Relevant bibliographies by topics / Giovanni Battista (Lecce, Italy)

Academic literature on the topic 'Giovanni Battista (Lecce, Italy)'

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Published: 25 July 2024

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Journal articles on the topic "Giovanni Battista (Lecce, Italy)"

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Andjelkovic, Sladjana, Cedo Vuckovic, Suzana Milutinovic, Tomislav Palibrk, Marko Kadija, and Marko Bumbasirevic. "Giovanni Battista Monteggia (1762-1815)." Srpski arhiv za celokupno lekarstvo 143, no. 1-2 (2015): 105–7. http://dx.doi.org/10.2298/sarh1502105a.

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Giovanni Battista Monteggia was born in Laverne on the 8th of August 1762. Monteggia started his education in the School of Surgery at the Hospital Maggiore in Milano in 1779. This hospital was called ?Big House? and it is one of the oldest medical institutions in Italy. He passed exam in surgery in 1781. Monteggia was promoted to assistant at surgery in Maggiore hospital in 1790. He was among the first who gave a complete clinical description of polio. He described traumatic hip dislocation and special forearm fracture which was named after him. Strictly speaking, a Monteggia fracture is a fracture of the proximal third of the ulna with an anterior dislocation of the radial head. Monteggia became a member of the renewed Institute of Science, Literature and Art in Milano in 1813.
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Favero, Giancarlo, and Sandro Baroni. "Giovanni Battista Lacchini: An Amateur Astronomer from Italy." International Astronomical Union Colloquium 98 (1988): 44–45. http://dx.doi.org/10.1017/s0252921100092149.

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Clerici, Carlo Alfredo, Laura Veneroni, and Marco Poli. "Giuseppe Pasta (1742–1823): protophysician and pioneer of psychological studies in the medical field." Journal of Medical Biography 17, no. 4 (November 2009): 189–94. http://dx.doi.org/10.1258/jmb.2009.009011.

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Giuseppe Pasta was a pioneer of psychological support in physical disease. Born in Bergamo, Italy, he was a cousin of the physician Andrea Pasta who was a pupil of Giovanni Battista Morgagni. Giuseppe's cultural and clinical resources were the teachings of Francesco Redi's medical school in Tuscany. This paper discusses the courage and philosophical tolerance of disease and the etiquette of the physician.
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TUBBS, R. S., R. G. LOUIS, M. LOUKAS, A. A. GUPTA, M. M. SHOJA, and J. OAKES. "The First Description of the Palmaris Brevis Muscle." Journal of Hand Surgery (European Volume) 32, no. 4 (August 2007): 382–83. http://dx.doi.org/10.1016/j.jhse.2007.04.020.

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Giovanni Battista Canano was born in Italy in 1515 and his work has gone mostly unknown. Very few copies of this anatomist and physician's book are known to exist. Interestingly, Canano reported and depicted what we believe, to be the first description of the palmaris brevis muscle. This description would be some 200 years prior to what is thought to be the earliest mention of this muscle by William Cheselden in his book, The Anatomy of the Human Body, published in 1713.
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Pinheiro, Maciel. "Relation among Theology, Natural Philosophy and New Science in Giovanni Battista Riccioli (1598-1671)." Circumscribere International Journal for the History of Science 30 (July 12, 2023): 38. http://dx.doi.org/10.23925/1980-7651.2022v30;p38.

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This essay tries to analyse the way in which the Jesuit priest Giovanni Battista Riccioli (1598-1671) and his ideas were evaluated by traditional and modern Historiographies, from seventeenth to twentieth century, in secular and ecclesiastic ambiances in Italy, having in mind the possibility of historical forgetfulness of the contribution this Jesuit offered to modern science in his century. For this, the use of Contextual, Historiographical and Epistemological approaches aims to understand more deeply the man Riccioly, his ideas in the debates of his time, from his Cosmology, Jesuit Mystic, Education according to the contemporary Ratio Studiorum and Position in Jesuit Order. In fact, he established an interchange of speech among Theologians, Philosophers and Mathematicians, relating Scholastic Theology, Natural Philosophy and New Science, elaborating a solid scientific knowledge, which didn’t contradict the Holy Scriptures.
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Majori, Giancarlo. "SHORT HISTORY OF MALARIA AND ITS ERADICATION IN ITALY." Mediterranean Journal of Hematology and Infectious Diseases 4, no. 1 (March 10, 2012): e2012016. http://dx.doi.org/10.4084/mjhid.2012.016.

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In Italy at the end of 19th Century, malaria cases amounted to 2 million with 15,000-20,000 deaths per year. Malignant tertian malaria was present in Central-Southern areas and in the islands. Early in the 20th Century, the most important act of the Italian Parliament was the approval of laws regulating the production and free distribution of quinine and the promotion of measures aiming at the reduction of the larval breeding places of Anopheline vectors. The contribution from the Italian School of Malariology (Camillo Golgi, Ettore Marchiafava, Angelo Celli, Giovanni Battista Grassi, Amico Bignami, Giuseppe Bastianelli) to the discovery of the transmission’s mechanism of malaria was fundamental in fostering the initiatives of the Parliament of the Italian Kingdom. A program of cooperation for malaria control in Italy, supported by the Rockefeller Foundation started in 1924, with the establishment of the Experimental Station in Rome, transformed in 1934 into the National Institute of Public Health. Alberto Missiroli, Director of the Laboratory of Malariology, conducted laboratory and field research, that with the advent of DDT brought to Italy by the Allies at the end of the World War II, allowed him to plan a national campaign victorious against the secular scourge.
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Boffano, Paolo, Fabio Roccia, Cesare Gallesio, K. Karagozoglu, and Tymour Forouzanfar. "Inferior Alveolar Nerve Injuries Associated with Mandibular Fractures at Risk: A Two-Center Retrospective Study." Craniomaxillofacial Trauma & Reconstruction 7, no. 4 (December 2014): 280–83. http://dx.doi.org/10.1055/s-0034-1375169.

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The aim of the study was to investigate the incidence of the inferior alveolar nerve (IAN) injury in mandibular fractures. This study is based on two databases that have continuously recorded patients hospitalized with maxillofacial fractures in two departments—Department of Maxillofacial Surgery, Vrije Universiteit University Medical Center, Amsterdam, the Netherlands, and Division of Maxillofacial Surgery, San Giovanni Battista Hospital, Turin, Italy. Demographic, anatomic, and etiology variables were considered for each patient and statistically assessed in relation to the neurosensory IAN impairment. Statistically significant associations were found between IAN injury and fracture displacement ( p = 0.03), isolated mandibular fractures ( p = 0.01), and angle fractures ( p = 0.004). A statistically significant association was also found between IAN injury and assaults ( p = 0.03). Displaced isolated mandibular angle fractures could be considered at risk for increased incidence of IAN injury. Assaults seem to be the most important etiological factor that is responsible for IAN lesions.
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BACCIAGALUPPI, CLAUDIO. "CLASSIFYING MISATTRIBUTIONS IN PERGOLESI’S SACRED MUSIC." Eighteenth Century Music 12, no. 2 (August 24, 2015): 223–29. http://dx.doi.org/10.1017/s1478570615000329.

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On 16 March 1736 Giovanni Battista Pergolesi died from consumption at age twenty-six in the Franciscan monastery of Pozzuoli near Naples, leaving a considerable number of compositions in all genres: stage works, cantatas, instrumental music and sacred music. On account of the success these compositions had enjoyed in Italy during his life, and the extraordinary fame they achieved in the rest of Europe after his death, a multitude of works bearing his name continued to be disseminated, many of which had little, if any, connection with Pergolesi himself. This phenomenon invites us to question what mechanisms are at work when a piece of music is misattributed, for if spurious or doubtful works can be classified according to their origin, then the identification of recurring patterns may help disentangle similar cases. This essay aims to classify the origins of misattributed sacred works from the first decades of Pergolesi's posthumous reception.
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Merlo, Elisabetta, and Valeria Pinchera. "Configuring Cultural Emerging Industries: A Comparison of the French and Italian Fashion Industries." Business History Review 97, no. 4 (2023): 779–807. http://dx.doi.org/10.1017/s0007680523000880.

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AbstractThis paper builds on a body of multi-disciplinary literature to analyze and compare the emergence of the prêt-à-porter industry in France and the ready-to-wear industry in Italy from their founding to their growth stages in the mid-twentieth century. The comparison demonstrates the significant impact that the French Chambre Syndicale de la Couture, des Confectionneurs et des Tailleurs pour Dame, and the National Chamber of Italian Fashion had on the trajectories of the fashion industry for each country. The article focuses on foundational entrepreneurs within the industry such as Giovanni Battista Giorgini, Jean Patou, Coco Chanel, Christian Dior, and others. It analyzes how these chambers supported the emergence of differentiated firms within the fashion industry, and how the industry responded to the business conditions in the international economy of the post-World War II period through the global recession of the 1970s.
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Cecalupo, Chiara. "The Rome Pavilion at the Italian General Exhibition in Turin in 1884: the exposition of Maps and Plans of Rome by Giovanni Battista de Rossi and the City Museum." ACME 75, no. 2 (October 5, 2023): 129–45. http://dx.doi.org/10.54103/2282-0035/21302.

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The paper contributes to the reflection on how the 19th-century national events of wider appeal such as the Art and Industrial Exhibitions fostered the dissemination and enhancement of archaeological discoveries. The specific case of the ‘Exhibition of the City of Rome’, held during the Turin Exhibition in 1884, is examined as a paradigmatic example of the archaeologist Giovanni Battista de Rossi’s commitment to promoting Rome in united Italy, using archive and press documents of the time. The Roman pavilion at Turin in 1884, for which de Rossi was responsible for the medieval section, is presented as a key event in the dissemination of Roman archaeological discoveries after 1870 and as a major event in the promotion of studies of Roman topography strongly desired by de Rossi, and which can be read as the starting point for the setting up of the Museum of the City of Rome.
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Dissertations / Theses on the topic "Giovanni Battista (Lecce, Italy)"

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Haskell, Diane. "Preparing the Way: Confraternal Art in the Oratory of San Giovanni Battista in Urbino, 1390-1440." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17648.

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This dissertation examines the decorative program in the Oratory of San Giovanni Battista in Urbino, the meeting place of a homonymous flagellant confraternity founded in 1350. The Urbino oratory, built in the late fourteenth century, is an early instance of an independent confraternal meeting house, and one of an even smaller number that has survived with large portions of its pictorial decoration intact. This cycle was completed between 1390 and 1440 in a series of interventions by different artists, including celebrated Marchigian painters Lorenzo and Jacopo Salimbeni. Scholarship to date has been preoccupied with questions of dating, style and attribution, and has focused on the contribution of the Salimbeni in isolation. This thesis offers an alternative reading which considers the pictorial decoration as a whole and analyses the program in terms of the interests and needs of the commissioning confraternity. The confraternity’s unpublished fifteenth-century statutes are identified as a key source in reconstructing confraternal ritual and devotional practices, used to elucidate the ways in which the fresco program is aligned with members’ sense of corporate identity and penitential practice. Finally, the thesis argues for the need to recognise confraternity-specific viewing modes as a fundamental aspect of program’s design and reception. Examination of similar decorative programs elsewhere confirms that this is not unique to Urbino, and suggests the importance of recognising site-contingent viewing practices.
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Tsoumis, Karine. "Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.

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Five hundred years of Christian martyrdom are represented in the Ecclesiae militantis triumphi (1583). Engraved by Giovanni Battista Cavalieri, the series that was bound into a book reproduces a fresco cycle in the church of San Stefano Rotondo in Rome. While the church belonged to the Jesuit German-Hungarian College, the book accompanied priests in their proselytizing mission in Northern Europe. This thesis will look at the function of the book in relation to various audiences, in different viewing contexts. Analyzed primarily in relation to the intended Jesuit audience as an object of devotion, the book will also be inserted within the Early Christian revival promoted by Gregory XIII (1572-1585). Finally, it will be looked at in relation to an audience composed of individuals interested in factual knowledge about Early Christian history and in the martyr as a historical figure. A general endeavor of the thesis is to situate the Ecclesiae militantis triumphi in relation to late sixteen-century representations of martyrdom, both Catholic and Protestant, as well as in relation to other contemporary Roman printed works.
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Alburquerque, Kira d'. "Giovanni Battista Foggini et la sculpture à Florence à l'époque des derniers Médicis (1670-1737) : la condition sociale de l'artiste et la pratique du dessin." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4054.

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Cette thèse, qui présente les sculpteurs actifs à Florence à l’époque des deux derniers grands-ducs de la dynastie des Médicis, Cosme III (1670-1723) et Jean-Gaston (1723-1737), est une étude de synthèse permettant de situer les sculpteurs dans un contexte social et historique. Elle considère le métier de sculpteur sous tous ses aspects : la formation, les conditions de vie et de travail, le statut social, l’organisation des ateliers, la répartition du travail entre les différents collaborateurs, le processus de création des sculptures et des décors sculptés, ainsi que le rôle essentiel du dessin dans l’élaboration et l’exécution de ces sculptures. En arrivant au pouvoir, Cosme III voulut donner un nouvel essor à la sculpture florentine et prit de nombreuses initiatives dans cette direction : il transforma l’enseignement, développa la production d’objets de luxe au sein de la Galleria dei Lavori et facilita le travail des sculpteurs de nombreuses manières, offrant à la plupart d’entre eux des pensions, des charges officielles et des ateliers. Les sculpteurs étaient certes nombreux, mais la vie artistique s’articulait en réalité autour de quelques figures majeures. Le plus important était Giovanni Battista Foggini, installé dans le célèbre atelier des sculpteurs de cour situé Borgo Pinti. Il cumula les fonctions de Premier sculpteur et d’architecte de la Galleria dei Lavori, dirigeant ainsi une très vaste équipe d’assistants et de collaborateurs. Notre recherche est fondée sur un ample dépouillement d’archives et sur l’étude de dessins préparatoires. Un volume d’annexe comprend un répertoire des sculpteurs ainsi que la transcription de nombreux documents inédits
This thesis, presenting sculptors active in Florence at the time of the last two grand dukes of the Medici dynasty, Cosimo III (1670-1723) and Gian Gastone (1723-1737), is a synthetic study which situates these sculptors in their historical and societal contexts. The work takes into account all the aspects of the profession: the training, in Rome and in Florence, the living and working conditions, the social status, the organisation of the workshops, the creative process, the division of work among the specialists, as well as the important role of drawing in designing and executing the works. When Cosimo III came into power, he decided to bring about a revival in Florentine sculpture and rapidly took many initiatives in this direction: he reformed artistic education, developed the production of luxury artefacts within the Galleria dei Lavori and facilitated the work of sculptors in many ways, offering many of them monthly pensions, official functions and locations for workshops. Even though the period saw a significant number of sculptors working in Florence, artistic life actually centred around a limited number of major figures. Giovanni Battista Foggini, the most important, was settled in the famous sculpture workshop located in Borgo Pinti. At the height of his long career, Foggini was First sculptor as well as Architect of the Galleria dei Lavori, hence managing a vast team of collaborators, assistants and craftsmen. The research is based on a thorough analysis of the archives related to the period as well as an extensive study of the preparatory drawings. A volume of appendices contains a repertory of the sculptors and also the transcription of many unpublished documents
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Russell, Lucy. "Domesticating Winckelmann : his critical legacy in Italian art scholarship, 1755-1834." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8e2d3058-1ae8-46ab-8fab-8f2c9b473860.

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This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions – termed foreignization and domestication respectively – art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.
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Veselá, Markéta. "Transfer záalpských krajinných motivů v grafice do vybraných děl italských rytců na začátku 16. století." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352511.

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The aim of this thesis is to illustrate the phenomenon of the transfer of the transalpine landscape motifs in graphic art into the works of Italian engravers at the beginning of the six- teenth century, and by using detailed analysis of these prints lead to a decision as to why these transfers occur so frequently, mainly in the years 1500-1520. Because only brief mentions of these transfers are found in the available literature on this topic, and then often only as a statement, I decided to tackle this phenomenon in the context of landscape specifications. In the introductory chapter there will be a concise overview of the cultural situation of the humanistic society, including its assumptions and a brief evolution of depiction of landscape art. Additionally there will be a chapter about the terminology used, which in addition to clarifying the terminology also helps to further the description of the proce- ss itself. The main part will of course be a chapter dedicated into selected items. There will also be descriptions of the graphic works of selected Italian engravers, especially in the comparison of transferred landscape motifs from works by Albrecht Dürer and Lucas van Leyden. Analy- sis of the individual prints will focus on elements transmitted in the background of the works. Iconography...
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Books on the topic "Giovanni Battista (Lecce, Italy)"

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Mantua (Italy). Archivio storico comunale. Fondo Giovanni Battista Intra: Inventario. Mantova: G. Arcari, 2003.

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Kuoma, Chryso. San Giovanni Battista dei Genovesi. [Roma]: Istituto nazionale di studi romani, 1986.

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Kouma, Chryso. San Giovanni Battista dei Genovesi. [Roma]: Istituto nazionale di studi romani, 1986.

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Lister, Warwick. Amico: The life of Giovanni Battista Viotti. New York: Oxford University Press, 2009.

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Claudia, Conforti. Giovanni Michelucci: La Chiesa di San Giovanni Battista ad Arzignano. Arzignano: Cora, 1992.

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Callia, Raffaele. Giovanni Battista Montixi: Un vescovo liberale nell'Ottocento. Cagliari: AM&D, 1998.

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Villa, Massimo. La chiesa parrocchiale di S. Giovanni Battista a Garbagna. Alessandria: Edizioni dell'Orso, 1986.

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Galazzo, Alberto. L' organo "Giovanni Bruna 1794" della Chiesa di S. Giovanni Battista Magnano. [Magnano, Italy]: Festival musica antica a Magnano, 1994.

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Mancini, Renzo. San Giovanni Battista di Lucoli: Storia, cronologia, restauro. L'Aquila: L.U. Japadre, 2001.

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Schaal-Gotthardt, Susanne. Musica scenica: Die Operntheorie des Giovanni Battista Doni. Frankfurt am Main: P. Lang, 1993.

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Book chapters on the topic "Giovanni Battista (Lecce, Italy)"

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Birocchi, Italo. "Giovanni Battista De Luca (1613–1683)." In Law and the Christian Tradition in Italy, 297–310. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Law and religion | “Produced by the Center for the Study of Law and Religion, Emory University”: Routledge, 2020. http://dx.doi.org/10.4324/9781003014539-18.

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Favero, Giancarlo, and Sandro Baroni. "Giovanni Battista Lacchini: An Amateur Astronomer from Italy." In Stargazers, 44–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-74020-6_12.

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Schouppe, Jean-Pierre. "Giovanni Battista Montini (Pope Paul VI) (1897–1978)." In Law and the Christian Tradition in Italy, 432–45. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Law and religion | “Produced by the Center for the Study of Law and Religion, Emory University”: Routledge, 2020. http://dx.doi.org/10.4324/9781003014539-27.

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Villani, Stefano. "Learning Italian." In Making Italy Anglican, 83–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197587737.003.0007.

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The seventeenth-century translation of the Book of Common Prayer was re-edited in 1733 by the Scot Alexander Gordon and in 1796 (with a few slight amendments) by the two Italians Antonio Montucci and Luigi Valetti. The most likely reason for the decision to republish this text was the idea of using this translation of the Book of Common Prayer as a “reading text” for mastering the Italian language. New editions were published in 1820 by the bookseller-publisher Giovanni Battista Rolandi—a political exile who had settled in London—and, starting in 1821, as part of the polyglot editions published by Samuel Bagster. These early nineteenth-century editions of the Book of Common Prayer seem to have chiefly focused on the commercial success of a text with a large target audience of the English bound for Italy on the Grand Tour.
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Viroli, Maurizio. "After the Revolution." In As If God Existed, translated by Alberto Nones. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691142357.003.0012.

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This chapter focuses on the republican liberty in the aftermath of the revolution. The defeat of the revolutionary experiment made the most perceptive political writers aware of the fact that Italy lacked a public spirit capable of sustaining republican institutions. These thinkers realized that the true enemies of republican liberty, rather than reactionary governments and the papacy, were Italy's bad customs and bad religion. The revolutionary initiative could change governments and institutions, but only education could improve customs and religion. Cuoco understood better than anybody else that the Italian problem was above all one of public spirit. In a letter to Giovanni Battista Giovio on March 7, 1804, he explains that no better order would arise as long as Italians remained “sluggard and fainthearted,” especially weak in spirit rather than just in politics and arms.
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Carter, Tim. "Resemblance and Representation: Towards a New Aesthetic in the Music of Monteverdi." In Con che soavità Studies in Italian Opera, Song, and Dance, 1580-1740, 118–34. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163701.003.0006.

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Abstract By the mid-1620s, Claudio Monteverdi had been maestro di cappella of St Mark’s, Venice, for over a decade. He was widely recognized as the leading composer in Italy, was head of a prestigious musical establishment, and was supported by gifted assistants who could carry the day-to-day burdens of administering, rehearsing, and directing music in the Basilica. As the composer entered middle age, his thoughts turned to more relaxing endeavours. There was still the unfinished business of the treatise he had (perhaps foolishly, he now felt) promised Artusi in his famous polemic with the Bolognese theorist in the early 16oos—we know that the treatise was still on his mind from two letters to Giovanni Battista Dani written in 1633-41—but Artusi had died in the year Monteverdi moved to Venice (I 6I 3), and the composer claimed the satisfaction of seeing him reconciled with the modernist position.
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"9. Of Oak and Elder, Cloud-like Angels, and a Bird’s Nest: The Graphic Interpretations of Titian’s The Death of St. Peter Martyr by Martino Rota, Giovanni Battista Fontana, Valentin Lefebre, John Baptist Jackson, and their Successors." In Green Worlds in Early Modern Italy, 197–216. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048535866-011.

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