This article is primarily concerned with interconnections between forms of impegno (political engagement) and aesthetic choices, as they were articulated in the literary and cultural journal Officina. In order to reassess the role of Officina within the Italian cultural and political debate of the day, this article considers two main narratives unfolding in the journal: the aesthetic rejection of Novecentismo, understood as the epitome of artistic autonomy, and the articulation of a form of Marxist impegno suitable for a neo-capitalist society and stemming from the class-based idea of the organic intellectual. Using published and unpublished correspondence, we argue that Officina had a pivotal role in producing a theoretical framework for the conceptualisation of a post-neorealist idea of Marxist critical analysis as well as of intellectual, aesthetic and political engagement.

28 individual poems, notes, or drawings found and photographed under the bunks at Borchgrevink's hut at Cape Adare, Antarctica during two short visits on 1 February and 19 February 2015, are catalogued, translated and in many cases a source is identified. It has been possible to read and translate 24 of 28 markings. The relevance of a number of quotations, which express unhappiness with the leadership of the expedition and the emotional reaction of expedition members, are examined and placed in the context of the first over-wintering. Further targeted investigation, requiring specific permission, is suggested.

The prophetic encomia—panegyrics dedicated to the prophet Muhammad—are one of the most often recited forms of Arabic poetry up to today and are grounded in a cultural milieu where hagiography, competitive circulation of narrative and counter-narratives, rituals and esoteric practices, and educational institutions have a role in its formation. The unifying of the classical erotic poetic with the postclassical devotional created out of the encomium a vehicle that encapsulated palpable memory, nostalgia, and aspirational ideal for a greater past and beloved subject and successfully left a lasting cultural imprint. Against a general disregard for the postclassical tradition as one of decadence argued by Arab modernists, I join the ongoing effort to debunk the myth of premodern decadence as interrogated by Muhsin al-Musawi’s two-part article “The Republic of Letters: Arab Modernity?” by considering the role of the postclassical prophetic encomia’s amatory prelude—a convention from the classical Arabic ode—as a site of continuity and innovation. Within specifically the famous Qaṣīdat al-Burdah (trans. The Mantle Ode) by Muhammad ibn Sa'īd al-Būsīrī (d. 693/1294) and the badī’iyyāt modeled after the Burdah in meter and rhyme initiated by Ṣafī al-Dīn al-Ḥillī (d. 750/1349), the prelude takes a significant poetic turn replacing the classical abandoned desert campsites of the Arabic ode with the city of Madīnah. Operating as a unifying repository of the medieval Islamic Republic of Letters, the amatory prelude continued to perform its classical function as a liminal space but innovatively transformed that space for the reading/listening public as a collective reimagining of the Beloved as Muhammad and the abandoned desert campsite as the City of the Prophet outside of the discursive borders of the imperial.

During the so-called ‘heroic age’ of Antarctic exploration (c.1897–1922), various parties of men invented songs to aid the act of sledging and to provide a mental diversion from the monotony of the task and the physical demands it made on the human body. Songs composed in this uniquely polar musical genre typically included rhyming lyrics that were highly motivational and expressed a united identity. The lyrics were usually set to the melodies of popular songs of the day. When voiced in unison by men out ‘on the march,’ sledging songs could help to promote team synchronisation and cohesion, and give the act of sledging (as well as the expeditions as a whole) a stronger sense of purpose and meaning. The singing of such songs, therefore, contributed in a very practical way to the overall success of many Antarctic expeditions of the ‘heroic age’. This article examines three sledging songs dating from this period of Antarctic exploration and investigates the historical context in which they were created and performed. It also considers what these songs reveal about the experiences of the men who participated in the sledging journeys and their earliest perceptions of the Antarctic environment.

One of the key concepts of Max Weber's writings on cities was that in north-western Europe, the landed nobility and urban elites were clearly distinguished. For Weber, this was indeed a main reason to locate the occidental city in the north rather than in the Mediterranean. Christof Rolker tackles this question in his ‘Heraldische Orgien und Sozialer Aufstieg. Oder: Wo ist eigentlich “oben” in der spätmittelalterlichen Stadt?’, Zeitschrift für Historische Forschung, 52 (2015), 191–224. The in-depth analysis of one of the largest and at the same time most widespread armorials in the late medieval Holy Empire, namely that of Konrad Grünenberg (d. 1494), demonstrates that in Konstanz (where Grünenberg lived) guilds (and not the nobility) first insisted on patrilineal descent as a proof of status. Traditionally, Grünenberg is seen as a paradigmatic social climber, as he left his guild to join the society of the local nobility (called ‘Zur Katz’). Yet his sumptuous armorial, containing over 2,000 coat of arms mainly from the south-west of the Empire, does not mention any single member of this noble society. Instead, it praises the tournament societies of which Grünenberg was not a member, and highlights chivalric events in which he never participated. This, Rolker argues, indicates that armorials were not only about status already gained or to be gained, but also a manual for contemporaries to discuss the social order in a more abstract way. In his ‘Wappenbuch’, Grünenberg constantly explains why he could not join the noble societies he praised, while at the same time he ignored the ‘Zur Katz’ association of which he was a member. Therefore, Rolker concludes that it was not only members (or would-be members) of the respective social groups who knew and reproduced social codes. So the boundary between noble and urban elites was more blurred than Weber claimed – though Rolker is of course not the first to criticize Weber on this. Clearly, Grünenberg's armorial was part and parcel of a wider discussion of origins and kinship, namely patrilineal kinship that took place in several social milieux, rather than simply a book which displayed inherited status.