Relevant bibliographies by topics / Laterza, Giovanni

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Laterza, Giovanni'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Laterza, Giovanni"

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Casas, Santiago. "Alberto Melloni, Pacem in terris. Storia dell’ultima enciclica di Papa Giovanni, Editori Laterza, Roma-Bari 2010, 229 pp." Anuario de Historia de la Iglesia 21 (July 17, 2015): 600. http://dx.doi.org/10.15581/007.21.2376.

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Moorman, John R. H. "Papa Giovanni. Edited by Giuseppe Alberigo. Pp. viii + 283. Rome–Bari: Editori Laterza, 1987. L. 32,000. 88 420 2899 1." Journal of Ecclesiastical History 39, no. 4 (October 1988): 641. http://dx.doi.org/10.1017/s0022046900041087.

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García-Moreno, Antonio. "Adriana Destro - Mauro Pesce, Come nasce una religione: antropologia ed esegesi del Vangelo di Giovanni, Ed. Laterza, Roma-Bari 2000, 207 pp., 14 x 21, ISBN 8842059625." Scripta Theologica 33, no. 1 (November 7, 2017): 302. http://dx.doi.org/10.15581/006.33.12886.

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La Penna, Daniela. "Fabio Fernando Rizi. ‘Coraggio nel presente e fiducia nell’avvenire’: Politica e cultura sotto il fascismo nel carteggio tra Benedetto Croce e Giovanni Laterza dal 1925 al 1943." Quaderni d'italianistica 42, no. 2 (November 28, 2022): 333–35. http://dx.doi.org/10.33137/q.i..v42i2.39714.

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Romero-Balmas, Gregorio Núñez. "Giorgio Mori, Luigi De Rosa, Giuseppe Galasso, Valerio Castronovo y Giovanni Zanetti (eds.) (1992–1994): Storia dell'industria elettrica in Italia. Roma-Bari, Laterza, 5 vols. en 6 tomos." Revista de Historia Económica / Journal of Iberian and Latin American Economic History 15, no. 2 (September 1997): 446–52. http://dx.doi.org/10.1017/s0212610900006637.

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Coglitore, Mario. "Le Poste in Italia, 1. Alle origini del servizio pubblico. 1861–1889 Giovanni Paoloni (Ed.) Rome–Bari, Laterza, 2005 342 pp., pbk, ISBN: 8 8420749 7 7 (€25)." Modern Italy 11, no. 2 (June 2006): 228–30. http://dx.doi.org/10.1017/s1353294400009297.

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Cardoza, Anthony L. "Book ReviewsStoria d'Italia. Volume 1: Le premesse dell'unità: Dalla fine del settecento al 1861. By Romano Paolo Coppini, Antonino De Francesco, Marco Meriggi, and Guido Pescosolido4. Storia e societa`. Edited by, Giovanni Sabbatucci and Vittorio Vidotto. Rome: Laterza, 1994. Pp. xvi1530.Storia d'Italia. Volume 2: Il nuovo stato e la societa civile, 1861–1887.By Fulvio Cammarano, Enrico Decleva, Giovanni Montroni, Guido Pescosolido, and Bruno Tobia. Storia e societa. Edited by, Giovanni Sabbatucci and Vittorio Vidotto. Rome: Laterza, 1995. Pp. xi+644." Journal of Modern History 70, no. 1 (March 1998): 207–10. http://dx.doi.org/10.1086/235042.

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Chadwick, Henry. "A History of Gnosticis. By Giovanni Filoramo. Filoramo. (Trans. Anthony Alcock of L'attesa delta fine. Storia della gnosi. Rome: Laterza.) Pp. xxii + 269. Oxford: Basil Blackwell, 1990. £ 29·95. 0631157565 7." Journal of Ecclesiastical History 42, no. 4 (October 1991): 660–61. http://dx.doi.org/10.1017/s0022046900000725.

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SHEA, WILLIAM R. "RAFFAELLA SIMILI and GIOVANNI PAOLONI (eds.), Per una storia del Consiglio Nazionale delle Ricerche. Rome, Edizioni Laterza, 2001. 2 vols. XI+668 and XI+876 pages. Price: € 36,15 per volume. ISBN 88-420-5929-3 and 88-420-6225-1." Nuncius 17, no. 1 (January 1, 2002): 384–85. http://dx.doi.org/10.1163/221058702x00850.

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Piolanti, Nicola, Simone Polloni, Enrico Bonicoli, Michele Giuntoli, Michelangelo Scaglione, and Pier Indelli. "Giovanni Alfonso Borelli: The Precursor of Medial Pivot Concept in Knee Biomechanics." Joints 06, no. 03 (September 2018): 167–72. http://dx.doi.org/10.1055/s-0038-1675164.

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AbstractA new philosophy of science and medicine had spread throughout the 17th-century Italy: the “Scientific Revolution.” Giovanni Alfonso Borelli (1608–1679) was one of the most charismatic and brilliant scientists of his generation in Europe. He extended to biology the rigorous analytic methods developed by his indirect mentor Galileo in the field of mechanics. In his masterpiece “De Motu Animalium,” Borelli analyzed structure, motion, balance, and forces concerning almost all the principal joints of the human body, in static and dynamic situations. In particular, he accurately studied the anatomy and biomechanics of the knee joint. He sustained that femoral condyles shift backward during flexion, allowing a wider range of movement. Furthermore, he observed that, when the knee flexes, the lateral condyle moves backward more than the medial condyle: this concept is nowadays known as medial pivoting. The aim of this article is to describe the life and work of this important Italian scientist and to present his unrecognized contribution to modern knee biomechanics.
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Dissertations / Theses on the topic "Laterza, Giovanni"

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Bestaggini, Antonella. "The theme of palingenesis in the Italian fin-de-siecle : Schopenhauer, Wagner, Nietzsche and the later works of Giovanni Segantini (1886-1899)." Thesis, Oxford Brookes University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389344.

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This thesis reconsiders the late pictorial production of Giovanni Segantini (1858-1899) in the wider philosophical and cultural context of fin-de-siecle Italy. Its primary aims are: first, to re-evaluate the artist's involvement with the philosophy of Friedrich Nietzsche (1844-1900); second, to offer an interpretation of the intellectual concerns which informed Segantini's adoption of a divisionist technique for the articulation of Symbolist aesthetics in his later work; third, to demonstrate the central role played by the myth of rebirth (palingenetic myth) in informing the cultural climate of the fin-de-siecle. Evidence suggests that rather than being predominantly characterized by a set of pessimistic and decadent trends, the Italian fin-desiecle was permeated by a widespread concern with regeneration. During the 1870s the absorption of Richard Wagner's ideas into the Italian cultural arena can be seen as one of the earliest and most significant manifestations of such concern; Wagner's theories of cultural regeneration threw into relief the country's necessity for a national identity. Thus Chapter One offers a brief consideration of the ways in which Wagner's project for fostering the cultural unification of Germany through the power of myth and art came to have profound resonances both in the political and intellectual spheres of post-Risorgimento Italy. Chapter Two then considers the pivotal role played by the poet and political activist Gabriele D' Annunzio (1863-1938) in tailoring Nietzschean and Wagnerian notions of cultural regeneration to the peculiar context of the Italian tln-de-siecle with a view to embodying and engendering the archetypal homines noviwho would provide the catalyst for Italy's rebirth. Chapter Three moves on to tracing the dissemination of palingenetic discourse within the Positivist climate of turn-of-the-century Italy, and considers in comparative terms the regenerating ambitions which underpinned both the Positivist and Modernist paradigms. Chapter Four considers the emergence of Italian Divisionism in the context of the contemporary philosophical and cultural trends discussed in the preceding chapters. It also investigates Vittore Grubicy's theorization of 'musical Ideism' as a pictorial correlative to the Schopenhauerian assertion of the primacy of music over all the other arts. The chapter ends with a consideration of Divisionism in relation to the notions of artistic and scientific 'truth', and the role played by Nietzschean philosophy in determining a crisis of the principle of truth. Chapter Five explores in detail the divergence of opinion between Segantini and his mentor Vittore Grubicy over the capacity for tangible elements of the material world to function as symbols of 'the Idea', and suggests that Segantini's use of technique to render the visibility of the idea was informed by his reading of Nietzsche. The chapter concludes with an interpretation of Segantini's last works as embodiments of his Nietzschean ethic and aesthetic of this-worldly transcendence.
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Books on the topic "Laterza, Giovanni"

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Cattani, Riccardo. Saint John Lateran, Patriarchal Basilica. Assisi: Editrice TAU, 2003.

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Soro, Maddalena. Quegli occhi che urlavano: Giovanni Nuvòli : la malattia, la scelta. Sassari: C. Delfino, 2011.

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Die Lateran-Kapelle von 1599 bis 1650. Laaber: Laaber-Verlag, 2008.

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Luciani, Roberto. The Lateran Complex: Basilica, Apostolic Palace, Holy Staircase. Roma: Prospettive, 2011.

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Freiberg, Jack. The Lateran in 1600: Christian concord in Counter-Reformation Rome. Cambridge: Cambridge University Press, 1995.

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Rileggere il Laterano antico (2018 Presidio Ospedaliero San Giovanni, Rome, Italy). Atti del Convegno Rileggere il Laterano antico: Il rilevo 3D dell'Ospedale San Giovanni - work in progress : 29 novembre 2018 - Sala Folchi, Presidio Ospedaliero San Giovanni = Proceedings of the Conference Reassessing the ancient Lateran : the 3D survey of the San Giovanni Hospital - work in progress : November 29, 2018 - Folchi Room, Addolorata Hospital Unit. Sesto Fiorentino (FI): All'insegna del giglio, 2020.

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Bestaggini, Antonella. The theme of palingenesis in the Italian fin-de-siecle: Schopenhauer, Wagner, Nietzsche and the later works of Giovanni Segantini (1886-1899). Oxford: Oxford Brookes University, 1997.

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Corsani, Gabriele, and Marco Bini, eds. La Facoltà di Architettura di Firenze fra tradizione e cambiamento. Florence: Firenze University Press, 2007. http://dx.doi.org/10.36253/978-88-8453-416-3.

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The volume comprises the proceedings of the study days in the Faculty of Architecture (29-30 April 2004) broken down into four thematic sections: The original characteristics of the Florentine school, From Higher School to Faculty, the Florentine school and the contributions from outside, Contemporary metamorphoses. The contributions focus the phases of formation and evolution of the Higher School (1926) and later Faculty (1936) of Architecture, underlining the most significant passages, starting from the initial consolidation of the didactic structure and the emergence of a "Florentine school" characterised by the two strands traceable to Raffaello Fanoni and Giovanni Michelucci. A parallel experience is provided by the contribution of the external teachers, in particular of the Roman school, with lively and at times conflicting approaches. The present situation, albeit with the necessary disciplinary dialectic, features a settlement of the divergences around themes of the relations between architecture, environment and landscape.
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Lateran Church and the Ark of the Covenant. Boydell & Brewer, Limited, 2019.

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Giovanni Balducci. And the Rediscovered Predella for the papal High Altar in Saint John the Lateran. Centro Di, 2020.

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Book chapters on the topic "Laterza, Giovanni"

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Morelli, Laura. "I ritratti di uomini illustri degli Uffizi dipinti da Carlo Ventura Sacconi, Giovanni Pietro Pollini e Giovanni Berti." In Studi e saggi, 241–67. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.13.

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Documentary investigations conducted at the Florence State Archives contributed to shed light on eighteenth-century efforts to develop the collection of the Uomini Illustri portraits, exhibited along the walls of the Uffizi Gallery. While the original body of works had been commissioned by granduke Cosimo I to Cristofano di Papi dell’Altissimo, who had copied the series held by Paolo Giovio in his villa in Como, the Florentine collection was later enriched by a massive supply of portraits between 1719 and 1733. The desire to complete the Uffizi ‘gioviana’ series was probably due to Anna Maria Luisa de’ Medici and the artist who followed in Cristofano dell’Altissimo’s footsteps should be identified in Carlo Ventura Sacconi (1676-1762), who painted 159 portraits of illustrious men. Between 1721 and 1727 the painter also completed the so-called ‘serie Aulica’, which was displayed – just like the ‘gioviana’ series – in the corridors of the Florentine Gallery.
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Jeune, Bernard, and Michel Poulain. "Emma Morano – 117 Years and 137 Days." In Demographic Research Monographs, 257–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49970-9_18.

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AbstractEmma Morano was born on 29 November 1899 in a small mountain village in Piemonte, and died on 15 April 2017 in Verbania on Lake Maggiore (100 km north of Milano). She was the daughter of Giovanni Morano, a miner; and Mathilde Bresciani, aged 24, a weaver. She was the first child in the family, and her arrival was followed by the births of seven siblings, four sisters and three brothers, all of whom she all survived. On 16 October 1926, Emma Morano married Giovanni Martinuzzi, but they separated a few years later after the death of their child. For more than 30 years, she worked in a jute factory. She then worked for about 20 years in the kitchen of a Marianist boarding school until she retired at the age of 75. After retirement, she lived in a small two-room apartment. In her final years, her hearing and sight were greatly reduced, but she could recognise faces and could communicate when spoken to loudly. She seemed to remember both past events and more recent ones. She had never been hospitalised, but had been treated for gastrointestinal bleeding and for urinary infections. She took no drugs regularly except laxatives. In the archives of four municipalities in the region, we obtained copies of the death certificates of her parents, the birth certificates of all of her siblings, her marriage certificate, and the birth and death certificates of her child. We found no inconsistences in the documents.
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De Gregorio, Mario. "«Un arancio in gennaio». La Vita del beato Giovanni Colombini di Feo Belcari da racconto agiografico a testo di lingua." In Le vestigia dei gesuati, 117–31. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.10.

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Composed between 1448 and 1449, the Vita del beato Giovanni Colombini by Feo Belcari was printed for the first time in 1477 and was destined to growing publishing success over the following centuries both as an independent text and in miscellany dedicated to the blessed. It will be the third edition of the Accademia della Crusca Vocabolario, published in 1691, to increase its affirmation by admitting the entire poetic and prose work of Belcari among the privileged references for the Tuscan vernacular and the Italian language. A recognition that will lead to a Veronese edition of the work in 1817, edited by authoritative scholars of Italian humanistic literature, which will condition many reprints of the work during the first half of the nineteenth century and which will persist even later, when it will be included in series very different, between religious and linguistic / literary interests.
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Badolato, Nicola. "Armidoro, Oristeo e altri principi giardinieri sulle scene dell’opera veneziana nel Seicento." In Studi e saggi, 301–25. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.19.

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The subject of aprince dressing as a gardener to approach his beloved is dear to the European theatrical tradition: the model of Don Duardos by Gil Vicente (1562), reprinted in El rincipe viñador by Luis Vélez de Guevara (1668), is also used in French theatre, which proposes a variation in Le Prince déguisé by Georges de Scudery (1636), partly based on the novel Grisel y Mirabella by Juan de Flores (1524). This subject was later integrated into 17th century Italian theatre, starting with Venetian opera. This essay analyses in particular some works produced in Venice in the middle of the century, starting with Il prencipe giardiniero by Benedetto Ferrari (1644), whose subject anticipates first L’Oristeo (1651) by Giovanni Faustini and Francesco Cavalli, and Laurindo by Gio. Andrea Moniglia, written in 1657 and printed as Il principe giardiniere under the name of Giacinto Andrea Cicognini starting from 1664.
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Duffy, Enda, and Maurizia Boscagli. "Giovanni Pastrone’s Cabiria, Gesture, Modernism." In A Modernist Cinema, 14–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199379453.003.0002.

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Giovanni Pastrone’s epic Cabiria—not least because of its most famous technical innovation, the tracking or “Cabiria shot”—is a film preoccupied by gesture. In Cabiria the stylizations of human movement are central to the film’s establishment of a modernist vision of Italy in the context of an increasing technological interest in the analysis of human movement. Where modernism across all genres attends to gesture, from Edgar Degas’s dancers to the gait of Virginia Woolf’s Mrs. Dalloway, Cabiria does so with a modernist technology of the gaze that is now able to represent gesture in “real time.” Cabiria—which introduced both the lateral movement of the camera and the gesture later adopted by Benito Mussolini as the fascist salute—explores how such gestures situate the historical subject, and the historical crowd, in relationship to structures of political power.
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"Chapter Four. Legatus A Latere." In Angelus Pacis: The Legation of Cardinal Giovanni Gaetano Orsini, 1326-1334, 65–88. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004153936.i-249.9.

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Sinykin, Dan. "Conclusion." In American Literature and the Long Downturn, 149–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852704.003.0007.

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Giovanni Arrighi ends The Long Twentieth Century with a vision of “capitalism burning up humanity ‘in the horrors (or glories) of…escalating violence’” (Chakrabarty 200). This is a tidy summary of the worldview shared by the texts studied in this book. Thirteen years later, in Adam Smith in Beijing...
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Barelli, Lia. "Examples of Medieval Construction Techniques in the Basilica of San Giovanni in Laterano." In The Basilica of Saint John Lateran to 1600, 250–75. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108885096.013.

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Rigobon, Patrizio. "L’insegnamento del catalano a Venezia, storia di una consolidata incertezza." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/015.

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Catalan has been taught at the University of Venice since 1974 when it was established through a reformation of the range of options previously in force. Giovanni Battista De Cesare was actually the first teacher of Catalan, even though in earlier decades at least two former professors of Spanish language and literature were also familiar with Catalan culture: Marco Antonio Canini (1822-91) and Giovanni Maria Bertini (1900-95). Catalan was offered once again two years later (in 1976) with a more fortunate new start. Carlos Romero Muñoz taught Catalan in Venice from that date until 1998-1999 and helped to make the study of Catalan in Venice less precarious. Following the Bologna process, at the beginning of the new millennium, the Italian degree-courses were adapted to the new cycles, which created some problems for the teaching of Catalan in Italian universities. Despite all that, Catalan is still alive and kicking, and has stalwartly borne itself up against both the competition of the most widely-spoken European languages and the laws for the reformation of the university system.
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Claussen, Peter Cornelius. "The Remodelling of San Giovanni in Laterano by Pope Nicholas IV: Transept, Apse and Façade." In The Basilica of Saint John Lateran to 1600, 318–44. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108885096.016.

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Conference papers on the topic "Laterza, Giovanni"

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Boido, Cristina. "Il disegno della città ideale: Cosmopolis." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11465.

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The representations of the ideal town: CosmopolisIn 1548, under the Florentine lordship of the Medici, Charles V gave Cosimo I de 'Medici the task of defending the territories of Elba and the commercial traffic of the Tyrrhenian Sea. The Duke, who strongly believed in the potential of the island and wanted to transform it into the center of Florentine rule over the Tyrrhenian, decided to fortify the ancient city of Ferraia, the current Portoferraio. A real jewel of military town planning that took the name of Cosmopolis was born by the architect Giovanni Battista Bellucci and by the engineer Giovanni Camerini. Thanks to its natural conformation, the gulf of Portoferraio protected on one side a strip of land that closes the port like a spiral, and on the other hand protected by two rocky headlands overlooking the sea, was extremely strategic and suitable for defense. Fort Stella and Fort Falcone were built in the upper part of the promontory and the Linguella tower, near the dock, all connected by a bastion wall. Later the defense was further strengthened by walls and ramparts also on the land front side according to the project of the architect Bernardo Buontalenti, transforming the city into an impregnable fortress, as well as a safe naval base. The study of urban representations of the city testifies to how the foundation of Cosmopolis for the Medici duchy was an event of extraordinary value, symbol of the strength of the Duke and his expansive abilities, symbol of an ideal city not only conceived and designed in contemporary treatises, but actually made.
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