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Zeitschriftenartikel zum Thema „Chiaromonte“

Autor: Grafiati

Veröffentlicht am 14. Dezember 2024

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1

Cavallari, Doris Nátia. „Intelectuais contra o poder: A atualidade do engajamento político-cultural de Ignazio Silone e Nicola Chiaromonte na direção de Tempo Presente“. Revista de Italianística, Nr. 23 (12.05.2014): 149. http://dx.doi.org/10.11606/issn.2238-8281.v0i23p149-172.

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Apresento algumas informações sobre a revista TempoPresente: informazione e discussione, dirigida por Ignazio Silone e Nicola Chiaromonte, no período de 1956 a 1968. O estudo da revista foi objeto de minha pesquisa de pós-doutorado e se deteve no levantamento e análise dos textos, em particular aqueles produzidos por Silone e Chiaromonte,para verificar em que modo os artigos garantiram o sucesso da revista entre seus leitores, um grupo especial de intelectuais, pelo período de doze anos.Ao final, acrescento a tradução de um dos textos de Nicola Chiaromonte, crítico desconhecido no Brasil, no qual se pode sentir a sensibilidade e profundidade com que ele analisava as questões da literatura e do seu tempo presente.

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Cavallari, Doris N. „tempo della malafede": L'attualità del pensiero di Nicola Chiaromonte“. Revista de Italianística, Nr. 37 (30.12.2018): 28–36. http://dx.doi.org/10.11606/issn.2238-8281.v0i37p28-36.

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Nicola Chiaromonte era giornalista e saggista, erede delle idee di An- drea Caffi, amico di personalità come Albert Camus e Hanna Arendt e integrante del gruppo newyorkese della Politics di Dwight Macdonald. Ha scritto innumerevoli saggi sulla società del ventesimo secolo che ci possono aiutare a capire la crisi attuale dei valori e dell’arte. Questo testo si propone a discutere alcune delle idee del saggista presenti, specialmente, nel testo ‘Il tempo della malafede’, nel quale l’autore parla delle “menzogne utili” che si sovrappongono alle verità “inutili” nel nostro mondo “artefatto – interamente voluto e costruito dall’uomo”. Con questo saggio, Chiaromonte anticipa l’attuale concetto della “post-verità” (o post-truth, secondo l’Oxford Dictionary).

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Bordes, François. „Vertiges de l’antitotalitarisme. Camus, Orwell, Chiaromonte“. Cités N° 85, Nr. 1 (04.03.2021): 55–66. http://dx.doi.org/10.3917/cite.085.0055.

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4

Panizza, Cesare. „Nicola Chiaromonte e la guerra civile spagnola“. MEMORIA E RICERCA, Nr. 39 (Mai 2012): 157–74. http://dx.doi.org/10.3280/mer2012-039010.

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This essay reconstructs the involvement of Nicola Chiaromonte in the Spanish Civil War. For very short this experience was in fact an episode of great importance for his biography(life experience). Chiaromonte was an anti-fascist which was exiled in France. In August 1936 Chiaromente went to Madrid convinced that the defense of the Spanish republic coincides with the beginning of an international mobilization against Fascism. There he becomes a bomber with the air squadron organized by his friend the writer Andre Malraux. At the end of November he returned to France because he feels exhausted revolutionary hopes that had animated the popular resistance to the military coup, also because of the increasingly important role assumed by the Communist International in the republican camp.

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Panizza, Cesare. „Nicola Chiaromonte, «Tempo presente» e la ‘crisi’ della Francia“. Cahiers d’études italiennes, Nr. 22 (20.04.2016): 203–17. http://dx.doi.org/10.4000/cei.3029.

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Tagliente, Marcello. „Elementi del Banchetto in un centro arcaico della Basilicata (Chiaromonte)“. Mélanges de l’École française de Rome. Antiquité 97, Nr. 1 (1985): 159–91. http://dx.doi.org/10.3406/mefr.1985.1450.

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Tomczyk-Jarzyna, Izabela. „Maska i labirynt. O procesie indywiduacji zbiorowej w Amarcord Federica Felliniego“. Załącznik Kulturoznawczy, Nr. 9 (2022): 381–406. http://dx.doi.org/10.21697/zk.2022.9.19.

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The article focuses on selected aspects of Amacord’s film and tries to answer the question why the characters of Fellini’s film were unable to meet their shadow and complete the process of individuation (as defined by C.G. Jung), and whether the diagnosis made by the director with regard to his characters indicates an opportunity, so that the viewer could avoid such blindness. Searching for answers to these questions, I use the anthropological category of labyrinth and mask. I agree with the way of perceiving and defining the concept of fascism proposed by Nicola Chiaromonte.

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Polek, Piotr. „Specyfika Jasnogórskiej posługi słowa“. Seminare. Poszukiwania naukowe 15 (30.06.1999): 63–73. http://dx.doi.org/10.21852/sem.1999.05.

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Artykuł zatytułowany: „Specyfika1 posługi Słowa Bożego w sanktuarium w Częstochowie”. Tym artykułem Autor wpisuje się w temat sympozjum liturgicznego, które odbyło się w Ląd (Polska), o głoszeniu Słowa Bożego P. Polek, dzieli materię sprawozdania napięć punktów: Charakterystyka sanktuarium Chiaromonte w nauczaniu Jana Pawła II; Kierunek głoszenia Słowa Bożego; Wymiar teologiczny; wymiar patriótica i wreszcie przesłanie, które wypływa z tej służby Słowa. Autorka dostrzega tu wiele pozytywów, ale i pewne niedociągnięcia. Jeden z nich dotyka czasu, kiedy do odprawiania Mszy używano kilku czytań biblijnych (było tylko 8 wariantów z odczytów). Dziś, gdy „Collectio missarum de beata Maria Virgine” ukazało się także po polsku, Do dyspozycji mamy 46 wariantów, więc i to pomoże poszerzyć tematykę kaznodziejstwo.

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Ajres, Alessandro. „Gustaw Herling-Grudziński e la letteratura italiana del XX secolo“. Poznańskie Studia Polonistyczne. Seria Literacka, Nr. 39 (15.12.2020): 183–93. http://dx.doi.org/10.14746/pspsl.2020.39.10.

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Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

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Perolino, Ugo. „A marriage of true minds. Le lettere di Nicola Chiaromonte a Melanie von Nagel“. Incontri. Rivista europea di studi italiani 30, Nr. 1 (02.07.2015): 125. http://dx.doi.org/10.18352/incontri.10067.

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11

Santos, Luciano Aparecido dos. „PANIZZA, C. Nicola Chiaromonte. Una biografia. Roma: Donzelli editore, 2017, 321 p. (Serie: Italiani dall’esilio).“ Revista de Italianística, Nr. 39 (30.12.2019): 78–82. http://dx.doi.org/10.11606/issn.2238-8281.v0i39p78-82.

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12

Bresciani, Marco. „Socialism, Antifascism and Anti-Totalitarianism: The Intellectual Dialogue (and Discord) between Andrea Caffi and Nicola Chiaromonte (1932–1955)“. History of European Ideas 40, Nr. 7 (22.04.2014): 984–1003. http://dx.doi.org/10.1080/01916599.2014.906974.

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13

Fiume, Giovanna. „Sacralizar el espacio, deslegitimar los jueces de fe. Grafitis, inscripciones y dibujos de los prisioneros del Santo Oficio (Palermo, siglo XVII)“. Huarte de San Juan. Geografía e Historia, Nr. 31 (31.05.2024): 203–30. http://dx.doi.org/10.48035/rhsj-gh.31.10.

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Dentro del complejo monumental del Palacio Chiaromonte, conocido como el Steri, actualmente sede de la Universidad de Palermo, se encuentra el edificio de las Cárceles Secretas, construido en 1603 para la reclusión de prisioneros del tribunal del Santo Oficio español mientras sus procesos estaban en curso. En las paredes, los detenidos han dejado no solo grafitis, escrituras y dibujos, sino también nombres y fechas que han permitido rastrear los documentos judiciales que los conciernen (conservados en el fondo Inquisición Sicilia del Archivo Histórico Nacional de Madrid y en el Archivo de Estado de Palermo); las informaciones provenientes tanto de los documentos archivísticos como de las escrituras y los dibujos de las paredes revelan las identidades de los autores: la condición social, la edad, los delitos imputados, el comportamiento judicial, la relación con los compañeros de prisión y la vida carcelaria de numerosos grupos de presos encerrados por motivos de fe. Sus perfiles biográficos iluminan, por un lado, las motivaciones de esta «escritura artística» y, por otro lado, los modelos iconográficos que inspiran muchos grafitis y dibujos. Se trata de una verdadera actividad de sacralización de la cárcel con el fin de domesticar un territorio peligroso y hostil que muestra las devociones, los cultos y las opiniones religiosas de una muestra significativa de la población carcelaria del Antiguo Régimen y llega a rastrear en algunos de ellos la implícita contestación y la deslegitimación de la autoridad de los jueces.

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Trygar, Barbara. „“Nella cerchia degli incontri italo-polacchi”. Eseje Nicola Chiaromontego w perspektywie teorii skopos“. Tematy i Konteksty 15, Nr. 10 (2020): 36–51. http://dx.doi.org/10.15584/tik.2020.3.

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15

Swain, Amanda. „Utopia in New York: Nicola Chiaromonte and the New York Intellectuals’ “Superstition of Science”“. Modern Intellectual History, 07.05.2024, 1–31. http://dx.doi.org/10.1017/s147924432400012x.

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This article reintroduces Italian antifascist intellectual Nicola Chiaromonte to anglophone twentieth-century intellectual history by foregrounding Chiaromonte's transatlantic exchange with the New York intellectuals. Drawing from Chiaromonte's unpublished notes and correspondence, as well as his published writing in English and Italian, it elaborates how what I call Chiaromonte's “negative utopianism” migrated concepts and concerns from the political-philosophical context of 1930s Paris to 1940s New York. Though descriptions of Chiaromonte in New York accentuate his rejection of Marxism within sectarian radical circles, I resituate this tension vis-à-vis the philosophical clash between Chiaromonte's speculative, phenomenological conceptual framework and his US milieu's scientific rationalism and naturalistic pragmatism. Thanks to his influence on Dwight Macdonald's politics magazine, Chiaromonte became a contact point with the ideals animating the antifascist resistance and the theoretical transformations inaugurated by the decentered subject—one whose promotion of relationality and limit as grounds for recentering the transatlantic left had longer echoes.

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16

Streahle, Kristen E. G. „“TABI MUROLLI MUIDEM REP”. Pseudo-Kūfic, Retrograde Latin, and the Crusades Remembered on the Palazzo Chiaromonte-Steri Ceiling“. Journal of Transcultural Medieval Studies 4, Nr. 1-2 (20.12.2017). http://dx.doi.org/10.1515/jtms-2017-0006.

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AbstractThe article examines how expressions of piety and protection intertwine in the decorative programme of the Palazzo Chiaromonte-Steri in Palermo. Manfredi III Chiaromonte commissioned three Sicilian artists from 1377–1380 to paint the ceiling of the Sala Magna, one of the most celebrated artworks in Sicily. Frequently overlooked in scholarship, however, are the pseudoinscriptions, retrograde Latin, and enigmatic words and phrases painted on the ceiling. Rather than confirm a pleonastic reading of the textual additions, this study places them in conversation with a body of religious subjects painted in the palace, especially St. George and crusaders battling Muslim warriors. It argues that taken together these figural and textual interventions afford both a practical means to safeguard the Chiaromonte against misfortune and, more abstractly, to re-imagine the family’s history during this politically fraught moment in the Trecento.

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Angeletti, Valerio, und Amanda Swain. „The Lampadophorous: Paolo Milano, Nicola Chiaromonte and the politics of friendship“. Forum Italicum: A Journal of Italian Studies, 18.11.2024. http://dx.doi.org/10.1177/00145858241291499.

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Compared to the scholarly attention dedicated to mid-20th-century Germanic or French transatlantic intellectual migration and its impact on thought and culture in the USA, the influence of Italian exiles and refugees has been relatively neglected. In the political context, only a few Italian exiles with public or institutional roles in the USA have been studied (e.g. Ascoli, Salvemini, Borgese), while the contributions of others remain overlooked. This article addresses two such neglected figures: Paolo Milano and Nicola Chiaromonte. It highlights how the politics of friendship they brought to 1940s New York, premised in utopian socialism, constituted a vehicle for transatlantic exchange. Though Milano and Chiaromonte did not have strong institutional affiliations during this period, their connections to US literary and radical circles helped circulate an account of Italy and an interpretation of Italian antifascist resistance strongly informed by their vision of friendship.

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18

Buttà, Licia. „“Mudéjar”, Islamic Influence or Memory of the Past? Some Considerations on the Wooden Painted Ceiling of the Palazzo Chiaromonte-Steri in Palermo“. Journal of Transcultural Medieval Studies 4, Nr. 1-2 (20.12.2017). http://dx.doi.org/10.1515/jtms-2017-0005.

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AbstractThe wooden painted ceiling of the Sala Magna of the Palazzo Chiaromonte-Steri in Palermo is an outstanding monument for its structure as well as for its articulated visual programme. In the present study, I aim to analyze three specially debated aspects of it. Firstly, I will question the appropriateness of using the Spanish term “Mudéjar” for describing its structure and decoration. Secondly, I will highlight existing analogies between Norman ceilings in Sicily and the one of the Sala Magna in Palermo. Finally, I will explore the political meaning of the masterpiece by following the clues of some inscriptions.

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Swain, Amanda. „‘One of the last secret maestros’: Nicola Chiaromonte between Europe and America“. Journal of Modern Italian Studies, 06.03.2024, 1–17. http://dx.doi.org/10.1080/1354571x.2024.2303843.

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Mangione, Donatella. „Separarsi dall’antico. Agrigentum Kerkent Girgenti“. ANNALI SCUOLA NORMALE SUPERIORE - CLASSE DI LETTERE E FILOSOFIA, 08.03.2024, 95–120. http://dx.doi.org/10.2422/2464-9201.202302_s06.

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Tra i continui rivolgimenti politici e sociali del medioevo, la Sicilia viene più volte occupata da genti straniere che ne modificano cultura e costumi, a volte scompaginando gli assetti abitativi delle antiche città. A questo fenomeno non è estranea Agrigento: essa assiste all’alternarsi di domini di etnie diverse, dai romani ai vandali, bizantini, musulmani, normanni, mutando il suo nome, che da Agrigentum diviene Kerkent e infine Girgenti. L’insediamento urbano si modifica e, dalla valle in cui si era sviluppata la città greco-romana, si sposta a Nord, sul colle ‘di Girgenti’. Argomento del contributo è la disgregazione della città greco-romana e l’insediarsi del primo nucleo di popolazione sulla collina fino al Trecento quando, con la potenza feudale dei Chiaromonte, le mura urbiche vengono ampliate inglobando le pendici sud-orientali del colle, ormai dunque interamente occupato.

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Trygar, Barbara. „PRZESZŁOŚĆ – TERAŹNIEJSZOŚĆ – PRZYSZŁOŚĆ, KAI ELEUTHERIA – KAI ALETHEIA – KAI AGATHON, PLATON – NICOLA CHIAROMONTE – WOJCIECH KARPIŃSKI (ontologiczno-aksjologiczne trójkąty)“. Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego 5 (2019). http://dx.doi.org/10.34768/fp2019a5.

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