Relevant bibliographies by topics / Lucca (Italy) History Sources

Academic literature on the topic 'Lucca (Italy) History Sources'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Lucca (Italy) History Sources"

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Baldassarri, Monica, Gildo de Holanda Cavalcanti, Marco Ferretti, Astrik Gorghinian, Emanuela Grifoni, Stefano Legnaioli, Giulia Lorenzetti, et al. "X-Ray Fluorescence Analysis of XII–XIV Century Italian Gold Coins." Journal of Archaeology 2014 (October 8, 2014): 1–6. http://dx.doi.org/10.1155/2014/519218.

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An extensive analytical study has been performed on a large number of gold coins (Norman-Swabian Augustale and Tarì, Grosso of Lucca, Florin of Florence) minted in Italy from the end of XII century to XIV century. The X-ray fluorescence (XRF) technique was used for verifying the composition of the coins. XRF is a nondestructive technique particularly suited for in situ quantitative analysis of gold and minor elements in the precious alloy. The Florins turned out to have a gold content very close to 24 carats (pure gold) although in a couple of cases we observed relatively high concentrations of iron (around 2%) or lead (around 1%). The Grosso of Lucca has a similar composition, with a measured gold content around 97% due to a higher silver percentage (about 2%), with respect to the average Florin. The Augustali analyzed showed, on average, a gold content around 89%. The average gold content of the Tarì analysed is around 72%, with a relatively large variability. The analysis revealed the use of native gold for the coinage of the Florins, excluding the possibility of recycling gold coming from other sources. On the other hand, the variability observed in the compositions of the Tarì and Augustali could suggest the reuse of Islamic and North African gold. The study could shed some light on the sudden diffusion of gold coins in Italy around the first half of XIII century, allowing hypotheses on the provenience of the gold used for a coinage that dominated the economic trades from then on.
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Franceschi, Franco. "Big Business for Firms and States: Silk Manufacturing in Renaissance Italy." Business History Review 94, no. 1 (2020): 95–123. http://dx.doi.org/10.1017/s0007680520000100.

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Silk manufacturing began in Lucca in the twelfth century and by the fifteenth century Italy had become the largest producer of silk textiles in Europe, nurtured by extensive domestic and foreign demand for the luxurious fabric. This essay explores the market for silk textiles, the organization of the silk industry, and the role played in it by guilds, entrepreneurs and their capital, and highly sought after artisans. Just as silk manufacturing was an important and lucrative business for entrepreneurs, this article argues, so was it a crucial strategic activity for the governments of Italy's Renaissance states, whose incentives, protections, and investments helped to start up and grow the sector with the aim of generating wealth and strengthening their respective economies.
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Dati, Monica. "Come nasce un lettore. Ricordi di lettura e memorie di educazione familiare a partire dal progetto Madeleine in biblioteca." Rivista Italiana di Educazione Familiare 18, no. 1 (June 19, 2021): 317–35. http://dx.doi.org/10.36253/rief-10186.

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The paper is focused on the Madeleine in biblioteca project, which has been realized in cooperation with “Agorà” civic library in Lucca (Italy). It was aimed at recovering reading stories, from childhood to adulthood. The attention is here placed on the earliest memories and the family context, through library users’ oral testimonies, also useful to achieve a dedicated website (www.madeleineinbiblioteca.it), and a specific workshop on secretly reading and family censorship. A path, this one here shown, to reflect on the importance of reading and its history and to involve the public of non-specialists, in the building of the historical narratives according to a Public History methods.
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Francaviglia, Vincenzo. "Ancient obsidian sources on Pantelleria (Italy)." Journal of Archaeological Science 15, no. 2 (March 1988): 109–22. http://dx.doi.org/10.1016/0305-4403(88)90001-5.

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Muir, Edward. "The Sources of Civil Society in Italy." Journal of Interdisciplinary History 29, no. 3 (January 1999): 379–406. http://dx.doi.org/10.1162/002219598551751.

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Brand, Benjamin. "A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca*." Renaissance Quarterly 63, no. 3 (2010): 754–806. http://dx.doi.org/10.1086/656928.

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AbstractJohn Hothby's career as cathedral choirmaster at Lucca is one of the longest, best documented, and most exceptional of any Northern musician active in fifteenth-century Italy. As director of the cathedral school and choir, this Englishman embodied two models of music master: a scholastic trained in the old Trivium and Quadrivium, and a professional maestro di cappella. Fulfilling this double role was but one way in which Hothby differed from his fellow oltremontani by ingratiating himself with his Lucchese patrons, colleagues, and citizens at large. Another was the integration into his curriculum of older pedagogies of local and regional origin, ones designed to appeal to his Italian students. The most important example of such appropriation were the laude that formed a basis for his students’ exercises in two-voice mensural counterpoint. The latter appear in I-Lc, Enti religiosi soppressi, 3086, one of only two examples of student work to survive from before 1500. These newly discovered exercises thus illuminate not only Hothby's career, but also a hitherto obscure stage of learning by which aspiring singers progressed from strict, note-against-note discant to complex, florid polyphony.
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Ferrara, Patrizia. "Archival sources for the history of sport in Italy." Comma 2009, no. 2 (January 2009): 63–71. http://dx.doi.org/10.3828/comma.2009.2.8.

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Breitman, R. "New Sources on the Holocaust in Italy." Holocaust and Genocide Studies 16, no. 3 (December 1, 2002): 402–14. http://dx.doi.org/10.1093/hgs/16.3.402.

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Dragišić, Petar. "Yugoslavia and General Election in Italy in 1948." Tokovi istorije 29, no. 3 (December 31, 2021): 71–88. http://dx.doi.org/10.31212/tokovi.2021.3.dra.71-88.

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The paper deals with Yugoslav perceptions of the 1948 general election in Italy. The research focuses primarily on reports of the Yugoslav legation in Rome, which closely monitored the election campaign as well as the consequences of this watershed in the Cold War phase of Italian history. The Yugoslav sources cast a light on the strategies of the principal protagonists in the Italian political turmoil in April 1948.
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LÉVY, TONY. "L'ALGÈBRE ARABE DANS LES TEXTES HÉBRAÏQUES (II). DANS L'ITALIE DES XVe ET XVIe SIÈCLES, SOURCES ARABES ET SOURCES VERNACULAIRES." Arabic Sciences and Philosophy 17, no. 1 (February 12, 2007): 81–107. http://dx.doi.org/10.1017/s0957423907000379.

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Until the end of the 14th century, the sources of Hebrew mathematical writings were almost exclusively in Arabic. This was particularly true of texts that contained elements of algebra or algebraic developments. The testimonies we present and analyze here are due to Jewish authors living in Italy, primarily in the 15th century, who made use of the most varied sources, in addition to Arabic: in Castilian, in Italian, and perhaps in Latin. These testimonies constitute both an indication, and a product, of the circulation of Arab algebraic traditions in Renaissance Italy. Simon Moṭoṭ’s book on The Calculation of Algebra stems from the Italian tradition of ‘‘treatises on the abacus’’. Mordekhay Finzi of Mantua is the author of a Hebrew version of the great work on algebra by Abū Kāmil (9th century), as well as of a version, distinct from the preceding, of the Arabic scholar’s introductory exposition. Beginning in 1473, Finzi also translated from Italian to Hebrew the important treatise on algebra by Maestro Dardi of Pisa (1344). We also indicate some 16th century continuations of Hebrew mathematical production, which contain algebraic developments.
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Dissertations / Theses on the topic "Lucca (Italy) History Sources"

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Johnson, Ken. "Lucca in the Signoria of Paolo Guinigi, 1400-1430." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3134/.

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This study analyzes the once great medieval Tuscan capital of Lucca's struggle for survival at the beginning of the fifteenth century. This was the age of the rise of regional states in Italy, and the expansionistic aims of Milan, Florence and others were a constant challenge to city-states such as Lucca which desired a political and cultural status quo. Yet, it was a challenge that was successfully met; unlike Pisa, Siena, Perugia, and various other major Tuscan cities, Lucca did not succumb to Milanese or Florentine aggression in the early Quattrocento. Why it did not is a major topic of discussion here. One of the means in which the Lucchese faced the new political and military realities of the time was the establishment of a monarchial system of government in the signoria of Paolo Guinigi (r. 1400-1430). The Guinigi Signoria was not characterized by the use of intimidation and violence, but rather by clientage, kinship and neighborhood bonds, marriage alliances, and the general consent of the people. Paolo garnered the consent of the people at first because his wealth allowed him to protect Lucca and its contado to a greater extent than would have been possible otherwise, and because of his family's long ties with the powerful Visconti of Milan; he held it later because he provided the city-state with capable leadership. This study extends the evidence of recent scholars that every Italian Renaissance city was unique based on its particular geography, alliances, civic wealth, and a number of other factors. Lucca in the period of Paolo Guinigi, a monarchy in the setting of one of the traditionally most republican cities of Italy, provides a most interesting example. “Civic humanism,” for example, has a decidedly different slant in Lucca than elsewhere, and is best exemplified in the figure of Giovanni Sercambi. This study also provides new perspectives from which to view Florence and Milan during the period of “crisis” at the beginning of the fifteenth century, and thus contributes to the mass of scholarship concerning the Baron thesis.
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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance
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Rebichon, Noelle-Christine. "Les hommes illustres dans les peintures murales des trecento et quattrocento en italie : creation et adaptation d'une iconographie inspiree de sources litteraires du moyen age francais." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20138.

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Le groupe chevaleresque des Neuf Preux, apparu dans le roman des Vœux du Paon de Jacques de Longuyon vers 1312, est rapidement mis en images à travers de nombreuses techniques artistiques, et connaît un succès grandissant au cours des XIVe et XVe siècles, dans le Saint Empire romain germanique, le royaume de France, atteignant également la Catalogne et l'Italie. Simultanément, cette dernière redécouvre son glorieux passé grâce au genre biographique des Vies repris et renouvelé par Pétrarque ; la Rome antique se révèle pourvoyeuse de valeurs morales et politiques, et davantage encore d'exempla, Hommes illustres ou Uomini famosi, qui deviennent très tôt le sujet de galeries peintes sur les murs des palais publics et privés. Quatre commanditaires, en Tyrol, Piémont et Ombrie, appartenant de jure ou de facto à la noblesse, choisissent pourtant les neuf héros transalpins pour décorer différents espaces de leur demeure. Les deux traditions, prônant chacune ses modèles, cohabitent donc dans la péninsule pendant quelques décennies. La thèse a pour objectif d’analyser la fortune et l’adaptation de la série héroïque des Preux dans ces programmes picturaux, à la période charnière entre le gothique tardif et la Première Renaissance. En s'attachant aux supports littéraires et iconographiques, nous analysons les modalités qui caractérisent la diffusion et le traitement du groupe canonique des Neuf Preux, alors que la tradition classique, propre à l'Italie et à une première forme de patriotisme naissant, domine. Le topos des Preux, expression de la résistance de la culture chevaleresque présente en Italie jusqu'à la fin du XVe siècle, se révèle un thème flexible qui peut être adapté au premier humanisme. Assistons-nous alors, à travers l'interprétation du panthéon transalpin, à la création d'une nouvelle iconographie ? L'étude conduit à apporter des réponses et à proposer des lectures spécifiques aux quatre lieux d'accueil étudiés
The chivalrous group The Nine Worthies, which appears in the novel Vœux du Paon written by Jacques de Longuyon circa 1312, was quickly transposed into pictorial form by means of many artistic techniques and became a popular theme throughout the 14th and 15th centuries in the Holy Empire, the French kingdom, and reaching even Catalonia and Italy. At the same time, Italy was rediscovering its own glorious past by way of the biographical literary genre Lives, which Petrarch had appropriated and modernized; therein moral and political values were drawn from the history of Ancient Rome and exempla of Uomini famosi, i.e. Famous Men, the latter becoming the subject of murals painted on the walls of private and public residences. However four patrons, in Tyrol, Piedmont and Umbria, belonging de jure or de facto to the nobility, chose the nine transalpine heroes to decorate different spaces in their homes. Both traditions –the chivalrous and the classic, each one praising its respective models– co-existed in Italy for some decades. This thesis analyzes the fortune and the adaptation of the Worthies' heroic series as depicted in wall paintings dating from a pivotal period of transition between the Late Gothic and the Early Renaissance. Utilizing both literary and iconographic evidence we analyze the details that characterize the diffusion and treatment of the canonical group of the Nine Worthies in Italy, where the classical tradition dominated and was employed to embody the first form of patriotism that was taking shape there. The Worthies' topos, an expression of the resistance of the chivalrous culture which was present in Italy until the end of the 15th century, was a flexible theme that could be adapted to early humanism. The pertinent question becomes, are we observing, through the transalpine pantheon, the creation of a new iconography? This study provides answers while proposing specific readings of the four host places examined and interpreting these monumental cycles
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Barriere, Vivien. "Les portes de l'enceinte antique d'Autun et leurs modèles (Gaule, Italie, provinces occidentales de l'Empire romain)." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL042/document.

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Augustodunum, civitas Aeduorum, fondée à l’époque augustéenne, fut dotée de quatre portes urbaines : la porte d’Arroux et la porte Saint-André qui sont les mieux conservées, la porte Saint-Andoche dont il ne reste qu’une tour de flanquement et la porte de Rome, depuis longtemps disparue. L’étude stratigraphique du bâti des portes et la réflexion sur le fonctionnement du chantier de construction des portes urbaines d’Autun constituent le cœur de ce travail. Par ailleurs, antiquaires, voyageurs et artistes ont laissé depuis le XVIème siècle de nombreux témoignages de leur visite des portes romaines d’Autun. Ce fonds documentaire considérable, constitué de sources écrites et iconographiques, n’avait jusqu’alors pas été étudié de manière globale. Il a fallu mettre en série les sources textuelles afin de comprendre la part des emprunts aux travaux antérieurs. Un travail semblable de critique des représentations iconographiques des portes urbaines a également été effectué. Complément indispensable de l’étude stratigraphique des élévations conservées, l’étude de cette documentation ancienne a permis de proposer une hypothèse de restitution de l’histoire longue des portes d’Augustodunum de leur construction à nos jours. Le dernier volet de ce travail a consisté à replacer les portes d’Autun dans la série des portes urbaines monumentales de l’Occident romain construites entre le IIème siècle av. J.-C. et le IIème siècle ap. J.-C. mais aussi à présenter de nouvelles propositions de restitution du projet architectural, du plan des portes et de l’organisation interne de leurs tours de flanquement
Augustodunum, civitas Aeduorum, roman city founded under the reign of Augustus, was equipped with four roman city gates : the gate of Arroux and the gate of Saint André, both well preserved, the gate of Saint Andoche which sole remaining part is a flanking tower, and the gate of Rome, destroyed long ago.The heart of this study lies in the stratigraphic reading of those gates structure and in thoughts about the building site of Autun’s city gates operating process. Moreover, since the 16th century, antiquaries, travelers and artists have described in many ways their visits to the roman city gates of Autun. These accounts constitute a major documentary collection of written and iconographical sources that had never been studied as a whole before. A classification of written sources was necessary in order to understand the borrowings from previous works. A similar work of critical study has been realized for the iconographical representations of the gates. As an essential complement of the stratigraphic reading of remaining elevations of the gates, the ancient archeological documentation study was indispensable to propose a restoration hypothesis of Augustodunum’s city gates long term history from their construction time to nowadays. The last section of this study aims to locate Autun’s city gates in the series of monumental city gates built in Western Roman Empire between the 2nd century BC and the 2nd century AD. Furthermore, that section presents new propositions for the restoration of the architectural project, of the gates plan and of the inner organization of these gates flanking towers
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Books on the topic "Lucca (Italy) History Sources"

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La cronaca del monastero domenicano di S. Giorgio di Lucca. Pisa: Edizioni ETS, 2009.

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Una cappella cavata dentro il monte--: Storia minima del complesso monastico di S. Lucia al Monte. Napoli: Editoriale scientifica, 2008.

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Osimo, Caterina Guarnieri da. Ricordanze del Monastero di S. Lucia osc. in Foligno (cronache 1424-1786). Assisi: Porziuncola, 1987.

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Lucca, 1430-1494: The reconstruction of an Italian city-republic. Oxford [England]: Clarendon Press, 1995.

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Das Domkapitel von Lucca im 15. und 16. Jahrhundert. Frankfurt am Main: Lang, 1992.

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Machiavelli, Niccolò. Delle cose di Lucca: Testi e documenti. [Lucca?]: M. Pacini Fazzi, 1992.

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Medieval Lucca and the evolution of the Renaissance state. Oxford: Oxford University Press, 2008.

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Federighi, Maria. Dall'abbandono all'assistenza: L'infanzia emarginata a Lucca nell'Ottocento. Bari: Cacucci, 2013.

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1957-, Jansen Katherine Ludwig, Drell Joanna H. 1965-, and Andrews Frances, eds. Medieval Italy: Texts in translation. Philadelphia: University of Pennsylvania Press, 2009.

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Descrivere Lucca: Indice delle fonti manoscritte e a stampa. Pisa: ETS, 2010.

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Book chapters on the topic "Lucca (Italy) History Sources"

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Gasparini, Patrizia, and Giancarlo Papitto. "The Italian Forest Inventory in Brief." In Springer Tracts in Civil Engineering, 1–15. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98678-0_1.

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AbstractLarge-scale forest inventories are important sources of forest information at the national level in individual countries. These surveys have undergone strong development in recent times, driven by new information needs and by advances in statistical-mathematical theory and in survey methods and techniques. In Italy, the first national forest inventory was carried out in the mid-1980s. A thorough review of the sampling design and survey protocols was carried out in the second inventory, and the third survey has just been completed. This chapter briefly describes the history and organisational structure of the Italian National Forest Inventory and summarises its content and products.
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Berardi, Riccardo. "Le reintegre o platee dei Sanseverino di Bisignano: diritti e prelievo signorile nella Calabria settentrionale (secolo XV - prima metà del XVI)." In La signoria rurale nell’Italia del tardo medioevo. 2 Archivi e poteri feudali nel Mezzogiorno (secoli XIV-XVI), 73–151. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-301-7.06.

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The aim of this paper is to reassess the history of the Sanseverino family, princes of Bisignano in Calabria in the Late Middle Ages; by focusing on a specific and unpublished source: the so-called “reintegre or platee” as written in the first half of the 16th century. These are public sources mostly enlisting properties and benefits; they serve the purpose of re-possessing the privileges taken from the princes themselves over the previous century. The paper will therefore focus not only on the management and character of the seigneurial landholdings but also on the reconstruction of both the local networks of power exerted on the population and the local political system. It will shed new light on the still debated historiographical issue centered on the seigneurial authority in southern Italy by assessing its local rooting and pervasiveness since the 14th century.
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"PRIMARY SOURCES." In Making History in Ninth-Century Northern and Southern Italy, 163–66. Pisa University Press, 2018. http://dx.doi.org/10.2307/j.ctvb1hs12.16.

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"SECONDARY SOURCES." In Making History in Ninth-Century Northern and Southern Italy, 167–74. Pisa University Press, 2018. http://dx.doi.org/10.2307/j.ctvb1hs12.17.

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"An Inscription from Santa Maria di Cerrate, near Squinzano, Italy." In Sources for Byzantine Art History, 1329–34. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.0127.

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"An Inscription from San Michele Arcangelo, Masseria Li Monaci, near Copertino, Italy." In Sources for Byzantine Art History, 1516–20. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.0154.

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Pieroni, Andréa, A. Grazzini, and M. E. Giusti. "Animal remedies in the folk medical practices of the upper part of the Lucca and Pistoia Provinces, Central Italy." In Des sources du savoir aux médicaments du futur, 371–75. IRD Éditions, 2002. http://dx.doi.org/10.4000/books.irdeditions.7259.

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Miletti, Lorenzo. "Writing about Cities: Local History, Antiquarianism, and Classical Sources." In A Companion to the Renaissance in Southern Italy (1350–1600), 383–411. BRILL, 2022. http://dx.doi.org/10.1163/9789004526372_017.

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Storti, Claudia. "Early “Italian” Scholars of Ius Gentium." In A History of International Law in Italy, 19–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198842934.003.0002.

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Between the twelfth and fifteenth centuries several issues led jurists to rethink the international legal order established in the Roman Empire and the Early Middle Ages. The first was the need to update the list of the law of nations legitimate subjects after the birth of the commune that had not been accounted for in Roman-law sources. The second was to recreate a superior and universally shared set of ‘public’ law rules for international relations to counteract the tendency of communal and monarchical governments to consider the law inter gentes as a form of internal law. In order to address this issue Bartolus of Sassoferrato adapted the Roman category of ius gentium to the features of the medieval geopolitical context. Other topics focused on defining the enemy, freedom of peoples, and treaties among unequal subjects, while the theory of ius gentium of Alberico Gentili was fully rooted in the medieval and early modern legal tradition.
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Blumenberg, Hans. "Moments of Goethe." In History, Metaphors, Fables, 531–46. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501732829.003.0023.

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This chapter studies Hans Blumenberg's “Moments of Goethe” (1982). It focuses on Goethe, a writer Blumenberg especially cherished. In the genius period of Weimar, between Goethe's arrival and his clandestine departure for Italy, many things were possible, and “infinite” was a “universally recurring keyword.” Such insights into the jargon, into the contagiousness of the language of the avant-garde at the time, are granted to us only through rare and incidental sources. What came after infinity? It was recorded that Goethe's new favorite word is “clarity.” It is odd how little Goethe noticed in his old age that the activities of the Romantics around him, which he observed with contempt, were so similar to what he himself had practiced and spread during the genius period. He did not understand that “clarity” could not become the word of the youth because the surprising experience that “clarity” is necessary and exists presupposes an emergence from confusion and perplexity, and not the other way around.
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Conference papers on the topic "Lucca (Italy) History Sources"

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Pollone, Stefania. "A heritage to reveal and protect. Historical water-based paper mills and ironworks in Campania (Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15668.

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Within the rich heritage of vernacular architectures, hydraulic power works still exists in various parts of the Campania region in the South of Italy: paper mills and ironworks show aspects that require further investigation. Built according to the orographic features of the landscape and in relation to water use and supply, these structures need to be deepened in terms of understanding with respect to their building techniques, production technologies and principal vulnerabilities. Despite its relevance, in fact, the lack of knowledge about this water-related heritage in its material consistency, and the associated risk of loss for misuse or abandonment, needs to be addressed. Accordingly, this paper presents the first outcomes of a study about the evolution of ironworks and paper mills’ recurring assets, technologies and building techniques from the proto- to early industrial period; highlighting the historical adaptation skills to water and other local resources, as well as the vital connection of these historical factories to wider hydraulic systems in their territory. It is part of a broader applied research about water-related built heritage carried out at the University of Naples, in which educational activities and exchanges with local authorities have been combined. The paper offers new data on paper mills and ironworks construction history and their sustainable operation starting from the selection of relevant case studies in the regional context and through the crossing of direct field observations and indirect sources (e.g., bibliographical, iconographic, and archival), also to define a knowledge basis for future protection and preservation strategies.
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Bressan, Federica. "Philology in the preservation of audio documents." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.10.

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Sound recordings have proven to be irreplaceable primary sources for disciplines like linguistics, musicology, ethnomusicology and sociology. Their fragile physical nature has activated a number of counter-actions aimed at prolonging the life expectancy of their content. Methodological issues have been raised in the past three decades, considering the relationship between the physical object and its (digitized) intangible content, which is not only complex but develops over time. This article re ects on the role of the emerging discipline known as ‘digital philology’ in the long- term preservation of audio documents, pointing out how some concepts (such as authenticity, reliability and accuracy) may require a ‘customized’ (as opposed to a ‘ready-made’) approach in the preservation work ow – mainly depending on the type of the archive: unique copies, eld recordings, electronic music, oral history, to name some representative cases. The set-up of the laboratory for sound preservation at the Centro di Sonologia Computazionale (CSC) of the University of Padova, Italy, represents one customized approach in which conscious methodological decisions support philologically informed digitization e orts. The methods affect the results, and ultimately the consequences are not merely technological but cultural.
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