Littérature scientifique sur le sujet « Matteo Rosselli »

Abstract The Pre-Raphaelite artists and poets rejected contemporary conventional style in art, and did not concern themselves with the representation of contemporary life either. They viewed the surrounding social life as sordid, and reached back to the Middle Ages both for technique and subject matter. Dante Gabriel Rossetti, Holman Hunt, John Everett Millais, and later William Morris found inspiration in late medieval art and literature. They took their subjects from history, legend, religion or poetry, focusing on moral or psychological issues, and expressed fascination for beauty as a value of spiritual nature. This paper examines three of Dante Gabriel Rossetti’s medieval fantasy pictures (The Tune of Seven Towers, The Blue Closet and A Christmas Carol), which prompt a meditative and imaginative response through their enigmatic references, and thus attest the mysterious feature of Pre-Raphaelite medieval imagery. The paper discusses their enigmatic nature in the light of William Morris’s early dream poems The Tune of Seven Towers and The Blue Closet, written on the relevant Rossetti pictures. A parallel reading of poem and picture evidences how Pre-Raphaelite medievalism in painting can invite the onlooker for an inner journey through exploring an imagined referential background.

IN HIS LATE PLAY,Sardanapalus(1821), Byron repeatedly presents questions of legacy, as the Assyrian monarch struggles to determine what his reign will mean to future eras. The drama ends with Sardanapalus and his beloved slave, Myrrha, atop a suicidal pyre meant to destroy the palace as the rebellious satraps close in–the pyre also to be the king's final monument, the act by which posterity will remember him. Indeed, he imagines his flaming destruction will produce “a light/To lesson ages, rebel nations, and/Voluptuous princes,” even though “Time shall quench full many/A people's records, and a hero's acts;/Sweep empire after empire, like this first/Of empires, into nothing” (V.i.440–45). In the event, Sardanapalus's last words on the matter come in the form of a satire on the Egyptian pyramids, those proud Ozymandian monuments which time has turned into sites of confusion: [I]n this blazing palace,And its enormous walls of reeking ruin,We leave a nobler monument than EgyptHath piled in her brick mountains, o'er dead kings,Orkine, for none know whether those proud pilesBe for their monarch, or their ox-god Apis:So much for monuments that have forgottenTheir very record! (V.i.480–87)

Prispevek analizira potopitev avstro-ogrske admiralske ladje Viribus Unitis 1. novembra 1918 v Pulju. Za raziskavo je bila uporabljena italijanska arhivska vojaška dokumentacija iz Rima. V članku je opisan proces nastajanja ideje o diverzantskem napadu na vojaško pristanišče v Pulju, ki je bila na začetku bolj domena posameznikov kot pa italijanskega vojaškega sistema. Idejo je najprej razvijal poročnik Raffaele Paolucci, hkrati pa je major Raffaele Rossetti pripravljal posebno tehnično napravo, poimenovano Mignatta, ki je omogočala prevoz eksploziva in tudi obeh diverzantov. Julija 1918 je bila mignatta operativna in oba diverzanta sta se intenzivno urila v postopkih vdora v pristanišče. Ukaz za akcijo je bil izdan 30. oktobra 1918, določal je potek akcije, ni pa predvidel njenega natančnega datuma. Akcija se je začela 31.oktobra 1918 in že v začetku ni potekala skladno z načrtom. Diverzantoma se je z velikimi težavami uspelo prebiti v pristanišče. Ko sta postavila eksplozivno polnjenje pod trup Viribus Unitis, so ju odkrili. Pripeljali so ju k novemu poveljniku mornarice Države SHS kontraadmiralu Janku Vukoviću - Podkapelskemu, ki sta ga opozorila o nevarnosti. Poveljnik je ukazal evakuacijo posadke in dovolil obema diverzantoma umik na varno. Ladja se je po italijanskih informacijah potopila v 20 minutah. Diverzanta sta bila po petih dneh osvobojena in v Italiji sprejeta kot heroja. Za potopitev Viribus Unitis sta sprejela veliko denarno nagrado, ki pa so jima jo mnogi oporekali. Paolucci je po vojni postal znan kirurg in podpornik fašizma, Rossetti pa je bil aktiven protifašist. The article provides an analysis of the foundering of the Austro-Hungarian flagship Viribus Unitis on 1 November in Pula. The study was based on the Italian military archival documents from Rome. The article describes the process of creating the idea of a commando attack on a military port in Pula, which was in the first place more a matter of individuals rather than the Italian military system. The idea was first developed by Lieutenant Raffaele Paolucci, while Major Raffaele Rossetti prepared a special technical device called Mignatta, which enabled the transportation of explosives and both commandos. In July 1918, Mignatta was operational and both commandos were intensively trained in the procedures of port invasion. The mission order was issued on 30 October 1918 and determined the course of the campaign; however it did not provide its precise date. The campaign was launched on 31 October 1918 and failed to adhere to the plan from the very beginning. The two commandos managed to enter the port following some major difficulties. They were discovered once they planted a bursting charge under the hull of Viribus Unitis and were brought to the new Commander of the Navy of the State of Slovenes, Croats and Serbs, Admiral Janko Vuković – Podkapelski. They warned him of danger and the commander ordered the evacuation of the crew and let the two commandos retreat to safety. According to Italian information, the ship was sunk within 20 minutes. Both commandos were freed after 5 days and were considered heroes in Italy. They received a substantial amount of prize money for the foundering of Viribus Unitis, but many objected to this. After the war, Paolucci became a renowned surgeon and supporter of fascism, while Rossetti was an active anti-fascist.

To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.

Abstract Rhabdomyosarcoma (RMS) is a pediatric soft tissue sarcoma characterized by an impaired myogenic differentiation despite the expression of myogenic master genes MYOD and MYOG. Therefore, the restoration of differentiation is considered an anti-cancer therapy. SKP2 is an oncogenic E3-ubiquitin ligase that promotes cell proliferation by targeting the CDKi p21Cip1 and p27Kip1. Previous works showed that SKP2 overexpression is induced by the fusion oncoprotein PAX3-FOXO1 expressed in fusion positive (FP)-RMS cells, and promotes tumor cell proliferation through p27kip1 degradation. However, the role of SKP2 in fusion negative (FN)-RMS cells, devoid of any fusion gene, remains unclear. We report here that SKP2 transcript and protein levels are up-regulated in RMS patients and cell lines compared to normal tissue. Accordingly, we observed increased acetylation of H3K27 histone mark in RMS patients and cell lines compared to myoblasts and muscle tissue. We then show that in RMS cell lines SKP2 expression is induced by MYOD, which binds two SKP2 regulatory regions, an intronic and a distal enhancers, identified by Hi-C and 3C experiments. SKP2 knockdown in FN-RMS cells leads to p21Cip1 and p27Kip1 protein levels up-regulation coupled with G1/S cell cycle arrest. Rescue experiments showed that SKP2 promotes cell proliferation directly targeting p27Kip1. Moreover, SKP2 binds and promotes degradation of p57Kip2 and its silencing restores myogenic differentiation associated to MYOG and de novo MyHC expression in FN-RMS cells. SKP2 depletion also induces cell senescence and prevents anchorage-independent growth and stemness in vitro, and tumor growth in vivo. In turn, SKP2 forced expression partially rescued the anti-cancer effects preventing the increase of p21Cip1, p27Kip1, p57Kip2 and MYOG, promoting re-entry into cell cycle, inhibiting human myoblasts cell differentiation and restoring the tumorigenic potential in FN-RMS. Since neddylation is an essential step for the activity of SKP2, we used MLN4924, an inhibitor of the Nedd8 Activating Enzyme (NAE), under clinical investigation, to resume SKP2 knockdown features. MLN4924 induces p21Cip1 and p27Kip2 expression, promotes senescence and apoptosis, and hampers cell growth in vitro and in vivo both in FP- and FN-RMS. These results unveil an unprecedented role for SKP2 in governing both proliferation and myogenic differentiation in RMS, suggesting that targeting SKP2 functions through MLN4924 treatment might have clinical relevance in FP- and FN-RMS. The study has been founded by AIRC and 5xmille 2021/Ministero della Salute to RR. Citation Format: Silvia Pomella, Matteo Cassandri, Doris Phelps, Clara Perrone, Michele Pezzella, Marco Wachtel, Benjamin Sunkel, Antonella Cardinale, Zoe Walters, Cristina Cossetti, Sonia Rodriguez, Nadia Carlesso, Janet Shipley, Lucio Miele, Beat Schafer, Enrico Velardi, Peter Houghton, Berkley Gryder, Benjamin Stanton, Concetta Quintarelli, Biagio De Angelis, Franco Locatelli, Rossella Rota. A MYOD-SKP2 axis boosts oncogenic properties of fusion negative rhabdomyosarcoma and is counteracted by neddylation inhibition in vitro and in vivo [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 668.

Abstract BACKGROUND: Young breast cancer (BC) survivors are at risk of infertility. Ovarian stimulation for fertility preservation before (neo)adjuvant chemotherapy is standard of care. Research efforts have shown no negative prognostic effect of pregnancy following BC therapy, also among BRCA carriers. Currently, poor evidence is available on the safety to undergo ART following BC treatment, with no data in carriers of germline BRCA pathogenic variants. To provide evidence on the safety of fertility treatments in this specific population, we assessed the outcomes of a cohort of BRCA-mutated BC survivors who had a pregnancy after prior BC history by comparing the group of patients who underwent ART to achieve pregnancy to the group with spontaneous pregnancy. METHODS: We conducted a multicenter retrospective cohort study across 30 centers worldwide including women diagnosed at ≤ 40 years with stage I-III BC, between January 2000 and December 2012, bearing germline BRCA1/2 pathogenic variants. Survivors with a pregnancy (any outcome) after BC, with no disease-free survival (DFS) event before pregnancy, were assigned to the ART and non-ART group if their pregnancy was achieved through ART or spontaneously, respectively. ART procedures included ovulation induction, ovarian stimulation for in vitro fertilization (IVF) or intracytoplasmic sperm injection (ICSI), and embryo transfer under hormonal replacement therapy (HRT). RESULTS: Of 1,424 patients registered in the study, 168 with a pregnancy after BC were included in the present analysis. A total of 22 patients were included in the ART group and 146 in the non-ART group. Before BC diagnosis, 18.2% patients in the ART group had at least one child, compared to 38.4% in the non-ART group (P=0.030). Patients had a median age at BC diagnosis of 33.0 vs 30.2 years old in the ART group and in the non-ART group, respectively (P=0.004); 45.4% and 17.1% had grade 1-2 tumors, respectively (P=0.008), and 59.1% vs 31.5% had hormone receptor-positive tumors, respectively (P=0.016). Both cohorts had similar tumor size and nodal stage characteristics. Type and duration of endocrine therapy were comparable between groups. The type of ART was not specified in 5 survivors (22.7%). Ovulation induction was used in 1 patient (4.5%), ovarian stimulation in 7 patients (31.8%), embryo transfer under HRT following oocyte donation in 5 patients (22.7%), and embryo transfer under HRT following oocyte and/or embryo cryopreservation for fertility preservation in 4 patients (18.2%). Median age at conception among survivors was 39.7 years in the ART group versus 35.4 years in the non-ART group (P<0.001). Overall, no differences in obstetrical outcomes were observed between groups, although there were more delivery complications in the ART group vs the non-ART group (22.1% vs 4.1%, respectively, P=0.011). Median follow-up from pregnancy was 3.4 years (range: 0.8-8.6) for patients in the ART group vs 5.0 years (range: 0.8-17.6) in the non-ART group (P=0.009). In the ART group, 2 patients (9.1%) experienced a DFS event (both were loco-regional recurrences) as compared to 40 patients (27.4%) in the non-ART group (P=0.182). No patients died in the ART group compared to 10 patients (6.9%) in the non-ART group. CONCLUSIONS: To our knowledge, this is the first study assessing the safety of ART in BC survivors bearing germline BRCA pathogenic variants. Even though the exposed cohort was small, results showed that the use of ART does not appear to increase the relapse risk at short-term follow-up. Further reproductive studies in BRCA-mutated BC patients are warranted. Citation Format: Margherita Condorelli, Marco Bruzzone, Marcello Ceppi, Alberta Ferrari, Albert Grinshpun, Anne-Sophie Hamy, Evandro de Azambuja, Estela Carrasco, Fedro A. Peccatori, Antonio Di Meglio, Shani Paluch-Shimon, Philip D. Poorvu, Marta Venturelli, Christine Rousset-Jablonski, Claire Senechal, Luca Livraghi, Riccardo Ponzone, Laura De Marchis, Katarzyna Pogoda, Amir Sonnenblick, Cynthia Villarreal-Garza, Octavi Córdoba, Luis Teixeira, Florian Clatot, Kevin Punie, Rossella Graffeo Galbiati, Maria Vittoria Dieci, Alejandro Pérez-Fidalgo, Francois P. Duhoux, Fabio Puglisi, Arlindo R. Ferreira, Eva Blondeaux, Tamar Peretz-Yablonski, Olivier Caron, Claire Saule, Lieveke Ameye, Judith Balmaña, Ann H. Partridge, Hatem A. Azim, Jr, Isabelle Demeestere, Matteo Lambertini. Safety of assisted reproductive technologies (ART) following treatment completion in young women with germline BRCA pathogenic variants having a pregnancy after breast cancer [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr PD5-06.

La tesi prende in esame il ciclo degli affreschi interni della Villa di Poggio Imperiale, realizzati da un’équipe di pittori del Seicento Fiorentino su commissione di Maria Maddalena d’Austria (1589-1631), vedova del granduca di Toscana Cosimo II (1590-1621) e reggente del primogenito e successore al trono Ferdinando II. La Granduchessa, al termine dei lavori di rinnovamento della Villa, il 23 maggio 1624 la denominò “Villa di Poggio Imperiale” in memoria del fratello Ferdinando II che salì sul trono come Imperatore del Sacro Romano Impero nel 1619. Le dieci lunette nel Salone delle Udienze illustrano le regine e le imperatrici cristiane dal IV secolo al XVI secolo; le dieci lunette nella Camera da letto della Granduchessa sono dedicate alle Sante martiri; le altre dieci nell’Anticamera della Granduchessa rappresentano le donne illustri veterotestamentarie. Non sono mai emersi finora documenti di pagamento ai pittori, nè quelli relativi alle decorazioni che possano permettere di individuare il consulente iconografico dell’intero programma decorativo. Pertanto è stato fondamentale attribuire ogni decorazione tramite analisi stilistiche, ma finora erano stati poco approfonditi i significati della vasta decorazione nel contesto storico-culturale. Per affrontare questo problema in modo interdisciplinare, la tesi è divisa in tre parti. Nella prima parte viene esaminato il periodo precedente alla reggenza, ricostruendo l’entrata di Maria Maddalena d’Austria nella capitale del Granducato e gli archi trionfali eretti lungo il percorso. Successivamente vengono esaminate le commissioni artistiche da parte della giovane Granduchessa, con riferimento in particolare al collezionismo delle reliquie e alle decorazioni interne della cappella in Palazzo Pitti. La seconda parte è dedicata alla ricostruzione della carriera del pittore Matteo Rosselli, considerato il capo cantiere della Villa di Poggio Imperiale. Attraverso le sue attività svolte durante i primi due decenni del Seicento, sono illustrate anche le vicende artistiche dell’epoca a Firenze. Nella terza parte, dedicata al periodo di reggenza governato dalle tutrici di Ferdinando II, vengono esaminate le venti lunette che adornano il Salone delle Udienze e la Camera da letto della Granduchessa della Villa di Poggio Imperiale. La maggior parte di tali lunette presenta iconografie insolite. Non era mai stato fatto, però, un confronto puntuale fra le singole scene rappresentate ed i brani dei volumi proposti come fonti letterarie. Analizzando la coerenza fra i testi e le rappresentazioni, emerge che alcuni degli episodi dipinti, nella loro peculiarità, dovevano essere ispirati anche dalle altre fonti letterarie qui proposte, individuando le motivazioni che avevano portato a scegliere queste rappresentazioni insolite e, in certi casi, nuove.

This chapter turns its attention to the shilling monthly as represented by the originators of the genre: Macmillan’s Magazine and the Cornhill. These periodicals represent a particular moment in literary history in which the shilling monthly explicitly functioned to reinforce and define middle-class cultural tastes and traditions. This chapter thus considers how the editors of Macmillan’s and the Cornhill used poetry to support the cultural and literary aims of their respective periodicals, shaping the poetic landscape of the 1860s through their editorial decisions (e.g. each periodical took a side in the era’s debate over hexameters). The first third of the chapter traces Alexander Macmillan’s influence on the poetry of Macmillan’s through the work of Alfred Tennyson, Dinah Mulock Craik, and Christina Rossetti. The remainder of the chapter focuses on William Thackeray’s role as paterfamilias of the Cornhill through an examination of poems by Matthew Arnold, Adelaide Anne Procter, Owen Meredith, and Elizabeth Barrett Browning (among others).