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Francesco Barberini als Politiker: Seine Weisungen an die Nuntien in Wien (1630–1635)
Get PDFFrancesco Barberini, the cardinal nephew of Pope Urban VIII (1623–1644), is known to researchers primarily as a patron of the arts. However, he was a member of numerous dicasteries in the Roman Curia and held the office of head of the papal secretariat of state throughout the pontificate. In the early years he hardly appeared in this function. From 1631 onwards, testimonies of his involvement in the correspondence of the office become more frequent in the archives and provide information about his desire to play an active role in papal politics. Detailed autograph minutes to letters sent in cipher to the nuncios in Vienna deal with topics such as the mostly futile request of the imperials for subsidies, the rejection of criticism of the papal policy of neutrality and the improvement of relations between the Holy See and the imperial court. In addition, the attempt to influence the political convictions of members of religious orders working in Vienna and, in particular, the need to win the emperor’s approval for the precedence of the prefect of Rome before the imperial envoy play a noticeable role
Rote Rosen, rote Lippen, roter Wein revisited: Italien als Imaginationsort im Schlager der BRD-Nachkriegszeit
Get PDFThe relationship between Germany and Italy is a special one, as Italy was already a place of longing in Goetheʼs time and became so even more in the 1950s post-war period, with the first travel abroad, interest in the new guest workers and the general desire for everything non-German. Italy thus became a very important place of the imagination in the Schlager-songs of West Germany: in addition to specifically German and Alpine themes, Italian subjects in particular can be found at this time and in this genre. The foundation for these attitudes, as this essay will show, lie in the approaches to Italy developed in the 19th century, based in part on escapism and exoticism. Even today, alongside pop and rock artists whose production functions differently, one German-Italian showmaster in particular still plays heavily with clichés but also with irony, as this essay will demonstrate. Through his staging, he implies that these patterns and paradigms are not yet completely obsolete
