Academic literature on the topic 'Roberto de visiani'

Con il presente articolo ci si prefigge di dare una visione dei primi componimenti giovanili inediti dell'illustre botanico Roberto de Visiani, conservati nell'Archivio storico dell'Orto botanico di Padova, nel faldone n. 36, fascicolo n. 5. Si tratta di manoscritti rilegati assieme in cartoncino, per la maggior parte scritti tra il 1817 e il 1818, dal titolo De Visiani. Scritti giovanili. Il contenuto del faldone si può dividere, grosso modo, in scritti compiuti (alcuni riportanti i titoli e altri senza titoli), e in scritti incompiuti, presentati in forma di carte sciolte destinate a ritocchi. L'attenzione sarà incentrata principalmente sui componimenti poetici compiuti e privi di autocorrezioni e annotazioni varie. Si tratta di testi d'occasione scritti in conformità alla poetica dei tempi in cui sono nati.

We provide information on the typification of ten species names described by Roberto de Visiani and Josif Pančić in Plantae Serbicae Rariores aut Novae—Decas II, published in 1865, and one published by Pančić in Flora of the Principality of Serbia (1874). Ten lectotypes are designated here. The name Scabiosa achaeta Visiani & Pančić is synonymised with Scabiosa fumarioides Visiani & Pančić. Differential characters distinguishing Allium serbicum Visiani & Pančić and the similar A. pallens L. are given.

Roberto de Visiani (1800–1878) was a Dalmatian botanist of Italian ancestry. During the 1850s he started a long lasting collaboration with a Serbian professor - botanist Josif Pančić (1814–1888), who worked in Belgrade. During this period, from 1858 to 1871, they described thirty-five new species and one new variety, in four articles (Visiani 1860, Visiani & Pančić 1862, Visiani & Pančić 1865, Visiani & Pančić 1870). Many of their names are still in general use or are basionyms of the names in use (Euro+Med 2014), but, with few exceptions, they have not yet been typified.

We provide information on the typification of nine species names described by Roberto de Visiani and Josif Pančić in Plantae Serbicae Rariores aut Novae—Decas I, published in 1862. Seven lectotypes (Geum molle Vis. & Pančić, Potentilla lejocarpa Vis. & Pančić, P. visianii Pančić, Dianthus papillosus Vis. & Pančić, Goniolimon serbicum Vis., Euphorbia subhastata Vis. & Pančić, Triticum petraeum Vis. & Pančić) and one epitype (Goniolimon serbicum Vis.) are designated here.

Eryngium palmatum was described by Roberto de Visiani and Josif Pančić in Plantae serbicae rariores aut novae (1870: 20). Wörz (2010) stated that, although the original description is from 1870, Pančić recorded E. tricuspidatum Linnaeus (1753: 8) eleven years earlier with the same localities that Visiani and he cited in the protologue for E. palmatum. In fact, Pančić reported E. tricuspidatum already in 1856: 520, for the following localities: “bei Ravanita, Sv. Petka im Cupriaer, Banja im Aleksinacer, Ugljarevo im Kragujevacer“. Describing the new species E. palmatum in 1870, Visiani and Pančić cited all the previously mentioned localities with the addition of mt. Ogradjenik: “Hab. in saxosis calcareis prope Ravanica, Sv. Petka in circ. Cupria, ad Banja circ. Aleksinac, Uljarevo circ. Kragujevac, et mont. Ogradjenak Serbiae meridionalis”.

We provide information on the typification of the names of one genus (Lactucopsis), two sections (L. sect. Mulgediopsis, L. sect. Prenanthopsis), two unranked subgeneric names (Hieracium [unranked] Chlorocarpa, H. [unranked] Melanocarpa), ten species (Dianthus moesiacus, Eryngium palmatum, Haplophyllum boissierianum, Hieracium schultzianum, Lactucopsis aurea, Lactucopsis brevirostris, Lactucopsis mulgedioides, Mulgedium sonchifolium, Picridium macrophyllum, Stachys anisochila), and one form (Gypsophila spergulifolia f. serbica) validly published in Roberto de Visiani and Josif Pančić’s work Plantae Serbicae Rariores aut Novae—Decas III, published in 1870, and one variety (Knautia macedonica var. lyrophylla) published in Verzeichnis der in Serbien wildwachsenden Phanerogamen (1856). Additional nomenclatural notes deal with three other species, five new combinations, seven invalid names and one invalid combination that were also discussed or published in Visiani & Pančić (1870). Seven nomenclatural types for eight validly published taxa are designated here.

We provide nomenclatural and taxonomical information on the names of sixteen taxa treated by Roberto de Visiani from Egypt and Nubia (Sudan) in his 1836 work ‘Enumerazione ed illustrazione di alcune piante dell’Egitto e della Nubia con otto tavole in rame’. We designate ten lectotypes (for Chrozophora brocchiana, Convolvulus lasiospermus, Corchorus fruticulosus, Croton obliquifolium, Heliotropium brocchianum, Lithospermum obtusum, Trianthema sedifolia, Trigonella arguta, Trigonella dura, and Volkameria acerbiana), and one neotype (for Convolvulus lasiospermus).

Abstract The names in Amaranthaceae published by R. de Visiani are investigated. Amaranthus gangeticus var. cuspidatus is a nomen nudum and thus invalid according to Art. 38.1a of the ICN. Amaranthus hierichuntinus, Atriplex patula var. hastifolia, and Chenopodium album var. oblongum are lectotypified, respectively, on a specimen preserved at PAD, and illustrations by Scopoli and Vahl. We here propose to synonymyze the three names (new synonymies) respectively with Amaranthus graecizans subsp. graecizans, Atriplex patula subsp. patula, and the type subspecies of C. album. For nomenclatural purposes, also the name C. lanceolatum Willd. (heterotypic synonym of C. album subsp. album) is investigated and lectotypified, on a specimen preserved at B.

Botanists need access to historical collections of dried plants (herbaria) in order to precisely clarify the identity of taxa described by authors of the past. These studies involve the formal process of typifcation, prescribed by the Code of nomenclature for algae, fungi, and plants, which requires the actual specimens originally used for the descriptions to be identified and designated as types, so to permanently atach them to their scientifc name, and serve as absolute reference. With over 600 newly described taxa and almost 1,000 newly established names, Roberto de Visiani (Šibenik 1800 - Padova 1878), was one of the most important scholars to direct the Botanical Garden of Padova, a position he held from 1837 to his death. During this time, he transformed it from a mere tool for the teaching of medicine to a modern institution open to the community. He was the author of numerous important works of taxonomy, mostly focussed on the vascular flora of his homeland, Dalmatia. After his death, he left in Padova not only a large collection of about 12,000 specimens, but also thousands of leters he received, manuscripts, and other unpublished material, which have remained almost entirely unstudied, despite his having lived, worked, and left a mark during one of the most defining times for the Garden itself, the University, and the scientific community at large. In the study of the work of 19th century botanists, scientific, historical, and geographical issues are intimately intertwined, but have rarely been considered together, with the widely cross-disciplinary, author- and collection-centric approach that we argue is the best means to solve questions of historical botany. To verify and showcase its efficacy, we set the following goals: 1) to correctly identify and formally designate type material in Visiani's collections, reconstructing the history of botanical explorations in the western Balkans, and his network of relationships and exchanges; 2) to analyse Visiani's work and to reconstruct his scientific standing at the national and international level; 3) to add value to Visiani's collections and archive by making them more accessible to the public. A large amount of diverse materials has been used. One very important source of in formation has been Visiani's Herbarium Dalmaticum, conserved in Padova and we catalogued in 2011-2013. All of Visiani's published works on foristics have been collected and studied, and are analysed in great detail, with special attention dedicated to his masterpiece Flora Dalmatica, and to the four smaller publications he co-authored with Serbian professor Josif Pančić. A more general overview is given for his contributions to other fields. All of Visiani's unpublished material available at the Ancient Library of the Botanical Garden has been digitised and organised. Over a third of the more than 2,000 letters that are conserved in his correspondence have been transcribed. We have also retrieved and transcribed the letters he sent to his best friend, famous lichenologist and palaeobotanist Abramo Massalongo, conserved at the Civic Library of Verona, and those sent to botanist Josif Pančić, conserved at the Botanical Institute of Belgrade. Beyond letters, other unpublished documents, particularly lists of plants, manuscripts for both published and unpublished works, and the rare travel diaries have been analysed. The study of these materials has led to the publication of seven scientifc papers, with forty-one type designations in total, plus detailed notes for seventeen other names. A draf treatment of the 275 names newly published in Flora Dalmatica is presented. Publication will require the input of a Croatian taxonomist. Two other papers in preparation are presented. The data from the herbarium and Visiani's published works have been integrated in a geodatabase managed through QGIS, which allows to investigate them through powerful querying. This instrument is used to produce maps to accompany the detailed chronology of the botanical exploration of Dalmatia and neighbouring regions during Visiani's lifetime that has been put together from all the different sources, as well as to check the correspondence between the herbarium and the published records. Visiani's network of relations and exchanges is clarified, with a discussion on his assistants, gardeners, colleagues, friends, co-authors, and the many plant collectors that provided him with specimens, many of whom were minor figures about whom little to nothing was known from literature. Particularly interesting are the role played by Antonio Bertoloni at the start of Visiani's career, the contribution by Muzio Tommasini to the publication of Flora Dalmatica, Visiani's troubled relationship with its editor Friedrich Hofmeister, and his the very close friendship with Massalongo. Visiani's scientific ideas are discussed in detail. Visiani had a positivistic view of science, and considered experimentation the main road to knowledge; he was not influenced by romantic ideas as many other botanists were at the time. His approach to systematic botany was typical of the first half of the 19th century: he focussed on the careful description of species and the exploration of a regional flora, and was always a strenuous defender of Linnaean practice, for which he was sometimes criticised late in his life. His methods and ideas arguably influenced the school of botany in Padova up to the mid 20th century. While we confirm Visiani's opposition to the unripe pre-Darwinian evolutionary hypotheses, we argue he was not a dogmatic fixist, and pose he may even have converted to evolutionism late in his life. His concepts, methods, and choices in taxonomy and nomenclature, whose understanding is crucial for the typifcation of his names, are clarified and described in detail. A detailed personal biography of Visiani is presented, dealing with topics such as his origins, studies, professional life, travels, character, religion, political ideas, material legacy. As for his stance towards the process of unification of Italy, his position is discovered to have been cautiously anti-Austrian. We argue this may be explained partly with his own ambiguous national identity, and partly with his prioritising the safety of his academic position. Visiani's work as director of the Botanical Garden is reconstructed largely thanks to the analysis of unpublished materials. We detail expenses, works, the growth of living and non-living collections, and his efforts to engage the public. Botanical results are being made available to the community through specialist publications. Unpublished material by Visiani is being made freely available online on the PHAIDRA platform by the University's Library Centre. Publishing of the correspondence between Visiani and Pančić, and Visiani and Massalongo is being discussed. The GIS system will be made available to the Herbarium of Padova; the collected data could be made available to the public with the development of a web application. We conclude that a cross-disciplinary, author- and collection-centric approach in questions of historical botany is highly effective.
I botanici hanno la necessità  di poter accedere a collezioni storiche di piante essiccate (erbari) allo scopo di chiarire precisamente l'identità  dei taxa descritti da autori del passato. Questo genere di studi comprende il processo formale di tipificazione, prescritto dal Codice di nomenclatura per alghe, funghi e piante, che richiede che i campioni originali utilizzati per le descrizioni siano identificati e designati come typi, così che possano essere permanentemente collegati al nome scientifico e servire da riferimenti assoluti. Con oltre 600 taxa nuovi descritti e quasi 1000 nuovi nomi istituiti, Roberto de Visiani (Sebenico 1800 - Padova 1878) fu uno dei più importanti studiosi a dirigere l'Orto Botanico di Padova, ruolo che svolse dal 1837 fino alla morte. Durante il suo incarico, Visiani trasformò l'orto da un semplice strumento per l'insegnamento della medicina in un'istituzione moderna e aperta alla comunità . Fu autore di numerosi importanti lavori di tassonomia, concentrati soprattutto sulla flora vascolare della sua terra di origine: la Dalmazia. Dopo la sua morte, lasciò a Padova non solo una vasta collezione di circa 12.000 campioni, ma anche migliaia di lettere ricevute da altri studiosi, manoscritti e altro materiale inedito, che sono rimasti quasi del tutto inesplorati, malgrado sia vissuto, lavorato e lasciato la sua impronta in uno dei periodi più fondamentali per il Giardino stesso, l'Università  e la comunità  scientifica più in generale. Una grande varietà  di materiali sono stati utilizzati. Una fonte di informazioni particolarmente importante è stato l'Herbarium Dalmaticum di Visiani, conservato a Padova e catalogato nel 2011-2013. Tutti i lavori di floristica di Visiani sono stati raccolti e studiati e sono analizzati in grande dettaglio, con particolare attenzione alla sua opera magistrale Flora Dalmatica e ai quattro più piccoli lavrori preparati in collaborazione con professore serbo Josif Pančić. Un trattamento più generale è riservato alle sue altre opere. Tutto il materiale inedito disponibile presso la Biblioteca Antica dell'Orto Botanico è stato digitalizzato ed organizzato. Oltre un terzo delle oltre 2000 lettere conservate nella sua corrispondenza sono state trascritte. Abbiamo inoltre recuperato e trascritto le lettere spedite da Visiani al suo amico più intimo, il celebre lichenologo e paleobotanico Abramo Massalongo, conservate presso la Biblioteca Civica di Verona, nonché quelle spedite al botanico Josif Pančić, conservate all'Istituto di Botanica di Belgrado. Oltre alle lettere, sono stati analizzati altri documenti inediti, soprattutto liste di piante, manoscritti di opere edite ed inedite e rari diari di viaggio. Lo studio di questi materiali ha portato alla pubblicazione di sette articoli scientifici, con quarantuno designazioni di typi in totale, più note dettagliate per altri diciassette nomi. Si presenta inoltre una bozza di trattamento nomenclaturale sui 275 nomi pubblicati in Flora Dalmatica, la cui pubblicazione richiederà  il contributo di botanici croati. Si presentano infine altri due articoli in preparazione. I dati ricavati dall'erbario e dai lavori inediti di Visiani sono stati integrati in un geodatabase gestito tramite QGIS, che consente di studiarli tramite query avanzate. Questo strumento è stato utilizzato per preparare le mappe che accompagnano la dettagliata cronologia dell'esplorazione botanica della Dalmazia e delle regioni vicine durante l'epoca di Visiani che è stato possibile ricostruire unendo dati da tutte le fonti studiate, nonché quelle utilizzate per verificare la corrispondenza tra l'erbario e le segnalazioni bibliografiche. La rete di relazioni e scambi di Visiani è chiarita, sono trattati i suoi assistenti, giardinieri, colleghi, amici e coautrori, nonché i molti semplici raccoglitori di pianti che gli fornivano i campioni, molti dei quali sono figure minori sulle quali poco o niente è reperibile in letteratura. Particolarmente interessanti si sono rivelati il ruolo giocato da Antonio Bertoloni all'inizio della carriera di Visiani, il contributo di Muzio Tommasini alla pubblicazione di Flora Dalmatica, il difficile rapporto di Visiani con il suo editore Friedrich Hofmeister e la sua stretta amicizia con Massalongo. Le opinioni scientifiche di Visiani sono discusse nel dettaglio. Visiani ebbe una visione positivistica della scienza e considerò l'esperimento la strada maestra verso la conoscenza; non fu influenzato dagli ideali romantici del tempo. Il suo approccio alla sistematica fu quello tipico della prima metà  del XIX secolo: si concentrava principalmente sull'accurata descrizione delle specie e sull'esplorazione di una flora regionale e rimase sempre uno strenuo difensore delle pratiche linneane, il che gli costò alcune critiche in tarda età. Il suo metodo e le sue idee influenzarono fortemente la scuola di botanica di Padova fino alla metà  del XX secolo. Nonostante sia confermata l'opposizione di Visiani alle acerbe ipotesi evolutive pre-Darwiniane, riteniamo che fosse un fissista dogmatico, e ipotizziamo che si possa essere convertito all'evoluzionismo nei suoi ultimi anni. I suoi concetti, metodi e scelte in tassonomia e nomenclatura, la cui comprensione è fondamentale per la tipificazione dei suoi nomi, sono chiariti e descritti in dettaglio. E' presentata una dettagliata biografia personale di Visiani, che tocca i temi delle sue origini, studi, vita professionale, viaggi, carattere, religione, idee politiche, eredità  materiale. Per quanto riguarda la sua posizione sul processo di unificazione nazionale italiano, la sua posizione si potrebbe ritenere cautamente anti-austriaca. Riteniamo che ciò si possa spiegare parte con l'ambiguità  della sua stessa identità  nazionale, parte con il suo chiaro desiderio di salvaguardare la propria posizione accademica. I risultati botanici del lavoro vengono restituiti tramite pubblicazioni specializzate. Il materiale inedito di Visiani è in fase di caricamento in formato digitale e gratuito sulla piattaforma del Centro di Anteneo per le Biblioteche, PHAIDRA. Si sta vagliando la possibilità  di pubblicare la corrispondenza tra Visiani e Pančić e tra Visiani e Massalongo. Il sistema GIS sarà reso disponibile all'Erbario di Padova; i dati raccolti potranno essere resi disponibili tramite lo sviluppo di un'apposita piattaforma in rete. Concludiamo che un approccio multidisciplinare, centrato sull'autore e la collezione, è particolarmente efficace nel risolvere problemi di botanica storica.

La mia tesi di dottorato parte dal codice Pluteo 76.79. della Biblioteca Medicea Laurenziana di Firenze per tracciare un quadro aggiornato della tradizione manoscritta del Livre de Moralitez, traduzione francese del Moralium Dogma Philosophorum. Il primo capitolo offre un’analisi codicologica dei tre testimoni dell’opera trascritti da copisti italiani. Il secondo capitolo prende in considerazione la tradizione manoscritta del Livre de Moralitez nella sua globalità nonché il suo successo in Europa: in effetti, la versione francese è servita da modello per ulteriori traduzioni in altre lingue romanze. Particolare attenzione viene riservata al cosiddetto Libro di Costumanza, volgarizzamento trasmesso da oltre 20 manoscritti. Il capitolo finale si concentra sulla versione del Libro di Costumanza siglata delta, che rappresenta il risultato dell’interazione tra il testo latino e quello francese. Viene proposta un’edizione critica dell’opera, assieme a un glossario e a un’analisi lessicale delle voci notevoli.
My PhD dissertation, prompted by a study of the codex Pluteo 76.79 of the Biblioteca Medicea Laurenziana (Florence), deals with the manuscript tradition of the Livre de Moralitez, French translation of the Moralium dogma philosophorum. The first chapter offers a codicological analysis of the three witnesses of the work compiled by Italian scribes. The second chapter takes into account the manuscript tradition of the Livre de Moralitez as a whole and its international success: indeed, the French treatise served as a source for further translations into other Romance languages. A particular attention is given to the Libro di Costumanza, Italian translation of whom more than 20 witnesses survive. The final chapter focuses on the version of the Libro di Costumanza signed as delta: this redaction stands out as the result of the interaction between the French and the Latin texts. A critical edition is provided, as well as a glossary and a lexical analysis
Née comme analyse codicologique du manuscrit Pluteo 76.79 de la Bibliothèque Laurentienne de Florence, ma thèse s’est par la suite dévéloppée comme une étude de la tradition du Livre de Moralitez en Italie. Cette œuvre, traduction française du précis latin de philosophie morale connu sous le titre de Moralium Dogma Philosophorum, a remporté un vif succès au Moyen Âge, comme le montrent sa riche tradition manuscrite, mais aussi les traductions en d’autres langues (romanes et non-romanes). Le premier chapitre est consacré aux trois témoins du Livre de Moralitez copiés par des copistes italiens: le déja cité Pluteo 76.79, le Pluteo 41.42 et le codex MR 92 de la Bibliothèque Metropolitaine de Zagreb. Il faudra également ajouter à ces témoins complets les fragments récemment trouvés par Giuseppe Mascherpa dans les Archives Historiques de Lodi. Dans le deuxième chapitre, je prends en considération la tradition manuscrite du traité moral dans son ensemble, en proposant un stemma codicum. Dans le troisième chapitre, je propose une édition critique de la redaction delta du Libro di Costumanza, c’est-à-dire la traduction italienne du Livre de Moralitez. La nécéssité d’une étude détaillée du Pluteo 76.79 avait été explicitement declaré par Giuseppe Mascherpa dans un article écrit avec Maria Luisa Meneghetti et paru en 2013. D’ailleurs, la fiche du manuscrit, compilée par Mascherpa lui-même dans le cadre du projet Ma.Fra, a constitué une base solide pour mes recherches. J’ai décidé en particulier d’approfondir la question liée à l’origine géographique du manuscrit. La présence d’un certain nombre de notes pour l’enlumineur, redigées par le copiste, avait permis à Mascherpa de formuler une hypothèse sur l’aire de production, c’est à dire la Vénétie de l’Ouest ou l’Émilie. Mon travail m’a améné à penser que le copiste était en effet émilien, sans doute bolonais. En ce qui concerne les enluminures elles-mêmes, on peut effectivement réléver des éléments qui reportent à l’école bolonaise de la fin du XIIIe siècle, tout en confirmant également la datation du manuscrit avancée par Teresa de Robertis. Dans l’article déjà cité, Mascherpa affirmait aussi que les critères de compilations du recueil auraient bien mérité un supplement de recherche. En reconstruisant l’ordre original du manuscrit, perturbé par des erreurs évidentes en phase de fasciculation, on remarque que le codex s’ouvre par le Livre de Moralitez; le traité est suivi par des unica, c’est-à-dire un lapidaire et un petit poème sur l’Apocalypse; la deuxième œuvre principale du recueil est le Bestiaire d’Amour; finalement, la nouvelle intitulé Agnes et Meleus par Paul Meyer clôt le manuscrit: le Pluteo est, encore une fois, la seul témoignage de cette narration vivante. En ce qui est de la mise en recueil, je vais mettre en exergue la physionomie particulière du Pluteo: en effet, Livre de Moralitez et Bestiaire d’Amour n’ont pas été transmis ensemble que par le manuscrit laurentien et par un autre manuscrit conservé en Belgique; on trouve tout de même des épreuves de la liaison entre les deux œuvres dans le cadre de la tradition italienne: de fait, le témoin {M} du Libro di Costumanza transmet aussi la version italienne du Bestiaire d’Amours. Parmi les œuvres mineures, Agnes et Meleus constitue sans aucun doute l’item le plus intéressant. Consacré au thème de l’avarice punie, le récit confirme par ailleurs la déstination courtoise pour laquelle la compilation du manuscrit à été conçue. Cet aspect contribue à remarquer la particularité du Pluteo 76.79 par rapport aux autres témoins italiens du Livre de Moralitez. Le Pluteo 41.42 aussi bien que le codex de Zagreb répondent en effet aux attentes d’un public bien différent, celui de la bourgeoisie urbaine. La section française du Pluteo 41.42 n’avait jamais fait objet d’une étude attentive. Connu surtout grâce à la partie contenant le chansonnier trobadouresque P, le manuscrit se clôt par deux œuvres en langue d’oïl, c’est-à-dire le Blasme de fames et le Livre de Moralitez. Une analyse stratigraphique sommaire de la langue du traité moral a mis en évidence des données qui pourraient confirmer l’existence d’une axe de transmission Vénétie-Toscane pour les matériaux qui forment le recueil. On remarque aussi une cohérence substantielle entre la section française et le reste du manuscrit, notamment les coblas esparsas: certaines d’elles se montrent en particulier proches du système de valeurs de la classe bourgeoise-marchande, comme l’avait déjà souligné Stefano Resconi. Tout de même, les caractéristiques codicologiques du codex de Zagreb nous conduissent à un environnement pareil à celui du Pluteo 41.42: le petit format, la juxtaposition de ‘livrets’ de nature diverse, aussi bien que l’apparence modeste font penser à une usage privé du manuscrit, rassemblé probablement par un membre de la haute bourgeoisie vénétienne. Quant à l’hétérogénéité du contenu, on remarque que le codex contient lui-aussi une anthologie lyrique, française cette fois; il s’agit également de l’un des deux témoins du Livre d’Enanchet, peut-être produit le plus ancien de la littérature franco-italienne. Dans ce sens, la découverte des fragments de Lodi par Mascherpa nous offre une témoignage inattendue de la liaison entre Moralités et Enanchet: les deux œuvres s’y trouvent l’une à côté de l’autre, exactement comme dans le recueil de Zagreb. Comment insérer ces trois exemplaires dans la tradition manuscrite globale ? Faute d’une édition satisfaisante du traité, j’ai décidé de consulter tous les témoins, en offrant une mise à jour de la tradition. De fait, le travail de John Holmberg, editeur au même temps du Moralium Dogma Philosophorum, de la version française et de celle néerlandaise, est criticable à plusieurs égards. En ce qui concerne le Livre de Moralitez, c’est notamment la méthode utilisée pour établir les rélations parmi les témoins à susciter des perplessités. Holmberg renounce à tracer un véritable stemma codicum, en proposant plutôt des “macrogroupes” établis à partir d’affinités génériques. Par conséquent, j’ai décidé de choisir un nombre limité des loci critici, pour lesquelles j’ai pu effectuer une collation des tous les témoins. Dans le cadre d’une classification des manuscrits, il fallait aborder la question du statut à attribuer aux témoins siglés (K) et (L), dont Holmberg avait déjà remarqué la physionomie particulière. Une analyse consacrée à ces deux témoins confirme qu’il s’agit effectivement d’une version fort distante de la vulgate, sans doute élaborée en Angleterre. En suivant les principes individués par Giovanni Orlandi pour les textes transmis en plusieurs rédactions, on relève: l’absence de fautes communes au reste de la tradition, le nombre remarquable de variantes indifférentes, aussi bien que l’histoire externe particulière des manuscrits. Après cette discussion, qui met à jour ce qu’on connaît sur la tradition française, ma thèse donne un panorama des traductions du Livre de Moralitez rédigées en autres langues romanes. Si la version en langue d’oc à été publiée par Jean Ducamin au début du XXe siècle, moins d’attention a été reservée à la traduction castillane. Transmises par un seul manuscrit tardif, les Moralidades de los philosophos démeurent inédites à ce jour. L’individuation des sources manuscrites de ces deux versions a permis de corroborer la validité du stemma proposé. À cette “tradition occidentale” très pauvre s’oppose la variété des traductions effectuées sur le territoire italien. L’on compte actuellement 26 témoins du Libro di Costumanza, qui nous offrent huit rédactions différentes de l’œuvre. Pour autant, ce n’était que la rédaction α à avoir été objet d’étude par les savants. Transmise par 13 témoins, cette version représente la vulgate du Libro di Costumanza et a été publié par Roberto de Visiani en 1865. Le Trattato di virtù morali, selon le titre indûment proposé par l’editeur, constitue toutefois rien plus que le divertissement d’un italianiste “par passion” plutôt qu’une véritable édition critique. Visiani n’utilise que deux manuscrits, sans en donner les cotes: le premier a été identifié en 2008 par Sandro Bertelli et Marco Giola; le deuxième était inaccessible jusqu’à l’heure actuelle. Cependant, une recherche conduite avec Matteo Luti nous a permis de retrouver le manuscrit, dont j’ai donnée une première description. Il a fallu attendre plus d’un siècle pour avoir une édition satisfaisante du Libro di Costumanza, qui pourtant n’a jamais été publiée. Je me réfère à la thèse rédigée en 1992 par Cristina Bernardini, élève d’Alfonso D’Agostino. Travail tout à fait méritoire, car il propose non seulement une édition meilleure que celle de Visiani, mais il offre aussi une analyse soignée de la tradition manuscrite: Bernardini individue en particulier cinq rédactions indépendantes du volgarizzamento. Ma recherche poursuit et approfondit l’étude de Bernardini, en inscrivant le Libro di Costumanza dans le cadre d’une tradition européenne. Il faut remarquer qu’encore une fois le stemma codicum du Livre de Moralitez démontre sa validité. Certes, il serait impossible d’expliquer de façon, pour ainsi dire, géométrique les rélations généalogiques entre sources et traductions. L’on remarque d’évidents phénomènes de contamination non seulement parmi les différentes rédactions, mais aussi entre la rédaction α et la traduction italienne du Tresor de Brunetto Latini. Cette dernière question, qui n’avait jamais été abordée auparavant, ouvre un terrain de recherche qui peut se révéler très fécond pour de futures études consacrées aux deux œuvres. Il était aussi important d’approfondir la connaissance de la tradition septentrionale du Libro di Costumanza. Si la majorité des témoins a été compilée en Toscane, les manuscrits siglés {N}, {T} et {V} prouvent tout de même une circulation du volgarizzamento en Italie du Nord. Le chapitre finale aborde l’étude de la rédaction delta du Libro di Costumanza, dont j'offre une édition critique. Cette version de l’œuvre constitue le résultat d’une réélaboration, voire d’une adaptation, du texte italien à partir des textes français et latin: en effet, le traducteur avait à disposition un exemplaire du Moralium Dogma Philosophorum, comme le démontrent de nombreux passages absents dans le reste de la tradition romane. Par ailleurs, on relève le recours au manuscrit Pluteo 41.42, utilisé notamment pour essayer de corriger l’erreur d’archétype. En ce qui concerne la langue de cette version, le manuscrit de référence, c’est-à-dire le codex Riccardiano 1475 (mil quatrecent soixante-quinze) a été sans doute copié par une main siennoise, alors que le modèle remonte probablement à la Toscane de l’Ouest. Ce n’est qu’un premier pas vers l’étude du Libro di Costumanza, et de sa tradition variée et encore largement inexplorée.

Memoria (arquitecto)
Autorizado por el autor, pero con restricción para ser publicada a texto completo hasta el año 2013
En la actualidad un importante porcentaje de la población en Chile es atendida por el Sistema Público de Salud, cantidad que se ha acentuado a nivel Infantil. Sin embargo, la infraestructura de este sistema se ha ido deteriorando, debido a la escasa inversión en mantención y adecuación, principalmente en los Grandes Centros Hospitalarios del país. Como consecuencia muchos aspectos de la prestación de salud hoy en día se han visto desmejorados, sobre todo en comparación con el sistema privado, lo que no refleja la Evolución Económica que vive la nación. Por consiguiente, esto ha degradado la calidad de la atención, de vida, la experiencia como usuario y su dignidad. Es por ello que la idea de realizar como proyecto de título un “Edificio Complementario al Hospital Roberto del Río”, basado en sus deficiencias de infraestructura, nace de la inquietud por contribuir a la Salud Pública Pediátrica en Chile, ya que es más viable a nivel Público mejorar lo existente, que invertir en un nuevo Establecimiento de Salud. El proyecto se enfoca en atacar el trato al Usuario, niño, y sus Familias, las cuales se ven enfrentadas a un ir y venir constante al Centro de Salud. Se pretende trabajar de una forma globalizada, atendiendo a las distintas necesidades que el Hospital en estudio presenta, me refiero a la colaboración en las Zonas de Espera, Centro de Extensión y a nivel Clínico, la Normalización de la Unidad de Plástica y Quemados, área olvidada por el Establecimiento de Salud. Dentro de los hospitales de infantes, elegí el Hospital Dr. Roberto del Río, por ser Centro de Referencia Nacional, Hospital de alta complejidad y ser el segundo Establecimiento de salud de niños más concurrido en la Región Metropolitana, área donde recae la mayor parte de la Salud Pública a nivel Nacional

D’un point de vue général, la thèse propose de penser l’horreur comme une construction littéraire. À ce propos, cette recherche développe une réflexion approfondie sur les oeuvres narratives de Juan José Saer et de Roberto Bolaño. Premièrement, il s’agit de réaliser un travail théorique formulant des hypothèses sur la pertinence d’utiliser l’horreur comme catégorie critique ; deuxièmement, de signaler un champ sémantique posant des problèmes, dont la permanente allusion à l’horreur fonctionne comme source de sens de la représentation des catastrophes historico-politiques dans la littérature. L’importance donnée à la notion de forme détermine la perspective à partir de laquelle nous concevons l’horreur dans cette thèse ; en même temps, elle indique que l’horreur comme forme demeure souvent impensée dans le domaine des études littéraires, spécialement dans celles qui ont analysé les oeuvres étudiées ici. Dans ce contexte d’analyse, on signale deux grands domaines à partir desquels les oeuvres étudiées construisent leur variation, leur expansion et leur réflexion de la représentation littéraire de l’horreur. Dans cet esprit, nous avons fait ponctuellement référence à l’importance du registre visuel et aux épisodes récurrents qui présentent une intervention violente sur des corps humains. L’horreur est un effet formel qui se donne à voir comme une partie de ce procédé de dialogue et de réflexivité de l’écriture. Autrement dit, à partir du corpus sélectionné pour étudier les mouvements de l'horreur en tant que forme, on peut affirmer un souci pour l’aspect visuel et pour la disposition des corps, où les déplacements textuels font de l’horreur une forme-thème prisée par ces oeuvres
Overall, this dissertation proposes to think horror as a literary construction. To that end, the research develops an extensive reflection on the narrative works of Juan Jose Saer and Roberto Bolaño. The aim is, first, to carry out a theoretical study to formulate hypotheses about the relevance of using horror as critical notion, and secondly, to point out a problematic semantic field, whose banner is the constant allusive reference to horror as a source of meaning for the representation of historical and political disasters in literature. The importance given to the notion of form determines the perspective in which horror is conceived in this dissertation. At the same time, it indicates that horror as a form is usually presented as an unthought-of notion in the literary criticism field, particularly in the studies that have analyzed the works studied here. Within this context of analysis, two major areas on which both literatures build their variation, expansion and reflection of the literary representation of horror are identified. These refer specifically to the importance of the visual register and to the repeated episodes that narrate violent interventions on human bodies. Horror is a formal effect displayed as part of the process of dialogue and reflexivity inherent to writing. Put another way, -from the corpus selected to study the movements of horror as form- it can be asserted that it is around a concern about the visual aspect and the arrangement of bodies, that the textual trajectories confer horror the form-theme that is dear to these fictions

This study critically analyzed four selected campaign speeches by Robert Kennedy from his 1968 campaign to determine his use of the Camelot myth and his success in portraying himself as the heir apparent to the Kennedy legend. Using procedures adapted from fantasy theme analysis, the rhetorical vision of Camelot was outlined, and the fantasy themes and fantasy types within it were determined. The public persona of Robert Kennedy was also evaluated. Throughout the speeches analyzed, Robert Kennedy invoked themes identified within the rhetorical vision of Camelot. In addition to his own themes of social justice and reconciliation, Kennedy promoted his brother's legend. Chaining evidence provided proof of the public's participation in the rhetorical vision demonstrating Kennedy's success with these themes.

Writers tend to exude political views and ideas in their works. Robert A. Heinlein and his works havebeen interpreted from multiple political standpoints, yet almost no such interpretation has beenapplied to his later works. In this paper Lazarus Long, the protagonist in Heinlein’s Time Enough forLove, is interpreted through a libertarian looking glass, focusing on the novel’s societal critique andideas regarding liberty, power, government and economy. This paper is written with the goal ofshowing that the protagonist in Time Enough for Love can be said to be libertarian in perspective andattitude. This is done by using libertarian concepts divided into five categories, these categories beinginterpreted from David Boaz´s primer on libertarianism: societal criticism, governmental criticism,economic criticism, flourishing and observations. Conclusively this paper states that Robert A.Heinlein’s protagonist in the novel Time Enough for Love seems to have many influences by libertarianideals and can be said to be libertarian in perspective and attitude.

This thesis investigates the significance of the Church's experience of transcendence in the theologies of Robert W. Jenson (b. 1930) and Alexander Schmemann (1921-1983). Both theologians emphasize the indispensable role of eschatology for Christian theology, but they offer strikingly different accounts of what that means. Following an introductory chapter, the first half of the thesis (chapters 2-4) clarifies the loss of transcendence by following Jenson's and Schmemann's respective theological diagnoses of the chief problems facing the Church in the late-modern West. Jenson argues that a long hidden error in the ontology of the doctrine of God is the underlying cause of the nihilism pervading Western culture. Schmemann perceives secularism as the pervasive cultural backdrop to Christian faith in the West, identifying the betrayal of the Orthodox Church's liturgical experience of the Kingdom of God as the chief culprit. By placing their critiques in dialog with one another I further trace the mutually diagnosed problem of the Church's debilitated eschatology to underlying problems in received ontologies of transcendence. The second half of the thesis (chapters 5-7) explores Jenson's and Schmemann's theological proposals for rehabilitating eschatology. Jenson revises the ontology of God to more adequately fit the God identified by the gospel. His narratival ontology enables him to conceptualize God's transcendence in terms of triune faithfulness through time rather than in metaphysical immunity to time. Schmemann retrieves a symbolic ontology in order to affirm the sacramentality of the world by which God's transcendence can be mystically experienced in the Church's liturgical worship. I argue that Jenson's theological rejection of timelessness rests upon historicist assumptions which Schmemann's eschatological theory has resources to withstand and that, furthermore, theology should preserve apophatic humility rooted in the aseity of God rather than historicize the doctrine of God as Jenson proposes.

This chapter will explore the similarities and differences between late nineteenth-century debates on the British settler Empire and more recent visions of the Anglosphere. It suggests that the idea of the Anglosphere has deep roots in British political thought. In particular, it traces the debates over both imperial federation and Anglo-American union from the late nineteenth century onwards into the post-Brexit world. I examine three recurrent issues that have shaped arguments about the unity and potential of the ‘English-speaking peoples’: the ideal constitutional structure of the community; the economic model that it should adopt; and the role of the United States within it. I conclude by arguing that the legacy of settler colonialism, and an idealised vision of the ‘English-speaking peoples’, played a pivotal role in shaping Tory Euroscepticism from the late 1990s onwards, furnishing an influential group of politicians and public intellectuals, from Thatcher and Robert Conquest to Boris Johnson and Andrew Roberts, with an alternative non-European vision of Britain’s place in the world.

Featuring an extended reading of ‘The Cotter’s Saturday Night’, this chapter finds new parallels between Robert Burns’s handling of the religious and socio-economic dimensions of improvement. It argues that the poem maps a model of spiritual renewal rooted in New Licht Presbyterianism on to the crisis of laissez-faire modernisation. That vision of improvement is signalled in the work by a complex overlaying of linear and cyclical models of time, a dialectical vision of history in which – finally – poetry ascends to a powerful role as a medium of secular belonging. ‘The Cotter’ thus instantiates a complex cultural politics, rather than being a conservative outlier in Burns’s oeuvre. It is contextualised here within the poet’s wider negotiation of improvement in his 1786 Poems, which develops a carefully managed ‘simple’ aesthetics. Burns emerges as a transitional figure between the improving civic activity of the Scottish Enlightenment (‘cultivating’) and an aesthetic vocabulary of nationhood driven by the consumption of canonical literature (‘culture’).

The aim of this work is to determine to what extent Robert Parker has lost his influence as a prescriber in the world of wine through a webometric analysis based on a comparative analysis of Parker’s web influence and that of a competitor who represents an anthitetical vision of the world of wine (Alice Feiring). To do this, we carried out a comparative analysis for Parker’s (@wine_advocate) and Alice Feiring’s (@alicefeiring) official Twitter accounts, including a broad set of metrics (productivity, age, Social Activity, number of followees, etc.), paying special attention to specific followers’ features (age, gender, location, and bios text). The results show that Parker’s twitter profile exhibits an overall higher impact, which denotes not only a different online strategy but also a high level of engagement and popularity. The low level of shared followers by Parker and Feiring (1,898 users) offer prima facie evidence of an online gap between these followers, which can indicate the existence of a divided group of supporters corresponding with the visions that Parker and Feiring represent. Finally, special features are notice for Feiring in gender (more women followers), language (more English-speaking followers) and country (more followers from the United States).

Computer vision systems have several stages, and one of the operators used in these systems is the edge detection filter. High-performance computing is required in many applications and stages of computer vision systems, and many designs use FPGA technology to improve performance and decrease power consumption. In this context, this work presents an analysis of five edge detection filters synthesized to FPGA, including Laplacian, Roberts, Prewitt, Sobel, and Canny. In the experiments, we compared the hardware implementations with software versions to identify the impact of fixed-point representation on the quality of the output images. We have also assessed metrics regarding performance, silicon costs, and energy consumption. The results obtained show that the Laplacian filter has the lowest costs, while the Canny operator provides the best output image at the price of much higher silicon costs and energy consumption.

Face à influência da indústria no desenvolvimento das cidades e as consequências nas vivências sociais, estudamos as potencialidades e condicionantes da intervenção em espaços industriais abandonados. Estes antigamente correspondiam a locais periféricos, mas devido à expansão das cidades actualmente fazem parte das zonas centrais da cidade. Tendo em conta os motivos do seu aparecimento, entendemos as abordagens que têm sido realizadas nestes solos a nível do Património e Arqueologia Industrial e compreendemos que esta abordagem tem sido limitadora na devolução dos espaços industriais à cidade e interacção da sociedade, e para tal estudamos intervenções em que é possível identificar outra metodologia na forma de pensar estes espaços, como por exemplo a Fábrica de Couros em Guimarães, tido como um exemplo que contraria esta tendência. Para a compreensão desta temática tivemos como referência José Amado Mendes, com artigos sobre o património e arqueologia industrial, a visão de Nuno Portas sobre a forma de abordar os espaços obsoletos, Peter Roberts e Hugh Sykes com os estudos e estratégias de regeneração. Given the influence of industry on the development of cities and the consequences in social experiences, we study the potential and limitations of intervention in industrial abandoned fields. These formerly corresponded to peripheral sites, but due to the expansion of the cities this locals currently correspond to central areas of the city. Having regard to the reasons for i s emergence, we understand the approaches that have been conducted on these soils at Industrial Heritage and Archaeology and understand that this approach has been limiting the return of industrial space to the city and society interaction, and such we studied interventions were it is possible to identify other methodology of thinking these spaces, such as in the Fábrica de Couros in Guimarães, taken as an example that contradicts this trend. To understand this subject had reference José Amado Mendes, with articles on the industrial heritage and archeology, Nuno Portas's vision on how to approach the obsolete fields, Peter Roberts and Hugh Sykes with their studies and strategies about regeneration.

Desde una perspectiva comparatista arquitectura-literatura-pintura y Francia-Inglaterra, hemos abordado la imagen del agua en el «jardín inglés», de moda en el siglo XVIII en la literatura libertina y sentimental, y la pintura llamada «galante» y «pre-romántica» francesas (La Petite Maison de Jean-François Bastide, La Nouvelle Héloïse, de Jean-Jacques Rousseau, Les Liaisons dangereuses de Choderlos de Laclos, Point de Lendemain de Vivant Denon; lienzos y dibujos de Watteau, Boucher, Fragonard, Hubert Robert), repertoriando sus representaciones más emblemáticas, a partir de los tratados arquitectónicos sobre jardines de la época, y su trasposición ficcional e imaginaria en las obras de los escritores y pintores anteriormente indicados. Dicha trasposición se presenta en oposición al agua dentro del jardín «a la francesa», inmóvil, estanca, dominada por la mano del hombre, encerrada en estanques, lagos artificiales perfectamente simétricos y artificialmente armónicos, y fuentes-construcción arquitectónica. En efecto, en el jardín inglés, el agua se representa bajo todas sus formas naturales, libre, fluyente, brava, viva, naciente, desembocando, fuera de todo encierro arquitectónico, al menos en apariencia. Ello nos lleva a la conclusión de que el elemento acuático, si bien cohabita con los otros tres elementos esenciales que en la visión clásica componen el universo, adquiere una importancia primordial en el panorama paisajístico europeo, inglés pero también francés por influencia británica, y su representación imaginaria, y ello de manera paradójica en una época donde triunfa la razón en el pensamiento, pero donde fluye de manera libre un imaginario fresco y cambiante. Se expondrán planos de los jardines ingleses en Francia más representativos de la época y realizados por los arquitectos más notables, así como las obras de los pintores citados anteriormente donde aparecen representaciones de jardines ingleses, que se presentarán en contraste a jardines franceses que coexistieron en el siglo de las Luces con los estudiados.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2619

Extended Abstract and [has] the potential to stimulate local and regional economies” (p.3). A city centre or town centre has been recognised as the beating heart and public legacy of an urban fabric either in a small town, medium-sized city, metropolis or megalopolis. Within this spectrum of scales, city centres’ scopes significantly vary in the global context while considering the physical as well as the intangible and the spiritual features. Concerns such as the overall dimensions, skyline, density and compactness, variety of functions and their distribution, comfort, safety, accessibility, resilience, inclusiveness, vibrancy and conviviality, and the dialectics of modernity and traditionalism are only some examples that elucidate the existing complexities of city centres in a city of any scale (overall dimension) (for further details see for instance Behzadfar, 2007; Gehl, 20210; Gehl and Svarre, 2013; Hambleton, 2015; Lacey et al., 2013; Madanipour, 2010; Roberts, 2013). Regardless of the issue of the context, Gehl (2010) define city centres as interconnected with new concepts such as “better city space, more city life” and “lively and attractive hub for the inhabitants” (pp. 13–15). Roberts (2006) explains the notion of a city centre or town centre as a space “in which human interaction and therefore creativity could flourish”. According to her, the point can realise by creating or revitalising 24-hour city policies that can omit the “‘lagerlout’ phenomenon, whereby drunken youths dominated largely empty town centres after dark” (pp. 333–334). De Certeau (1984) explains that a city and subsequently a city centre is where “the ordinary man, a common hero [is] a ubiquitous character, walking in countless thousands on the streets” (p. V). Paumier (2004) depicts a city centre particularly a successful and a vibrant one as “the focus of business, culture, entertainment … to seek and discover… to see and be seen, to meet, learn and enjoy [which] facilitates a wonderful human chemistry … for entertainment and tourism These few examples represent a wide range of physical, mental and spiritual concerns that need to be applied in the current and future design and planning of city centres. The term ‘concern’, here, refers to the opportunities and potentials as well as the problems and challenges. On the one hand, we —the academics and professionals in the fields associated with urbanism— are dealing with theoretical works and planning documents such as short-to-long term masterplans, development plans and agendas. On the other hand, we are facing complicated tangible issues such as financial matters of economic growth or crisis, tourism, and adding or removing business districts/sections. Beyond all ‘on-paper’ or ‘on-desk’ schemes and economic status, a city centre is experienced and explored by many citizens and tourists on an everyday basis. This research aims to understand the city centre from the eyes of an ordinary user —or as explained by De Certeau (1984), from the visions of a “common hero”. In a comparative study and considering the scale indicator, the size of one city centre might even exceed the whole size of another city. However, within all these varieties and differences, some principal functions perform as the in-common formative core of city centres worldwide. This investigation has selected eight similar categories of these functions to simultaneously investigate two different case study cities of Tehran and Belfast. This mainly includes: 1) an identity-based historical element; 2) shopping; 3) religious buildings; 4) residential area; 5) network of squares and streets; 6) connection with natural structures; 7) administrative and official Buildings; and 8) recreational and non-reactional retail units. This would thus elaborate on if/how the dissimilarities of contexts manifest themselves in similarities and differences of in-common functions in the current city centres. With a focus on the age-gender indicator, this investigation studies the sociocultural aspect of inclusiveness and how it could be reflected in future design and planning programmes of the case study cities. In short, the aim is to explore the design and planning guidelines and strategies —both identical and divergent— for Tehran and Belfast to move towards sociocultural inclusiveness and sustainability. In this research, due to the COVID-19 Pandemic, the studies of the current situation of inclusiveness in Belfast city centre have remained as incomplete. Thus, this presentation would like to perform either as an opening of a platform for potential investigations about Belfast case study city or as an invitation for future collaborations with the researcher for comparative studies about age-gender inclusiveness in city centres worldwide. In short, this research tries to investigate the current situation by identifying unrecognised opportunities and how they can be applied in future short-to-long plans as well as by appreciating the neglected problems and proposing design-planning solutions to achieve age-gender inclusiveness. The applied methodology mainly includes the direct appraisal within a 1-year timespan of September 2019 – September 2020 to cover all seasonal and festive effects. Later, however, in order to consider the role of the COVID-19 Pandemic, the direct appraisal was extended until January 2021. The complementary method to the direct appraisal is the photography to fast freeze the moments of the ordinary scenes of the life of the case study city centres (John Paul and Caponigro Arts, 2014; Langmann and Pick, 2018). The simultaneous study of the captured images would thus contribute to better analyse the age-gender inclusiveness in the non-interfered status of Tehran and Belfast. Acknowledgement This investigation is based on the researcher’s finding through ongoing two-year postdoctoral research (2019 – 2021) as a part of the Government Authorised Exchange Scheme between Fulmen Engineering Company in Tehran, Iran and Queen’s University Belfast, Northern Ireland. The postdoctoral research title is “The role of age and gender in designing inclusive city centres – A comparative study of different-scale cities: Tehran and Belfast” in School of Natural and Built Environment of the Queen’s University of Belfast and is advised by Dr Neil Galway in the Department of Planning. This works is financially supported by Fulmen Company as a sabbatical scheme for eligible company’s senior-level staff. Keywords: Age-gender, Inclusiveness, Sociocultural, City Centre, Urban Heritage, Tehran, Belfast

The article considers relativism as a philosophical principle and the moral standpoint of a journalist. In particular, the main argumentation of Roberto de Mattei’s work «Dictatorship of Relativism» is analyzed. Like Ratzinger, the Italian publicist describes modern life as ruled by a dictatorship of relativism which does not recognize anything as definitive and whose ultimate goal consists solely of satisfying «the desires of one’s own ego». In his view, the boundaries of the main conflict of modernity lie between two visions of the world: one that believes in the existence of immutable, absolute values, and one that argues that there is nothing stable, that everything is conditional, time-dependent and can be discussed in the media. The markers of this conflict are our attitude to the famous statement of Protagoras about «man as a measure of all things: of the things that are, that they are, of the things that are not, that they are not», as well as to the non-debatable values, the status of natural and positive law, the worldview neutrality, the dehierarchization and multiplicity of truths, the equalization of all worldviews and axiological standpoint in foreign and Ukrainian media. A special attention in the article is paid to the ideological program of media-relativism, as well as to the postmodern and post-communist contexts of the issue of the penetration of relativism into the journalistic values.