![]() In my research I followed the orsanti back to their hometowns, tracking the faded traces of bears and men who travelled a narrow path at the periphery of society and historiography. 2 Such a wider outlook is especially necessary when dealing with marginal subjects for whom sources are scarce. This interdisciplinary synergy responds to the call by Felix Driver and Bill Schwarz for a widening of the circle of historical production – ‘breaking down the barriers between historians, and … encouraging greater communication between different fields of historical practice’. 1 Primary materials from these collections – personal documents, private journals, objects and yellowed pictures – have been tackled by borrowing from an unusual body of criticism that extends from the mythological implications of bears to visual semiotics and art history. The article is based on material recently acquired by the Archivio Ligure della Scrittura Popolare of Genoa (henceforth ALSP) and the Museo degli Orsanti in Compiano, Parma (henceforth Compiano Museum).
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