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Villa Rossa Number 31 | fall 2015 Voice

IN THE FIELD

The ROSSA VOICE is a Syracuse University in publication. We welcome your questions and comments. Editorial staff Director Sasha Perugini Editor Michelle Tarnopolsky [email protected]

Graphics and Layout Francesco Guazzelli [email protected]

Cover photo Temple at Segesta, Sicily by Vanessa Valdes Tribunale di Firenze Registro Stampa Periodico No. 5854 All material © Syracuse University in Florence

http://suflorence.syr.edu Letter from the Director and the Editor by Sasha Perugini and Michelle Tarnopolsky 5

Field Guide An Interview with Longtime Field Trip Coordinator Elaine Ruffolo 6

Discovering Mediterranean Up-Close A Field Trip to - and the by Jonathan Schaefer (Syracuse University) 8

Uncharted Territory Visiting the in 9 by Megan Jones (Syracuse University)

The Sacred and the Profane A class trip to the Photolux biennial in Lucca 10 by Kaitlyn Spina (Syracuse University)

At the Movies Highlights from theTorino Film Festival 12 Reviewed by Cameron Lwin and Dan D’Agostino (Syracuse University)

Down Memoria Lane An SUF Alum Return to Florence by Tom Dapice 13

Facing Fears How Studying in Changed Me 14 by Natalie Zisa (Fordham University)

Laughter and Cross-Cultural Adaptation The Best Medicine by Julia Grace (Syracuse University) 15 S

Slowing Down what studying in Italy taught me about time T by Adriana Herrera (Syracuse University) 16

Arms, Armor and Costumes, Oh My!

N A Visit to the Stibbert in Florence by Shannon Monahan (Syracuse University) 17

E You Are What You Eat 29th Annual Graduate Symposium by Graduate Program Coordinator Molly Bourne 18 T SUF Art Students at Palazzo Strozzi by Studio Art Supervisor Kirsten Stromberg 19 N Staff & Faculty Watch 20 O

On the Road Highlights of the SUF Field Trip Program 22 C Letter from the Director

It’s appropriate that we’re featuring our field trip program in this issue, since Fall 2015 was the semester in which a dramatic spotlight fell on the matter of field trip safety and security in the wake of the November attacks. While student safety has always been a priority at SUF, the attacks put additional pressure and urgency on a process we had already begun to stringently examine our safety pro- tocols. This process is ongoing, and it’s a responsibility I take very seriously consid- ering how much time our students spend outside the classroom, even during the classes themselves. While professors, TAs and field trip lecturers feel responsible for the students while on-site in churches and , it’s my job to support everyone – teachers and pupils alike. I’m thrilled that our new Field Trip Coordina- tor, Julia Colchie, whom you can meet on page 7, is making the care and well- being of all field trip participants a focus of the program, though certainly not the only one. The study abroad experience simply would not be the same without site visits and field trips.

Sasha Perugini

Letter from the Editor

As a longtime lecturer for the SUF all-school field trip program, the theme of this issue is close to my heart. There’s not much that beats guiding students through churches and museums to see works of art and up-close, each time reliving my own favorite memories of studying in Florence 20 years ago. In fact, not much has changed when it comes to the big hitters like Giotto in or Michelangelo in . But as she explains herself on page 7, our new field trip coordinator Julia Colchie is envisioning a development of both the program and the trips themselves to expand beyond the art focus to highlight destina- tions and aspects of local, contemporary that students might otherwise overlook. Flipping through this issue will give you a sense of the fabulous range of trips students get to experience while studying at SUF and the kind of unforgettable memories they can make along the way.

Michelle Tarnopolsky

5 Field Trip Program FIELD An Interview with Longtime Field Trip Coordinator GUIDE Elaine Ruffolo

Elaine lecturing to Family Week participants in the Loggia dei Lanzi.

1. When and how did you become excited because no other program in trips to help out and eventually teach. Field Trip Coordinator for SUF? Florence was doing anything similar. That's probably why the program has I became Field Trip Coordinator in 1991 2. How has the field trip program had such an emphasis on art history after the Coordinator of the Art History changed over the years? over the years, because that's what I department, Rab Hatfield, thought it personally found interesting and what I T he program has expanded exponen- would be good for the program to have could teach well. From that point, it was tially. Once we got started and saw what more trips led by experts offered to all easy to find good teachers (we have so a success the trips were and how much the students in the program. With the many of them here at SUF) as well as the students both enjoyed and director's approval, I was able to design the teaching assistants who are talented learned, we kept adding more and more. a new program and run with it. We were and energetic and happy to come on the Soon the professors jumped on board 6 Field Trip Program and designed field trips for their classes as well (hence both All School and 6. What is your advice Course-Related trips). The biggest for incoming SUF stu- change in the program has been mov- dents? ing away from basic trips such as , , Pisa, Lucca, I advise incoming stu- etc. to much more specific and topic dents to not fill their driven trips related to subjects like Sus- weekends with trips to tainability and Urbanism like to, say, other countries just to be Freiburg or Basel, or the Studio Arts able tick off the box or classes travelling to to see the boast that they "did Biennale, or the Mediterranean Diet Prague" or "did Amster- class visiting makers and olive dam ." Save the other oil presses in Chianti. European cities for Fall or Spring break. Inside the Accademia Gallery. Instead I advise that they 3. What are you proudest of in stay in Italy and delve in deeply to the your development of field trips for culture and society...visit little known SUF? places throughout the country and soak I am proudest of the amazing group of up the art, food, and culture of the . teachers who have developed out of Explore , Sicily, Umbria or Puglia the field trip program. The preparation, rather than Oktoberfest in Munich. This passion and joy that they convey is re- is the most beautiful country in ally unmatched. One can hire a guide and it is at their disposal.

7. What is the best thing about our field trip pro- gram? Without a doubt the best thing about our field trip pro- gram is the close rapport that is formed between the A Message from New SUF students and teachers dur- Field Trip Coordinator ing the trips. Sharing those Julia Colchie trips creates an amazing sense of camaraderie and a “When I studied abroad myself, feeling of being part of an both as an undergraduate and experience that is lasting graduate student, my main ob- and changes students’ lives. jective was to see firsthand as I take that very seriously. In much as possible what I had Outside Florence Cathedral. the end, it's all about the stu- studied in books, and so one of dents, as it should be. my criteria for narrowing my to take you through, say, Rome, but fol- choices was how many travel op- lowing one of our field trip lecturers portunities were provided to me through the Colosseum is a highlight of *** as a student. The SUF field trips the student's stay in Italy. have become, over the years, a Elaine Ruffolo directed the field trip pro- hallmark of our program. In my gram at Syracuse University from 1991 4. Please describe your most new role, it is a great personal to 2015. She left to pursue other pro- satisfaction to be on the planning memorable experience on an SUF fessional endeavors but still happily lec- field trip. end, working with our talented turers for Syracuse University as a field faculty and staff to develop itiner- Unfortunately my most memo- trip lecturer. aries that reflect our high aca- rable experience was the 1996 demic standards and expanding earthquake in Umbria. We had curriculum. The itineraries were 98 Syracuse students in the developed originally as a learning Lower in Assisi when the tool for our Art History students, earthquake struck. No one was but one of my goals is to tap into injured but that experience shook the incredible resources that both us up (no pun intended). Italy and Europe have to offer for other disciplines. For instance, 5. What have you learned from we can make just as strong of a this job? case for an aeronautical or me- chanical student to I have learned a great deal of pa- come study here as we can for a tience from this job. So many Art History or Mod- things can happen, one just has ern Architecture student. My pri- to roll with the changes, including mary purpose, though, remains earthquakes, gypsies, riots, vol- the same: to expand the bound- canoes, snow storms and strikes. aries of the classroom and pro- I have also learned that the stu- vide the students with unique dents appreciate what we do and opportunities for hands-on learn- if we are enthusiastic their enthu- ing during their travels abroad.” siasm grows tenfold. Inside Florence Baptistery. 7 Field Trip Program Discovering Mediterranean Cities Up-Close A Field Trip to Emilia-Romagna and the Veneto by Jonathan Schaefer (Syracuse University)

n early October, my decision to knowledging that it was a take the Mediterranean City ar- beautiful building, by looking chitecture course proved to be a at small clues we were also wise choice. I had been enjoying able to figure out the phases I the class before that weekend, of of its construction as well as course. Professor McLean’s expertise the ’s ties to not only and enthusiasm made a new and ab- religious but also economic, stract way of thinking about cities and social and political life in the their structures a lot more interesting city. Then we went to the than I would have thought possible. third city of the day, . However, on our weekend journey While we saw interesting through four different cities, which museums and studied the ended in the beautiful Venice, not only works of Palladio such as The Church of Santa Fosca on the island of Torcello. were we able to apply what we learned the famous Villa La Rotonda, the to actual physical buildings, which was real treasure was at the end of the dents time for exploring and finding a strangely satisfying, but the trip itself night when we discovered the showers good Venetian dinner. My friends and I was really beautiful, and really fun. that lit up in our hotel rooms. accidentally took the wrong bus-boat Loath as we were to leave back to Venice, but I count that as a our nice new digs, we knew we blessing because I felt I deserved to were moving on to equally treat myself to two dinners that night. great things. After we visited Update: Burger King in Italy holds up, the actual Villa La Rotonda, Indian food does not. Voracious mos- which was a treat in itself, we quitoes in the night and itchy skin the hopped on a train to Venice. next morning did not stop us from en- The first glimpse through the joying more field trip treats, including a train window of the legendary Palladian church, the view from a high city was by no means the most bell tower that overlooked the city and beautiful view I would get while its ship construction yard, an up-close I was there, but it was definitely look at the Rialto Bridge, a visit to the the most exciting. Things only old Jewish Ghetto during the holiday of got better from there when we Sukkot (Chag Sumach!), and a walk on dropped our bags off at our a red carpet. Leaving Venice was un- canal-side hotel then immedi- fortunate, but it was a sweet end to a ately went to the neighboring relaxing and educational trip because island of Torcello by “bus” – we all shared in good food and conver- Villa La Rotonda by Palladio in Vicenza which was really more like a sation on the train home to Florence. boat, in fact it was exactly a boat, We started far too early Friday morn- which was just plain awesome. There ing in order to make sure we could we saw an ancient church that had

thoroughly enjoy the three – yes three an interesting mixture of architectural Not only were we able to apply

– cities we would be traveling to just in styles and articulations, including that day. First stop: Nonantola, where beautiful Byzantine mosaics. Then what we learned to actual we learned calligraphy as carried out we stopped in the stunning, multi-col- physical buildings, which was “ by ancient monks. The exact script we ored town of Burano, where a town “ strangely satisfying, but the learned was actually the basis for the law is still in effect which states that Times New Roman font. We then vis- no two houses may be the same trip itself was really beautiful, ited the Duomo di in – you color. and really fun. guessed it – Modena. Apart from ac- We broke for the night, giving us stu- y e n o l o M

y l i m E

: s o t o h P

In St. Mark's Square, Venice. In front of St. Mark's Basilica, Venice. On the island of Burano. 8 Field Trip Program UNC HAR TED TER RIT ORY Visiting the Teatro Regio in Parma by Megan Jones (Syracuse University)

alking into the Teatro Regio in Parma is, in Teatro Regio blew me away – I had never seen anything a way, similar to walking into Fenway Park so dignified and opulent. Everything from the ceiling down for the very first time – minus the smell of to the legs of the chairs seemed to shine. Fenway and peanuts, of course. You Although my professor had mentioned that we W present your ticket, get directed to your sec- had “nice seats”, I never expected to walk through two tion and, for that short period of time between entering and doors into a red-velvet-lined balcony box on the third floor arriving at your section, you cannot help but pick up of the theater. I was afraid to sit down on the -trim speed. There is an internal build-up, a sense of excitement bench and ruin its utter perfection, but I quickly got over

for the unknown. And then it happens. my nervousness once the performance You walk under that small overhang or started.

through that balcony door and you can- The grandeur of the To my surprise, according to the not help but stop, look around and take “ professional opera singer that just hap- it all in. Walking into the Teatro Regio in Teatro Regio blew me pened to be sharing my balcony box, the Parma to watch Shakespeare’s and “ away – I had never production was mediocre. She said the Verdi’s Oth- seen anything so digni- orchestra was the best “actor” of all, and ello brought fied and opulent. I agreed with her. However, this did not me back to take away from my experience. Despite my first ex- the quality of the production, I was still perience of Fenway. absolutely elated by the experience I had at the Teatro Before my field trip to Regio. Parma with my theater history Without this field trip opportunity, I am not sure I

r class, I had never put much would have ever experienced an opera production. As I’ve e f a thought into what my first gone on more trips over the past few months – be it here h S

opera experience would be in Florence or a two-hour-train-ride away in – this J

a like. I had never seen the in- idea of having new opportunities and experiences has be- c c come a theme, or pattern, for my semester. These trips

e side of an or a b e professional opera production, have made me excited for the chance to experience new R

: so I had no idea what to ex- things. Prior to this semester, I was not as open to explor- o t ing “uncharted territory.” Now, seeking the unfamiliar and o pect. The grandeur of the h The author in Venice.

p the new has become something I cannot live without. 9 Field Trip Program

The Sacred and the Profane by Kaitlyn Spina A Class Trip to the Photolux Biennial in Lucca (Syracuse University)

nce every two years, Lucca hosts a massive photography show in vari- O ous buildings throughout the city as banks, churches and are turned into unique ex- i l

hibition spaces and SUF photogra- l e z

phy students had the fortune of z a u

seeing this biennial. Upon learning G

o

that this year’s event would explore c s e c

the theme of the sacred and the n a r F

profane, I could not help but wonder : s o

whether it would receive praise from t o h

the general public considering that P Italy was built on religion. Andres Serrano and Joel-Peter Witkin were advertised as a couple of the big artists whose works would be pres- ent, and they are both controversial figures who push the boundaries of what is considered art. SUF photography class with professor Stefania Talini and photographer Bettina Rheims

10 9 Field Trip Program In fact, upon the show’s opening, the be removed from the show. public was extremely upset by Ser- The early afternoon rano’s Piss Christ and it was taken brought even more contro- out. However, the gaping, empty yel- versial work: that of Joel- low wall in the middle of the artist’s Peter Witkin, who famously exhibition was itself a statement works with cadavers. A about the controversy of hosting this sign outside the building type of show in a historically suggested those under Catholic nation. Though we were eighteen not enter. Behind disappointed that we would not be a curtain hung able to see this famous photograph, photographs of human I was excited to have the chance to bodies that made me in- visit a show that I already knew credibly uncomfortable. I

did not care for the work because I could not find The tension between “ justification for such disturbing im- Judas slumped against the wall of agery. However, the fact that his his apartment, empty save a fallen the show’s theme portrait of Jesus, a gun in the apos- and its place in Italy works made me disgusted and “ tle’s hand. One wall in the last room was palpable. caused me to think about their themes reinforced how successful held a large triptych of three they are as art. crosses: a woman Christ-figure on would be historically significant in The last building we entered was a the left cross, a man Christ-figure on the art world. bank-turned-exhibition-space for the the right, and an empty cross in the The first building we entered was an artists Bettina Rheims and Serge middle. It was a magnificent image: old built in ’s time. Bramly, whose show explored what a classically composed crucifixion Dark walls and gorgeous black and the story of Jesus would look like if referencing modern-day struggles white photographs of Saint Peter’s led us into the space. I loved the artist’s work and understood how photographing a sacred place could be seen as profane, but it was a mild start to the day compared to some of the grotesque, difficult imagery we would see later. By late morning we reached a signif- icant building for me, mainly be- cause it was the location of Andres Serrano’s work. When I pulled back the black curtain to enter his as- signed space, several photographs – his interpretation of the Last Sup- per – stretched out before me. Turn- ing the corner, I found a photograph of a cross composed of milk and blood, along with the aforemen- tioned empty wall. The tension be- tween the show’s theme and its place in Italy was palpable: I mar- veled at the fact that the people op- posed to the Piss Christ had not it occurred today. I was immediately demanded more of Serrano’s work taken by this work. The back wall of for gender equality. the first room had a large I was amazed by the show, and my photograph of a modern- professor and I were the last to exit. day Jesus figure with When our whole class was ready to piercing blue eyes wear- go, we walked out of the building ing a crown of metal and noticed that Bettina Rheims her- shards, his body covered self was standing outside! We were in black oil that accentu- star-struck. Our professor intro- ated his bones. The floors duced herself and our class, and we in each room had short talked with her briefly before getting biblical quotes referenc- a group picture together. We walked ing different times in away in disbelief—how lucky we Jesus’s life. I went up- had been to meet such a brilliant stairs excited to see artist! It was a perfect end to the day, more, finding a simple yet and we could not stop talking about powerful image of a dead all the moving works we had seen. 11 Field Trip Program At the

MHighlightsO from Vthe IES Torino Film Festival

n November, Professor Carlotta Kliemann’s film history class traveled to for the weekend to experience the 33rd Torino I Film Festival, which featured ti- tles from around the globe. Two of her students reflect here on the films the class enjoyed the most, one Italian and one American. The students with Professor Carlotta Kliemann, second from right, in front of the River.

(My Mother is an Actress) one. Mario’s mother was not as affection- Mia madre fa l’attrice ate as she could have been and the two Reviewed by Cameron Lwin (Syracuse University) never became close – a distance that eventually escalated to resentment on Mario Bal- every line and their conflicting personali- Mario’s part. His inability to let go blinds samo’s film ties become increasingly evident. The him from the truth that while Silvana may elaborates on a stoic director just wants his actress to fol- not be perfect, she loves him very much. complicated re- low instructions. The eccentric actress The film caused the audience to erupt lationship be- just wants her director to let her do what several times with laughter and warmed tween the she wants, spicing up her remarks with their hearts with a touching ending. Bal- director and his typical Tuscan humor and sarcasm. Their samo cleverly managed to take subjects mother, retired stubbornness has kept them apart for that filmmakers use for fiction and apply actress Silvana years, but now that they are forced to them to reality. For example, a Hollywood Stefanini. Star- spend time together, they find a new ap- rom-com may feature two people with ring Balsamo preciation for one another. In the end, conflicting personalities who find love and his mother while they are not able to finish the re- after being forced to spend time together. as themselves, make, they do succeed in rebuilding their The director proves that you do not need this Italian film follows them on a comedic relationship. fancy actors or cheesy one-liners to get adventure as they attempt to rebuild their The audience does not find a perfect re- the audience’s attention; you just need relationship by remaking one of Silvana’s lationship between a mother and son in two people with a good story worth old films. The stubborn duo clash over Mia madre fa l’attrice. They find a realistic telling.

it takes us through one day in the life of wondering, what are these children going God Bless The Child five children trying to maintain normalcy in to do next? What will happen to them? Reviewed by Dan D’Agostino (Syracuse University) the absence of any caretakers. This anxious feeling is only resolved at the The film begins with the children’s pre- end of the film. One of the sumed-single mother indefinitely aban- Reactions to the screening were varied, more creative doning their chaotic home in haste for and seemed split along cultural lines. We films featured what we soon find out is not the first time. American viewers saw these children as in the festival The children – all played by five actual sib- the archetypal representation of the mod- was Robert lings – are left to carry out their day without ern middle-class American family and rec- Machoian and the supervision or guidance of any adults. ognized ourselves and our own siblings in Rodrigo Ojeda- The eldest, Harper, continuously attempts them. However, the film seemed to make Beck’s God to reach their mother and refuses to call many anxious and uncomfortable. Bless the anyone else for help. Many even left the theater before the film Child. This film As we discovered during a Q&A with the had concluded, possibly due to their lack blurs the line directors after the screening, some of the empathy for the situation and the subject. between fiction scenes and lines were pure improvisation. For Italians, for whom family is everything, and reality with Most significant in this sense was the one- it seems the idea that five children would its docu-drama year-old Jonah who essentially could not just be left alone to take care of them- style of shoot- speak and so was left to react in his own selves and run amuck was deeply disturb- ing of a fic- natural way. The result of giving this kind ing. However, this interpretation of the tional story. Utilizing one family of five of creative freedom to these real-life sib- modern, independent American family, in children ranging from a one-year-old boy lings was impeccable. Rarely before has which many must look out for themselves, to a young teenaged girl, this film takes re- a film set for potential major distribution could not have been more accurate or alism to a whole new level. Reminiscent of featured such stunningly realistic behavior prevalent in the minds of us American the recent critically acclaimed hit Boyhood, and actions. You find yourself constantly viewers.

12 Alumni Story Down Memoria Lane An SUF Alum Returns to Florence

by Tom Dapice

his year my wife, her father these topics over delicious home ways available for questions or just and I vacationed in Italy. cooked meals like Tuscan bean to chat. But the learning didn’t end at While in Florence, I took my soup, which I had never had before. the Villa, as Syracuse took the stu- wife to see the Villa Rossa In addition, I sharpened my Italian dents on a generous list of from T where I studied during the Rome to so we could see

1999 spring semester. I caught up in-person what we were discussing

with program director Sasha Perug- Syracuse took the students in the classroom. I enjoyed these ini, and the staff helped me recon- on a generous list of tours trips with a diverse group of class- “from Rome to Ravenna so “ nect with my host mother. The mates who hailed from all over the experience was very meaningful for we could see in-person what US, and with whom I often hung out me and I was happy to see that the we were discussing in the when we weren’t studying. Last but program is still going strong and has classroom. not least, I can’t forget the dedicated expanded its campus. Syracuse staff who made everything Thinking back to my first week at run smoothly from Orientation to my Syracuse University’s study abroad work-study position at the library. program, I remember meeting my skills as my family patiently helped Over 16 years have passed since host parents Alda and Luigi, and their me improve my vocabulary and pro- that semester in Italy and a lot has daughters Tiziana and Emanuela. nunciation. happened since then. After graduat- They were very welcoming and help- My schooling at the Villa Rossa was ing from college, I studied housing ful in orienting me to life in Florence. excellent. Syracuse’s wide variety of policy and started a career in afford- In addition to being placed with a courses gave me the opportunity to able housing development. Most im- great family, Syracuse matched me study subjects such as European portantly, I met my wonderful wife to with a great roommate, John, who history and the Italian family struc- whom I’ve been married for over four shared similar interests in hip hop ture, which complimented the din- years. Looking back, the new expe- and a vegetarian diet. The dinner ners I had with my hosts. I found the riences the Syracuse program gave table was where we interacted most professors to be quite knowledge- me helped prepare me for life’s chal- with our host family and learned able and passionate about their sub- lenges and made me a better per- about a variety of topics, whether it jects, and the small class sizes son. I am grateful to the people who was Alda’s experience as a little girl allowed them to dedicate substantial have been part of Syracuse in Flo- during WWII or Luigi’s endless col- time to each student. Outside the rence and I wish the program contin- lection of puns. We talked about classroom, the professors were al- ued success in the future.

13 Facing

FHow Setudyinag in Itraly Chsanged Me

by Natalie Zisa (Fordham University)

hange has never been easy for me. Being in new environments with new people has always been a difficult thing for me to ad- just to. So why did I choose to C study abroad? I always grew up proud of my Italian cul- ture, but I hated the fact that I couldn’t speak the language. I hoped coming to Italy would force me into it. My friends talked so highly about studying abroad that I didn’t want to turn down the opportunity. If this was a life changing experience, I was the perfect candidate for it. But as the days got closer to August 31st, I was more and more nervous. A simple thing like packing my shampoo and conditioner was new and exciting: amazing food, legal coffee with them. Ever since high school I made me emotional. Everyone was telling drinking and so many things to discover. have perceived myself as shy and quiet, me I would have so much fun, and while I The real growth doesn’t happen until and just meeting people in our program certainly expected to, I also knew that a you’re a month or two in and realize just was daunting at first, but I guess I got huge part of it would be really hard. On my how much you’ve already accomplished; through it because I didn’t have another flight, I looked at all the groups of friends when you realize that the walk home is option. I don’t think I’ve ever felt more con- and thought they were lucky; they would now a normal part of your routine; when fident or independent and I owe that to this have a great time. I wasn’t so sure about you’ve gotten used to saying ciao and gra- experience. me, the girl flying solo, literally. zie; and especially when you travel outside I’ve also had the amazing opportunity of I couldn’t express how nervous I was be- Italy and start to miss things about Flo- visiting relatives in Sicily and realizing that cause I didn’t want to think maybe I had rence. For me, growth happened when I even miles away, family is still family. made a mistake. My dad kept telling me, was able to translate a conversation in Ital- Though my classes were not the highlight “I give you a week and you’ll be fine.” I ian to English at H&M. It happened when of my experience, I’ve definitely learned should’ve known to listen to him. While I I was able to wander around Florence and more about Italian history and culture. I’m felt pretty lonely those first two days, still find my way back, without using a map. already thinking about a way to come unsure of everything, my attitude changed Growth especially happened when I stuck back. The best part is, I did this all on my once I moved in with my host mom. I’m to my plans and took ballet classes at an own. Granted, I always had friends and thankful that I had such a caring host mom Italian dance studio (I’ve danced since I family to talk to, but no one told me what who made me feel so comfortable. I woke was 9, I couldn’t give it up that easily). It to do to make the most of my time here. up the next morning as optimistic as ever. was then that I realized that I do everything This was my experience, my way. And I I was in a beautiful city with beautiful I set out to do. Only a few days after telling can’t wait for the next challenge in my life weather: life was good. my dad how I wanted to make friends with because now I know good things come But of course it was, because everything the Italian girls in my class, I was getting from stepping out of your comfort zone. 14 because this new environment is all that The Best Medicine: I wanted. I think of the wall that wraps around Lucca like a stone promise from so many years ago. Last month I visited the town and spent the afternoon biking around Laughter and Cross- the Renaissance wall—a pebbled, tree- lined alley. To me, the wall symbolizes the long history of this incredible country, securing both Lucca and my memories of it. The strange joy of a foreign city’s Cultural Adaptation confusion turns into regained comfort. What is becoming a new home began with pauses of doubt, with the urge to by Julia Grace (Syracuse University) both run and return. After a pause and what I think is a nod of comprehension, she ex- want to identify the warming smell The familiarity and comfort of my Ameri- claims, “Does your sister still eat a lot of of Paola’s cooking as she tells me can life quickly became unnecessary French fries?” Everyone at the table emotional life support. Unforeseen new

about her summer. I am pleased breaks into heaving giggles. with the words I pull and piece to-

I gether, and we both laugh. I am Over the months since I arrived, laughter not sure why, but we laugh and laugh. I has become a part of my host family’s Laughter has become a part of “ realize this is a quickly formed reaction daily intake of new cultural information my host family’s daily intake of during both pauses of confusion and mo- and their understanding of an eager new cultural information and ments of understanding between two “ American in Italy. For me, it is a part of their understanding of an people who speak different languages. experiencing a new city, which has given My strictly-Italian-speaking host mother way to seeing new parts of myself. The eager American in Italy. Paola and I connect this way. Laughter infrequent solitude that I experienced at acts as both relief and proof of her home is sometimes all I have in Flo- household’s joy. She laughs so hard and rence. I have developed a peaceful friends and experiences have fueled my richly, like the purest and most relatable sense of oneness to replace lost time or young adulthood. And I have realized outburst of emotions I have ever heard. a failed effort of fumbling Italian words. that there are excellent means of human Over one of Paola’s dinners that tastes Sometimes all I want to do is explain my connection other than an aligned verbal as good as the apartment’s aroma, I at- day or my studies to my host mother. But language. Laughter is the love I share in tempt to explain in Italian one of Boccac- that is when our laughter comes and it all this new home, the familiar release of the cio’s stories that I am studying in class. seems to make sense why I came here unknown.

15

Slowing I no longer measure time in What Studying in Italy “ “ numbers, but Taught Me about Time rather in mo- ments and Down memories. by Adriana Herrera (Syracuse University)

ix hours. That is the time difference between Florence, Italy and my hometown in southern West Virginia. However, I was unaware that by traveling halfway across the world more than just the would S change. During the past three months that I have lived in Florence, time has become more than just the seconds tick- ing by on a clock that my eighteen-year-old self still has plenty of. Time has become something I have learned to cherish and value. I no longer measure time in numbers, but rather in mo- ments and memories. When I first arrived in Florence, I had nothing but time—time to travel and explore. Every weekend I visited a new city. But with my semester in Florence quickly coming to an end, I find my time has run out, and I’m frantically trying to savor as much of Italy as I can. Being American, I am so used to a fast-paced lifestyle, always on the go. You have the sense that if you stop even for a second, life has passed you by. Here in Italy, time is different. It moves much slower. Before I moved to Florence, I had never once sat in a restaurant for two hours, after finish- ing my meal. Over the past few months, I have realized that throughout my life I’ve been so busy trying to go everywhere and see everything that I have forgotten to stop and appreci- ate what’s right in front of me. With less than a week left in Florence, I have realized I’ll never be able to eat gelato on the steps of Santa Croce at midnight with my roommate ever again. I may never watch the sun set behind the Ponte Vec- chio again. I now wish I had taken the time to pause and take it all in. After all, it’s the smallest moments that make life so wonderful. The funny thing is we often never realize it until that moment has passed. I am leaving Florence with a new appreciation for time and the people I share it with. Though it is unlikely I shall ever return, I will never forget the first time I saw the Duomo and the sense of awe I felt in its massive presence. I’ll cherish the day I re- turned to Rome. After two long years of waiting, my Trevi Fountain wish came true. Years from now I will look at the photo of me “pushing” the Leaning Tower and laugh at how many tries it took to get the picture just right. I will never forget the day I fell in love with Italy and its art in the town of . I will always remember the time I studied abroad for my fresh- man year of college. a r e r r e H

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16 Arms, Armor and Costumes, Oh My! A Visit to the Stibbert Museum in Florence

by Shannon Monahan (Syracuse University)

eyond the bustling city cen- part of the tour in ter of Florence is a quaint which we could try on castle tucked away in the different parts of armor suburban hills of , such as chainmail and B just a few minutes’ drive helmets (see photo- from SUF's main campus in Piazza graph)! We were also Savonarola. This was once shown Stibbert’s col- the home to Englishman Frederick lection from other Stibbert, and when his grandfather parts of the world such passed away, Stibbert himself inher- as the Islamic and ited the entire estate. Instead of en- Japanese Armory, joying it alone, he devoted his life to which was a refresh- collecting a myriad of armor from all ing change for an Ital- over the world from the 15th to the ian museum. 19th century and opening his home to In my opinion, the the public as a museum. I had the most fascinating sec- pleasure of visiting his vast collection tion of the entire mu- along with some classmates guided seum was the horse and knight is different from the by Victoria Miller, a PhD candidate at Cavalcade, where Stibbert himself next. It would be easy to spend hours Cambridge University who is working designed a scene of horses, knights in just this room alone to appreciate on Renaissance arms, armor and and foot soldiers carrying out a pro- all the intricate details. Each room’s costumes. Victoria studied in Flo- cession through a grand hall that con- décor also perfectly matches the rence and obtained her Master’s De- nects two sides of the museum. Each armor within it, so walking into each gree in Art History here at SUF. room makes you feel like you’ve en- This museum contains more suits of tered a new medieval world. Although armor than any army would know this museum does not tend to be high

what to do with. Victoria pointed out Stibbert devoted his life to on everyone’s Florence “must do” list,

that the differences in these beauti- collecting a myriad of armor it is surely a bang for your buck and fully crafted metallic suits lies in the “ from all over the world from “ truly fascinating. Its most famous vis- purpose behind them, whether they the 15th to the 19th century itors are none other than Queen Vic- were used for battle (and thus al- toria and Oscar Wilde, and if it’s good lowed for movement), as costumes and opening his home to the public as a museum. enough for them, it’s good enough for (more decorative) or for tournaments me! (more protective). There was even a 8 17 YOU ARE WHAT YOU EAT 29TH ANNUAL GRADUATE SYMPOSIUM By Graduate Program Coordinator Molly Bourne

s it true that “You Are What You Eat”? Can depictions of food and drink in 15th and 16th-century Italian art help us understand how comestibles were perceived by their original consumers? Our four graduate students in Ren- I aissance Art (class of 2015) set out to find answers in their final research projects, presenting their impressive find- ings at the 29th Annual Graduate Symposium before a stand- ing-room-only audience at the Villa Rossa on December 3. The first two papers investigated the moralizing, religious, and gendered meanings of foodstuffs, such as fava beans and red versus white wines, depicted in large-scale Last Sup- per paintings created for two female Florentine refectories: nun-painter Plautilla Nelli’s canvas for the Dominican convent of Santa Caterina da Siena, examined in Cristina Garza’s presentation, and Giorgio Vasari’s Last Supper for Le Murate, analyzed by Isaac . Following intermission, the final two presentations explored two edible liquids central to early modern culture: breast milk and wine. Lauren Cooley sur- veyed the visual culture and wet-nursing industry surrounding Montevarchi’s relic of the Virgin’s breast milk, while Laura Marsolek examined a luxurious rock-crystal wine fountain created for the 1589 wedding of Grand Ferdinando I de’ Medici. A splendid and very palatable reception provided the fitting conclusion to these four successful presentations.

Clockwise from top right: Prof. Molly Bourne; symposium audience; Isaac Messina; Laura Mar- Clockwise from top left: Graduate Program Director Sally Cornelison; SUF Director Sasha solek; Professors Rab Hatfield, Jonathan Nelson and Gary Radke; Prof Radke congratulating Perugini; Graduate Program Coordinator Molly Bourne; Graduate Professor Matteo Duni; Lauren Cooley; Prof Radke congratulating Laura Marsolek; Prof Radke and Art Historian Lauren Cooley; Laura Marsolek; Cristina Garza; Isaac Messina. 18 Cristina Acidini; Lauren Cooley; Prof. Sally Cornelison, Cristina Garza; Director Sasha Perugini. Studio Arts Program

SUF Art Students at Palazzo Strozzi By Studio Art Supervisor Kirsten Stromberg

Ginsberg’s footnote to the poem ‘Howl’ titled ‘Holy!Holy!Holy!’. Along with 3 other universities in Flo- rence, SUF painting and photography students researched ideas that related to the exhibition through various plat- forms: visiting the exhibition, explo- rations and research around Florence, studio work, as well as a series of con- temporary artist talks on the theme. At Sara Fitzgerald (photography) the end of the semester, selected stu- n the occasion of the exhibi- dents presented their works to the public tion, Divine Beauty: from Van at Palazzo Strozzi, discussing their work Gogh to Chagall and Fontana and how they addressed the project. at Palazzo Strozzi in Flo- Photography Professor Stefania Talini O rence, SUF photography and and I (for Painting) were involved in the painting students participated in a spe- project. Intermediate and advanced stu- cial program called Holy!Holy!Holy!. dents from our courses spent the se- Spearheaded by the educational depart- mester learning not only about the ment at Palazzo Strozzi, the project was exhibition and contemporary art dis- inspired by sacred themes and concerns course, but what it means to research a Riley Ryan-Wood (photography) in the Divine Beauty exhibition while set- theme in their work and to develop it ting these themes in contrast to Allen both technically and conceptually.

Watch the video of the presentation on SUF's YouTube channel

Sophie Brande (photography)

Xueyun Li (painting) Courtney Griffith (painting) Jane McGehee (painting) 199 Staff & Faculty Watch

Molly Bourne

Molly Bourne, an expert on the early modern history of , was featured in "Ad Tempo Taci: Songs for Isabella d'Este," a 30-minute historical film about music at the Renaissance court of Isabella d'Este, Marchioness of Mantua. The film, which is part of the research project "IDEA" (Isabella d'Este Archive), for which Prof. Bourne serves as an advising con- sultant, can be viewed here: http://popprepertory.web.unc.edu/2015/10/ad-tempo-taci- songs-for-isabella-deste/

Matteo Duni

Matteo Duni’s major publication in the fall was the collection of the proceedings of an in- ternational conference he had organized at the Università di Urbino in 2013, published by Carocci as Prescritto e proscritto: religione e società nell’Italia moderna (secoli XIV-XIX), edited by Matteo with fellow co-organizers Guido Dall’Olio and Andrea Cicerchia. An essay by Prof. Duni, “What About Some Good Wether? Witches and Werewolves in Sixteenth- Century Italy” was also published in the volume Werewolf , edited by Willem de Blécourt (Palgrave Macmillan).

Antonella Francini

Antonella Francini published an article on food imagery in American poetry ("Percorsi gastro- nomici nella poesia statunitense," Semicerchio, LII, 2015/1) in which she outlines the role of the culinary arts in a selection of texts, from colonial times to the present. In October, she was invited to participate in the annual conference on literary translation at the where she led a seminar on translating poetry.

Baret Magarian

Baret Magarian’s poem “Carousel” was published in Contrapasso in September; a selection of his poetry was published in Semicerchio in Italian and English in October; his short story “The Meltdown” was published in World Literature Today in January; and “Desert Visions” was pub- lished in Italian and English in the Journal of Italian Translation in February 2016. In December he gave a piano recital and poetry reading at the British Institute of Florence, his piano music was posted on Soundcloud under the name Floto Music – the Angels, Piano Piece for Nebs, The Shadows, & Erasing the Waves and he participated in a Skype video conference in Taipei, Taiwan on the subject of students’ presentations on the international image of Taiwan, urban planning and art history projects. He also co-translated four articles about the life and art of Giuseppe Castigione-Lang Shining included in the book Giuseppe Castiglione, Jesuit and Painter in the Celestial Empire (Edizioni Feeria), published in November.

Sara Matthews-Grieco

Sara Matthews-Grieco will be presenting a paper at the Renaissance Society of America Annual meeting in Boston entitled "Engraving Anteros: The Printed Picture as an Agent of Change in Counter-Reformation Italy" and scheduled as part of the three sessions organized by Sally J. Cornelison" Encountering the Renaissance, Honoring Gary Radke." As Associate Organization Representative for the Society for the Study of Early Modern Women, Sara Matthews-Grieco also recruited five sessions for the Renaissance Society of America Annual meeting in Boston (31March-2April 2016) that were awarded SSEMW sponsorship. The purpose of SSEMW spon- sorship is to promote the study of women, gender and sexuality between the 15th and 18th cen- turies in all disciplines.

20 Staff & Faculty Watch

Eric Nicholson

During the fall season of 2015, Eric Nicholson directed and performed in the SUF Players' production of “The Haunted Casa,” an original adaptation of Plautus's classic comedy Mostellaria. Beyond Syracuse, he completed professional voice-over work on the English version of the documentary video “Le chiavi di Dante” for La Società Dantesca Italiana. He also translated and voice-recorded official audio guides for museums in the Province of and the City of Grosseto, and in Florence, for the renovated Museo dell'Opera del Duomo.

Sasha Perugini

In June Sasha became a member of the US State Department’s OSAC (Overseas Security Advisory Council) Steering Committee for Tuscany. In September she presented on “Strate- gies for integration through language acquisition and food culture” at the Intercultural Hori- zons Annual Conference in , Sardinia. In November, she gave a talk on “STEM in Study Abroad” at the CIEE Annual Conference in Berlin, “The Reinvention of Study Abroad”, and a lecture in on Women and Power Narratives as part of the “Autumn School of Formazione Politica 2015”.

Kenneth Resnick

In November Kenneth Resnick spoke at the 3rd Annual Energy Law Business Forum, spon- sored by Thomson Reuters in London, England. He spoke on the challenges of building a “gold standard” compliance program, particularly for those involved in the energy industry who do business in countries at high risk for corruption and other forms of business wrong- doing. His comments included observations on the U.S. Department of Justice’s recent decision to hire a full time compliance expert to help the Department evaluate the effec- tiveness of a company’s compliance program in the context of a potential investigation or prosecution. The conference was attended by executives, legal professionals and compli- ance experts in the energy sector.

Alessandro Ridolfi

Through his work as a researcher for the Department of Industrial Engineering at the Uni- versity of Florence, Alessandro Ridolfi co-authored an article on the field of underwater ro- botics, published in the Elsevier Journal of Ocean Engineering, entitled "A new AUV navigation system exploiting unscented Kalman filter”. In September he received the John F Alcock Memorial Prize 2014 from the Institution of Mechanical Engineers (IMechE) - Rail- way Division Prizes and Awards, along with some colleagues of the University of Florence, for the paper “A localization algorithm for railway vehicles based on sensor fusion between tachometers and inertial measurement units” published in Proceedings of the Institution of Mechanical Engineers, Part F, Journal of Rail and Rapid Transit.

Michelle Tarnopolsky

A collection of essays translated by Michelle Tarnopolsky and edited by Maurizio Vaudagna, Modern European-American Relations in the Transatlantic Space. Recent Trends in History Writing, was published by Otto.

21 ON THE Highlights of the SUF Field Trip Program ROAD

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