An Italian historian whose interests span from the Italian Renaissance to early modern European history. His contributions also extend to art history, literary studies, popular cultural beliefs, and the theory of historiography. He approaches history with a keen eye for the interconnectedness of different fields, exploring the cultural and intellectual contexts that shape events.
For centuries witches on trial admitted to taking part in "sabbaths" where they cast spells, enacted obscenely blasphemous rites and even devoured corpses. Many scholars believe that such confessions were just a reflection of their persecutors' fantasies. This book investigates.
In 1691, a Livonian peasant known as Old Thiess boldly announced before a district court that he was a werewolf. Yet far from being a diabolical monster, he insisted, he was one of the “hounds of God,” fierce guardians who battled sorcerers, witches, and even Satan to protect the fields, flocks, and humanity—a baffling claim that attracted the notice of the judges then and still commands attention from historians today. In this book, eminent scholars Carlo Ginzburg and Bruce Lincoln offer a uniquely comparative look at the trial and startling testimony of Old Thiess. They present the first English translation of the trial transcript, in which the man’s own voice can be heard, before turning to subsequent analyses of the event, which range from efforts to connect Old Thiess to shamanistic practices to the argument that he was reacting against cruel stereotypes of the “Livonian werewolf” a Germanic elite used to justify their rule over the Baltic peasantry. As Ginzburg and Lincoln debate their own and others’ perspectives, they also reflect on broader issues of historical theory, method, and politics. Part source text of the trial, part discussion of historians’ thoughts on the case, and part dialogue over the merits and perils of their different methodological approaches, Old Thiess, a Livonian Werewolf opens up fresh insight into a remarkable historical occurrence and, through it, the very discipline of history itself.
Menocchio's 500-year-old challenge to authority remains evocative and vital today.
"A wonderful book... Ginzburg is a historian with an insatiable curiosity, who pursues even the faintest of clues with all the zest of a born detective until every fragment of evidence can be fitted into place." -- New York Review of Books
In the best micro-historical tradition, Carlo Ginzburg, himself one of the founders and icons of this genre of historiography, dissects four moments of European intellectual history. This book relives the experience that participants in the Natalie Zemon Davis Lecture Series at the Budapest campus of Central European University had in 2019 listening to Ginzburg's eloquent and engaging discourses. For the purposes of this volume he has re-edited and completed the leporello of cases charged with the inherent ambiguity between secularism and religions. Secularism is often identified with rejection or at least distancing from the sacred. However, if one assumes that secularism also appropriates and reworks the sacred, its ambiguities come to the fore. The dilemma accompanies the reception of La Boétie's Servitude volontaire between 1574 and today. Before Walter Benjamin, the lesser-known 19th-century Léon de Laborde defended the profanity of reproducing the arts. The tension around the secular pervades the case of the College de Sociologie (Paris, 1937-1939), an attempt to analyze the ideological components of fascism. The fourth lecture approaches a much-discussed contemporary phenomenon – fake news – from a long-term perspective. To what extent are some disturbing features of the world we live in the result of a long, tortuous, unpredictable trajectory?
Carlo Ginzburg rückt hier erstmals die Mentalität und das Weltbild eines Individuums ins Zentrum. Ein zentrales Buch der neueren Geschichtsschreibung. Das Buch erzählt die Geschichte des Müllers Menocchio, der 1584 vor der Inquisition bekennt: »Ich habe gesagt, daß, was meine Gedanken und meinen Glauben anlanget, alles ein Chaos war, nämlich Erd’, Luft, Wasser und Feuer durcheinander. Und jener Wirbel wurde eine Masse, gerade wie man den Käse in der Milch macht, und darinnen wurden Würm’, und das waren die Engel.« Ginzburg nimmt die Erzählungen des Müllers nicht nur ernst, sondern er rekonstruiert mit ihnen eine ganze Vorstellungswelt: die der vermeintlich illiteraten Unterschicht. Peter Burke und Natalie Zemon Davis, Roger Chartier und Robert Darnton – sie alle haben diesem Menocchio zugehört.
Von Beginn seiner Forschungen an hat Ginzburg nach Auswegen aus dem Dilemma bloßer Gegenüberstellung von »Irrationalismus« und »Rationalismus« gesucht; seine Untersuchung über die »Spurensicherung« in der Wissenschaft ist dafür der sichtbarste (und folgenreichste) Beleg. Diese Spurensicherung beginnt im 19. Jahrhundert mit dem Kunsthistoriker Morelli, der nebensächliche Details erstmals für die Zuschreibung von Gemälden benutzt. Anschließend beschreibt Ginzburg die beiden entscheidenden neuen geschichtswissenschaftlichen Ansätze der neueren Zeit, die Schulen von Marc Bloch und Aby Warburg.