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Published: 9 March 2023

Last updated: 10 March 2023

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1

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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3

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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4

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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5

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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7

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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8

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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9

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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10

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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Mannion, Gerard. "History of Vatican II - Edited by Giuseppe Alberigo and Joseph A. Komonchak." International Journal of Systematic Theology 12, no. 4 (September 3, 2010): 478–84. http://dx.doi.org/10.1111/j.1468-2400.2009.00418.x.

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12

Luneau, René. "Giuseppe Alberigo (ed.), Histoire du Concile Vatican II 1959 - 1965. II- La formation de la conscience conciliaire." Archives de sciences sociales des religions, no. 120 (October 1, 2002): 63–126. http://dx.doi.org/10.4000/assr.666.

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Bremond d’Ars, Nicolas de. "Giuseppe Alberigo, Pour la jeunesse du christianisme : le concile Vatican II, 1959-1965." Archives de sciences sociales des religions, no. 134 (May 1, 2006): 147–299. http://dx.doi.org/10.4000/assr.3450.

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Manthe, Ulrich. "Giuseppe Camodeca: Tabulae Pompeianae Sulpiciorum. Edizione critica dell’archivio puteolano dei Sulpicii. Voll. I–II." Gnomon 76, no. 8 (2004): 685–90. http://dx.doi.org/10.17104/0017-1417_2004_8_685.

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15

González Alcantud, José Antonio. "Un viaje operístico políticamente incómodo." SIGLO DIECINUEVE (Literatura hispánica), no. 19 (May 7, 2013): 39–51. http://dx.doi.org/10.37677/sigloxix.vi19.104.

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Giuseppe Verdi visita Madrid en 1863, con motivo del estreno de su ópera La forza del destino. Verdi es un compositor connotado de liberalismo y nacionalismo italiano. En España, como en Italia, la situación política es convulsa. Tras su decepción de los lugares habitados por Felipe II, Verdi emprende viaje a Andalucía. En Granada será acogido por el cantante operístico Giorgio Ronconi, un viejo conocido. Sin embargo, y a pesar de que en la ciudad andaluza posee un grupo de fieles, encabezados por Pedro Antonio de Alarcón, su viaje pasará desapercibido, sin dejar prácticamente rastro.

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16

Kościukiewicz, Jakub. "Cello in the Baroque, part 2: Cello literature in the 17th century." Notes Muzyczny 2, no. 10 (December 20, 2018): 9–23. http://dx.doi.org/10.5604/01.3001.0012.9810.

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The present text is the second instalment of the cycle of articles based on its author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, prac-tice, and selected literature examples (Academy of Music in Łódź, 2017). It is an at-tempt to systematise the knowledge about the first cello literature creators and their compositions. The text includes descriptions (characterisations) of the first pieces writ-ten for the cello as early as in the 17th century along with short biographical sketches of their composers. The article characterises the main centres of development of cello mu-sic, such as Bologna and Modena, the places of work of Giovanni Battista Vitali, Do-menico Gabrielli, Petronio Franceschini, Giuseppe Jacchini, Bononcini brothers, Gio-vanni Battista Degli Antoni, Domenico Galii, Giuseppe Colombi, and others. These composers mainly focused around Bologna’s Accademia Filarmonica and Basilica of San Petronio, as well as the court of Francesco II d'Este in Modena. The article also pays attention to the circumstances in which the first attempts to write cello pieces were made. Moreover, it mentions singular historical items of early cello literature written in such centres as Rome, Venice or Naples, where Carlo Fedeli, Giovanni Lorenzo Lulier, Nicola Francesco Haym or other composers worked.

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17

Frandsen, Mary E. "Albrici, Peranda und die Ursprünge der Concerto-Aria-Kantate in Dresden." Schütz-Jahrbuch 18 (August 23, 2017): 123–39. http://dx.doi.org/10.13141/sjb.v1996836.

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In der Geschichte der deutschen evangelischen Kantate vor 1700 spielt die sogenannte Concerto-Aria-Kantate eine wichtige Rolle. An Werken Marco Giuseppe Perandas hat Wolfram Steude die Bedeutung der Italiener für die Entwicklung dieses Kantatentyps verdeutlicht. Der ebenso wie Peranda am Dresdner Hof Johann Georgs II. wirkende italienische Kapellmeister Vincenzo Albrici hat bis Ende 1662 - also vor seinen deutschen Kollegen - wenigstens 11 solcher Kantaten mit der Hofkapelle aufgeführt, von denen <Benedicte Domine> näher untersucht wird. Wichtigen Einfluß auf seine Werke hatte die römische geistliche Motette der 1640er und 1650er Jahre (Carissimi, Graziani, Marcianis <Quasi stella matutina>). (Wagner, Dorothea)

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18

Souza, Ney de. "Lercaro e a Igreja dos pobres." Revista de Cultura Teológica, no. 99 (September 30, 2021): 11–23. http://dx.doi.org/10.23925/rct.i99.54386.

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Objetiva-se, neste artigo, apresentar o pensamento do cardeal Giacomo Lercaro, arcebispo de Bologna (1952-1968) relativo aos pobres e sua tentativa de inclusão da temática no Concílio Vaticano II. A proposta do cardeal Lercaro, a presença de Cristo nos pobres e a sua identificação com eles (Mt 25, 40), devem orientar a missão da Igreja que, assim, retoma a missão messiânica de Cristo e ser Igreja dos pobres. Alicerçado nesta base cristológica, de impostação claramente bíblica, o texto de Lercaro, elaborado com Giuseppe Dossetti, teólogo que o assessorava para o Vaticano II, apresenta visivelmente os desdobramentos eclesiológicos. O mistério da Igreja não é outro que senão o mistério de Cristo pobre. E esse mistério se manifesta na encarnação do Verbo feito humanidade na fraqueza humana A estrutura deste texto está articulada em três partes: o personagem Lercaro, o Concílio Vaticano II e a Igreja dos pobres.

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19

Melloni, Alberto. "Poverty of the Church—Poverty of Culture: A Contribution of Giuseppe Dossetti to Vatican II." Theological Studies 75, no. 3 (August 7, 2014): 485–501. http://dx.doi.org/10.1177/0040563914538716.

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20

Colin, Xavier. "Giuseppe Camodeca, L'archivio puteolano dei Sulpicii, Naples, Università Napoli Federico II, 1992, VIII–312 p." Annales. Histoire, Sciences Sociales 50, no. 5 (October 1995): 1114–16. http://dx.doi.org/10.1017/s0395264900056572.

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21

Movsisyan, Feliqs. "The Evaluation of the national Struggle of the Risorgimento famous figures in '' The Mshak''." History and Culture. Journal of Armenian Studies 18, no. 2 (December 29, 2022): 39–60. http://dx.doi.org/10.46991/hc.2022.18.2.39.

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The Italian Risorgimento, which aimed to overthrow the Austrian rule and unite Italy, found a wide response in the Armenian public thought of the time and in the periodical press. Reflecting on this, “Mshak” newspaper, the pioneer of the Armenian liberal current, highlighted the role of Risorgimento leaders Giuseppe Mazzini, Giuseppe Garibaldi, King Victor Emmanuel II and Count Camillo Cavour in the unification of Italy. The newspaper calls G. Mazzini “prominent republican”, “democratic genius” and “great patriot”, who had been fascinated by the idea of freedom and union of his homeland since his student years. In particular “Mshak” newspaper highly appreciates G. Garibaldi’s contribution to the struggle for the unification of Italy, calling him “a great Italian patriot” who immortalized his name with his services to the motherland. According to the description of the newspaper, G. Garibaldi constantly invited his compatriots to fight for freedom and showed them a personal example of “unshakable determination”. “Mshak” characterizes King Victor Emmanuel II as “an outstanding patriot and an outstanding statesman”, a patriot and brave soldier, a king guided by the interests of the people and the state. According to the opinion of the newspaper, the king was a cautious person, he never took a decisive step, he allowed popular hero G. Garibaldi to start the struggle every time. In this way, he united Italy, which he considered the goal of his life. According to “Mshak”, Victor Emmanuel’s “name occupies a glorious place in the history of Italy”. “Mshak” also highlights C. Cavour in the Italian liberation struggle. According to the newspaper, King Victor Emmanuel was always guided by C. Cavour’s advice and “he is beholden to him most of his successes”.

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22

Dieguez, Alejandro Mario. "La nuova documentazione dell’Archivio Vaticano per una migliore comprensione della figura e opera di Giuseppe Sarto - Pio X." Anuario de Historia de la Iglesia 23 (March 27, 2015): 169–85. http://dx.doi.org/10.15581/007.23.1590.

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Luego de la apertura de los fondos de archivo inherentes al pontificado de Pío x, establecida por Juan Pablo ii en el 1985, una ardua y gradual labor de recuperación documental actuada por el Archivo Secreto Vaticano ha favorecido el proceso de profundización historiográfica sobre este papa, brindando válidos elementos para una análisis honesta y sosegada de su intenso pontificado. Se presentan por ello los fondos de la Secretaria de Estado, del Archivo particular de Pío x, de las Cartas de Pío x y de la Congregación Consistorial poniendo en evidencia su relevancia en función de una mejor comprensión de la figura y actividad de Giuseppe Sarto – Pío x.

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23

Casas, Santiago. "Giuseppe Alberigo (ed.), Transizione epocale. Studi sul Concilio Vaticano II, Il Mulino, Bologna 2009, 895 pp." Anuario de Historia de la Iglesia 19 (March 9, 2016): 576–57. http://dx.doi.org/10.15581/007.19.4400.

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24

Saresella, Daniela. ""Il caso Lazzati" (1987-1988): lo scontro tra Comunione e liberazione e il mondo cattolico democratico." ITALIA CONTEMPORANEA, no. 299 (August 2022): 145–67. http://dx.doi.org/10.3280/ic2022-299007.

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Gli storici, a ora, si sono occupati solo marginalmente dell'esperienza religiosa, culturale epolitica di Comunione e liberazione (Cl), il gruppo cattolico che sotto la guida di don LuigiGiussani fu tra gli indiscussi protagonisti del cattolicesimo postconciliare. Questo saggio intendericostruire lo scontro che tra il 1987 e il 1988 si verificò tra il movimento e il mondocattolico democratico, a seguito delle accuse che due giornalisti de "Il Sabato" (Antonio Soccie Roberto Fontolan) rivolsero a Giuseppe Lazzati (da poco scomparso) di aver aperto ad alcuneistanze del protestantesimo. Dalla ricostruzione emergono le diverse prospettive religiosetra gli esponenti del cattolicesimo democratico e quelli di Cl, ma soprattutto la concezionetradizionalista di questi ultimi, ostili alle suggestioni e alla sensibilità del Vaticano II.

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25

Broers, Michael. "Revolution as Vendetta: Napoleonic Piedmont 1801–1814 II." Historical Journal 33, no. 4 (December 1990): 787–809. http://dx.doi.org/10.1017/s0018246x00013765.

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The virus of violent, personal vendetta had poisoned the blood of elite society in Piedmont by the time the country was formally annexed to France in April 1802. The turbulent events of the period 1794–1801 had inflamed and then politicized a society ‘whose customs steadfastly retained something of the unruly and fiercesome’, as Sauli d'Igliano, the son of a petty count from Ceva, chose to describe it when writing of his childhood in the mid-1790s. The revolutionary process unleashed and, finally, entrenched that penchant for violence among ‘men of the second order’ that Giuseppe Baretti had informed the whole of Europe of a generation earlier in his widely read An account of the manners and customs of Italy: ‘they are withal so punctilious and so ready to draw the sword, that more duels are fought in Piedmont than in the rest of Italy taken together’. The venom of revolution mingled with the poison of personal vendettas and brought their ferocity to the centre of political life. It was a virus the French would strive to stamp out, but one that would malinger in the subalpine body politic throughout their own rule and long after they had gone. As late as 1813, a substantial landowner of Bene, in southern Piedmont complained of his patriot maire's ‘despotisme et ses actes arbitraires…sans nombre’.

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Musso, Stefano Francesco. "Genova: echi e tracce del Risorgimento e dell'Unitŕ d'Italia." STORIA URBANA, no. 132 (February 2012): 83–109. http://dx.doi.org/10.3280/su2011-132004.

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Il saggio tenta di mettere in luce i legami profondi e meno evidenti che sembrano intercorrere tra la storia generale del Risorgimento italiano (che fece di Genova, grazie anche a protagonisti quali Nino Bixio, Goffredo Mameli e Giuseppe Mazzini, una delle "patrie ideali") e alcune delle molte tracce fisiche che essa ha lasciato nel tessuto costruito della cittŕ. L'Autore propone la rilettura di alcuni episodi di trasformazione e formazione della cittŕ negli anni delle vicende risorgimentali con riferimento al momento in cui queste conobbero una prima conclusione in coincidenza con la proclamazione del regno d'Italia: il caso di via Garibaldi, ad esempio, che fu aperta demolendo chirurgicamente parte dei circostanti quartieri medievali, per collegare al nuovo centro della cittŕ, organizzato intorno a piazza De Ferrari, la cinquecentesca via Aurea, sede dell'antica classe oligarchica, attraverso piazza Fontane Marose. Oppure con la costituzione di ambiti celebrativi, come nel caso emblematico del nuovo snodo urbano di piazza Corvetto con le statue raffiguranti Giuseppe Mazzini e Vittorio Emanuele II. La rilettura di alcuni episodi noti e ormai oggetto di numerose analisi, anche recenti, si estende poi agli anni e decenni successivi a quella data (almeno fino ai primi anni del Novecento) che ebbe certo un forte impatto simbolico ma non altrettanto evidenti e immediate ricadute sulla vita e sulla struttura della cittŕ. Tutto ciň determinň anche diffuse e dolorose demolizioni, mutilazioni o spostamenti di antichi monumenti.

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Grech, Prosper. "Elios Giuseppe Mori, Figlia di Sion e Serva del Signore: Nella Bibbia, nel Vaticano II, nel Postconcilio." Augustinianum 30, no. 1 (1990): 218. http://dx.doi.org/10.5840/agstm199030123.

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Tucci, Pasquale. "Book Review: Letters to Boscovich: Giovan Stefano Conti: Lettere a Ruggero Giuseppe Boscovich. Vol. ii: (1771–1784)." Journal for the History of Astronomy 31, no. 3 (August 2000): 276–77. http://dx.doi.org/10.1177/002182860003100311.

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29

Tanner, N. "The Oecumenical Councils: From Nicaea I to Nicaea II (325-787). Edited by GIUSEPPE ALBERIGO et al." Journal of Theological Studies 59, no. 1 (February 6, 2008): 448. http://dx.doi.org/10.1093/jts/flm158.

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30

Rasche, Adelheid. ""Decoratore di sua Maesta". Giuseppe Galli Bibiena als Buhnenbildner an der Berliner Hofoper Friedrichs II. von Preussen." Jahrbuch der Berliner Museen 41 (1999): 99. http://dx.doi.org/10.2307/4126010.

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31

Villar, José R. "Giuseppe DOSSETTI, Per una Chiesa eucaristica. Rilettura della portata dottrinale della costituzione liturgica del Vaticano II. Lezioni del 1965, a cura di Giusepe Alberigo-Giuseppe Ruggieri, Società Editrice Il Mulino, Bologna 2002, 256 pp., 15,5 x 21, ISBN 88-15-08485-1." Scripta Theologica 35, no. 1 (November 21, 2017): 278. http://dx.doi.org/10.15581/006.35.13157.

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32

Parker, Laura. "Identity, memory and la diarchia di bronzo Commemorating Vittorio Emanuele II and Giuseppe Garibaldi in post-Risorgimento Venice." Incontri. Rivista europea di studi italiani 26, no. 2 (December 12, 2011): 25. http://dx.doi.org/10.18352/incontri.832.

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33

Lagrée, Michel. "Giuseppe Alberigo (sous la direction de), II Vaticanol II fra attese e celebrazione, Bologne, II Mulino, Testi e ricerche di scienze religiose, nuova serie, 13, 1995, 250 p." Annales. Histoire, Sciences Sociales 52, no. 1 (February 1997): 208–9. http://dx.doi.org/10.1017/s0395264900052562.

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Davies, Joan. "Neither Politique nor Patriot? Henri, duc de Montmorency and Philip II, 1582–1589." Historical Journal 34, no. 3 (September 1991): 539–66. http://dx.doi.org/10.1017/s0018246x00017490.

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In 1581 Antoinette de La Marck, the devout duchesse de Montmorency made a pilgrimage to the shrine of the Virgin at Montserrat in Catalonia. The next year her husband Henri de Montmorency, the governor of Languedoc, corresponded with the viceroy of Catalonia about the problem of banditry which was rife on both sides of the frontier. In 1583, Montmorency's servant carried letters to Charles Emmanuel, duke of Savoy, hidden in the soles of his shoes. During the festivities for the wedding of Charles Emmanuel to the infanta Catalina in 1585, Giuseppe Lercaro, Montmorency's Genoese-born intendant desfinances, spent some ten days in Barcelona concealed in the lodgings of Savoy's ambassador and had several clandestine interviews with both the duke and his new father-in-law Philip II. In 1588 Philip offered 100,000 francs towards the dowry of Montmorency's daughter Charlotte, provided that she married the son of the due de Guise and thus reconciled the two families whose rivalry had dominated the French political scene since the 1540s. These incidents, unremarkable as they may individually appear, formed part of the negotiations between Henri due de Montmorency and Philip II which, in notable contrast to those of the Spanish king with the Guise family, have been little studied by historians. Consequently, Montmorency's reputation now is generally that of a politique and patriot. This paper offers a rather different appraisal of him.

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Engels, Odilo. "Geschichte der Konzilien. Vom Nicaenum bis zum Vaticanum II, hg. v. Giuseppe Alberigo, Patmos Verlag: Düsseldorf 1993. 482 S." Annarium Historiae Conciliorum 26, no. 1 (February 16, 1994): 179–81. http://dx.doi.org/10.30965/25890433-02601012.

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Romanato, Gianpaolo. "Pio X: studi e interpretazioni." Anuario de Historia de la Iglesia 23 (March 27, 2015): 153–67. http://dx.doi.org/10.15581/007.23.1589.

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El artículo resume la vida de Giuseppe Sarto y pone de relieve sus líneas de gobierno más importantes desde que asumió el pontificado, particularmente, la reforma de la organización eclesiástica en el centro y en la periferia. Se detiene, luego, en la glorificación que el personaje experimentó después de su muerte con la puesta en marcha de la causa de canonización, finalizada en 1954, y en las razones de su posterior olvido, sobre todo después de la celebración del Concilio Vaticano ii y el desarrollo de los estudios sobre el modernismo. Examina con mayor detalle los estudios sobre el pontificado, desde las primeras biografías ingenuamente hagiográficas hasta los estudios y las recopilaciones de documentación publicadas más recientemente. De estos últimos trabajos, se extrae la idea de que el punto focal del pontificado no está tanto en la condenación del modernismo como en la reforma y en la modernización de la Iglesia.

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37

Hartmann, Wilfried. "Giuseppe Alberigo et Alberto Melloni (éd.), Conciliorum oecumenicorum generaliumque decreta. II. The General Councils of Latin Christendom. 1 : From Cons." Cahiers de civilisation médiévale, no. 238 (April 1, 2017): 155–56. http://dx.doi.org/10.4000/ccm.5979.

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Marchetto, Agostino. "AA.VV., “Chi ha paura del Vaticano II?”, a cura di Alberto Melloni - Giuseppe Ruggieri, Carocci editore, Urbino 2009. pp. 151." Annuarium Historiae Conciliorum 41, no. 1 (June 20, 2009): 226–32. http://dx.doi.org/10.30965/25890433-04101008.

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39

Rodríguez, Pedro. "Il Vaticano II fra attese e celebrazione, a cura di Guiseppe Alberigo, Saggi di Giuseppe Alberigo, Giuseppe Butiurini, Alberto Melloni, Mauro Velati, Istituto per le Scienze Religiose Bologna: Società Editrice II Mulino, 1995 (= Testi e ricerche di scienze religiose, nuova serie 13). 250 pp." Annarium Historiae Conciliorum 27-28, no. 2 (February 16, 1995): 972–76. http://dx.doi.org/10.30965/25890433-02702802036.

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Wozniak, Monika. "Lost in Warsaw: the subversion of multilingual humour in the Italian subtitles to the Polish war comedy Giuseppe in Warsaw (1964)." European Journal of Humour Research 7, no. 1 (May 21, 2019): 24. http://dx.doi.org/10.7592/ejhr2019.7.1.wozniak.

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In 1964, many decades before multilingual movies have become fashionable, a Polish director, Stanisław Lenartowicz, made a war comedy called “Giuseppe in Warsaw”. It narrates the adventures of an Italian soldier who on his way home from the Russian front during World War II is stranded in Poland. Pseudo-language, translation, mistranslation, and mock translation figure conspicuously in the movie, which shows a series of clashes between Polish, German and Italian languages in the most improbable combinations. The original film used no subtitles, because the linguistic chaos was pivotal to showing the absurdity of the war through the deforming lenses of the comedy. This paper analyses various mechanisms of the multilingual humour in the original film and in its subtitled version in Italian, in order to see how the dynamics of humour change in the case of L3TT which becomes L2 in translation (Italian), especially when the point of the view of the audience is subverted and the viewers identify with the protagonist rather than the Polish characters in the movie.

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Kobler, John F. "History of Vatican II, vol. 2, Formation of the Council’s Identity, October 1962–September 1963 ed. by Giuseppe Alberigo, Joseph A. Komonchak." Thomist: A Speculative Quarterly Review 63, no. 1 (1999): 142–46. http://dx.doi.org/10.1353/tho.1999.0048.

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Alonso-Nunez, J. M. "Giuseppe Cambiano: La filosofia in Grecia e a Roma. (II mondo degli antichi.) Pp. vii + 176. Bad: Laterza, 1983. Paper, L. 10,000." Classical Review 36, no. 1 (April 1986): 145–46. http://dx.doi.org/10.1017/s0009840x00105475.

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McEnroy, Carmel E. "History of Vatican II. Vol. 1: Announcing and Preparing Vatican Council II toward a New Era in Catholicism. Edited by Giuseppe Alberigo. Maryknoll, NY: Orbis, 1995. xv + 527 pages." Horizons 25, no. 2 (1998): 320–21. http://dx.doi.org/10.1017/s0360966900031327.

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Trisco, Robert. "History of Vatican II, Vol. I: Announcing and Preparing Vatican Council II: Toward a New Era in Catholicism ed. by Giuseppe Alberigo; English version ed. by Joeph A. Komonchak." Catholic Historical Review 84, no. 4 (1998): 719–22. http://dx.doi.org/10.1353/cat.1998.0221.

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Morgan, J. R. "Fabrizio Conca, Edoardo de Carli, Giuseppe Zanetto: Lessico dei Romanzieri Greci, II: δ—I. (Alpha-Omega, Reihe A, 78.) Pp. ii + 289. Hildesheim, Zurich and New York: Olms-Weidmann, 1989. Paper." Classical Review 40, no. 2 (October 1990): 481–82. http://dx.doi.org/10.1017/s0009840x00254838.

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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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Roccati, G. Matteo. "Aa. Vv., «La parola del testo», anno VIII ‑ 2004/1 e 2004/2: Studi in onore di Giuseppe E. Sansone, voll. I e II." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 427–28. http://dx.doi.org/10.4000/studifrancesi.8813.

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Tanner, N. "The Oecumenical Councils of the Roman Catholic Church from Trent to Vatican II (1545-1965). Edited by KLAUS GANZER, GIUSEPPE ALBERIGO, and ALBERTO MELLONI." Journal of Theological Studies 62, no. 1 (February 23, 2011): 385–86. http://dx.doi.org/10.1093/jts/flr011.

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49

Nestorow, Rafał. "„Fabryka” pałacu w Wilanowie za czasów Elżbiety Sieniawskiej. Uwagi na temat organizacji magnackiego placu budowy w XVIII w." Biuletyn Historii Sztuki 81, no. 3 (September 2, 2020): 441–59. http://dx.doi.org/10.36744/bhs.481.

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Jednym z ciekawszych okresów w dziejach pałacu wilanowskiego są lata 1720-1729 kiedy dawna królewska rezydencja znalazła się w posiadaniu hetmanowej wielkiej koronnej i kasztelanowej krakowskiej Elżbiety z Lubomirskich Sieniawskiej. Warto nadmienić, że przedsiębiorcza magnatka rywalizowała o podwarszawski pałac z królem Augustem II i rywalizację tę wygrała. W momencie nabycia klucza wilanowskiego przez Sieniawską dawna ulubiona siedziba Jana III Sobieskiego znajdowała się w bardzo złym stanie, a zrujnowane folwarki nie przynosiły oczekiwanych dochodów. W związku z czym Sieniawska postanowiła przywrócić tamtejszym dobrom płynność finansową, która pozwoliłaby m.in. na utrzymanie tamtejszego pałacu. Elżbieta z Lubomirskich Sieniawska była jedną z ważniejszych postaci na arenie politycznej i artystycznej czasów saskich. W działalności fundacyjnej hetmanowej Sieniawskiej widoczna jest cycerońska zasada publicam magnificentiam diligit. Bogate dekoracje malarsko-rzeźbiarskie były swego rodzaju „kostiumami” symbolicznymi i tak też były odczytywane przez współczesnych. Szczególną rolę w budowaniu wizerunku potężnej magnatki odegrała dawna królewska rezydencja w podwarszawskim Wilanowie, zakupiona 3 lipca 1720. Było to uwieńczenie stopniowego wykupywania dóbr królewskich, którymi hetmanowa opiekowała się po wyjeździe Marii Kazimiery do Rzymu (w jej rękach znalazły się m.in. pałace w Wysocku i Surochowie, a także dobra tarnopolskie). Pałac wilanowski w chwili zakupu znajdował się w opłakanym stanie. Sieniawska nie tylko wyremontowała pałac ale ukończyła obydwa skrzydła boczne, a także w subtelny sposób wplotła własny rodowy wątek w skomplikowany ideowy program rezydencji „Polskiego Herkulesa”. Wilanów był miejscem modnym, często odwiedzanym przez czołowych przedstawicieli magnaterii, a także samego Augusta II. Tak poważne przedsięwzięcia jak remont i rozbudowa dawnej królewskiej rezydencji wymagało zaangażowania nie tylko plejady artystów i rzemieślników ale także oficjalistów odpowiedzialnych za dowóz materiałów budowlanych, opłacanie wykonawców i sprawne funkcjonowanie całej fabryki. Trzon zespołu wykonującego prace artystyczno-budowlane w rezydencji wilanowskiej tworzyli artyści i rzemieślnicy zatrudnieni przez Sieniawską w Łubnicach, przy modernizacji jej głównej siedziby. Nie tworzyli oni wewnętrznej struktury w ramach magnackiego dworu, ale zhierarchizowaną grupę specjalistów podległą architektowi hetmanowej Giovanniemu Spazzio, który pełnił rolę nie tylko głównego projektanta, ale również nadzorcy wszystkich przedsięwzięć artystycznych. Warsztat ów, na co wskazują jednoznacznie źródła, nie był zbyt liczny. Jego zasadniczy trzon składał się z kilku wyspecjalizowanych wykonawców z tego powodu Sieniawska zmuszona była wspomagać się najmowanymi na zasadzie kontraktów wykonawcami. Wiodącą rolę odegrało środowisko warszawskie, z którego wywodzili się m.in. przedstawiciele rodziny Ceronich, przedsiębiorca budowlany Giuseppe Fontana, rzeźbiarz Johann Georg Plersch czy malarz Giuseppe Rossi, by ograniczyć się do najważniejszych. Na podstawie analizy zachowanych źródeł udało się dość dokładnie zilustrować funkcjonowanie owego zespołu stałych i okresowo zatrudnianych wykonawców, a także organizację fabryki pałacowej. Jego sprawne funkcjonowanie uzależnione było nie tylko od twórców, ale też od współpracujących z nimi plenipotentów związanych z administracją ziemską. Podkreślono szczególną rolę burgrabiego, którego udział w procesie budowy był dotąd marginalizowany. Jeszcze mniej wiadomo było o zaangażowanych przy fabryce urzędnikach (administratorach, podstarościch, zarządcach, gubernatorach, itd.). Nie mniej interesujące było prześledzenie sposobu finansowania prac, a także opłacania artystów. Okazało się, że niezmiernie ważną rolę odgrywał miejscowy arendarz dysponujący gotówką, którą wypłacał za odpowiednimi, pisemnymi „asygnacjami”.

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Pioppi, Carlo. "In textu conciliari equivoca dicenda non sunt. I contributi del card. Giuseppe Siri ai lavori del Concilio Vaticano II alla luce dei suoi interventi ufficiali." Annuarium Historiae Conciliorum 45, no. 1 (June 20, 2013): 59–82. http://dx.doi.org/10.30965/25890433-04501003.

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