Interdisciplinarity is seen as research's answer to complex problems and as a recipe against the parcelling of science. The importance of interdisciplinarity is reflected in a growing number of interdisciplinary research agendas, handbooks and introductions to interdisciplinary studies. But the question of how interdisciplinary research can actually be realised widely evokes perplexity. Here we present an approach that conceptualises interdisciplinary research in a new way. By assuming not disciplines but different types of research as basic elements of interdisciplinary cooperation, a programme of type-based modular combinatorial interdisciplinarity can be developed. Such a form of interdisciplinary research does not aim at integration on a common basis, but at a complementarity of differences. In the combinatoriality of different research modules lies the opportunity for a much more conscious research planning. The recognition of different forms of research can help to make research programmes more circumspect and sustainable.

Der Band enthält vier Studien zu Dichter:innen, die während der zweiten Hälfte des 16. Jahrhunderts in der Region Venedig aktiv waren. Der erste Beitrag analysiert die Druck- und Manuskripttradition der Rime spirituali von Gabriele Fiamma und bietet eine kritische Textausgabe der Dichtungen. Der zweite Artikel untersucht die Bedeutung des “wilden” (selvaghesco) hapax, den Veronica Franco in einem Kapitel verwendet hat, das sie an Maffio Venier adressiert hat. Der dritte Aufsatz bietet ein Repertoire an Kunst-Stilmitteln aus dem lyrischen Werk Luigi Grotos sowie eine Analyse seiner Textproduktion vor dem Hintergrund der gängigen Definitionen von Manierismus. Der letzte Beitrag beschäftigt sich mit emphatischen rhetorischen Figuren und der Wortordnung innerhalb der Rime von Celio Magno, auch in Bezug auf der Konstruktion des Makrotextes. Durch diese Studien von vier exemplarischen Autor:innen an der Schnittstelle zwischen Stilistik, Philologie, Sprach- und Literaturgeschichte, stellt der Band einige relevante Aspekte der italienischen Lyrik des späten 16. Jahrhunderts heraus.

Il quinto volume delle “Schriften des Italienzentrums” raccoglie gli atti della giornata di studi “La rima tra filologia, metrica e musica dal Medioevo al Rinascimento” organizzata da Federico Di Santo e Bernhard Huss presso la Freie Universität Berlin il 22 giugno 2018, con il supporto dell’Italienzentrum. L’argomento della rima, nonostante l’assoluta preminenza di questo artificio nella poesia occidentale dal Medioevo sino al Novecento, ha ricevuto un’attenzione piuttosto scarsa negli studi. Molte delle domande fondamentali che essa pone, quando non sono state del tutto eluse, hanno avuto risposte solo parziali e insoddisfacenti. A cosa serve la rima in poesia? Qual è la sua funzione, quale il suo rapporto con l’elaborazione retorica del testo? Da dove ha origine, storicamente? E qual è la sua originaria relazione con la musica, se è vero che la lirica romanza in cui emerge era destinata ad un’esecuzione cantata? L’approccio descrittivo o storico-filologico prevalente in metricologia ha spesso messo in secondo piano le questioni relative al senso e alla funzione dei fenomeni metrici e stilistici, anche e soprattutto in relazione alla rima; e questa tendenza si è ulteriormente accentuata con l’imporsi, negli ultimi anni, di metodologie marcatamente statistiche. Altre importanti questioni, come quella dell’origine o del rapporto con la musica, hanno ricevuto risposte insoddisfacenti poiché richiedono un approccio interdisciplinare spesso osteggiato dalla forte tendenza allo specialismo delle discipline accademiche, e della metricologia in particolar modo. Queste difficoltà ravvisabili in generale nella metricologia si fanno ancor più evidenti in relazione a un fenomeno poliedrico e sfuggente come la rima, che coinvolge insieme una pluralità di livelli del testo, da quello fonico e metrico a quello semantico, retorico, tematico e non di rado persino ideologico. In risposta a questi limiti posti da metodologie strettamente metricologiche, la giornata di studi di cui in questo volume si pubblicano gli atti è stata concepita per seguire invece una prospettiva fortemente interdisciplinare, mettendo a confronto esperti di discipline diverse e incoraggiando un approccio che le facesse interagire: in questo modo, pur nei limiti di un numero ridotto di interventi, si è mirato a fornire della rima un’immagine il più possibile a tutto tondo, che suggerisse, senza pretese di sistematicità, la complessità di questa figura poetica. Gli argomenti degli interventi spaziano dunque da un riesame dell’etimologia della parola “rima” a un’analisi musicologia del rapporto fra le strutture melodiche e la rima nelle cantigas galego-portoghesi, a un esame dell’evoluzione del rim derivatiu nella poesia trobadorica, nella sua interazione fra metrica e retorica, a una radicale rivalutazione del rapporto fra strutture metriche e melodiche nel De vulgari eloquentia dantesco alla luce di una prospettiva oralista, fino a un dettagliato studio tipologico della rima nella satira rinascimentale.

Francesco Petrarch's two-part collection of dialogues De remediis utriusque fortune was his most widely read text in the early modern period and played a decisive role in shaping the author's moral-philosophical physiognomy in Europe. North of the Alps, the fact that De remediis was not only translated into German - as it was into many other living languages - but also illustrated throughout, contributed in no small measure to the work's great success. The complete German translation printed in Augsburg in 1532 by the publisher Heinrich Steyner with elaborate woodcuts by the hand of the so-called Petrarch Master, which illustrated both the paratexts and all 253 dialogues of the collection, formed the much-received basis for a whole series of further publications provided with these images. In the course of these, the German version of Petrarch’s text was first shortened and simplified from 1539 onwards, and the text-image conglomerates were provided with versified additions. In some later editions, Petrarch’s text disappeared further, turning the German De remediis into an almost 'regularly' constructed emblem book; the interest in the images to the detriment of the text could even go so far that the German titles and image captions also receded and only the woodcuts with versified subscriptiones remained. We are thus dealing with a veritable process of emblematisation, which, since 1539, has privileged the pictorial material deeply rooted in the readers’ memory more and more over the text and considerably modified the semantics of the individual chapters of De remediis as well as the overall message of the text. These changes in the text-image relationship must be seen against the background of the general development of early modern emblematics and certainly have a good deal to do with the particular memorial effect that historical theory generally attributed to the image in relation to the text.

This volume assembles overviews on recent developments in German and Italian arbitration. In both countries there have been changes and amendments of the institutional rules issued by the respective institutions, being the “Deutsche Institution für Schiedsgerichtsbarkeit (DIS)” for Germany and the ”Camera Arbitrale di Milano (CAM)” for Italy, in the last few years. These reforms reflect common goals such as speeding up arbitral proceedings, but there remain differences in some respects. In addition, new developments in legislation and in case law of both countries are explained and compared in the articles.

This volume is the result of the international workshop “Affects and Community-Formation in the Petrarchan World”, which was hosted online by the Italienzentrum della Freie Universität Berlin on March 11-12, 2021. The workshop was held by the generous support of the Cluster of Excellence Temporal Communities: Doing Literature in a Global Perspective (Deutsche Forschungsgemeinschaft, EXC 2020 – Project ID 3900608380) as well as that of the Italienzentrum della Freie Universität Berlin. The workshop and the articles presented here all form part of the project “Petrarchan Worlds”, directed by Bernhard Huss in Research Area 1, “Competing Communities”, of the above-mentioned Cluster of Excellence. The workshop focused on the study of Petrarchan “affects”. These “affects”, passions”, or “emotions” are omnipresent in Petrarch’s writings. In addition to feelings of love so frequently expressed in his work, other emotions – sorrow, compassion, anger, envy, for example – are also represented and these too play a crucial role in his interactions with friends, patrons, favorite authors, and readers. Analyzing Petrarch's complex engagements with those "affects" in both his Latin and vernacular works, the essays in this volume explore the different types of emotional, intellectual, and political communities that his writings helped forge.

Der Band 7 der Schriften des Italienzentrums präsentiert die Ergebnisse des Workshops „L’esegesi petrarchesca e la formazione di comunità culturali“, der am 18. und 19. Februar 2021 im Kontext des Exzellenclusters „Temporal Communities. Doing Literature in a Global Perspective“ vom Projekt „Petrarchan Worlds“ in Zusammenarbeit mit der Universität Turin und dem Italienzentrum veranstaltet wurde. Der Workshop zielte darauf ab, die Petrarca-Exegese in der italienischen Renaissance im Hinblick auf "Community Building" zu untersuchen, wobei unter "Communities" kulturelle Gemeinschaften verstanden wurden, die aus Institutionen, Einzelpersonen und Texten bestehen, denen es um die Rezeption von Petrarcas Schriften mittels Kommentierung geht. Diese "Gemeinschaften" sind der Spiegel ideologischer Postulate und eines literarischen und kulturellen Programms, das zur Linse wird, durch die das Werk und die Persönlichkeit des Dichters interpretiert werden. Untersucht wurden unterschiedliche Textsorten: Kommentare zu Petrarcas Schriften, Biographien des Dichters und akademische Lektionen über petrarkische Lyrik.

Dieser Band versammelt die Beiträge des Workshops: "Gender, Autorschaft und Kanonisierung", der im Januar 2020 an der Freien Universität Berlin stattfand. Das Thema, das die Studientage anregte und die Beiträge dieses Bandes verbindet, ist das des Diebstahls/furto als literarischer Mechanismus. Die hier vorgeschlagenen Analysen zeigen auf, wie Gendergrenzen überwunden werden können, wenn die Aufmerksamkeit auf die aktive Teilnahme von Frauen an kulturellen und literarischen Diskursen gelenkt und ihre Anwesenheit als Autorinnen und Protagonistinnen wahrgenommen und untersucht wird. Berücksichtigt werden ausgewählte Erzähltexte des 20. und 21. Jahrhunderts aus Italien und Hispanoamerika, in denen die subversive Praxis des Diebstahls/furto zu einem Instrument der (Wieder-)Aneignung von Ausdrucksräumen, zu einem Treffpunkt zwischen Texten und Autor*innen und manchmal sogar zu einer treibenden Kraft des Schreibens wird. Untersucht wird dieser Aneignungsmechanismus in seinen verschiedenen Deklinationen des materiellen Diebstahls (Alberica Bazzoni) und des Identitätsdiebstahls (Monica Biasiolo, Thea Santangelo), des intertextuellen Dialogs (Siria De Francesco, Beatrice Manetti, Linda Schmidt) und der intermedialen Auseinandersetzung mit hegemonialen Diskursen (Oleksandra Rekut-Liberatore, Ana Nenadović, Elena von Ohlen, Alan Pérez Medrano). Dabei offenbart sich der Diebstahl/furto als besonders produktives Interpretationsinstrument, als Impuls für multiple Forschungsperspektiven im Bereich der Literatur- und Geschlechterstudien.