Relevant bibliographies by topics / Museo del mare (Palermo, Italy)

Academic literature on the topic 'Museo del mare (Palermo, Italy)'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Museo del mare (Palermo, Italy)"

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Pusceddu, Antonio Maria, and Filippo M. Zerilli (eds). "Berardino Palumbo – <em>Lo strabismo della DEA</em>." Anuac 8, no. 1 (July 31, 2019): 119–92. http://dx.doi.org/10.7340/anuac2239-625x-3822.

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International book forum on the volume by anthropologist Berardino Palumbo, Lo strabismo della DEA: Antropologia, accademia e società in Italia [The Goddess’ Strabismus: Anthropology, Academy, and Society in Italy], Palermo, Edizioni Museo Pasqualino, 2018, pp. 289. Comments of Mara Benadusi, Michael Blim, Riccardo Ciavolella, Caterina Di Pasquale, Adriano Favole, Noelle Molé Liston, Ivan Severi, Valeria Siniscalchi. With a reply by Berardino Palumbo.
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Chinnici, Ileana, and Paolo Brenni. "The Palermo Merz Equatorial Telescope." Nuncius 30, no. 1 (2015): 228–79. http://dx.doi.org/10.1163/18253911-03001009.

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A manuscript by Georg and Sigmund Merz dated 1862 and containing instructions for assembling the equatorial telescope acquired by the Palermo Observatory is conserved in the archives of the Museo Astronomico e Copernicano in Rome. It is a rare document that reveals “tricks of the trade” and technical knowledge not usually included in textbooks or treatises. It was sent to the Palermo Observatory as an aid to the installation of the telescope, which made a signal contribution to the development of solar physics in Italy in the 19th century. Based on the study of unpublished sources (consisting of texts and drawings), the history of the instrument has been retraced. This paper presents a detailed description of the Merz manuscript (including a complete transcript) and some technical drawings recently discovered in the archives of the Palermo Observatory.
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Fraaije, René H. B., Carolina D'Arpa, Barry W. M. van Bakel, John W. M. Jagt, and Giuseppe Zarcone. "The Gemmellaro Collection: first record of an anomuran from the Tithonian of Sicily, Italy." Bulletin de la Société géologique de France 188, no. 3 (2017): 18. http://dx.doi.org/10.1051/bsgf/2017184.

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A recent field trip to Sicily and an examination of decapod crustacean collections at the Museo Geologico G.G. Gemmellaro in the centre of Palermo, Sicily (Italy), has demonstrated that most of the anomuran and brachyuran material described by Gemmellaro (Gemmellaro GG. 1869. Studi paleontologici sulla fauna del Calcare à Terebratula janitor del nord di Sicilia. Palermo: Lao, vol. 1, pp. 11–18) from the Tithonian of that island is still present. Interestingly, a single specimen in this lot was never mentioned, described or illustrated by that author. The species to which this particular individual is here shown to belong, Gastrosacus tuberosus, was first described and named 26 years later, in 1895, by Remeš. The holotype of G. tuberosus (Remeš M. 1895. Beiträge zur Kenntniss der Crustaceen der Stramberger Schichten. Bulletin international de l'Académie des Sciences de l'Empereur François Joseph I, Classe des Sciences mathématiques et naturelle 2: 200–201) has recently been rediscovered; this shows that both Galathea eminens Blaschke (Blaschke F. 1911. Zur Tithonfauna von Stramberg in Mähren. Annalen des kaiserlich-königlichen Naturhistorischen Hofmuseums 25: 143–221) and Galatheites tuberosiformus Lőrenthey, in Lőrenthey and Beurlen (Lőrenthey E, Beurlen K. 1929. Die fossilen Dekapoden der Länder der Ungarischen Krone. Geologica Hungarica 3: 1–420) are junior synonyms. The Sicilian record constitutes the southernmost mention of G. tuberosus to date.
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Françozo, Mariana C. "Reenacting Migration, Past and Present." Transfers 7, no. 3 (December 1, 2017): 127–30. http://dx.doi.org/10.3167/trans.2017.070311.

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Located at the old harbor of the city of Genoa, the modern Galata Museo del Mare was inaugurated as part of the commemoration of Genoa as the 2004 European Capital of Culture. Only twelve years later, the museum proudly welcomes 200,000 visitors annually into its twenty-eight galleries, organized in an impressive exhibition space of 10,000 square meters, showcasing 4,300 objects. While the aim of the museum is to tell the maritime history of Genoa—ranging from Christopher Columbus to an open-air space showcasing the story of the Genoese shipyard—it is the exhibition on migration to and from Italy that will truly impress the visitor.
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Katz, Dana. "Barbarism Begins at Home: Islamic Art on Display in Palermo's Museo Nazionale and Sicilian Ethnography at the 1891‐92 Esposizione Nazionale." International Journal of Islamic Architecture 9, no. 1 (March 1, 2020): 91–117. http://dx.doi.org/10.1386/ijia_00005_1.

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Abstract In the last quarter of the nineteenth century, Palermo's Museo Nazionale (National Museum) displayed one of the earliest institutional collections of Islamic art in Western Europe. The museum's director, Antonino Salinas, exhibited objects demonstrating the island's material heritage, including its two-and-a-half centuries of rule by North African dynasties during the medieval period. The prevailing perception elsewhere in post-unification Italy ‐ that Sicily was ungovernable and barbaric in nature ‐ heightened the display's significance. Another exhibition that many Italians would have perceived as representing the 'other' was the Mostra Etnografica Siciliana (Sicilian Ethnographic Exhibition), which the folklorist Giuseppe Pitrè created for the 1891‐92 Palermo Esposizione Nazionale (National Exposition). Highlighting Sicily's volatile image, the Italian press implicitly equated Pitrè's show with the so-called Abyssinian Village, which stood in the exposition fairgrounds and marked the establishment of Italy's first colony in Eritrea at a time of unprecedented imperial expansion. At the National Museum, Salinas remained undeterred, and despite associations of the island's conditions with Africa, he expanded its Islamic holdings. Likewise, Pitrè exhibited costumes, tools, and devotional objects that further accentuated regional differences at the National Exposition. In both displays, Salinas and Pitrè presented what they conceived as Sicily's unique cultural and historical patrimony.
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Chiarenza, Alfio Alessandro, and Andrea Cau. "A large abelisaurid (Dinosauria, Theropoda) from Morocco and comments on the Cenomanian theropods from North Africa." PeerJ 4 (February 29, 2016): e1754. http://dx.doi.org/10.7717/peerj.1754.

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We describe the partially preserved femur of a large-bodied theropod dinosaur from the Cenomanian “Kem Kem Compound Assemblage” (KKCA) of Morocco. The fossil is housed in the Museo Geologico e Paleontologico “Gaetano Giorgio Gemmellaro” in Palermo (Italy). The specimen is compared with the theropod fossil record from the KKCA and coeval assemblages from North Africa. The combination of a distally reclined head, a not prominent trochanteric shelf, distally placed lesser trochanter of stout, alariform shape, a stocky shaft with the fourth trochanter placed proximally, and rugose muscular insertion areas in the specimen distinguishes it fromCarcharodontosaurus,DeltadromeusandSpinosaurusand supports referral to an abelisaurid. The estimated body size for the individual from which this femur was derived is comparable toCarnotaurusandEkrixinatosaurus(up to 9 meters in length and 2 tons in body mass). This find confirms that abelisaurids had reached their largest body size in the “middle Cretaceous,” and that large abelisaurids coexisted with other giant theropods in Africa. We review the taxonomic status of the theropods from the Cenomanian of North Africa, and provisionally restrict the Linnean binominaCarcharodontosaurus iguidensisandSpinosaurus aegyptiacusto the type specimens. Based on comparisons among the theropod records from the Aptian-Cenomanian of South America and Africa, a partial explanation for the so-called “Stromer’s riddle” (namely, the coexistence of many large predatory dinosaurs in the “middle Cretaceous” record from North Africa) is offered in term of taphonomic artifacts among lineage records that were ecologically and environmentally non-overlapping. Although morphofunctional and stratigraphic evidence supports an ecological segregation between spinosaurids and the other lineages, the co-occurrence of abelisaurids and carcharodontosaurids, two groups showing several craniodental convergences that suggest direct resource competition, remains to be explained.
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cura di Paola E. Boccalatte, a. "Intervista a Cristina Alga. L’ecomuseo Mare Memoria Viva di Palermo." Clionet 06 (December 19, 2022). http://dx.doi.org/10.30682/clionet2206ar.

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A Palermo un ecomuseo racconta le trasformazioni urbanistiche e sociali della città dal dopoguerra a oggi attraverso testimonianze, storie, immagini e memorie legate al mare di città; ma è anche un luogo capace di visione, che coraggiosamente si sbilancia in una proiezione futura in direzione sostenibile, equa, inclusiva. Il Museo è un presidio culturale e sociale che lavora con strumenti e linguaggi diversi facendo della disponibilità all’ascolto, dell’apertura disciplinare e del focus sulle persone i propri punti di forza.
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Gül, Nurcan, and Sevilay Erk. "Naval museum spaces a study on accessibility and visibility based on the relationship between the sea and land." Journal of Design for Resilience in Architecture and Planning, December 29, 2021. http://dx.doi.org/10.47818/drarch.2021.v2i3031.

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The relationship between location and context, design, and usage gains importance in architectural structures. The interrelated patterns of different syntactic and semantic layers compose the built space especially museums or exhibition spaces. The museum spaces have a considerable part of everyday life in terms of social interaction. The accessibility, visibility, and circularity of the museum spaces are affecting the integration of the human-space activity. The museums by the sea are recognized with the silhouette of the city. These museums are accessible from the seaway and overland routes. It is important that the museums as an exhibition space in the city are visible from both the sea and the land and provide two different accesses. For this reason, the study investigates two naval museums which emphasize the importance of location belonging and the type of the museum. Within the scope of the study, Genova Galata Museo Del Mare in Italy and the Istanbul Deniz Müzesi in Turkey with a similar location and function are examined. The museums are close to the seaway and visible from the sea. However, Istanbul Deniz Müzesi’s access is provided from the motorway due to the actual usage. On the other hand, in the case of Galata, the situation is the opposite. Thus, the museum structure is passed through in it and creates the connection space between the sea and land. The aim of the study is not only a representation of the maritime structure of the museum in a city that is the sea but also to highlight the importance of access from both sides. Furthermore, with the examination of the visibility, accessibility and circularity affect, the usage and time-related changes in the museum to be focused. For this purpose, use from the sea and the land, the relationship between the land and the sea will be evaluated as a bridge of the ground floor. In this study, the space syntax analysis method is applied. Space syntax provides an analytical analysis of human-environment relations, accessibility, and movement values. (Hillier et al., 1987). The relevant results will create a research base for further use and change over time. In conclusion, in two different sea countries’ naval museums are evaluated with the context of location and usage comparatively. The accesses of the museums and exhibitions areas are also evaluated by the visibility, accessibility, circularity analyses. A scientific base has been created to examine past, present, and future usage.
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Dissertations / Theses on the topic "Museo del mare (Palermo, Italy)"

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Duminuco, Salvatore <1997&gt. "L'Ecomuseo Mare Memoria Viva come Museo della città di Palermo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19485.

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La ricerca intende approfondire il tema dei Musei di città attraverso lo studio dei modelli generalmente diffusi e l'analisi di un'istituzione ecomuseale a Palermo. Nella parte iniziale della trattazione, sono affrontate le questioni storiche e teoriche legate al modello, in Italia e nel mondo. Si prosegue con il confronto di tale tipologia museale con quella dell’ecomuseo urbano, attraverso la disamina dell’Ecomuseo Mare Memoria Viva di Palermo. Infine, viene esaminato il contesto cittadino in merito alle possibilità di narrazione urbana e di integrazione dei modelli studiati.
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Books on the topic "Museo del mare (Palermo, Italy)"

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Moscati, Sabatino. Palermo, Museo archeologico. Palermo [Italy]: Novecento, 1991.

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2

Spatafora, Francesca. Palermo capitale del Regno: I Borbone e l'archeologia a Palermo, Napoli e Pompei. Palermo: Palermo University Press, 2019.

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3

Servizi, Civita. Palermo: I tesori del quartiere della Loggia : itinerari per un museo diffuso. Milano: Silvana, 2008.

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4

Complesso museale Santa Maria della Scala (Siena, Italy) and Museo archeologico nazionale (Chiusi, Italy), eds. Etruschi: Chiusi, Siena, Palermo : la collezione Bonci Casuccini. Siena: Protagon, 2007.

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5

Mauro, Sebastianelli, ed. Il restauro del cinquecentesco crocifisso in cartapesta del Museo Diocesano di Palermo. Palermo: Congregazione Sant'Eligio, 2010.

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6

(Terracina, Italy) Museo civico. Museo civico di Terracina: Ceppi d'ancora, anfore, commerci per mare e territorio. [Roma]: Palombi, 1999.

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Travagliato, Giovanni. Il restauro della tavola antiquissima di Santa Rosalia del Museo Diocesano di Palermo. Palermo: Museo Diocesano, 2012.

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Museo archeologico provinciale (Brindisi, Italy), ed. I bronzi di Punta del Serrone: Dal mare al Museo provinciale di Brindisi. Bari: M. Adda, 2010.

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Natale, Maria Concetta Di. Capolavori d'arte del Museo diocesano: Ex sacris imaginibus magnum fructum--. Palermo: O.DI.PA, 1998.

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Complesso, museale Santa Maria della Scala (Siena Italy). Pulcherresima Res: Preziosi ornamenti dal passato. Siena: Protagon, 2007.

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