Thematische Bibliographien / Italian Naturalists

Auswahl der wissenschaftlichen Literatur zum Thema „Italian Naturalists“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Italian Naturalists"

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Čermáková, Lucie. „‘Where have all the flowers grown’: the relationship between a plant and its place in sixteenth-century botanical treatises“. Gardens and Landscapes of Portugal 6, Nr. 1 (01.09.2019): 20–36. http://dx.doi.org/10.2478/glp-2019-0010.

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Abstract The article investigates Renaissance naturalists’ views on the links between plants and places where they grow. It looks at the Renaissance culture of botanical excursions and observation of plants in their natural environment and analyses the methods Renaissance naturalists used to describe relations between plants and their habitat, the influence of location on plants’ substantial and accidental characteristics, and in defining species. I worked mostly with printed sixteenth-century botanical sources and paid special attention to the work of Italian naturalist Giambattista Della Porta (1535–1615), whose thoughts on the relationship between plants and places are original, yet little known.
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ABBRI, FERDINANDO. „«COMMERCIO DI LIBRI E PRODUZIONI NATURALI»“. Nuncius 7, Nr. 2 (1992): 119–39. http://dx.doi.org/10.1163/182539192x00893.

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Abstract<title> SUMMARY </title>At the end of the eighteenth century the great Swedish botanist Carl Peter Thunberg (1743-1828) established some cultural relationships with the Tuscan naturalists. Here Giovanni Mariti's and Attilio Zuccagni's letters to Thunberg are published.The present essay is a further contribution to the history of the Italian-Swedish relationships during the Enlightenment.
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Durling, Richard J. „A Guide to the Medical Manuscripts Mentioned in Kristeller's Iter Italicum V–VI“. Traditio 48 (1993): 253–316. http://dx.doi.org/10.1017/s0362152900012940.

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With the final volumes of his Iter, Paul Oskar Kristeller covers such important countries as Italy, Switzerland, the United States, and (what was at the time of publication) the U.S.S.R. A significant portion of the manuscripts listed or described concerns scientific correspondence between, for example, Italian physicians and Swiss naturalists, such as that between Ulisse Aldrovandi and Konrad Gessner and the Zwinger and Platter families. The Aldrovandi correspondence has been known for some time, but the Zwinger and Platter letters have not yet been sufficiently exploited. In all, eighty-seven letter writers are represented.
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Pedrosa, José Manuel. „Rosso Malpelo (1878), infrahéroe y fantasma: mitologías de la mina y el infierno“. Estudios Humanísticos. Filología, Nr. 36 (18.12.2014): 19. http://dx.doi.org/10.18002/ehf.v0i36.1351.

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<p>Resumen</p> <p>Análisis del cuento <em>Rosso Malpelo</em> (“<em>Malpelo el Pel</em>irrojo”), publicado por el escritor naturalista y verista italiano Giovanni Verga en 1878. El cuento describe la dura explotación infantil en las minas italianas del siglo XIX. El análisis conecta el perfil literario del protagonista del cuento con el de muchos héroes mitológicos que realizan el viaje al infierno, el <em>descensus ad inferos</em>.</p><p>Palabras clave: Rosso Malpelo, Giovanni Verga, mina, minería, naturalismo, verismo, héroe, épica, tragedia, <em>descensus ad inferos</em>.</p><p>Abstract</p><p>Analysis of the tale <em>Rosso Malpelo</em> (“<em>Malpelo the Redhead</em>”), published in 1878 by Italian writer Giovanni Verga, exponent of the naturalist and verista movements. The story describes the harsh child labor in Italian mines during the nineteenth century. The analysis connects the literary profile of the protagonist of the story with many mythological heroes that go to hell (<em>descensus ad inferos).</em></p> <p>Key words: Rosso Malpelo, Giovanni Verga, mine, mining, naturalism, verismo, hero, epics, tragedy, <em>descensus ad inferos.</em></p>
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CIANCIO, LUCA. „The correspondence of a “virtuoso” of the late Enlightenment: John Strange and the relationship between British and Italian naturalists“. Archives of Natural History 22, Nr. 1 (Februar 1995): 119–29. http://dx.doi.org/10.3366/anh.1995.22.1.119.

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POGLIANO, CLAUDIO. „BACHI, POLLI E GRANI. APPUNTI SULLA RICEZIONE DELLA GENETICA IN ITALIA (1900-1953)“. Nuncius 14, Nr. 1 (1999): 133–68. http://dx.doi.org/10.1163/182539199x00797.

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Abstracttitle SUMMARY /title Italian geneticists managed to establish the boundaries and structures of their own community only after the Second World War, when they promoted, in the space of a few years, a series of initiatives culminating in the Ninth International Congress of Genetics (Bellagio 1953). This essay traces the ways in which, from the beginning of the century, the revolutionary and swift development of the discipline found its context and interested audience in Italy. In contrast to our standard picture, there was no shortage of naturalists to dedicate themselves enthusiastically to genetics, even launching a campaign in the 30's for its 'political' recognition. But cultural trends after the First World War, and especially the directives of the Fascist regime, tended to favour scientific practical and economic values and keep the theoretical and interpretative nature of their work to a minimum. This was ultimately futile, given the indifference with which the centres of power responded. It was the reason, too, for their extremely weak, or almost non-existent participation in the preparations for the evolutionary synthesis in which European and American scientists were involved, which changed appreciably the character and methods of biology.
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Zocchi, Paola. „Natura e patria. I congressi della Società Italiana di Scienze Naturali nel processo di costruzione dell’identità nazionale“. Natural History Sciences 152, Nr. 2 (01.09.2011): 123. http://dx.doi.org/10.4081/nhs.2011.123.

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La Società Italiana di Scienze Naturali (SISN), fondata a Milano nel 1855 prima con il nome di “Società geologica residente in Milano” e poi, dal 22 gennaio 1860, con il nome che la contraddistingue attualmente, ebbe un ruolo attivo nel processo di costruzione dell’identità nazionale all’indomani dell’Unità d’Italia. Prima società naturalistica italiana, essa manifestò questa vocazione soprattutto attraverso i congressi annuali, organizzati tra il 1864 e il 1906 in varie città della Penisola. Le riunioni straordinarie fuori sede avevano finalità ben precise: l’esplorazione geologica e naturalistica del nuovo territorio unificato, in gran parte ancora sconosciuto; la legittimazione della figura del naturalista come scienziato professionista; la divulgazione della scienza come motore di progresso del paese; l’affermazione della SISN come centro di riferimento per tutti i naturalisti italiani. Il presente lavoro propone dunque una lettura della storia della Società dalle origini al 1906 attraverso la lente dei congressi postunitari.
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Orrego González, Francisco. „«El jardín de la América meridional»… ciencia como deleite, información y el encanto de los jardines ingleses en un naturalista chileno en el Illuminismo italiano“. Revista de Indias 80, Nr. 278 (07.04.2020): 131. http://dx.doi.org/10.3989/revindias.2020.005.

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El presente artículo quiere explorar en una de las diversas representaciones culturales que se elaboraron de la América meridional por uno de los tantos jesuitas expulsos en la Italia del Settecento como el naturalista e historiador chileno Juan Ignacio Molina (1740-1829). La expresión metafórica «El jardín de la América», permite adentrarse en las contro­versias culturales en torno a un objeto histórico que los historiadores culturales poco han abordado una escenografía natural particular como es el jardín. El trabajo sostiene, por medio del estudio de la historia natural de Chile escrita por Molina, junto a una memoria defendida por él mismo en la Accademia delle Scienze de Bolonia relativa a los jardines in­gleses a inicios del siglo XIX, que el naturalista chileno fue un autor prerromántico gracias a las fuentes de información que utilizó para realizar estos trabajos en un escenario cultural particular como fue el Illuminismo italiano.
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Gualpa, Carolina. „Lo místico en lo terrenal en "Las siete obras de misericordia" de Caravaggio“. Ánima 3 (14.07.2023): 17–35. http://dx.doi.org/10.18272/anima.v3i.2974.

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El estilo naturalista de Caravaggio causó que críticos como Bellori y Baglione cuestionaran su valor artístico; sin embargo, el naturalismo hace que las pinturas de Caravaggio cobren vida ante el espectador y lo conmuevan. En “Las siete obras de misericordia”, el artista no solo plasma la realidad de la sociedad napolitana, sino que muestra la posibilidad del perdón y la salvación, habilitada gracias a las obras de misericordia. Para comprender mejor lo que se consideraba “buen arte” en el barroco italiano, se usaron los textos originales que Bellori y Baglione escribieron con respecto a Caravaggio. De igual manera, se estudió la pintura por partes para entenderla a mayor profundidad y analizar el rol de cada personaje en la escena, al igual que la luz como representación de la gracia. Finalmente, se concluye que la pintura, al representar fielmente la naturaleza humana, a la vez que le otorga misticismo, provoca que en el observador surja la esperanza de que la salvación es posible. Así, el naturalismo en esta pintura responde a las preocupaciones del arte barroco de la Contrarreforma, y logra conmover y convencer a quien la observa.
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Opieliński, Krzysztof J. „Special Issue on Ultrasound Technology in Industry and Medicine“. Applied Sciences 13, Nr. 3 (22.01.2023): 1455. http://dx.doi.org/10.3390/app13031455.

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Dissertationen zum Thema "Italian Naturalists"

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Taschian, Helen. „Naturalism and Libertinism in Seventeenth-Century Italian Painting“. Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.

Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.

The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.

The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.

While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.

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Pizzato, Giovanni <1996&gt. „Learning Italian as an L1: a longitudinal naturalistic case study based on the transcription and analysis of family tapes“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20881.

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This study contributes a longitudinal naturalistic corpus of a child acquiring Italian as an L1, based on family tapes from age 0;7 to age 3;2. The study aimed to investigate whether it was possible to track the emergence of grammatical categories and structures. It also provides a guide for non experts (e.g. parents) on how to build a similar naturalistic corpus, with particular attention on reliability and consistency. Method Family tapes were analysed and manually transcribed by the researcher. The resulting corpus is consists of 2408 spoken utterances. Overall, 973 utterances, (40.41% of the utterances in the corpus) were produced by the child. The corpus was analysed with Python to verify that all participants were always correctly identified and that no mismatch was accidentally performed. Then, a morphosyntactic analysis was performed on the corpus. This further measure helped at finding word frequencies and determining vocabulary size for the child both to compare it with similar corpora and to verify a gradual but constant growth in the length and complexity of the child’s utterances. Analyses Earlier in the corpus, I noticed an absence of functional words, which were gradually filled with filler words (shwa-fillers). At around 1;5 determiners started to emerge in the child’s production, at first imitating the mother’s speech, then they became more and more independently uttered. This is consistent with most theories discussed in this paper (i.e. Valian 1991, Demuth 2019, Rinaldi et al. 2004, Lorusso et al. 2004, Song et al. 2018, Guasti 1993, Bencini & Valian 2008). Proto-articles, verbs, morphology, and emerging syntax were analysed using the methods in Valian (1991). I examined whether there was evidence for a consistent production increase through time. There was no evidence for consistent increase in the production of correct grammatical forms, however, an overall increase in the length of child-spoken utterances was observed. This lack of evidence is likely due to sparse data in the corpus. Vocabulary increase, on the other hand (Rinaldi et al. 2004, & Song et al. 2018), was detectable and mostly correlated to vocabulary use in the mother’s speech. The distribution of infinitives and clitics was always on target, showing that the distinction between finite and non finite verbs is mastered at an early age (as suggested by Guasti, 1993). The correct identification of shapes through an interactive game with the mother was observed at 1;11. This confirms that the imaginative framework of the child is built at a very early stage, as predicted by Rinaldi et al. (2004). The first unstimulated multi-utterance discourse was uttered at 2;7, when most of the child’s utterances can be described as complete sentences. As Song et al. (2018) observed, speech is a difficult-to-predict behaviour, because it is influenced by a vast number of factors, the predominant one appearing to be mother’s speech. This corpus, despite not being sufficient for a complete analysis, can provide general findings and guidelines to help both researchers and parents to build a consistent and significant corpus in the future.
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Conesa, Tejada Salvador. „PERSPECTIVA NATURALIS Y PERSPECTIVA ARTIFICIALIS, EL ESPACIO PERSPECTIVO EN LA PINTURA PRIMITIVA ITALIANA. PROPUESTAS PARA LA CREACIÓN ARTÍSTICA“. Doctoral thesis, Universitat Politècnica de València, 2011. http://hdl.handle.net/10251/11002.

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El eje central de esta tesis gira en torno al estudio del espacio perspectivo en la pintura primitiva italiana. Todos los argumentos y conclusiones extraídos proceden de una misma reflexión, la de descifrar el proceso utilizado por pintores como Giotto o Duccio al intentar resolver la sensación de profundidad en sus obras. En base a estos términos partimos desde la hipótesis de que los procesos de construcción espacial, ya sean geométricos o mentales, mantienen unas pautas similares, pudiendo simplificarlos e identificarlos como una serie de esquemas seudo-perspectivos. El principal objetivo de nuestro estudio será el de lograr traducir y simplificar dichos modelos espacio-perspectivos, con la finalidad de conseguir un conjunto de esquemas perspectivos válidos para la creación artística. Para ello hemos analizado un número de obras representativo de este período. El resultado de los análisis y su clasificación nos ha ayudado a entender el espacio perspectivo del Trecento y del Quattrocento italiano. Además, el proceso seguido para extraer dichos esquemas, impregnados del indudable valor plástico de las obras estudiadas, nos ha servido como herramienta en el intento de explorar nuevos caminos en la representación perspectiva. En base a esta idea hemos intentado conseguir modelos espaciales útiles para la creación artística sustentados en los resultados conseguidos. Con este propósito hemos ejemplificado cada modelo perspectivo mediante geometrías sencillas, capaces de mostrar el resultado obtenido y su posible extrapolación al campo artístico.
Conesa Tejada, S. (2011). PERSPECTIVA NATURALIS Y PERSPECTIVA ARTIFICIALIS, EL ESPACIO PERSPECTIVO EN LA PINTURA PRIMITIVA ITALIANA. PROPUESTAS PARA LA CREACIÓN ARTÍSTICA [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/11002
Palancia
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IZZO, ANNA. „Ragioni e passioni di una fine. Per una poetica della clôture narrativa nel romanzo realista-naturalista“. Doctoral thesis, Scuola Normale Superiore, 2006. http://hdl.handle.net/11384/86085.

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Borrelli, Marco. „Le développement de la nouvelle dans le cadre des journaux et des revues italiens : le cas de la Rassegna Settimanale (1878-1882)“. Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN012.

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À la suite d’une recherche préliminaire vouée à l’identification des principaux journaux qui, après l’unification de l’Italie, ont ouvert leurs colonnes aux écrivains de nouvelles, la thèse porte sur le cas de la Rassegna Settimanale. Cet hebdomadaire, fondé en janvier 1878 à Florence par Leopoldo Franchetti et par Sidney Sonnino, marque un tournant dans l’histoire de la prose narrative nationale et notamment dans l’histoire de la nouvelle. Dans la première partie de la thèse on analyse en profondeur le contexte socioculturel du Risorgimento pour mieux faire ressortir le dépassement de certaines questions artistiques connexes à une conception idéaliste et oligarchique de la société, où les besoins des masses populaires restent sans réponse. La réflexion stimulée par Franchetti et Sonnino pénètre au cœur du débat sur les relations entre le pouvoir et la paysannerie, entre le Nord et le Sud, en culminant dans la proposition d’un nouveau rôle pour l’État dans la vie économique du Pays. Ce nouveau regard sur les masses et sur la pauvreté devient le point d’appui pour l’essor du vérisme et de la nouvelle. Cette dernière est caractérisée comme un genre typique de la modernité (short story) qui entend se rapprocher du peuple en s’enrichissant de la perspective idéologique suggérée par les directeurs, et en s’adaptant aux contraintes formelles fixées par la revue. La dernière partie de la thèse consiste à relire, à la lumière des conditions fondamentales créées par les directeurs de la Rassegna Settimanale, les nouvelles publiées par les écrivains les plus renommés de la revue, tels que Giovanni Verga, Mario Pratesi, Renato Fucini, Matilde Serao et Emilio De Marchi
This research was originally based on the objective to individuate the newspapers and the periodicals that, in the early post-unity era, hosted the novellas of the most important writers of the time. However, even if we took into account some interesting publishing examples and the evolution of press in the 19th century, we decided to focus on the case of “Rassegna Settimanale”, since we believe that this hebdomadal, founded by Leopoldo Franchetti and Sidney Sonnino in 1878 in Florence, played an essential role in the evolution of modern novella. Therefore, in order to give the reader the opportunity to gather the innovations produced by the Florentine periodical, the first chapter illustrates the historical, political and socio-cultural context of the journal. While during Risorgimento the idealistic and oligarchic concept of society was prevailing, starting from the ‘70s Franchetti and Sonnino’s thought introduced new subjects into the debate about the relationship between elites and farming masses, between the North and the South. In their thought there is a new idea of State, seen as a super partes welfarist authority, called to intervene in the economic life of the Country to fight mistreatments and social disequilibrium. The new perspective about masses and poverty is the foothold for the rise of verism and novella, which becomes the typical genre of modernity when novelists dismiss omniscient narration and opt for a type of narrator supporting a less stylized idea of the working class. That is, novella turns into short story when it assumes the ideological perspective suggested by the directors of “Rassegna Settimanale”. Taking into consideration the theories of novella composition advocated by Edgar Allan Poe, the contraintes established by the journal (especially standard length and organic connection with the social themes dear to the two directors) turn out to be essential to the future acknowledgment of the genre. For these reasons, the last part of this research consists of a reinterpretation of novellas of the journal’s most renowned writers, such as Giovanni Verga, Mario Pratesi, Matilde Serao, Renato Fucini, Emilio De Marchi, in light of the new publishing conditions fostered by Sonnino and Franchetti
Il presente lavoro muove da una ricerca preliminare volta all’individuazione dei quotidiani e dei periodici che nei primi decenni postunitari hanno ospitato sulle proprie colonne le novelle dei più importanti scrittori dell’epoca. Tuttavia, sebbene si tenga conto di alcune interessanti proposte editoriali (con un focus sulle seguenti aree geografiche: Milano, Torino, Firenze, Roma) e, in linea generale, dell’evoluzione conosciuta dal mondo della stampa nel XIX secolo, si è deciso di affrontare il caso specifico della “Rassegna Settimanale” perché si è convinti che a questo particolare ebdomadario, fondato nel 1878 a Firenze da Leopoldo Franchetti e Sidney Sonnino, sia legato un momento di svolta del giornalismo nonché della narrativa nazionale e, soprattutto, lo sviluppo della novella moderna. Così, affinché il lettore possa cogliere nella loro entità le rivoluzionarie novità apportate dalla rivista fiorentina, nel primo capitolo della tesi si è illustrato il contesto storico, politico e socioculturale nel quale il periodico va ad inserirsi. Se durante il Risorgimento predomina una concezione idealista e oligarchica della società e i bisogni del popolo restano essenzialmente inascoltati, a partire dai primi anni ’70 la riflessione stimolata da Franchetti e Sonnino introduce nuovi argomenti nel dibattito riguardante le relazioni tra potere e masse contadine, tra Nord e Sud. Nel loro pensiero politico trova posto una nuova idea di Stato, definibile a tutti gli effetti assistenzialista, dal momento che, in quanto ente super partes, è chiamato ad intervenire nella vita economica del Paese per far fronte a fenomeni di sfruttamento e al disequilibrio sociale. Il nuovo sguardo sulle masse e sulla povertà diventa il punto d’appoggio per l’ascesa del verismo e della novella: quest’ultima comincia a delinearsi come genere tipico della modernità quando gli scrittori adottano, nella finzione narrativa, non più la prospettiva di un narratore onnisciente bensì la voce di un narratore che si fa portavoce di una concezione diversa del mondo popolare, meno stilizzato; la novella, cioè, diventa short story quando si impreziosisce della prospettiva ideologica suggerita dai direttori della “Rassegna Settimanale”. Dal punto di vista formale, con uno sguardo rivolto alle teorie sulla composizione della novella avanzate da Edgar Allan Poe, le contraintes fissate dalla rivista – due su tutte: la lunghezza standard e il rapporto organico con le tematiche sociali care ai due direttori – si rivelano necessarie per la futura canonizzazione del genere. L’ultima parte del presente lavoro, pertanto, verte su una rilettura delle novelle pubblicate dagli scrittori più rinomati della rivista, quali Giovanni Verga, Mario Pratesi, Matilde Serao, Renato Fucini, Emilio De Marchi, alla luce delle condizioni editoriali favorite da Sonnino e Franchetti
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Masselli, Anna Elena. „Giovanni Targioni Tozzetti, uno seicenziato naturalista e viaggiatore Italiano del settecento=Giovanni Targioni Tozzetti, an eighteenth century Italian natural scientist and traveller“. Thesis, 2014.

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Correia, Mário João Rosas Rebelo. „A Questio perutilis de cuiuscumque scientie subiecto, principaliter tamen naturalis phiilosophie de Frei Gomes de Lisboa - um escotista no Renascimento italiano“. Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/80690.

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Correia, Mário João Rosas Rebelo. „A Questio perutilis de cuiuscumque scientie subiecto, principaliter tamen naturalis phiilosophie de Frei Gomes de Lisboa - um escotista no Renascimento italiano“. Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/80690.

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Grundy, Susan Audrey. „The projected image and the introduction of individuality in Italian painting around 1270“. Thesis, 2008. http://hdl.handle.net/10500/3020.

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Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well.
Art History
D.Litt. et Phil. (Art History)
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Bücher zum Thema "Italian Naturalists"

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Miller, Peter Benson. The naturalists: A field guide : Castelluccio La Foce, 2013. Pistoia: Gli ori, 2013.

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Angelo, Barili, Gentili Sergio und Romano Bruno, Hrsg. Un naturalista perugino nel Corno d'Africa: Atti della giornata di studi su Orazio Antinori (1811-1882), Perugia, 24 maggio 2002. Perugia: Ali&no, 2007.

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Ciampi, Paolo. I due viaggiatori: Alla scoperta del mondo con Odoardo Beccari ed Emilio Salgari. Firenze: Mauto Pagliai, 2010.

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Macellari, Elena. Botaniche italiane: Scienziate, naturaliste, appassionate. Trento: Tipografia editrice Temi s.a.s., 2015.

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Teresa, Isenburg, Hrsg. Viaggiatori naturalisti italiani in Brasile nell'Ottocento. Milano, Italy: F. Angeli, 1989.

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Mazzotti, Stefano. Esploratori perduti: Storie dimenticate di naturalisti italiani di fine Ottocento. Torino: Codice, 2011.

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Teresa, Isenburg, Hrsg. Naturalistas italianos no Brasil. São Paulo, SP: Arquivo do Estado, 1991.

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Monti, Raffaele. Signorini e il naturalismo europeo. Roma: De Luca edizioni d'arte, 1989.

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Elena, Corradini, und Foro Boario (Modena Italy), Hrsg. Naturalismo nella pittura italiana tra '800 e '900. Milano: F. Motta, 2008.

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Ceglie, Rossella De. L'anello mancante: L'opera di O.G. Costa nella biologia italiana del primo Ottocento. Bari: Edizioni Giuseppe Laterza di Giuseppe Laterza, 1999.

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Buchteile zum Thema "Italian Naturalists"

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Gipper, Andreas, und Diego Stefanelli. „Die Wissenschaftsübersetzung als Generator symbolischen Kapitals“. In Übersetzungskulturen der Frühen Neuzeit, 161–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_8.

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ZusammenfassungThis paper investigates the function of translation in the context of scientific communication, examining the correspondence between the Italian universal scientist Lazzaro Spallanzani, his translator Jean Senebier, and the Swiss naturalist Charles Bonnet. The main thesis is that the function of scientific translation goes far beyond the simple communication of scientific content and that it in fact played a complex role in the system of exchange and circulation of symbolic capital within the scientific community in the Early Modern Period. To illustrate the complexity of scientific translation, the paper focusses on Spallanzani’s remarkable adoption of a twofold perspective: on the one hand, it examines Spallanzani’s translation of Bonnet’s Contemplation de la nature; on the other, it considers some of Senebier’s French translations of the Italian scientist. In both cases, translations not only played an important role in the career planning of the actors involved, but were also part of science policy strategies. Last, but not least, they were crucial for the formation and stabilization of national science systems.
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Rizzo, Maria, und Patrizia Gasparini. „Forest Health“. In Springer Tracts in Civil Engineering, 447–68. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98678-0_10.

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AbstractForests mainly consist of long-lived trees or shrub species and are exposed to natural or human disturbances of different severities. They are essential components of the natural development of forest ecosystems, since by triggering natural selection and ecological succession processes, they can achieve the best status in terms of species composition and structure. Nevertheless, extreme events can cause serious economic or naturalistic losses and, in some cases, endanger specific forest ecosystems. Disturbance events that damage forests vary and include pests and diseases, fires, pollution, climate changes, overexploitation or inadequate silvicultural practices, excessive grazing and browsing, to name just a few. Health monitoring of forests is a necessary condition to provide useful information for the conservation of forest resources, as well as to support forest management practices aimed at increasing the resilience of forests and their adaptation capacity. Through ground surveys, the Italian national forest inventory INFC has classified the health condition of Italian forests and produced the estimates presented in the chapter. These concern the distribution of the Forest area by pathologies and damage presence, severity and cause. Estimates of the Forest area affected by defoliation, divided by defoliation class and localization of defoliation, are also presented.
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„2 New World and other Exotic Animals in the Italian Renaissance: the Menageries of Lorenzo Il Magnifico and his Son, Pope Leo X“. In Naturalists in the Field, 40–75. BRILL, 2018. http://dx.doi.org/10.1163/9789004323841_003.

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Ramsey-Portolano, Catherine. „The Gothic Body“. In Italian Gothic, herausgegeben von Marco Malvestio und Stefano Serafini, 185–96. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474490160.003.0013.

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The resonance of the Gothic form in Italy can be noted most strongly within the literary production of certain fin-de-siècle writers, particularly those active within the Scapigliatura and Naturalist movements, who were especially receptive to literary influences from beyond national borders. The adoption of Gothic elements such as the supernatural, mystery, decay, madness and death went hand-in-hand with the exploration of female malady and deformities in the works of writerssuch as Igino Ugo Tarchetti, Luigi Capuana, Antonio Fogazzaro and Matilde Serao. These authors’ portrayal of femininity, in a period characterised by derogatory and paradoxical theories about women’s nature,interweaves themes of contaminated beauty, illness and madness with plot structures that combine romance, mystery, suffering, alienation and sometimes death. The focus on the female body and its physical and mental maladies points to the female characters’ struggle to overcome situations which posit them as victims of suffering, persecution and oppression.
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„El futurismo italiano y nuestro modernismo naturalista“. In Vanguardia latinoamericana, Tomo III, 150–51. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964564207-018.

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„“Something Of What I Am After”: Lawrence, Marinetti and Zola’s Naturalism“. In D.H. Lawrence and Italian Futurism, 31–70. BRILL, 2003. http://dx.doi.org/10.1163/9789004483583_007.

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Dalle Vacche, Angela. „Science“. In André Bazin's Film Theory, 55–97. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.003.0003.

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Biology is the most important science in Bazin’s theory. By rejecting Herbert Spencer’s survival of the fittest, the film theorist valorizes the holism of Darwinian evolution and the randomness of quantum physics. Due to the physical materiality of photographic tracing, Bazin rejects the Platonic equations of algebra and the static structures of classical geometry. Representative of the anti-Euclidean modern mathematics of change, contingency, and motion, the metaphor of the “integral” from calculus highlights the quasi-documentary, improvisational approach of a few Italian neorealist films. The difference between Italian neorealism and other cinematic realisms, based on a quantitative approach and naturalistic details, is that everything happens as if it were unfolding for the very first time. Neither a style nor a genre nor a repeatable formula, Italian neorealism deals with changing subjective perceptions within unpredictable social relations.
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Vermeren, Hugo. „Chapitre 4. Les naturalisés : une position singulière en situation coloniale“. In Les Italiens à Bône (1865-1940), 173–231. Publications de l’École française de Rome, 2017. http://dx.doi.org/10.4000/books.efr.35415.

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„Drawing the Elephant: On the Natures of Naturalism before and in the Cinquecento“. In Visualizing the Past in Italian Renaissance Art, 108–33. BRILL, 2021. http://dx.doi.org/10.1163/9789004447776_008.

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Simons, Patricia. „Portraiture, Portrayal, and Idealization: Ambiguous Individualism in Representations of Renaissance Women“. In Language and Images of Renaissance Italy, 263–311. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198203186.003.0013.

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Abstract Jacob Burckhardt’s view of the Renaissance is summed up in the phrases ‘the Development of the Individual’ and ‘the Discovery of the World and of Man’ where the Italian ‘was the first-born among the sons of modern Europe’.1 Collectivity was replaced by autonomy, objectivity overruled interpersonal relations, secularization superseded blind faith, and mercantile imperialism extended man’s dominion. This patriarchal, bourgeois, nineteenth-century vision still influences characterizations of the Renaissance; those examining visual culture, for instance, tend to associate Burckhardt’s phrases with the institution of individualistic portraiture and naturalistic style.
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Konferenzberichte zum Thema "Italian Naturalists"

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Curci, Selima, Alessando Mura und Daniele Riboni. „Toward Naturalistic Self-Monitoring of Medicine Intake“. In CHItaly '17: 12th Biannual Conference of the Italian SIGCHI Chapter. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3125571.3125582.

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Delli Santi, Maurizio, und Massimiliano Passarelli. „Ricostruzione 3D del sito fortificato di Monte Croccia (Basilicata, Italia)“. In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18118.

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The reconstruction work of the fortified site of Monte Croccia aims to create virtual models seeking a synthesis between technical restitution of the data and a naturalistic and evocative rendering of the archaeological context. In the case of the context presented in this work, we started from surveys already carried out in past excavations and from photographic shots taken on-site. As a first phase, the surveys were reworked and compared with the photographs, the most important information for the purposes of 3D modeling was recovered and new digital graphic supports were created which formed the basis of the work. In the second phase, after an accurate evaluation and interpretation of all the data available, with the new two-dimensional supports compatible with 3D modeling software, the volumetric models of the archaeological structures to be represented were created. Finally, these models were further processed with high-resolution textures for the final photo-realistic rendering.
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Cicoria, Massimiliano. „Legal Subjectivity and Absolute Rights of Nature“. In The 8th International Scientific Conference of the Faculty of Law of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/iscflul.8.2.06.

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The anthropocentric approach that characterizes all human knowledge has led to a distortion of the relationship with Nature and a view of it as a mere object of law. This approach, presumably originating with Socrates, had solid support in Plato, Aristotle, Ptolemy, and finally, in Catholic patristics, hinging on all disciplines starting from philosophy, psychology, economics, up to law. Dwelling on the latter, examples of legislation that qualify Nature as an object of law are, increasingly over time, the Forest Charter of 1217, the Italian Law No. 1766 of 1927 on civic uses, and furthermore – Art. 812 of the Italian Civil Code, and finally – the cd. Consolidated Environmental Law. This view is, however, changing in some states such as Bolivia, New Zealand, India, Ecuador, Uganda, – the states that through either legislative acts or rulings of supreme courts have begun the process of granting both to Mother Earth in general, and rivers in particular, the status of juridical persons which are endowed with series of very personal rights, which are recognized. This is not the case in Europe, where the relevant legislation continues to consider Nature (or, better, the Environment) as an object of law, therefore as a “thing” from which to draw, albeit within certain limits, utilities of all kinds. By analysing legal instruments potentially useful for a Copernican revolution on this point – in particular, the Kelsenian concept of “legal person”, the meaning of “company” and the European provisions on Artificial Intelligence – the first conclusion is reached: in a relationship that is not only theoretical, but also practical and utilitarian, it would be opportune to start considering, also through acknowledgments in constitutional sources, the Nature as a subject and no longer an object of rights. In this regard, following the general theories of people’s rights, it could be granted certain absolute rights, of which the right to water, restoration and biodiversity are examined in the current article. Hence, we come to the second conclusion, namely, the contrasts that, in Western law, such an approach could suffer, analysing in particular the problems of neo-naturalism and representation.
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