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Journal articles on the topic 'Italian literature – 19th century'
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1
D’Orazio, Dario, and Sofia Nannini. "Towards Italian Opera Houses: A Review of Acoustic Design in Pre-Sabine Scholars." Acoustics 1, no. 1 (March 1, 2019): 252–80. http://dx.doi.org/10.3390/acoustics1010015.
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The foundation of architectural acoustics as an independent science is generally referred to Sabine’s early studies and their application. Nevertheless, since the 16th Century, a great number of authors wrote essays and treatises on the design of acoustic spaces, with a growing attention to the newborn typology of the Opera house, whose evolution is strongly connected to the cultural background of the Italian peninsula. With roots in the Renaissance rediscovery of Vitruvius’s treatise and his acoustic theory, 16th- to 19th-Century Italian authors tackled several issues concerning the construction of theatres—among them, architectural and structural features, the choice of the materials, the social meanings of performances. Thanks to this literature, the consolidation of this body of knowledge led to a standardisation of the forms of the Italian Opera house throughout the 19th Century. Therefore, the scope of this review paper is to focus on the treatises, essays and publications regarding theatre design, written by pre-Sabinian Italian scholars. The analysis of such literature aims at highlighting the consistencies in some 19th-Century minor Italian Opera houses, in order to understand to what extent this scientific and experimental background was part of the building tradition during the golden age of the Italian Opera.
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Variano, Angelo. "Spigolature di anglicismi: a proposito di leggings e altri (recenti) forestierismi." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 568–79. http://dx.doi.org/10.1515/zrp-2018-0035.
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AbstractThe present article focuses on English-Italian language contact. In detail, we will show that supposedly recent borrowings such as leggings (GRADIT: 2004) or steward (1928) can already be observed in 19th-century Italian translations of English travel literature.
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Saranov, Serhiy. "The problem of creativity and scientific heritage of Machiavelli in the framework of the historiographical assessments of Francesco De Sanctis." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 40 (2023): 49–57. http://dx.doi.org/10.21272/shaj.2023.i40.p.49.
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The article deals with the problem of creativity and scientific heritage of Niccolò Machiavelli in the system of historiographic assessments by Francesco De Sanctis (1817-1883). The author states the importance of addressing this issue in the era of globalization, since the era of the Italian Renaissance reflected cardinal changes in the interpretation of the historical process. In addition, in the era of globalization, the question of the system for forming the stages of historiographic assessments of Machiavelli's scientific heritage has significant methodological potential. Of particular interest in this regard is the Italian historiography of the 19th century, which developed under the influence of the emergence of a single centralized Italian state. What the Italians failed in the 16th century, what Machiavelli dreamed about in the final chapter of The Prince, became a historical fact in 1861. Of course, before the Italian historiography, a natural question arose about the creation of a holistic picture of Italian social and political life, within which the name of Machiavelli was to occupy a significant place. Thus, after Italy gained its statehood in the 19th century, representatives of Italian historiography faced the task of determining the true place of the entire scientific heritage of Machiavelli within the framework of Italian historical development. This task was brilliantly solved in the framework of the «History of Italian Literature» by Francesco De Sanctis (1817-1883).Consideration of the problems of creativity and scientific heritage of Machiavelli in the system of historiographic assessments by Francesco De Sanctis allows us to state the deep theoretical and methodological significance of these assessments. In de Sanctis' assessments of Machiavelli's heritage, not only a dry academic approach prevails, but also the desire to tie these assessments to De Sanctis' contemporary Italian political life of the 19th century. The scientific heritage and work of Machiavelli is considered by Francesco De Sanctis as a kind of lesson for the present. Machiavelli, who relies on realism and yet pays tribute to Fortune, is regarded as precisely a modern author. The assessments of the outstanding Italian scholar expressed in the second volume of the «History of Italian Literature» laid the foundation for a significant part of the modern interpretation of Machiavelli. In the era of globalization, the appeal to the key aspects of the formation of assessments of creativity and scientific heritage of Machiavelli within the framework of Italian historiography of the 19th century is of considerable interest. Thus, the views of Machiavelli were formed in a complex and rich atmosphere of the decline of the political influence of Italy, which became a fact after the military events of 1494. This allows us, in turn, referring to the heritage of the Florentine thinker, to see the content of his concepts in the light of the challenges of the era of globalization and the formation of a new world order.
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Palmarini, Luca. "Su alcuni metodi applicati a grammatiche di italiano per polacchi tra il XIX e il XX secolo." Romanica Cracoviensia 20, no. 4 (2020): 247–59. http://dx.doi.org/10.4467/20843917rc.20.024.13310.
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On some methods applied to Italian grammars for Poles between the 19th and 20th centuries The article aims to compare and analyse Italian grammars and manuals for Polish users published between the second half of the 19th century and the beginning of the 20th century. The purpose is to observe the general trends on the methods proposed, the changes taking place and the possible influences on teaching of Western languages as foreign languages in a historical moment when after the Third Partition Poland had ceased to exist as a sovereign state.
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Lemainque, Ingrid. "Les tableaux italiens du Settecento dans les ventes parisiennes au XVIIe siècle." Studiolo 2, no. 1 (2003): 138–66. http://dx.doi.org/10.3406/studi.2003.1118.
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Ingrid Lemainque, Italian paintings of the Settecento in 18th-century Parisian sales ; In 19th-century France, contemporary Italian painting seems to have been little valued, if one believes the artistic literature of the time. A statistical analysis based on the thorough survey of Parisian sales catalogues between 1730 and 1799 enables one to distinguish a different truth, the presence of a particular taste for Settecento Italian paintings and reveals the importance of landscape and the Venetian school in these sales, to the detriment of more conventional schools and artists.
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Yakushkina, Tatiana V. "Truth and money: Writing and payment for it in the perception of Italian writers of the 18th–19th centuries." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 631–46. http://dx.doi.org/10.21638/spbu09.2023.314.
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The article, based on the Italian literature of the 18th–19th centuries, traces the relationship between the social status of the writer, his attitude to his work, on the one side, and the forms of remuneration for it, on the other. In contrast to the sociological approach, which considers the problem of “writer and money” mainly from the position of the reader, the author of the article, being a historian of literature, considers it from the position of the writer. The author shows that the attitude to literature as a way of earning money is a result of ideological shifts and changes in the writer’s social status. The development path of Italian writer in the period of 14th–19th centuries can be marked as follows: a scientist with knowledge inaccessible to the majority, mentor and defender of the truth at the beginning of the period and an artist expressing the moods and feelings of the majority, the ruler of the crowd and the hero of mass culture at its end. The evolution is vividly reflected in the transfer of semantic accents in the meaning of the word letterato and in the shift of words poets used to call themselves: letterato-poeta-scrittore-artista. The modifications also affected the organization of writer’s work: the solitude in silence, praised by Petrarch, in the romantic era was replaced by the demand for social activity, which during the 19th century takes more and more pronounced bourgeois forms. In Italy of the 18th century, they were stimulated by theater, in the 19th century by journalism.
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Damian, Otilia Ștefania. "Cooperative Learning of Italian Literature in the Post-Pandemic Era." Educatia 21, no. 23 (December 21, 2022): 17–27. http://dx.doi.org/10.24193/ed21.2022.23.02.
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The paper analyses how cooperative learning can be used in teaching literature, specifically 19th century Italian literature. It presents the results of group activities carried out in October 2022 by students from the Faculty of Letters of the “Babes-Bolyai” University of Cluj-Napoca, with specialisation in Italian A and B. These are students attending the Italian Literature II course, taught in Italian. The participants returned to university (face-to-face didactic activities) only in the spring of 2022, in the second semester of their first year of study at a university level. They spent more than one year of high school during the Covid-19 pandemic (with online school). After having carried out a cooperative activity in the practical course that focused on the study of Italian literature, in groups of 3-4 students, they were given an anonymous questionnaire to express their views on cooperative learning of foreign languages and literatures. The questionnaire contained 7 questions in which the teacher wanted to check whether the students found cooperative learning more effective than the classical methods of learning foreign languages and literatures in the post-pandemic period and how the cooperative activity stimulated their curiosity for Italian literature, especially for reading the novel studied during the practical course.
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Munari, Alessandra. "The double nature of ‘source criticism’: Between philology and intertextuality." Forum Italicum: A Journal of Italian Studies 53, no. 1 (February 2, 2019): 27–52. http://dx.doi.org/10.1177/0014585818813894.
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This article analyzes so-called ‘source criticism’, and it observes how this discipline historically and conceptually developed into the theory of intertextuality. This research traces the steps of source criticism from the end of the 19th century and through the 20th century, paying special attention to Italian literature; it deals with texts by critics Pio Rajna, Renato Serra, Ernst Robert Curtius, Gian Biagio Conte, Ezio Raimondi and Giuseppe Velli.
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Benardelli, de Leitenburg Mainardo. "Geopolitica della lingua italiana." FUTURIBILI, no. 2 (September 2009): 139–61. http://dx.doi.org/10.3280/fu2008-002015.
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- Language is one of the most widely discussed questions in Italian social and literary history, and Italian has recently been dropped from the list of official languages in the European Community. The author presents a historical overview starting from the 13th century, which saw the beginning of popular literature in poetry, and comprising the development of written and spoken Italian from traditional regional literature to the evolution of the dolce stilnovo, the appearance in the 19th century of the language of Manzoni and his antagonists, the composition of the first Dictionary of the Italian language and the practice of transferring teachers and national service conscripts from one part of the country to another so as to spread a standard language over the whole territory. The article concludes with the observation that language changes over time and that its current written and spoken form is the result of standardisation produced by the population's exposure to the mass media.
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Toroš, Ana. "Auto-stereotypes and Hetero-stereotypes in Slovene and Italian Poetry About Trieste From the First Half of the 20th Century." Interlitteraria 21, no. 2 (January 18, 2017): 290. http://dx.doi.org/10.12697/il.2016.21.2.10.
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This article brings to light the socio-political conditions in the Triestine region, at the end of the 19th century and in the fi rst half of the 20th century. Th ese conditions infl uenced the formation of stereotypical, regionally coloured perceptions of Slovenes and Italians in the Slovene and Italian poetry about Trieste from the fi rst half of the 20th century, which were specific to the Triestine area or rather the wider region around Trieste, where the Slovene and Italian communities cohabited. This article also points out that these stereotypes are constructs. The Italian Triestine literature most frequently depicted the Italians (native culture) before the First World War, in accordance to the needs of the non-literary irredentist disposition. In this light, it depicted them as the inheritors of the Roman culture, wherein it highlights their combativeness and burning desire to “free” Trieste from its Austro-Hungarian prison. An increase in auto-stereotypes among the Slovene poetry is noticeable after the First World War and is most likely a consequence of the socio-political changes in Trieste. The Slovene Triestine literature depicted the Slovenes (native culture) after the First World War as “slaves” and simultaneously as the determined defenders of their land, who are also fully aware of their powerlessness against the immoral aggressor and cruel master (Italian hetero-stereotype) and so often call upon the help of imaginary forces (mythical heroes and personified nature in the Trieste region) and God. The Italian Triestine literature mostly depicted the Slovenes before the First World War as an inferior people, often referred to by the word “ščavi”. After the First World War, the Slovenes are depicted merely as the residents of the former Austro-Hungarian Trieste, meaning they were part of the narrative surrounding Trieste, only in when the narrative was set before the First World War. In this case, pre-war Slovene stereotypes appear, also depicted as part of the literary myth of the “Habsburg” Trieste, namely as the folkloric characters from the surrounding countryside.
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Banjanin, Ljiljana. "AN ITALIAN TRAVELLER DISCOVERING BOSNIA." Филолог – часопис за језик књижевност и културу 14, no. 28 (December 31, 2023): 20–33. http://dx.doi.org/10.21618/fil2328020b.
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The theme of this paper is the image of Bosnia by Luchino Dal Verme (1838- 1911), a politician, diplomat, geographer and traveller, who in 1903 set off from Italy on a journey across the Adriatic Sea and on to Bosnia. He left a testimony of his experience in the text ‘An Excursion to Bosnia’, published in the Nuova Antologia in 1903.
The aim of the paper is to identify odeporic elements in a text of a hybrid nature with elements of geography, history and literature and to show that the perception of this region of the Balkans changed at the beginning of the 20th century. From the wild, primitive and hostile land of the 19th century travellers, the image offered by Luchino Dal Verme changes radically. This affirms the importance of this traveller’s profile, a cultured and informed man. With a considerable cultural background, he observes and accepts the Other and his land, without conditioning.
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Miroliubova, А. Yu. "«Italian Mark» in the Russian Literary Translations of the First Quarter of 19th Century." Russkaya Literatura 2 (2019): 51–68. http://dx.doi.org/10.31860/0131-6095-2019-2-51-68.
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Carli, Alberto. "Between the inkwell and the scalpel: Italian literary transfigurations in medicine and anatomy from the 19th to the 21st century." Forum Italicum: A Journal of Italian Studies 54, no. 3 (May 16, 2020): 707–20. http://dx.doi.org/10.1177/0014585820925469.
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Arrigo Boito, author of Lezione di anatomia ( Anatomy Lesson), was able to sum up the deepest cultural theme of the 19th century in Italy using one single verse (‘Son luce e ombra’). Notably, the development of the dialogue between natural sciences, literature, anatomy and art illuminates the mixture of sincere admiration and fear felt by writers and poets like Igino Ugo Tarchetti, Emilio Praga and Carlo Dossi. The mood of Positivism, which could be found even in Fine Arts Academies, was the perfect backdrop and the very root of many ‘clinical details’ in the first examples of Italian mass literature. Dossi portrayed in Note azzurre his friend Paolo Gorini, a scientist and anatomical preparator. Thus, Gorini becomes a literary character, presumably being also the inspiration for the identification of peculiar death aesthetics and for other similar characters. Efisio Marini, another Italian scientist, almost coeval with Gorini, shared with him similar interests and practices. Marini, who died in Naples in 1900, used to petrify corpses for anatomical museums; he is the main character of a series of five historical and noir novels written through the first decade of the 21st century by the Sardinian author Giorgio Todde, establishing a link between the 19th and 21st centuries.
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Krasovets, Aleksandra. "Literary Multilingualism in the Slovenian and Austrian Context / Eds.: Alenka Koron and Andrey Leben. Ljubljana. ZRC Publishing House. 2020. 324 p." Stephanos Peer reviewed multilanguage scientific journal 56, no. 6 (November 30, 2022): 149–55. http://dx.doi.org/10.24249/2309-9917-2022-56-6-149-155.
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The scientific monograph “Literary Multilingualism in the Slovenian and Austrian Context” (2020) is a collective work of nineteen researchers from five countries. The subject of their analysis was the theoretical, methodological and contextual aspects of literary multilingualism within the framework of the concept of a “supra-regional sphere of literary interaction”. They were regarded through the prism of small, immigrant, transcultural literatures and literature of national minorities. Among them are the Slovenian minority in Austrian Carinthia and Italy, the Italian minority in Croa- tian and Slovenian Istria, as well as the literature of multilingual authors and immigrant authors in Austria and Slovenia, both in modern times, in the 19th century, and during the First World War.
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Matrisciano, Sara, and Franz Rainer. "Origine et diffusion des expressions romanes du type jaune paille." Romanische Forschungen 133, no. 1 (March 15, 2021): 3–27. http://dx.doi.org/10.3196/003581221831922391.
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All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.
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Borzęcka-Wojciechewicz, Kinga. "Cyprian Norwid a Ugo Foscolo. Próba zbliżenia." Przegląd Humanistyczny 61, no. 4 (459) (May 21, 2018): 151–61. http://dx.doi.org/10.5604/01.3001.0012.0673.
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The work is devoted to the comparative presentation of Ugo Foscolo and Cyprian Norwid – two outstanding representatives of the 19th-century Polish and Italian literature, respectively. Despite the obvious differences between them, such as belonging to different literary generations and the ideological and national entanglements of their lives and work, significant similarities between the artists (in the aspect of their works, biographical models and a similar individual stigma) are thought-provoking. Moreover, the ambiguity of assigning Norwid and Foscolo to one literary period still inspires polemics among literature researchers.
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Dolinin, Alexander. "Итальянские мотивы в поэме Пушкина «Анджело» [Italian Motifs in Pushkin’s Poem _Andzhelo_]." Slavica Revalensia 8 (2021): 289–302. http://dx.doi.org/10.22601/sr.2021.08.10.
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Pushkin’s poem Andzhelo (1833) is based on the plot of Shakespeare’s Measure for Measure (1623). However, Pushkin changed the location from Vienna to “happy Italy,” and the article offers some explanations of the change. Besides the location and names of characters, the poem has no Italian ethnographic details but instead includes several allusions to Dante absent in Shakespeare. It seems that through them Pushkin amalgamated Dante and Shakespeare, providing an intertextual substitute for the Italian couleur locale. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Andzhelo (1833), Dante Alighieri (c. 1265—1321), William Shakespeare (1564—1616), Italy, Allusion, In memoriam: Larisa Georgievna Stepanova (1941—2009).
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Vannucci, Alessandra. "A pátria no palco: mobilização política e construção de uma identidade nacional nos clubes recreativos italianos em São Paulo (1870-1920) / Motherland on Stage: Political Mobilization and Construction of a National Identity in Italian Philodramatic” Societies in São Paulo (1870-1920)." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (September 3, 2019): 41. http://dx.doi.org/10.17851/2358-9787.28.3.41-64.
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Resumo: O ensaio analisa a atividade dos clubes recreativos italianos em São Paulo, a partir do final do século XIX, quando a cidade se transforma de vila colonial em metrópole industrial e sofre o impacto das grandes migrações. A fuga dos trabalhadores das plantações para a cidade, onde conseguem articular formas de resistência à exploração através do associacionismo voluntário (jornais, sindicatos e teatro) alimenta um clima de discriminação, culminando em perseguição racial. A emancipação política é conquistada através da arte, principalmente nos palcos. Nas peças deste repertório, os valores patrióticos e nacionalistas do Risorgimento, que haviam alimentado uma primeira fase da literatura emigrante, são paulatinamente substituídos pela utopia internacionalista da sociedade “sem pátria e sem patrões”.Palavras-chave: teatro italiano no Brasil; amadorismo teatral; emigração.Abstract: We analyze some of the Italian recreational clubs activities in São Paulo, from the end of the 19th century, when the city was transformed from a colonial village into an industrial metropolis and suffered the impact of the great migrations. Escaping from plantation to the city, workers manage to articulate forms of resistance to exploitation through voluntary associations (newspapers, trade unions and theatre) which fuels a discrimination atmosphere, culminating in racial persecution. Political emancipation has been pursued through art, especially on stage. The patriotic and nationalist values of the Italian Risorgimento that had fuelled a first phase of emigrant literature are gradually replaced by the internationalist “homeless and boss less” society utopia.Keywords: Italian theatre in Brazil; amateur actors; emigration.
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Samir, Aseel, and Rabie Salama. "Struttura e narratore ne I Promessi Sposi di Alessandro Manzoni." Romanica Silesiana 17 (June 29, 2020): 138–50. http://dx.doi.org/10.31261/rs.2020.17.11.
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In the early 19th century, the Italian literature did not have a mature novel, as is known today. The Italian novelist, Manzoni, and his masterpiece The Betrothed, set a solid basis for the contemporary Italian novel; thanks to its’ narrative characteristics that helped the novelist in achieving different reformative goals, woven stupendously with fictional, historical and realistic threads. The main purpose of this study is to apply an analytical and thematic approach on the structure and narrator of the novel. Furthermore, the research aims to distinguish the main artistic characteristics adopted from the European historical novel. The study then focuses on analyzing the function of the anonymous author’s fictional frame and how it created a diversity in the narrative levels. The research also highlights the importance of the omniscient narrator, the strong relations between the narrator and the narratee, the different narrative perspectives, and finally the polyphony: techniques that enhanced the realistic dimension of the novel.
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Antonov, Nikolay K. "A review of research literature on the topic of the priesthood in the works of st. Gregory the Theologian." Issues of Theology 3, no. 2 (2021): 177–208. http://dx.doi.org/10.21638/spbu28.2021.204.
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The article examines the tradition of research on the topic of the priesthood in the legacy of St. Gregory the Theologian from the 19th century to 2020. The review includes general monographs on both the formation of the episcopate in Late Antiquity and specifically the legacy of Nazianzen, dissertations, publications in periodicals, dictionaries and encyclopedias on this topic, as well as on a wide range of related topics, key publications and translations of the Apology on his Flight — St. Gregory’s central text on the priesthood — in English, Russian, German, French and Italian. The following periodization of historiography is proposed: the early period (19th — middle of 20th centuries), theological studies of the Apology in the 50s–70s, studies and publications by J.Bernardi, the “new wave” of the 1990s and its development in the 21st century. In the last period, three main trends are identified: the Theologian’s texts on the priesthood are considered in the context of: the development of the image of a monk-bishop in Late Antiquity; platonic political philosophy; Gregory’s main theological concepts. The importance of research on other aspects of Gregory’s work is shown especially the categories θεωρία/πρᾶξις and his autobiographical texts. Two lines of further research are proposed as the most promising: intertextual analysis of the Apology and integral analysis of the entire legacy of St. Gregory through the prism of the priesthood theme.
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Mejdanija, Mirza. "UGO FOSCOLO IZMEĐU NEOKLASICIZMA I PREDROMATNIZMA / UGO FOSCOLO BETWEEN NEOCLASSICISM AND PREROMANTISM." SOPHOS: A Young Researchers’ Journal, no. 15 (October 3, 2022): 90–102. http://dx.doi.org/10.46352/18403867.2022.90.
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By the end of the 18th century, Italy was under Napoleon’s dominance. It was the time when centuries-long European values were being changed due to the Industrial, but also French revolution. The outcome of these enormous changes was an emergence of two artistic movements – neoclassicism and preromanticism that co-existed in Italy at the time. The most renowned Italian author of the 19th century, Ugo Foscolo, is a representative of both of these movements in the Italian literature. Neoclassicism and preromanticism emerged in the attempt to find an alternative to the same issues and, therefore, they co existed in the same period of time, the elements of which are often present in the same authors, or even in one work of art. Foscolo is the author of Grazie, a neoclassical masterpiece of Italian literature, but also of the most significant work of the Italian preromanticism, the novel titled The Last Letters of Jacopo Ortis. Both of these works present an attempt to escape the disappointing circumstances of the period in question. What is relevant is not the different directions at which these attempts of escapism were pointed, but the very need to do so. Culturally, in both cases, the rejection of the reality is evident. Both tendencies may be observed as a quest for an alternative to the existing conditions that are depressing: for neoclassicism, the alternative is found in the ideal of beauty and harmony, distant from the historical horrors and defeats. For preromanticism, it is the depths of one’s own self, in the union with nature, pastorally viewed as the centre of life’s authenticity. The different directions of escapism are no longer of any importance, but the very need to escape, which is what these two movements have in common. What we are about to explore in the present paper are the characteristics of neoclassicism and preromanticism in Italian literature, primarily in the works of Ugo Foscolo, the most influential Italian author of that period.
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Antonelli, Valerio, Raffaele D'Alessio, and Emanuela Mattia Cafaro. "Auditing Practices from a Historical Perspective: The Case Study of an Italian Railroad Company in the Mid-19th Century." Accounting Historians Journal 44, no. 1 (June 1, 2017): 17–34. http://dx.doi.org/10.2308/aahj-10515.
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ABSTRACT From a historic perspective, the origin and evolution of auditing in the private sector is extremely interesting, especially in regard to 19th-century railroad companies. This paper concerns the auditing practices of the Leopolda Railroad Company, which operated in the Grand Duchy of Tuscany, Italy (1841–1860). Through the use of mainly primary sources, we describe how auditors were selected and hired; their procedures, recommendations, and meetings; and the contents of their reports. This paper makes three contributions to the international literature in accounting history: (1) it is the first paper to present the history of auditing practices in Italy, (2) it broadens literature on external and internal audits in railroad companies, and (3) it supports the assumptions made by many accounting historians about the origin of auditing in industrial capitalism.
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Berti, Francesco. "Reflecting on Pipes’s and Brzeziński’s works: Vittorio Strada and the nature of totalitarian dictatorships." Studia nad Autorytaryzmem i Totalitaryzmem 44, no. 3 (April 7, 2023): 7–15. http://dx.doi.org/10.19195/2300-7249.44.3.1.
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Vittorio Strada, one of the most distinguished Italian scholars of 19th- and 20th-century Russian literature and political history, formulated his final interpretation of the Russian revolution and its internal stages, the relationship between Marx, Lenin and Stalin’s thought, the concept of totalitarianism and the troublesome comparison between Nazism and communism between the 1980s and the 1990s. Expanding upon Richard Pipes’s thesis about the preservation of a czarist, authoritarian spirit and corresponding institutions in the Soviet state and Brzeziński’s and Friedrich’s refinement of the well-known concept of totalitarianism, Strada perfected his own interpretation of Soviet communism and in turn made it more useful to analyze totalitarian systems and ideologies.
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Grassi, Evelin. "Memorie Sadriddin Ajnī (Italian translation by Evelin Grassi)." Oriente Moderno 93, no. 1 (2013): 212–38. http://dx.doi.org/10.1163/22138617-12340010.
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Abstract This is the first Italian translation of some selections from the Ëddoštho* “Reminiscences” of Sadriddin Ajnī (Bukhara 1878—Dushanbe 1954), the author commonly regarded as the leading representative of modern Tajik literature. Ajnī’s Reminiscences, divided into four parts and published between 1948 and 1954, are a collection of lively short-stories where the author described his childhood spent in two villages near Bukhara, as well as his youth and schooldays at the madrasa in the last two decades of the 19th and the beginning of the 20th century. Parts I and II were more often translated into many languages, both in the Republics of the former Soviet Union and in other countries. Translations in Russian (parts I-IV), German and French (parts I-II) have appeared in the 1950s. In English, separate chapters from the work have been published in academic journals from the 1950s onward; the most recent English translation (part I) is The sands of Oxus. Boyhood reminiscences of Sadriddin Aini, tr. by J.R. Perry and R. Lehr (Costa Mesa, Mazda Publishers, 1998).
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Persiyanova, Svetlana G., and Evgeniya G. Rostova. "FORMATION OF PROFESSIONAL (LINGVOCULTURAL) COMPETENCE OF ITALIAN STUDENTS0CULTUROLOGISTS." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 1 (December 15, 2019): 177–86. http://dx.doi.org/10.22363/2313-2299-2019-10-1-177-186.
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The article deals with the problem of the formation of the professional (linguistic and cultural) competence of Italian students-culturologists, specializing in the study of Russian culture in its synchronic and diachronic examination. The authors offer a description and analysis of the program implemented by the Pushkin State Russian Language Institute together with the Milan State University. The program includes courses: “History of Russian Culture”, “Modern Russian Literature”, “Language and Culture”. The article focuses on the original course “Language and Culture”, which is part of the program, based on an analysis of the peculiarities of the connection between the Russian language and culture in different historical periods, which fundamentally distinguishes it from traditional language and culture courses. The article describes the features of the structure and content of the course “Language and Culture” for students-culturologists, its goals, tasks and methodological apparatus. The course includes five thematic sections: “The Language and Culture of Ancient Russia”, “The Russian Language and Culture of the 18th Century”, “The Russian Language and Culture of the 19th Century”, “The Russian Language and Culture of the 20th Century”. The main goal of the course is to deepen students’ knowledge of the relationship between the Russian language and culture (in the interaction of diachronic and synchronous components), the development of their communicative competence, mainly in the socio-cultural sphere of communication associated with the future professional activities of the culturologist. An important component of the training in this course is the Multimedia language and culture Dictionary “Russia”, which is publicly available on the Pushkin State Russian Language Institute portal. The dictionary materials (articles, media library, interactive tasks) form the main content of the course.
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Tik, Natalia A. "The First Translations of Aleksandr Pushkin’s Eugene Onegin Into Italian." Imagologiya i komparativistika, no. 17 (2022): 60–78. http://dx.doi.org/10.17223/24099554/17/3.
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The article analyses two early translations of Aleksandr Pushkin’s Eugene Onegin into Italian. The first Italian critics of Eugene Onegin in the 19th century (Cesare Boccella, Enrico Montazio, Carlo Tenca) were convinced that the novel was weak and did not deserve to be translated. However, two translations appeared in the 19th century. The first translation of 1856 belongs to Louis Delatre, a Frenchman who assimilated in Italy. Delatre visited Russia, where he met Pyotr Vyazemsky, whose stories about Pushkin inspired Delatre to translate five of Pushkin’s works, including Eugene Onegin. The second translation was published in 1858 under the pseudonym A. B., currently attributed to A. Besobrasoff - Anna Ivanovna Bezobrazova, a Russian noblewoman. Comparing the original and the translations, the author identifies and describes the aspects of the original subject to translation shifts (genre definition, structure, lexical and stylistic levels) and determines the specificity of the early Italian reception of the novel. Louis Delatre. The translation of poetry into prose, the rearrangement of fragments within the text, the reduction of “useless details” (including significant structural elements of the original), the addition of notes, the replacement of Russian realities with Italian equivalents reveal an orientation towards greater clarity and ease of perception. The change in the style of the original and the focus on the Italian literary tradition indicate the identification of a foreign work through the prism of Italian culture. The factors stated above are indicative of the adaptation and orientation towards an unprepared reader, who is not familiar with a foreign culture. Delatre acts within the framework of the historically conditioned norms of translation practice, whose task at this stage is to bring the original closer to the reader, to facilitate his acquaintance with a foreign text. Anna Besobrasoff. On the one hand, the focus on the “plot”, the search for Italian equivalents, the addition of notes and descriptions are also characteristic of a historically conditioned adaptive translation strategy. On the other hand, literal translation, style neutralization, elimination of a specific group of “useless details” are rather typical of the translator’s individual reception, probably a consequence of the student’s goal of translation, the translator’s desire to “practice the beautiful Italian language.” Both translations did not attract the attention of literary criticism and did not significantly influence the formation of the idea of Eugene Onegin in Italy at an early stage. The first Italian translations were more an accident rather than a regularity, since they stemmed from the translators’ personal interest in the novel, rather than a request from the recipient culture. This can be confirmed by the date of the next translation - it appeared only in 1906. The author declares no conflicts of interests.
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Mori, Pierluigi. "Brevi cenni sul rapporto tra turismo e letteratura italiana." Studia Universitatis Babeș-Bolyai Historia 65, no. 2 (May 26, 2021): 135–55. http://dx.doi.org/10.24193/subbhist.2020.2.08.
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"Brief notes on the relationship between tourism and Italian literature. Using literary sources, the essay covers three points in the relationship between Italians and holidays: the first is the transition from vacation to tourism; the second from summer vacation as a moment of rest (mainly in the countryside) to vacation as an opportunity for fun (mostly at the seaside). In addition to these two, we have a third point: in the second half of the Twentieth century, holidays become a mass phenomenon, no longer elitist as they had been until the first half of the same century. They become something possible for most Italians who, especially in August, leave the cities empty. This historical-sociological parable is revisited through literary testimonies that go back to the roots of the mother literature, the Latin one and then it resumes its path, interrupted in the High Middle Ages, around 1300 in conjunction with the first literary testimonies (the triad Dante, Petrarca, Boccaccio). The vacation phenomenon, intended as staying for the summer months in a villa more or less outside the city walls, finds its maximum expression starting from the 16th century with the Renaissance villas of the aristocracy, until it meets the aspirations of the small nobility and of the upper middle class in the 18th and 19th centuries. Crucial testimony is Carlo Goldoni's “Vacation Trilogy”, a triptych of three comedies that actually constitute a single text portraying the vacation phenomenon as a status symbol far from the motivations of previous centuries (vacation as a moment of peace, ‘’otium’’, rest). During the Nineteenth century, holidays are associated with tourism (especially in the thermal baths and in the mountains), while from the Twentieth century, the favourite option is the seaside. However, another change will characterize the use of leisure in the Twentieth century: the birth of mass tourism. With brief literary notes, we try to explain how in Italy holidays have now turned into something with anxiety-inducing traits, especially among young people and not only, in an almost spasmodic search for fun (with Dionysian and Bacchic traits) at the expense of original motivations (rest, leisure, “otium”) in a relationship in which the “horror vacui” seems to have ousted the “horror pleni”. Keywords: vacation, tourism, holidays, literature, Italy. "
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Grigor’eva, Nadezhda Ia. "Critique of the new hero in cinema (L.Visconti) and literature (F.M.Dostoevsky)." Vestnik of Saint Petersburg University. Language and Literature 18, no. 3 (2021): 444–59. http://dx.doi.org/10.21638/spbu09.2021.302.
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The article examines the philosophical basis of the figure of a new hero in literature and film. “New heroes” in selected literary and cinema works are compared within the context of existentialist philosophy and “philosophical anthropology”. Material for the comparative intertextual and intermedial analysis is the novel Demons by Fyodor Mikhailovich Dostoevsky and Luchino Visconti’s late films The Damned, Ludwig and Conversation Piece. The article attempts to broaden the intertextual horizon of research on Visconti by drawing new parallels between his films and Dostoevsky’s work. The work argues that the Italian filmmaker, follow ing the Russian writer of the 19th century and the European philosophers of the 20th century, criticises the “hero” who destroyed the old order on purpose to create a new one. Visconti’s revolutionary hero suffers from “the pathology of freedom” and refers to the figure of a nihilist from Dostoevsky’s novels, on the one hand, and to the figure of a sovereign in the philosophical and anthropological works of German and French writers of the 1930–50s, on the other. In his films The Damned, Ludwig and Conversation Piece, Visconti adopts not only a number of motifs from Dostoevsky but also replicates the main idea of the Russian writer who supposed that the enhancement of the human race was possible only after the second coming of Christ.
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Закутня, А. Ю. "Printed advertising of the end of the 19th — the first half of the 20th centuries in the context of a search of a source basis for a detailed description of the Ukrainian urban koine of this period." Studia Philologica, no. 10 (2018): 39–52. http://dx.doi.org/10.28925/2311-2425.2018.10.6.
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The city as a peculiar form of social organization is interesting for the representatives of many trends of scientific research: economists, sociologists, culturologists, historians, linguists. The subject of our interest is the functioning of the Ukrainian language in the cities of Bukovyna and Galicia at the end of the 19th century — the first half of the 20th century, in the urban environment of the Ukrainian diaspora settlement. Historical and socio-political conditions of the formation of the Ukrainian city koinй as one of the preconditions for the development of Ukrainian literature (particularly in the territory of Western Ukraine) — are still one of largely unexplored problems of Ukrainian linguistics — in both theoretical and practical aspects, which predetermines the relevance of the topic of our study. The aim of this article is the analysis of Ukrainian advertising texts at the end of the 19th century — the first half of the 20th century and identification of such lexical and syntagmatic units that can be classified as elements of the city koine. To perform linguistic analysis we have involved over 80 language units (words, nominative word combinations, word variants) used for the nomination of over 30 items of commodity circulation belonging to the following lexical-semantic groups: names of clothing, footwear and other details of the wardrobe; names of household items of urban dwellers (personal use items). For every word of the aforementioned lexical-semantic groups we have provided illustrating contexts, commentaries concerning the meaning, use, origin, their record in different kinds of dictionaries, sometimes giving information from Polish lexicography, Polish and German electronic corpora. We have analyzed the names of urban life items, documented in the Ukrainian advertisement at the end of the 19thcentury — the first half of the 20th century, that certify that the majority of such names are borrowings adapted on the Ukrainian language background: from German, Polish, French, Italian, Spanish, etc. Mainly Polish and German played an intermediary role in the assimilation of these words. We believe that lexical units and nominative word combinations recorded in the advertising texts of the 19th century — the first half of the 20thcentury, may serve as a basis for the register of lexicographic works of a specialized type, for instance, the Dictionary of Ukrainian Advertisement; the Dictionary of Western Ukrainian Variants of Literary Language of the 19th century — the first half of the 20th century, etc.
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Padrielli, L. "Women in Astronomy - Italy." Highlights of Astronomy 10 (1995): 95–97. http://dx.doi.org/10.1017/s1539299600010388.
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Let me start with a short historical excursion, taking the Bologna University as an example. The Bologna University was founded in 1088, but only at the beginning of 1700, when a deep transformation in the tradition and female behaviour model occurred, women started to approach the academic life mostly in humanities. There were also examples of scientist women, often without a real academic title working side by side with men (generally fathers or husbands).During the 19th century the female presence in the italian universities slowly increased, becoming a reality at the beginning of the 20th century. In the time interval from 1884 to 1900, 224 degrees were assigned to women in Italy (less than 10% of the total): 68.9% in Literature and Philosophy,7.8% in Mathematics, 11.7% in Natural Science, 9.3% in Medicine, and 2.3% in Law. Women were mostly involved in fields related to educational activities, however six out of 224 got a chair at the Universities, five of which in scientific fields.
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Colta, Elena Rodica. "L’érudition et le plaisir de la lecture à Arad au début du XIXe siècle." Études bibliologiques/Library Research Studies 2, no. 2 (2020): 91–98. http://dx.doi.org/10.33993/eb.2020.06.
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The interest in secular literature in Arad County manifested itself from the second half of the 18th century, when two booksellers from Budapest began to sell books at local fairs and when two libraries in Arad and Maria Radna were established by the Conventual Franciscans. In addition to the need to buy, own and read various books, at the beginning of the 19th century in the city of Arad appeared – as a late manifestation of the Enlightenment - a desire to produce, with dedication, small-sized books, on leaflets, and to give them to those attending public readings. At the same time, with this need for erudition, the first French and Italian novels, some of them considered licentious - thus satisfying "guilty" pleasures, appeared in the libraries of the nobles. From a time perspective, we are talking about rarities which were, at the moment of their acquisition, an illustration of the phenomenon of the readings of an epoch.
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Thériault, Patrick. "Bolzoni, Lina et Alina Payne, éds. The Italian Renaissance in the 19th Century. Revision, Revival, and Return." Renaissance and Reformation 43, no. 2 (October 2, 2020): 354–56. http://dx.doi.org/10.33137/rr.v43i2.34837.
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Guastini, Riccardo. "Legal Realism as a Positivistic Theory of Law." Isonomía - Revista de teoría y filosofía del derecho, no. 53 (October 31, 2020): 127–37. http://dx.doi.org/10.5347/isonomia.v0i53.452.
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Since the Sixties, following Norberto Bobbio, everyone is (or should be) used to distinguish among methodological, theoretical, and ideological legal positivism (LP). By the way, in Italian legal-philosophical literature, LP is often opposed to legal realism (LR). One has to wonder, however: what kind of LP and what kind of LR are we talking about? (i) As to LR, those scholars who oppose realism and positivism have in mind most of all Scandinavian Realism, especially Olivecrona and Ross. (ii) As to LP, those scholars who oppose realism and positivism have in mind either the 19th century prevailing theory of law or Kelsen’s pure theory. The opposition between LR and the pure theory is sound. Nonetheless, such an opposition does not arise from a supposed anti-positivistic stance of LR. It depends on two non-positivistic theses endorsed by Kelsen: the concept of validity as binding force, and the normative theory of legal science, conceived of a set of deontic (non-factual) sentences echoing valid (i.e., binding) norms. The opposition between LR and 19th century LP is equally sound, but does not hold when referred to contemporary LP, which is mainly conceived of as a methodological (Benthamite) attitude towards the law. LR is an openly positivistic view about the law. To be sure, not all positivist legal scholars are realist, but all realists are (“hard”) positivists.
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Jauković, Desanka. "THE LAST LETTERS OF JACOPO ORTIS IN EUROPEAN CONTEXT – THE FIRST EPISTOLARY NOVEL OF THE ITALIAN LITERARY TRADITION." Folia linguistica et litteraria XII, no. 34 (April 2021): 149–67. http://dx.doi.org/10.31902/fll.34.2021.9.
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The subject of this paper is the analysis of the first epistolary novel of the Italian literary tradition, The Last Letters of Jacopo Ortis by Ugo Foscolo, work which, thanks to its polyvalent character, both in content and form, occupies a significant place in the rich European literary context. The genre debut of the Italian literary tradition is positioned in a very complex literary panorama in the beginning of the 19th century, as a follower of Rousseau's The New Eloise, Richardson's Pamela, and above all Goethe's The Sorrows of Young Werther, a work that is its closest European reference point in terms of composition and content. The polyvalent philosophical and artistic character of Foscolo's novel, its content stratification that reflects not only the intimate confession of the individual, but also the collective dilemmas of the then still ununited Italy in the complex cultural-historical mosaic of Europe of that time, however, are not in artistic collision with the unquestionable thematic and formal closeness between Foscolo's novel and its models in the European context - they only testify in a unique way, in a strong metatextual dialogue, complementary to the universal literary-ideological value of The Last Letters of Jacopo Ortis.
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Tagliaferri, Filomena Viviana. "Domesticating the Turks, Staging Otherness. The Tradition of Embodying the Turks, the Parata dei Turchi of Potenza and Its Narration in 20th-Century Folkloric Descriptions." Oriente Moderno 101, no. 3 (December 28, 2021): 371–96. http://dx.doi.org/10.1163/22138617-12340268.
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Abstract The aim of the essay is to analyse the presence of Oriental characters in the patron saint’s Feast of San Gerardo, taking place in the city of Potenza on 29 May. After offering an insight into the integration of Oriental characters into Italian early modern culture, the paper will first focus on the ‘historicity’ of the Parata dei Turchi and its carnivalesque function. It will then move to the way in which the Turks were represented between the 19th and 20th centuries — that is, the period from which sources present it as an already long-established tradition — seeking to offer a contribution to the interpretation of the tradition of the parading of Turkish masks on the annual procession of San Gerardo.
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Valriu Llinàs, Caterina. "Les rondalles del tipus <i>The Wise Brothers</i> (ATU 655) i la seva projecció en tres obres de literatura culta." Zeitschrift für Katalanistik 35 (July 1, 2022): 155–80. http://dx.doi.org/10.46586/zfk.2022.155-180.
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Summary: The article analyses the relationship between folktales of the ATU 665 type such as The Wise Brothers, specifically between three Majorcan oral versions collected towards the end of the 19th century, and three works of learned written literature from different countries and periods: The Catalan novel Tirant lo Blanc by Joanot Martorell (15th c.), the French novel Zadig by Voltaire (18th c.) and the Italian novel Il nome della rosa by Umberto Eco (20th c.). From a narrative with the same origin in folklore, which develops a plot based on the hero’s extraordinary capacity for deductive reasoning and sensory perception, each writer inserts it into his work and uses it in a particular way with a specific purpose. The analysis shows that the structures, characters and plots in oral folktales can be highly effective from a communicative perspective when they are inserted into works of more learned written literature.Keywords: folk narrative, ATU 655 folktales, Tirant lo Blanc, Joanot Martorell, Zadig, Voltaire, Il nome della rosa, Umberto Eco
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TYMOFIEIEVA, Yulia. "TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA." 7, no. 7 (December 26, 2022): 86–107. http://dx.doi.org/10.26565/2521-6481-2022-7-05.
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The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant artists and puppeteers, begins its transition to most European national folk theaters and literature. Depending on the geography of the country, its national character traits and national stereotypes, Pulcinella changes his image, his name, his behavior, and language. However, what is the most important, each national puppet retains both external and internal features of their original predecessor, Pulcinella. Examples provided in the article prove that most of the national invariants of Pulcinella possess his main character trait, that is, a fight against injustice and fierce criticism of authorities. Such characters as the English Punch, the Dutch Pickelgering, the French Polychenelle and Guignol, the German and Austrian Hanswurth, the Spanish and Portuguese Don Cristobal, the Czech Kaszparek and the German Kasperle invariably pursue two main goals: to protect the wronged and to defeat the evil In each of the countries, the characters created on the prototype of Pulcinella, were warmly accepted by the public and became very popular, especially with common people. At the same time, they differed from the original with their national coloring; they became the mouthpiece of national character traits, national ethnic stereotypes. The article seconds the opinion of many literary scholars that the origins the marionette character of Pulcinella can be traced to the Italian folk theater hero of Maccus, mainly because Pulcinella adopts the features of that ancient character's appearance, such as an irregularly shaped head, a large hump on his back, a hooked nose, a large belly and lively shrewd eyes. With small changes and variations, these features of appearance are received not only by Pulcinella, but also by the numerous national invariants of this character in Europe. However, all these national invariants also preserve the typical traits of Pulcinella's character, such as cockiness, cunning, thirst for justice and victory in an argument. In the 19th century, the Pulcinella marionette ‘returns’ to Italy and transforms into the wooden puppet Pinocchio. Carlo Collodi’s novel becomes so popular that it is translated in many countries of the world, and the new characters modelled on Pinocchio, acquire national features, such as Zeppel Kern by the German writer Otto Julius Birbaum. This begins a new round of Pulcinella's influence on the world culture.
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Kubiček, Andrej. "Rasijalističko tumačenje „kriminaliteta Romaˮ Čezara Lombroza." Zbornik instituta za kriminološka i sociološka istraživanja XLI, no. 2/3 (December 23, 2022): 101–13. http://dx.doi.org/10.47152/ziksi2022037.
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Prejudices about Roma and their ancestors as delinquents are still present in various genres of racist narratives, from everyday speech, through media reports to political performances. Reading several works of the founder of criminology, Cesare Lombroso, reveals that an elaborate antigypsyist discourse was also present in scientific literature in the past. The analysis of this specific form of racism shows a wider ideological framework in which the fantasies about the Roma were shaped - as a dark reflection of the progress of the 19th century and the rise of the bourgeois class. The comparison of Lombroso's view of "Jewish" and "Gypsy" crime is of particular value, since it indicates the different genesis of the stigmas of these ethnic communities. An important segment of the work includes the analysis of the sources used by the Italian criminologist. The persistence of the content reproduced by this author points to the long-term influence of the social processes that shape them, regardless of the sources of ideological legitimization. The positivist phase of biological justification of such beliefs is only one segment of the history of Roma stigmatization.
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Toporkov, Andrey L. "“Dream of the Virgin” in Russian Handwritten and Folklore Traditions (17th – the Beginning of the 21st Century)." Studia Litterarum 8, no. 2 (2023): 268–87. http://dx.doi.org/10.22455/2500-4247-2023-8-2-268-287.
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“The Dream of the Virgin” is one of the most widespread Christian Apocrypha. It is known among many European peoples, mainly Orthodox and Catholic, namely Belarusians, Bulgarians, Bosnians, Gagauz, Greeks, Irish, Spaniards, Italians, Macedonians, Germans, Poles, Portuguese, Romanians, Russians, Serbs, Slovenes, Ukrainians, French, Croats, etc. The “Dream of the Virgin” is most widely represented in the folk traditions of Eastern, Southern, Central and Western Europe. Some countries have an old scholarly tradition of studying this plot. Such well-known philologists as Alexander Veselovsky in Russia and Bogdan Petriceicu Hasdeu in Romania wrote about it as early as the 19th century. In the 20th century, this text was studied a lot in Italy, Germany, Romania, Russia, etc. The article proposes a preliminary classification of the main genre versions of the “Dream of the Virgin” in Russian manuscript and folklore traditions.
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Sordo, Carlotta del, Massimo Fornasari, and Rebecca L. Orelli. "Power and Discipline: The Role of Accounting in the Monte di Pietà of Ravenna between 18th and 19th Centuries." International Journal of Business and Management 14, no. 7 (June 8, 2019): 93. http://dx.doi.org/10.5539/ijbm.v14n7p93.
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This paper aims to fill a gap in the scant literature on accounting practices in non-Anglo-Saxon countries in under- researched periods by exploring the Monte di Pietà of Ravenna, an Italian non-profit institution. The research draws upon original 18th and 19th century documents found in the Monte di Pietà of Ravenna and offers an internal perspective of the development of accounting technology before and after an ‘intacco’ episode, thus attempting to shed light on the significance of accounting in that context. The originality of the Ravenna episode, compared to other similar ones experienced by Monti, consists in its extension over time and in its recurrence by three generations of administrators linked by kinship bonds, who systematically damaged the Monte between 1797 and 1837. The new form of control of the Monte’s activities after the “intacco” based on accounting technologies, and realised a new relation between power and knowledge in which accounting was the tool to exercise disciplinary power, thus making people more governable. Accounting technologies relied upon a more articulated financial statement that included the institute’s transactions and events.
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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.
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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
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Yaremenko, L. "THE IMAGE OF ANTONIO SALIERI ACCORDING TO THE MEMORIES OF HIS CONTEMPORARY AND EPISTOLARY PUBLICISTIC LITERATURE." Philosophical Horizons, no. 47 (July 25, 2023): 29–38. http://dx.doi.org/10.33989/2075-1443.2023.47.282543.
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The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio Salieri – a musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high.
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Weber, José Ignacio. "Pluriculturalidad y creación artística italiana en Buenos Aires (Argentina, 1890-1910)." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1529. http://dx.doi.org/10.5944/signa.vol28.2019.25130.
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Buenos Aires a fines del siglo XIX y principios del XX se modelizó como una “Babel”; en respuesta a este modelo surgieron los sistemas de reglas de la estética nacionalista. El análisis de los topics de las letras de canciones compuestas por inmigrantes italianos muestra que vehiculizaron estructuras de sensibilidad asociadas a la italianidad. Entonces, el nacionalismo consideró estos textos como ajenos ―no creolizables―. Por ello, para comprender los efectos de este plexo textual de creación inmigrante no habría que indagar en las condiciones intrínsecas del texto artístico sino en su inadecuación al metatexto instructivo hegemónico nacionalista de la cultura.In the late 19th and early 20th Century Buenos Aires was modeled as “Babel”; in response to this model arose the systems of rules of nationalist aesthetics. The analysis of the topics of the lyrics of songs composed by Italian immigrants shows that they conveyed structures of sensitivity associated with Italianity. Consequently, the nationalism considered these texts as foreign ―not syncretizable―. Therefore, in order to understand the effects of this textual plexus of immigrant creation, one should not inquire into the intrinsic conditions of the artistic text, but rather in its inadequacy to the nationalist hegemonic instructive metatext of culture.
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Barisonzi, Michela. "Motherhood, sexuality and beauty in Gabriele D’Annunzio’s trilogy I romanzi della Rosa." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 10, 2017): 505–24. http://dx.doi.org/10.1177/0014585817698412.
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This article focuses on the themes of motherhood, beauty and desire in Gabriele D’Annunzio’s trilogy, I romanzi della Rosa, showing how these novels reflect upon 19th-century female sexuality and its portrayal through female beauty. These texts reveal the exhaustion of the Italian bourgeois stereotype of the fin-de-siècle woman as a devoted mother and a loyal wife, deprived of her sexual component. I examine how D’Annunzio’s trilogy explores the idea of female desire through common female stereotypes, especially the progressive negation of the figure of the devoted mother. In Il piacere, female desire surfaces through the theme of adultery and is critiqued through the changes in the physical portrayal of the female protagonist and in her relationship with her daughter. In L’innocente, female sexuality is depicted instead through the medicalization of the body of the adulterous mother, physically distorted by her pregnancy. Finally, Il trionfo della morte shows female sexuality through the death of the bourgeois mother, as the female protagonist is now physically sterile and her beauty rests in her imperfect and lifeless body.
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Maggioni, Lorenzo, and Alessandro Alessandrini. "The occurrence of Brassica montana Pourr. (Brassicaceae) in the Italian regions of Emilia-Romagna and Marche, and in the Republic of San Marino." Italian Botanist 7 (March 7, 2019): 1–16. http://dx.doi.org/10.3897/italianbotanist.7.31727.
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Brassicamontana Pourr., a wild relative of the Brassicaoleracea L. cole crops (broccoli, cabbage, cauliflower, etc.), deserves special attention for its potential to easily transfer agronomically useful traits to related crops. Monitoring existing B.montana populations is the first step to enabling long-term conservation and management of wild genetic resources. The main distribution area of B.montana extends along the coasts of the northern Mediterranean Sea from north-east Spain to north-west Italy (coast of Liguria and Apuan Alps in Tuscany). Further east and south, the distribution of B.montana is fragmentary, with isolated populations, in some cases, only observed in the 19th or early 20th century and never re-confirmed later. In this paper, we focus on all the B.montana reports for the Italian regions of Emilia-Romagna and Marche, and additionally for the neighbouring Republic of San Marino. Literature records were verified through field visits where possible. According to our analysis, the presence of B.montana is confirmed in the Marche and the Republic of San Marino, but not in Emilia-Romagna. We recommend further studies on the distribution of B.montana in Italy, also applying molecular means, beyond morphology, to distinguish B.montana from naturalized B.oleracea and other related taxa.
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Rusteikaitė, Ieva. "Elegant and Practical: Bindings of Books Printed in the Middle of 16th and the First Half of the 17th Centuries in Italy and the Polish–Lithuanian Commonwealth in the Library of Vilnius Jesuit Academy." Knygotyra 80 (July 18, 2023): 228–62. http://dx.doi.org/10.15388/knygotyra.2023.80.130.
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In the early modern period, the relentless growth in the copies of printed books and the increasing competition between craftsmen meant that, since the invention of Gutenberg until the 19th century, European bookbinders were forced to look for cheaper and quicker binding techniques. Based on this assumption, the article focuses on some of the bindings of books printed from the middle of the 16th until the middle of the 17th century which belonged to the library of Vilnius Jesuit Academy. This study is part of a broader research on the bindings of the Vilnius Jesuit Academy Library, and the article is limited to two groups of sources: books printed in Italy and books printed in the Kingdom of Poland and the Grand Duchy of Lithuania (Polish–Lithuanian Commonwealth). The historical bindings are discussed by following the approach targeting the field of decorative arts and material culture studies, which is also well known as the ‘archaeology’ of the book or the bookbinding. It focuses not only on the decorative features of the cover of the book, but also on the structural features of the bindings which reveal comprehensively the work of the craftsmen of the past. This method of analysis is particularly useful for discussing not only decorated but also undecorated bindings which have so far received very limited attention in the research of the old Lithuanian book. As a result, the research revealed that the modest parchment bindings form nearly a half of all the examined bindings of the collection, and confirm the practical rather than the representational aspect of the Jesuit Library. According to the complexity of the technical execution and the number of operations involved in the process of binding, five binding techniques have been distinguished, ranging from the most complex to the simplest bindings, closely related with a retail bindings. What is more, a consistent number of parchment bindings are denoted by structural features, which is close to the Italian bookbinding tradition. The predominance of the latter in the group of Italian prints makes it possible to consider the possibility of already bound books entering the library of Vilnius Jesuit Academy. Moreover, the research has revealed certain binding features linked to the bookbinding traditions in Italy and the Polish–Lithuanian Commonwealth.
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Saktorová, Helena. "Zemepisná a cestopisná literatúra v šľachtickej knižnici Zičiovcov vo Voderadoch." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 1-2 (2022): 30–36. http://dx.doi.org/10.37520/amnpsc.2022.005.
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The Slovak National Archives in Bratislava contain a large manuscript catalogue of an extensive book collection formerly located in one of the numerous residences of the branched aristocratic family Ziči, namely in Voderady near Trnava. The manuscript catalogue, entitled Catalogus Librorum Bibliothecae Vedrodiensis 1894 [A Catalogue of the Books of the Voderady Library 1894], presents a library which, according to information from the 19th century, contained about 12,000 volumes. In the catalogue, the books are divided into 19 thematic groups: theological works and prayer books, linguistic publications, dictionaries and manuals, periodicals, works on arts and crafts, Hungarian novels and short stories, German and Italian novels and short stories, French novels and short stories, English novels and short stories, the works of literature of other European and domestic provenance as well as ancient classics in various editions, memoirs, historical works, geographical literature and travelogues, natural-science publications, works on sports, specialised works on horse breeding, works on economy, legal and political works, and prints referred to as special works. This paper focuses on the thirteenth thematic group of the Voderady library, namely geographical literature and travelogues (Földrajz, Útleírás). This has been motivated by the fact that members of the Ziči family, the owners of the Voderady residence Jozef Ziči (1841–1924) and his brother Augustín (1852–1925), enjoyed not only travelling around Europe but also exploring distant exotic lands. Consequently, this group contains 717 registered titles, forming the largest group of the Voderady library. The presented literature in Hungarian, French, English and German comprises a wide range of works including travelogues, atlases and maps, tourist guides, manuals and professional geographical publications of both domestic and foreign provenance.
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Jan Nelken. "The Polish Criminological Thought from the Close of the 19th Century till 1939." Archives of Criminology, no. XIII (October 21, 1986): 223–60. http://dx.doi.org/10.7420/ak1986e.
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Both the anthropological school of Lombroso, established in the late half of the 19th century, and the sociological school established by Ferri and other criminologists ( Liszt, Prins, van Hammel, Tarde) met with a keen interest in Poland. However, the anthropological school was criticized, as it was the case in other countries too, both by the classical school of penal law, and from the sociological point of view. A critical analysis of the views of Lombroso and his successors was made by the leading representative of the classical school of penal law in Poland in those days Krzymuski who postulated that recognition of the individual’s free will to be condition of his penal liability, Krzymuski opposed free will to be conception of a born criminal propagated by Lombroso. Lombroso’s theory was also criticized by Krzywicki, a sociologist and anthropologist who considered the former’s approach towards the conditions of crime to be too narrow, leaving out of account those resulting from the social and economic conditions. On the other hand, Polish criminologists considered it to be Lombroso’s unquestionable merit that he had called attention to the necessity of studying the offender's personality, and in this way initiated the modern criminology. Opinions of various sociological schools were discussed in the Polish literature and accepted by the majority of authors starting from the close of the 19th century. In particular, the most accepted one was the opinion that offence is a result of both individual and social factors, and the aim of punishment meted out by the court should be not only to deter. the perpetrator from committing offences, but also to reeducate him. Due to the fact that in the 19th-centuiy judicial practice the sentence depended on the extent of damage caused by the offender, it was emphasized in the Polish literature that punishment should take into consideration also the offender's individual features, as it is only then that it can fulfil its tasks (Stebelski). With the accepted division of offenders into professional and causal, the fact was stressed that - if the offender reveals a tendency to relapse into crime- the measures the society applies towards him should be more drastic since the society has to defend itself against incorrigible criminals in an effective way. Instead, more lenient measures should be applied towards causal offenders, such measures being sufficient for their reeducation. In the period between the two world wars, criminology in Poland became a separate branch and extended its range; the establishment of the Polish Criminological Society in 1921 and of the Department of Criminology at the Free Polish University in 1922, later (I932) transformed into the Criminological Institute, contributed to this situation. The Polish criminology of that period faced the task of studying and defining in detail the basic factors of crime: individual (endogenous) and social (exogenous). This was related to the necessity to learn about the sources of crime with the aim of its effective control by means of preparing a Penal Code and properly shaping the criminal policy (Wróblewski). When studying the individual factors of crime, particular attention was paid to the psychopathic personality. Criminal psychopaths were believed to suffer from a pathological moral defect resulting from their underdevelopment in the sphere of emotions. It was stated that psychopaths who committed an offence should not be recognized as mentally irresponsible (Nelken). Psychopathy cannot be treated psychiatrically; on the other hand, intensified resocialization of the offender is necessary here, conditions for this treatment created during his prison term. At the same time, an adequate segregation of prisoners should be applied based on the psychopathological criterion (Łuniewski). The science of the offender's personality was called criminal biology; it dealt with the physical and mental structure of the offender. Criminal biology was to make use of the general anthropological, psychological and psychiatric data as well as those gathered by means of other clinical methods. Aimed at gathering comprehensive data concerning the whole of the offender’s mental and physical properties, criminal biology should not confine itself to a mere specification of his various traits: it should also study their origin, methodically examining the development of these properties in the milieu in which the offender’s personality was formed. Thus the criminal-biological research must be made from the psychological and medical as well as sociological points of view. Particular importance was attached to detailed environmental research in the study of juvenile delinquents (Batawia). In the early Thirties, the Ministry of Justice initiated criminological- biological research in prisons. The research was carried out by special commissions with the use of a specially prepared comprehensive questionnaire . The greatest part was played by psychiatric and psychological examination. The criminal-biological research in prisons was interrupted by the outbreak of the war. In connection with the criminogenic role of alcoholism, criminologists spoke for a considerable reduction of production and sale of spirits. Moreover, an opinion was expressed that a commission of an offence in the state of a normal (the so-called physiological) intoxication should not result in the recognition of the offender as mentally irresponsible. Only pathological intoxication may be considered from the point of view of irrespossibility. The offender should not avail himself of his intoxication as a mitigating circumstance (Nelken). The scientists opposed the introduction of compulsory sterilization which was to be applied toward persons whose children could inherit serious pathological traits from them. The opposition had both scientific and humanistic grounds (Łuniewski, Nelken). Compulsory sterilization was not introduced. The main trend of the Polish criminology in the period between the wars corresponded with the sociological school which took into account the relationship between the endogenous (biological) and the exogenous (social) factors in the origins of crime. A vast majority of Polish criminologists opposed the conception of a “born criminal” put forward by Lombroso. Some of the Polish scholars of the period between the wars who used the term “criminal anthropology” (e.g. Rabinowicz), emphasized the evolution of this science which differed from the Lombroso’s doctrine, and postulated the social milieu as a factor be largely taken into consideration in the studies on the causes of crime. In the Polish criminology of those days, the stress was laid principally on criminal biology due to the fact that the internal factor is usually less conspicuous and more difficult to prove than the external one in the etiology of crime. It was emphasized that not all of persons who found themselves in unfavourable social conditions turned offenders (Neymark, Lemkin); therefore, the biological (somato psychological) factor determines the individual’s moral resistance to the unfavourable external conditions. On the other hand, also the social factor, in addition to the biological one, was included in the causes of crime, due to the considerable impact of living conditions on the human mind. The opinion was that - though the etiology of an offence is usually determined by a combination of the external and internal factors - in each case one should attempt to find out which of these factors prevailed in the origin of a given act; this should also be taken into account in the criminological prognosis. In general, the chance for correction is smaller in the case of an offender of the endogenous type who requires a more thorough and longer resocialization as compared with one of the exogenous type; this should be taken into account by the court when meting out punishment (Rabinowicz, Lemkin). The Polish Penal Code of 1932 (in force till 1969) was an expression of the compromise between the classical school of penal law and the sociological school. In the code, many legal structures included in the General Part were formulated in accordance with the achievements of the science of penal law in its classical form; this concerns particularly the definition or the essence of crime and the principles of liability including that of subjectivism as responsibility for a culpable act. A compromising character was given in the code to meting out punishment which was conditioned not only by the weight of the offence according to the classical principle of retribution and deterrence, but also by the offender's personality and the life he had led hitherto according to the instructions of the sociological school (Art. 54). The discussed code did not adopt from the Italian positivism the so-called ante-criminal prevention, i.e.. the application of sanctions towards an individual who has not committed any prohibited act yet. Also indeterminate sentences were not adopted in the Code in relation to penalties and not protective measures, as this would be contradictory to the principle of individualization of punishment. Under the influence of the sociological school the Code contained of a possibility of suspension of ęxceution of the penalty, and of its extraordinary rnitigation, as well as the release from prison before the expiration of term (separately regulated by the law of 1927-) and a possibility to mete out a more severe penalty in the case of recidivists. In addition to the medical security measures, which consisted in the commitment of the offender to a mental hospital and which the court could apply towards the persons guilty of acts committed in the state of mental irresponsibility or decreased responsibility, the code introduced - basing on the postulates of the sociological school-isolating security measures applied towards the offenders whose acts were connected with reluctance to work, and towards recidivists and professional as well as habitual criminals if their staying at liberty endangered the legal order. The isolating security measures were applied together with the penalty (not instead of it), the necessity of their application connected with the ‘’ state of danger", i.e. the perpetrator's probability of commission of further offences; in the criminological literature, subjective and state of objective criteria of the danger were distinguished (Strasman). According to Art. 84 of the Penal Code, offenders of this type were committed to a special institution for at least 5 years, and the court decided after the termination of each such period whether it was necessary to prolong the commitment for the next five years. In the Penal Code of 1932, also the measures applied towards juvenile delinquents were divided into educational measures on the one hand, and commitment to a corrective institution on the other hand, depending on the juvenile's age and of his possible discernment or lack there of when committing the forbiden act.
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Popov, D. "Дэниэлс Р., О’Коннор А., Тыч К. Итальянские материальные культуры." Studia Culturae, no. 55 (June 30, 2023): 203. http://dx.doi.org/10.31312/2310-1245-2023-55-203-241.
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<p>The translation presents excerpts from an article published in Italian Studies, the largest scientific journal devoted exclusively to the study of Italian culture in English and Italian. The article explores contemporary approaches to the study of the material environment and materiality, in particular — as applied to the study of Italian culture. Interest in the problem of materiality in the English-speaking research environment is largely associated with the spread of actor-network theory and the revision of the ontological status of things in culture. At the same time, other approaches are not excluded, leaving the field of material culture studies as an interdisciplinary space. Several trends can be identified in studies of the materiality of Italian culture. The first branch is connected with the concept of “consumption” and the analysis of various goods in their economic and symbolic dimensions. To a large extent, studies of consumer culture focus on studies of the culture of the Renaissance, on the assumption that it was at that time that the patterns and symbolic practices of this cultural phenomenon were conceived. The article includes a practical study of this topic based on the analysis of the artifacts of pharmacies of the Renaissance. Another significant area is the study of books and literature. In the English-speaking environment, in contrast to the Italian and Russian academic tradition, philology as a scientific discipline is not widely spread, and specialists from other areas are also engaged in text research. In addition to textual analysis, contemporary research focuses heavily on the materiality of the book itself — the study of materials, their origins, migration, the techniques required to process them. Various combinations of distinctive features of the books, among other things, formed readers' ideas about the significance of certain cultural characters and events. At the same time, Dante, Petrarch and Bocaccio still remain the central figures of research, which is largely due to the active funding of these studies, including those from the Italian state. Another large and less specialized branch of research is connected with the symbolic dimension of material objects. The article gives an example of such work on the study of the dynamics of the appearance, transformation and migration of the monuments of Dante Alighieri, which since the middle of the 19th century occupied a central place in the squares, acting as a symbol of the new united state, and over time began to lose their place as the center of the material environment of Italian cities, and in the symbolic space of Italian culture. The proposed methodologies should be considered as possible ways of working in the interdisciplinary space of materiality studies, which open up great opportunities in the study and understanding of Italian culture.</p>The translation was made according to the publication: Daniels R., O’Connor A., Tycz K. “Italian material cultures”, <em>Italian Studies</em>, <em>2020</em>, <em>no. 2</em>: 155–175. URL: <a href="https://doi.org/10.1080/00751634.2020.1750272" target="_blank">https://doi.org/10.1080/00751634.2020.1750272</a>
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Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 4, 2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.
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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Neapolitan dialect three of Pirandello’s plays: La patente (1924), Pensaci, Giacomino! (1933), and Bellavita (1943). The analysis of this relationship dwells not only on the novel and effective linguistic operation carried out by Viviani compared with the original texts (in the case of transpositions/rewritings), but also draws attention to the system of characters in Viviani’s theater that have a Pirandellian origin, such as Don Mario Augurio (from the play by the same name) and Giovanni Scardino ( Fuori l’autore). Moreover, the article examines Viviani’s interest in Eduardo Scarpetta; in 1940, Viviani staged Scarpetta’s indisputable masterpiece, Miseria e nobiltà. Finally, the article considers Viviani’s relationship with Eduardo and Peppino De Filippo. The unusual relationship Viviani had with Eduardo De Filippo, a kind of ‘relationship/non-relationship’ that had its basis in the different poetic choices of the two men, is analysed.