Relevant bibliographies by topics / Giuseppe II

Academic literature on the topic 'Giuseppe II'

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Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Giuseppe II"

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Luminati, Michele. "Giuseppe Roddi, II ‚Coutumier‘ Valdostano (1588)." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 114, no. 1 (August 1, 1997): 651–52. http://dx.doi.org/10.7767/zrgga.1997.114.1.651.

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Vallin, Pierre. "II. Le « journal de france », d'angelo giuseppe roncalli." Recherches de Science Religieuse 95, no. 1 (2007): 135. http://dx.doi.org/10.3917/rsr.071.0135.

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Pizzolato, Luigi F. "Giuseppe Lazzati e il Concilio Ecumenico Vaticano II." Annali di Scienze Religiose 3 (January 2010): 215–56. http://dx.doi.org/10.1484/j.asr.1.100830.

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Durand, Jean-Dominique. "Giuseppe Alberigo, Giuseppe Ruggieri, Giuseppe Dossetti, Per una « Chiesa eucaristica ». Rilettura della portata dottrinale della Costituzione liturgica del Vaticano II. Lezioni del 1965." Archives de sciences sociales des religions, no. 122 (April 1, 2003): 59–157. http://dx.doi.org/10.4000/assr.1155.

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Pozzi, Rosanna. ""II sentimento della tradizione”." Cuadernos Literarios 10, no. 13 (December 1, 2016): 71–111. http://dx.doi.org/10.35626/cl.13.2016.19.

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Il saggio passa in rassegna le riflessioni critiche di Mario Luzi a proposito di Giuseppe Ungaretti, scritte e pubblicate tra il 1952 e il 2000, mettendone in luce le tre fondamentali chiavi d’interpretazione: la religiosità nel suo nesso con il dolore e la morte; l’esperienza di sradicamento dalla terra d’origine e la conseguente ricerca di recupero della tradizione letteraria italiana; l’origine della sua poesia dall’esperienza concatenata di morte, vita, “giubilazione”. L’autrice intreccia le riflessioni luziane con il contributo critico di altri estimatori della poesia ungarettiana, quali Mengaldo, Ramat, Cortellessa, Bigongiari, Papini, Zanzotto, Sereni.
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Arregui, Juan P. "Ilusión perentoria y realidad imaginaria: apuntes en torno a Verdi y la escenografía (II)." Boletín de Arte, no. 26-27 (March 30, 2018): 437–61. http://dx.doi.org/10.24310/bolarte.2006.v0i26-27.4559.

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PEANO, GIUSEPPE, and ALEXANDER MACFARLANE. "APPENDICE II." Nuncius 8, no. 1 (1993): 284–85. http://dx.doi.org/10.1163/182539183x00118.

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Abstract<title> RIASSUNTO </title>Presentiamo ventisei scritti, costituiti da lettere e cartoline postali, inviati da Giuseppe Peano a Ernesto Cesàro; e, inoltre, due lettere: una di Alexander Macfarlane e un'altra di Alexander Ziwet. Queste ultime, indirizzate a Peano, contengono le informazioni chieste da Cesàro, su cattedre e costo della vita, per un suo eventuale trasferimento negli Stati Uniti d'America.Gli scritti di Peano trattano di questioni relative al Calcolo infinitesimale, al Calcolo baricentrico, alla «Rivista di Matematica» e al «Formulario» editi da Peano. In tali scritti vengono pure toccati alcuni argomenti didattici concernenti l'insegnamento di Calcolo infinitesimale ed è contenuto un quesito di Matematica attuariale. Tra gli aspetti confidenziali, segnaliamo le offerte, rivolte da Peano a Cesàro, di scambiarsi le rispettive cattedre di Torino e Napoli e di assumere la direzione della «Rivista».
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Kaladžinskaitė, Auksė. "Giuseppe Fontana – architektas ir bajoras: giminės istorija." Lietuvos Didžioji Kunigaikštystė Luomas. Pašaukimas. Užsiėmimas, T. 5 (November 14, 2019): 271–83. http://dx.doi.org/10.33918/23516968-005013.

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GIUSEPPE FONTANA: ARCHITECT AND NOBLEMAN: THE FAMILY HISTORY This article is dedicated to one of the most notable late baroque architects of the Grand Duchy of Lithuania, Giuseppe Fontana (Józef III, 1716 – before 1773). Being of Italian blood, architect Giuseppe Fontana was actually born in Warsaw, the capital of the Commonwealth of Both Nations, leaving a clear footprint in the culture of the Grand Duchy of Lithuania. Unable to establish himself in Vilnius, he moved close to Vitebsk. His choice to live and work on the north-eastern outskirts of the Commonwealth of Both Nations could have been influenced by his contacts with the influential representatives of the ruling class of Vitebsk voivodeship and also by the finding of a free space, “non-monopolized” by the architects, strategically convenient geographic location and the aggregation of financially capable customers of architecture. The story of the family of Giuseppe Fontana is outstanding in the general cultural context. After settling in the Commonwealth of Both Nations at the end of the seventeenth century they shaped a peculiar dynasty of architects, which already in the first part of the eighteenth century was fully assimilated and Polonized. The professional career of father Giuseppe Giacomo (Józef II, 1676–1739/41), brothers Giacomo (Jakub, 1710–1773) and Giovanni Canzio (Jan Kanty, 1731–1800) in Warsaw and status in the royal court, professional career of uncle Domenic (Dominik, ca. 1680 – before 1755) in Grodno, all their contacts with influential aristocrats, accumulated family wealth and earned offices aided in reaching significant valuation in society and climbing the social ladder. In 1768, the Fontana family for their merits to the King was granted the status of nobility along with all respective rights, duties and privileges of the estate. The article analyses professional achievements of the Fontana family, their valuation in society and change in social status in the general context of artists and artisans. It shows, how the situation of family members and aspirations to become part of the class of nobility affected personal and professional life of Giuseppe Fontana. Keywords: Giuseppe Fontana, architect, nobleman, the Fontana family, Warsaw, Grodno, Vilnius, Vitebsk, social status.
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Kwiatkowski, Dariusz. "San Giuseppe il modello della partecipazione nell’Eucaristia." Poznańskie Studia Teologiczne, no. 34 (August 28, 2020): 165–80. http://dx.doi.org/10.14746/pst.2019.34.10.

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Pope John Paul II in the encyclical Ecclesia de Eucharistia called Mary a ‘Woman of the Eucharist’. He pointed out the attitudes that can be described as Eucharistic. This article, using the principle of analogy and maintaining an appropriate balance, shows St. Joseph as a model of the Eucharistic ap- proach of every Christian. The life of Saint Joseph was characterized by deep faith and love for God and man, the ability to hear and receive the word of God and the constant willingness to sacrifice his life in order to be able to fulfill the will of God. All these qualities are needed to participate in the Eucharist in a conscious and active way. These attitudes result from participation in the Eucharist and should shape the life of every Christian. In addition, it should be emphasized that the Church introduced the name of St. Joseph to the Eucharistic prayers and ordered it to be mentioned immediately after Mary. Placing the name of St. Joseph in the most important prayer of the Holy Mass, introduces him to the heart of the Eucharist.
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Shelley, Thomas J. "History of Vatican II ed. by Giuseppe Alberigo and Joseph A. Komonchak." Jurist: Studies in Church Law and Ministry 70, no. 1 (2010): 235–37. http://dx.doi.org/10.1353/jur.2010.0016.

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Dissertations / Theses on the topic "Giuseppe II"

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Szylit, Diana. "A nobreza do avesso: uma tradução brasileira de \'II Mattino\' , de Giuseppe Parini." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-14062017-075836/.

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O poeta milanês Giuseppe Parini (1729-1799), embora ocupe um papel de destaque na história da literatura italiana no século XVIII, não é estudado no Brasil, inclusive dentro do ambiente acadêmico voltado aos estudos da italianística. Seu poema narrativo Il Giorno é considerado uma das mais importantes obras do Settecento italiano, apresentando uma dura crítica à nobreza do século XVIII por meio de uma sátira que busca se opor à poesia árcade sentimental em voga na época. O poema de Parini serviu de inspiração para grandes autores da literatura italiana estudados atualmente inclusive no Brasil, como Giacomo Leopardi, Alessandro Manzoni e Ugo Foscolo. Original, clássico e, ao mesmo tempo, atual, Il Giorno é uma obra que merece ser incluída nos estudos de literatura da academia brasileira e, portanto, necessita de uma versão comentada e anotada em língua portuguesa. Entendemos que sua ausência nos estudos dos italianistas brasileiros deva-se sobretudo à dificuldade de compreensão do poema, repleto de latinismos e figuras de linguagem e som, e julgamos que apresentar uma tradução comentada de ao menos uma parte Il Giorno é uma forma de incentivar o contato de professores, pesquisadores e estudantes com esse grande autor e, dessa forma, torná-lo conhecido em nosso meio acadêmico. Portanto, apresentamos uma tradução comentada de Il Mattino, primeira parte da obra. Trata-se de uma tradução estrangeirizante, que preserva os arcaísmos e rebuscamentos do poema italiano, fundamentais em sua constituição como obra satírica ao se contrapor ao assunto narrado na obra: o dia a dia superficial e irrelevante de um jovem membro da aristocracia italiana do século XVIII.
Although the Milanese poet Giuseppe Parini (1729-1799) plays a prominent role in the history of Italian literature of the eighteenth century, he is not studied in Brazil, not even within the academic community focused on Italian studies. His narrative poem Il Giorno is considered one of the most important works of the Italian Settecento: it presents a harsh criticism to the nobility of the eighteenth century by means of a satire that seeks to oppose itself to the sentimental Arctic poetry, very much in vogue at the time. Parinis poem was an inspiration for great Italian writers that are studied nowadays, in Brazil as well as abroad, such as Leopardi, Manzoni and Ugo Foscolo. Original, classic and modern at the same time, Il Giorno deserves to be included in the literature studies of the Brazilian academic community, and, therefore, needs an annotated version in Brazilian Portuguese. We understand that its absence in the field of Italian studies in Brazil is dewed mainly to the difficulty of its comprehension, full of Latinisms and stylistic literary devices, and we believe that an annotated translation of at least one part of Il Giorno is a way to encourage teachers, researchers and students to get in touch with this great writer and, thereby, make him known in our academic community. Therefore, we present an annotated translation of Il Mattino, the first part of Il Giorno. It is a foreignization translation, with all the archaisms and refinements of the Italian poem, considering that those archaisms and refinements, when countering the subject narrated in the work the superficial and irrelevant day-to-day of a young member of the Italian aristocracy of the eighteenth century , are fundamental to the formation of the poem as a satiric work.
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Zaffagnini, Alberto. "Strumenti della geomatica per la documentazione archivistica dell'evoluzione di un progetto architettonico: il caso del Grand'Arco d'ingresso alla Galleria Vittorio Emanuele II di Milano." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.

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Il presente lavoro si propone di approfondire e testare, utilizzando strumenti della Geomatica, moderne modalità di documentazione di un Bene Culturale, nello specifico un oggetto architettonico, quale il Grand'Arco di Ingresso alla Galleria Vittorio Emanuele II, situato a Milano, ed il relativo materiale archivistico conservato oggi a Fontanelice (Bo). La ricerca condotta nasce dalla richiesta dell'ente "Archivio Museo Giuseppe Mengoni - Centro studi per l'architettura - Centro documentazione Valle del Santerno", ubicato a Fontanelice, di migliorare la fruibilità dell’immenso patrimonio di documenti progettuali conservato relativo all’Arco progettato da Giuseppe Mengoni, e la condivisione del sapere ad esso annesso. Si è voluto strutturare un percorso conoscitivo ed un approccio metodologico multi-fase e multi-disciplinare, applicabile sia al restante materiale presente in archivio, sia ad altri casi di studio simili. L'elaborato si divide in tre parti: - la prima, legata alla ricerca storico-conoscitiva dell'oggetto indagato, dell'ingegnere-architetto che sviluppò il progetto e del luogo di conservazione del materiale archivistico; - la seconda, finalizzata all'inquadramento generale delle tecniche geomatiche atte alla documentazione dei Beni Culturali, approfondendo gli aspetti teorici della fotogrammetria digitale, tecnica applicata per il rilievo sia dell’Arco sia del materiale archivistico; - la terza, atta alla definizione della miglior soluzione per soddisfare la richiesta dell'Archivio Storico, quindi la descrizione delle fasi operative del rilievo e di elaborazione dati, fino all’ottenimento del risultato finale, consistente in un sistema digitale su piattaforma GIS di archiviazione e consultazione della documentazione archivistica, del patrimonio documentario; a questo si affianca, e potrà in futuro interfacciarsi, un modello digitale tridimensionale dell’Arco.
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Sora, D. "IL MONASTERO DELLA VISITAZIONE DI MILANO (XVIII-XIX SECOLO). RELIGIONE, POLITICA, SOCIETÀ." Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/354297.

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The purpose of this research is to go over and to examine the history of Milan’s nunnery of Visitation, called Santa Sofia, between 18th and 19th century. The large amount of documents kept into the archive of the convent allowed to investigate many aspects, especially those concerning the bonds with the others convents of the same order and with the Milan’s society. Other important aspects investigated are those concerning the nuns' relationships with the political power and the analysis of religious practices and cultural aspects. From the middle 18th century Santa Sofia joined in the wide-ranging process of catholic missionary openness.
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Sokolova, Iana. "Pittura veneta a San Pietroburgo sotto i regni di Elisabetta e Caterina II (1741-1796)." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423318.

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Il presente lavoro pone la lente d’ingrandimento sui rapporti artistici e culturali intercorsi tra la Repubblica di Venezia e l’Impero Russo nel XVIII secolo, dando rilievo alla presenza della pittura veneta a San Pietroburgo. Il consolidamento dei legami con Venezia, avviato nell’epoca di Pietro il Grande, aveva permesso alla pittura veneta di ‘espandersi’ fino alle sponde della città sul fiume Neva. Negli anni venti del Settecento il primo pittore veneto ad arrivare in Russia è Bartolomeo Tarsia, mentre bisogna aspettare il regno di Elisabetta Petrovna, figlia dello zar Pietro, per vedere all’opera contemporaneamente un gran numero di artisti veneti: Giuseppe Valeriani, Antonio Peresinotti, Pietro e Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani e Carlo Zucchi. In primo luogo, sono state indagate le condizioni di vita e di lavoro dei pittori veneti a San Pietroburgo con un’attenzione particolare agli ingaggi, ai privilegi e ai rapporti relazionali. Successivamente si sono prese in esame da una parte l’attività decorativa all’interno delle fastose residenze imperiali, come i Palazzi d’Inverno, i Palazzi d’Estate, il palazzo di Caterina a Tsarskoe Selo e quello di Peterhof, dall’altra l’insegnamento nelle più grandi istituzioni di formazione artistica della Russia dell’epoca. Sono stati poi delineati i profili biografici di Diego Bodissoni, Giuseppe Dall’Oglio e Pano Maruzzi, attivi come intermediari e commercianti d’arte, i quali hanno il merito di aver favorito l’approdo di dipinti della scuola veneta a San Pietroburgo.
The present work places the magnifying glass on the artistic and cultural relations between the Republic of Venice and the Russian Empire in the eighteenth century, highlighting the presence of Venetian painting in St. Petersburg. The consolidation of ties with Venice, initiated in the era of Peter the Great, had allowed Venetian painting to 'expand' to the banks of the city on the Neva river. In the 1720s the first Venetian painter to arrive in Russia was Bartolomeo Tarsia, while it was necessary to wait for the reign of Elisabetta Petrovna, daughter of Tsar Pietro, to see a large number of Venetian artists at work at the same time: Giuseppe Valeriani, Antonio Peresinotti, Pietro and Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani and Carlo Zucchi. First of all, the living and working conditions of Venetian painters in St. Petersburg were investigated, with particular attention paid to engagements, privileges and interpersonal relations. Subsequently, the decorative activity within the sumptuous imperial residences, such as the Winter Palaces, the Summer Palaces, the Catherine Palace in Tsarskoe Selo and the Peterhof Palace, were examined on one hand, while on the other hand, the teaching in the largest institutions of artistic education in Russia at the time. The biographical profiles of Diego Bodissoni, Giuseppe Dall'Oglio and Pano Maruzzi were also outlined, active as intermediaries and art dealers, who have the merit of having favoured the arrival of paintings of the Venetian school in St. Petersburg.
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Gruaz, Laurent. "Les officiers français des Zouaves Pontificaux. Histoire et devenir entre XIXe et XXe siècle." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30001.

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Entre 1860 et 1870, plus de 10 000 volontaires catholiques ont défendu par les armes le pouvoir temporel du Pape Pie IX. Venus d’une trentaine de pays, tous ont répondu à l’appel du Souverain Pontife, menacé dans son intégrité par les troupes du roi de Sardaigne Victor-Emmanuel II, désireux de réaliser l’unité italienne. Parmi eux, 3 000 Français se sont engagés pour six mois ou pour dix ans. Environ 150 sont officiers, aumôniers ou médecins.Ce sont eux, ces cadres du régiment, que nous allons étudier. Qui sont-ils ? D’où viennent-ils ? Quelles ont pu être leurs motivations ? Nous étudierons le parcours de ces derniers défenseurs en date des États Pontificaux, non seulement en amont, depuis leur enfance et à travers leurs origines familiales, en cherchant notamment à savoir ce que faisaient leurs parents, mais aussi en abordant ce qu’ils sont devenus après la fin de l’existence officielle du régiment. Leur histoire, leurs engagements, ainsi que ceux de leurs descendants, ne s’arrêtent en effet pas ainsi mais courent sur toute une vie, s’écrivant entre le XIXe et le XXe siècle.Ce qu’ils ont été, ce qu’ils ont fait, ce qu’ils sont devenus et le souvenir qu’ils ont laissé s’inscrit dans un itinéraire personnel beaucoup plus large et doit nous permettre de dégager le sens qu’ils ont voulu donner à leur vie
Between 1860 and 1870, more than 10 0000 catholic volunteers have taken up arms to defend the temporal power of Pope Pie IX in his struggle against the troops of the king of Sardinia Victor Emmanuel II who wanted to unify Italy. 3 000 French men, including about 150 officers, army chaptains and doctors, enlisted for six months or for ten years. We will focus on these particular men. Who are they? Where do they come from ? What motives actuated them ? We will not only study their life, their childhood, the social position of their family, their parents jobs, but also what has become of them after the official end of their regiment. Their story, their engagements as well as those of their descendants last a whole life long between the19 th and 20 th century. The men they were, what they did, the men they became and the memory they left must be examined from a more general point of view so that we can find out what guided them throughout their life
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Huang, Wan-Yu, and 黃琬瑜. "A Collaborative Piano Point of View for «Era la notte» and «Si, pel ciel» In Giuseppe Verdi’s Otello, Act II Scene V." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/76743437455490009956.

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碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
98
Otello, which is created by Giuseppe Verdi (1813-1901)in his later years, is a fairly important piece of opera in the music history. The parts of music and drama in Otello are created to complement each other. Compared with Verdi’s earlier works, the orchestral part in Otello is more symphonic and the harmonic part is also much more complex; even though we omit the vocal part, the music remains rather complete. To accompany for Otello, therefore, is a challenging task. This thesis will focus on two songs in Act II Scene V: Era la notte and Si, pel ciel. From the collaborative piano point of view, this thesis analyzes and discusses how a collaborative pianist can interpret the orchestral part in these two songs and assist the singers to meet their challenges. This thesis contains four chapters and is organized as followed. Chapter I will introduce the research motivation, methodology, and scope of this thesis. Chapter II will investigate the literature background and the process of creation of Otello to understand how Verdi integrated the music part with the drama part. Chapter III will first analyze the orchestration and accompaniment patterns in Era la notte and Si, pel ciel and then illustrate how a collaborative pianist can use the analysis of the orchestration in the score to play a better symphonic sound. At last, Chapter IV will discuss how a collaborative pianist can conjoin the juncture between Aria and Recitativo for playing more smoothly. This chapter also provides the records of the practical experience working with the singers to provide the useful reference for collaborative pianists.
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Books on the topic "Giuseppe II"

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Giuseppe Carraro: Un vescovo veneto al Vaticano II. Verona: Casa editrice Mazziana, 2014.

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Carmeli, Andrea, Federico Lorenzani, and Francesca Benevelli. L'organo di Giuseppe II Serassi del Duomo di Guastalla. Guastalla (RE): Associazione "Giuseppe Serassi,", 2018.

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Al servizio dell'imperatore: Come Giuseppe II spinse Mozart alla rovina. Genova [etc.]: Marietti, 2006.

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Fontana, Vincenzo. Giuseppe Mengoni, 1829-1877, un architetto di successo. [Ravenna]: Essegi, 1987.

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Giuseppe Sacconi e il Vittoriano nella terza Roma. Roma: Pilædit, 2005.

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Acerbi, Giuseppe. Viaggio in Lapponia 1799: Giuseppe Acerbi sul cammino di Capo Nord II. [Turku]: Università di Turku, 1996.

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Ossicini, Adriano. Il "colloquio" con don Giuseppe De Luca: Dalla Resistenza al Concilio Vaticano II. Roma: Edizioni di storia e letteratura, 1992.

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Zunino, Raffaele. La profezia di Giuseppe Lazzati: Il contributo di Giuseppe Lazzati alla riflessione pre-conciliare sui cristiani laici alla luce dell'insegnamento del Vaticano II. Soveria Mannelli, Catanzaro: Rubbettino, 1998.

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Martini, Rodolfo. La monetazione d'epoca austriaca della zecca di Milano nelle Civiche raccolte numismatiche di Milano dal 1781 al 1859: Giuseppe II d'Asburgo-Lorena, Leopoldo II d'Asburgo-Lorena, Francesco II d'Asburgo-Lorena, Francesco I d'Asburgo, Ferdinando I d'Asburgo, Governo provvisorio, Francesco Giuseppe I d'Asburgo-Lorena. [Milano]: Comune di Milano, Settore cultura, Civiche raccolte numismatiche, 1996.

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Raischl, Josef, and André Cirino. Three heroes of Assisi in World War II: Bishop Giuseppe Nicolini, Colonel Valentin Müller, Don Aldo Brunacci. Assisi: Minerva, 2005.

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Book chapters on the topic "Giuseppe II"

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"Chapter II Giuseppe Mazzini: Prophet of Nationalism." In Europe, 1859, 41–57. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110793086-006.

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Vaccaro, Carolina. "Recollections II: The Mutual Experience—in Giuseppe Vaccaro’s Office in Rome." In Denise Scott Brown In Other Eyes, 89–97. De Gruyter, 2022. http://dx.doi.org/10.1515/9783035626254-007.

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"7. APÉNDICE II: JUAN LUIS ESTELRICH: LOS CHARLATANES." In Giuseppe Parini (1729-1799) en el pasado y en el presente, 147–54. Vervuert Verlagsgesellschaft, 2010. http://dx.doi.org/10.31819/9783954872374-008.

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Guedes, Edson Claiton, and Marcus Vinicius de Souza Nunes. "a östpolitik vaticana: diálogos entre igreja e comunismo soviético no papado de João XXIII." In historia da religiao e das praticas de religiosidade, 190–208. Texto e contexto editora, 2022. http://dx.doi.org/10.54176/cjit5032.

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O período de Angelo Giuseppe Roncalli como Papa João XXIII (1958-1963) no trono da Santa Sé foi breve, mas repleto de iniciativas que marcaram sua gestão como uma das mais intensas e modernizantes dos últimos séculos. Eleito como um “papa de transição” devido à falta de consenso entre os cardeais no Conclave de outubro de 1958, Roncalli passou à história como o aquele que convocou o Concílio Vaticano II (1962-1965), caracterizado como o maior evento religioso do século XX.
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Reiter, Walter S. "Into the Galant: Tartini, Telemann, Quantz, and Zuccari." In The Baroque Violin & Viola, vol. II, 186–200. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0019.

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The final ornamentation module deals with examples by Giuseppe Tartini, Georg Philipp Telemann, Johann Joachim Quantz, and Carlo Zuccari. Tartini’s treatise on ornamentation contains a clear and systematic approach to ornamentation, dealing with grace notes, trills, vibrato, turns, and mordents, and giving many examples of embellished cadences. Telemann’s Methodical Sonatas contain embellished slow movements in both French and Italian styles. They are categorized, and an exercise is devised for assimilating them. Quantz wrote one of the most comprehensive interval-based ornamentation tables of the entire Baroque period, relevant above all to the Style Galant and including note-by-note instructions for performance. Examples are given with these instructions reproduced. He also composed an Adagio with instructions for almost every note: these have been transcribed from the instructions for ease of study. Quantz also offers advice on cadenzas, of which two are reproduced. To conclude, a page of Carlo Zuccari’s 1760 True Method of Playing an Adagio is reproduced.
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"4. Giuseppe Prezzolini, Controversial Casa Director, and World War II (1930s and 1940s)." In From Da Ponte to the Casa Italiana, 31–58. Columbia University Press, 2017. http://dx.doi.org/10.7312/faed18593-008.

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