Disciplines
History, Archaeology (20%); Linguistics and Literature (80%)
Keywords
Italian literature,
Italian language,
19th Century,
Court Poetry,
Language politics,
Habsburg Monarchy
Abstract
The present monograph focuses on the history of Italian literature and language in Austria`s Habsburg past,
covering the period from the Peace of Campoformido between Napoleon and Francis II in 1797 to the end of the
Habsburg monarchy in 1918. The study reveals that Italian court poetry was amazingly alive in the 19th century as
it gradually had been adapted to the changes in the fields of politics, society, and the press. After analyzing the end
of the golden era of Italian poetry in Austria, the author presents Archduchess Maria Beatrice d`Este and her
literary circle. She was the last patroness of Italian artists and poets and kept up the old-style tradition of court
poetry until her death in 1829. During the 19th century, however, this tradition faced an ever increasing
popularization, with Italian language books and instruction getting more and more common. The Italian language
was never discriminated against in the Habsburg monarchy. On the contrary, it was even extensively taught at
universities because officials with a good command of Italian were needed both in the federal government and in
the Italian regions of the monarchy. Moreover, the Habsburgs` language policy favored the publication of quality
papers and literary magazines in Italian. The study also deals with Italian school books and anthologies for schools
in the Italian parts of the monarchy, which were usually written and published in Vienna. In the last part of this
chapter, records of the future Emperor Franz Joseph`s Italian instruction are presented and analyzed on the basis of
archive materials. Anachronistically, court poetry survived the 1848/1849 revolution and continued until World
War I. The Emperor was popularized in jubilee editions, newspapers, and ceremonies, but also in the Italian poetry
which was no longer of high quality, but still instrumental in presenting Franz Joseph as the "father of the nation".