discuss a brief note on the arboreal movements of france
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Explanation:
The French Renaissance was the cultural and artistic movement in France between the 15th and early 17th centuries. The period is associated with the pan-European Renaissance, a word first used by the French historian Jules Michelet to define the artistic and cultural "rebirth" of Europe.
Notable developments during the French Renaissance include the spread of humanism, early exploration of the "New World" (as New France by Giovanni da Verrazzano and Jacques Cartier); the development of new techniques and artistic forms in the fields of printing, architecture, painting, sculpture, music, the sciences and literature; and the elaboration of new codes of sociability, etiquette and discourse.
The French Renaissance traditionally extends from (roughly) the French invasion of Italy in 1494 during the reign of Charles VIII until the death of Henry IV in 1610. This chronology notwithstanding, certain artistic, technological or literary developments associated with the Renaissance arrived in France earlier (for example, by way of the Burgundy court or the Papal court in Avignon); however, the Black Death of the 14th century and the Hundred Years' War kept France economically and politically weak until the late 15th century.
The reigns of Francis I of France (from 1515 to 1547) and his son Henry II (from 1547 to 1559) are generally considered the apex of the French Renaissance.
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Arboreal and historical perspectives from Calvino’s Il barone rampante
References
Abstract
This article considers Calvino’s Il barone rampante (1957) as a parable of the deforestation and excessive urban development that took place along the Italian Riviera, starting in the late eighteenth century. The novel’s inter- textual references point to the intellectual foundations of the author’s ecological ethics, and reveal his understanding of the Enlightenment as a culture vested in the protection of its forests and interested in recasting human relationships with the natural world.
Keywords: Calvino, trees, deforestation, Enlightenment, nature
Arboreal and historical perspectives from Calvino’s Il barone rampante
Italo Calvino’s Il barone rampante (1957) is a Italian parable that is frequently read as a reflection on the ideal role of the intellectual in contemporary society.1 The novel, however, also illustrates in fantastic form the deforestation that took place along the northern Mediterranean coast of Italy. It offers both a literary response to the excesses of urban development that characterized the post-war period and a critical reflection on a longer history of human intervention on the Italian Riviera.2 The text is in fact written with such botanical precision and refers inter-textually to works of such environmental importance that it begs its readers to consider the literal significance of Calvino’s trees, and to recognize the long-standing literary and philosophical tradition upon which the author’s ecological ethics were founded. As it laments its lost ‘universo di linfa’, Il barone rampante nostalgically reminisces about the ways in which eighteenth-century writers could think about forest sustainability and the responsibilities of humans vis-à-vis the natural world.3 Contrary to other scholars of his time, such as Theodor Adorno and Max Horkheimer, who became notorious for their representation of the Enlightenment as a monolithic and violent project bent on establishing man’s mastery over nature, Calvino evoked the worlds of Jacques-Henri Bernardin de Saint Pierre, Jean-Jacques Rousseau, and Denis Diderot, as he celebrated a culture that called for the protection of forests and sometimes even conceived of the intrinsic value of trees.
Il barone rampante is carefully set at the turn of the nineteenth century, at a particularly important turning point in Ligurian history: just before, during, and after the French take-over of the Republic of Genoa under Napoleon — that is, at the beginning of a period of intense deforestation.4 The novel’s narrator looks back on this historical moment from a fictional place appropriately named ‘Ombrosa’. He cries out: ‘Il cielo è vuoto, e a noi vecchi d’Ombrosa, abituati a vivere sotto quelle verdi cupole, fa male agli occhi guardarlo. Si direbbe che gli alberi non hanno retto, dopo che gli uomini sono stati presi dalla furia della scure [....] Ombrosa non c’è più’ (776). These trees, as critics often note, were lost during the Napoleonic wars, but deforestation along the northern Mediterranean coast of Italy was caused mainly by the fact that, from the early nineteenth century onwards, this woody and mountainous region was subject to extensive clearing to permit the construction of a vast network of roads and railways.5 In the decades and century that followed ever more routes were developed, and these allowed for, and ultimately encouraged, significant demographic movements towards ever-expanding urban centres and new industrial plants. Unfortunately, these projects heavily damaged the area’s tree cover, for they required great quantities of wood for construction, as well as charcoal to feed the hard-working furnaces. The narrator of Il barone rampante was thus correct to complain
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