young musicians based in Turin who vividly depicted Italy of the boom through their lyrics. Their efforts can be read as belonging to a pop market that finally starts to open up towards new musical stimuli. They aimed to make their music available beyond the circle of left-wing activism as well and they were produced by a label linked to the PCI that in those years was reshaping its approach towards society, getting rid of its radical fringes and opening to a dialogue with diverse strata of the public, including young people, women and non-members. The thesis investigates how the Communists and its Youth Federation (FGCI), reacted to the development of youth culture as an aspect of modernisation in general. Through an examination of the party’s approach to the youth revolts of the early 1960s and of its formal documents targeted at young people in general, we analyse how – and how successfully – the Communists tried to engage with young people while often, internal strands, the monolithic nature of the party and other elements, posed severe obstacles in meeting their demands, creating a fracture that would grow in the following years. The thesis also investigates how the party’s attempt to address young people was translated into the promotion of magazines in which serious political topics were discussed alongside other themes such as investigations into society and into the “questione giovanile.” In this respect, we will see how the FGCI journal Nuova generazione tried, in the late 1950s, to take account of youth inclinations paying attention to other important topics such as the emancipation of young women. The generation we look at is the first to claim the right to build its individual identities by drawing on pop culture and modernisation, developing codes and behaviours that pulled away from those set by the institutions.

This thesis considers some of those who were killed in politically-motivated attacks, often referred to as ‘terrorism’, which took place during Italy’s anni di piombo. Six works written by victims’ children will be used as a lens through which to examine the collective memory and the victims’ place therein. In recent years, there has been a shift in the way that this period of Italian history - the anni di piombo – has been remembered. Where previously the perpetrators of the violence of those years dominated public discourse, in the last decade the principal narrative has become more victim-centred. The biographical works written by victims’ children have inevitably contributed to this change in the memory narrative. The techniques employed in their writing in order to change the existing public image of their fathers will be analysed in this thesis, along with certain themes that recur throughout the six works and broader victim-centred discussion of this period. Analysis begins with a thorough outline of the political and historical context of the anni di piombo, including case studies of two of the most famous victims of this period and a consideration of the written works of some of the former terrorists. Following this preliminary contextualisation, each of the six books and their authors will be studied in detail to provide a foundation for the analysis contained in the final three chapters. The themes examined in the second half of the thesis are second-generation writing, forgiveness and commemoration. Using these themes as a framework, a rigorous investigation of the place that the victims hold in collective memory; the role their children’s writing has played in shaping and maintaining their public image and the longer-term impact that these changes can be seen to have had within a broader societal and political perspective is undertaken. On the basis of this study, it is evident that the victims’ place in the collective memory of the anni di piombo has changed dramatically since that period of violence concluded. The victims’ children have been very significant in enacting this change and their writing has placed them in a position from which they can continue to exert influence and promote a victim-centred approach to history.

This thesis investigates the economic culture that fostered the constitutional history and political cosmology of late medieval and early modern Genoa. Genoese economic actors are here studied through their diversified trades and businesses, as they moved from the shores of the Black Sea into the Atlantic. Genoa’s late medieval economic expansion is described through several case studies and briefly compared to the state-run military expansion of Venice’s empire. Genoese colonial history is found to be both peculiar and relevant, as entrepreneurial techniques, institutions and attitudes later transferred to the Atlantic first originated in the private networks built by Ligurian businessmen in the thirteenth and fourteenth centuries. The adaptability and entrepreneurial skills that allowed Genoese merchants and bankers, captains and businessmen, tax collectors and clergymen to enter the Spanish Atlantic in the sixteenth century are linked to the medieval history of the Genoese commune, to the specific idea of libertà progressively defined and protected by its fluid elite, and to the development of Hispanic-Genoese diplomatic and financial relations. Through the study of diverse documents in Italian, Genoese dialect, Venetian dialect, Spanish, Latin, and English, Genoa’s civic ideology and institutions are revealed to be intertwined with Genoese entrepreneurs’ simultaneity of careers, cosmopolitan self-perception, and mimetic imperialism. The thesis closes with a survey of the Genoese economic activities in Spain’s American kingdoms, whose most significant result is the illustration of Genoa’s multifaceted roles in the building of the Hapsburg Atlantic. This work thus constitutes the first chronologically and thematically broad attempt to explain the prolonged Genoese presence on the stage of intercontinental commerce as well as the existence of a modern Ligurian Atlantic.