Letteratura scientifica selezionata sul tema "Milano 1881"
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Articoli di riviste sul tema "Milano 1881"
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Lacagnina, Davide. "Milano, 1881: Courbet e Carpeaux tra le “macchiette” di Navarro della Miraglia". ACME 74, n. 2 (14 settembre 2022): 123–45. http://dx.doi.org/10.54103/2282-0035/18664.
Testo completoAbstract (sommario):
Nel 1881, per i tipi dell’editore Brigola di Milano, vedeva la luce Macchiette parigine, un compendio di profili biografici che lo scrittore siciliano Emanuele Navarro della Miraglia (1838-1919) dedicava a eminenti personalità della cultura letteraria e artistica francese di metà Ottocento.Francesista, a lungo residente a Parigi (1864-1872), in contatto a Milano con gli ambienti della scapigliatura lombarda (1872-1882) e da ultimo professore di Lingua e letteratura francese presso l’Istituto superiore di magistero femminile di Roma (1883-1913), Navarro della Miraglia includeva fra le sue “macchiette” anche due ritratti d’artisti dedicati rispettivamente a Gustave Courbet e a Jean-Baptiste Carpeaux.Questo contributo si propone di definire il contesto e le ricadute di una lettura non allineata alla tempestiva e più “ortodossa” discussione della lezione di Courbet promossa da Diego Martelli presso i macchiaioli toscani, a beneficio di una geografia culturale diversamente articolata fra le aperture cosmopolite del naturalismo meridionale e le frange più avanzate della scapigliatura lombarda. Allo stesso modo il resoconto dell’atelier di Carpeaux è riconsiderato alla luce del coevo dibattito sulla scultura monumentale e delle ricerche in corso a Milano su un modellato più mosso e nervoso.
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Barzaghi, Ilaria M. P. "Milano 1881: l'Esposizione industriale nazionale, la cittŕ, la vita moderna". STORIA IN LOMBARDIA, n. 3 (settembre 2012): 49–68. http://dx.doi.org/10.3280/sil2011-003004.
Testo completoAbstract (sommario):
L'Esposizione industriale nazionale di Milano del 1881 venne realizzata a vent'anni dall'Unitŕ d'Italia, per affermare un modello di sviluppo in grado di trasformare l'Italia in un paese industriale moderno. Milano č la sede elettiva di questo evento in quanto autentico laboratorio della modernitŕ del paese. In Italia la modernitŕ, che viene prevalentemente testimoniata nell'Esposizione milanese del 1881 e rappresentata soprattutto sui mezzi di comunicazione non specialistici, ha eminentemente a che fare con le "immagini della vita moderna" (ovvero urbana) di matrice baudelairiana, piů che con l'esaltazione del progresso scientifico e tecnico, segnatamente industriale e meccanico.
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Koensler, Alexander. "Antonio Gramsci, Waddah Charara and Walter Benjamin: A walk on the wild side of intellectual militancy". Anuac 9, n. 1 (29 luglio 2020): 251–59. http://dx.doi.org/10.7340/anuac2239-625x-4217.
Testo completoAbstract (sommario):
Review article of Giovanni Pizza, L’antropologia di Gramsci: Corpo, natura, mutazione, Milano, Carocci, 2020, pp. 182; Fadi A. Bardawil, Revolution and disenchantment: Arab Marxism and the binds of emancipation, Durham, Duke University Press, 2020, pp. 280; Tilla Rudel, Walter Benjamin: L’angelo assassinato, traduzione di Lorenza Canepa, Milano, Excelsior 1881, 2007, pp. 182 [ed. orig. Walter Benjamin: L'ange assassiné, Mengès, Paris, 2006, pp. 208].
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Benjamin, Bartels, Apaah Brakye Kenneth e Gadzekpo Victor Patrick Yao. "Levels of Heavy Metals in Selected Canned Fish on Cape Coast Market, Central Region, Ghana". International Journal of Environment, Agriculture and Biotechnology 8, n. 5 (2023): 149–52. http://dx.doi.org/10.22161/ijeab.85.20.
Testo completoAbstract (sommario):
Background and objectives: The sea is polluted with heavy metals that accumulate in fishes. Consumption of these fishes pose health risk. The aim of this study is to respectiely assess the concentrations and health risks of lead (Pb), zinc (Zn), iron (Fe), tin (Sn), manganese (Mn), and mercury (Hg) in canned fish samples. Methods: The study focused on Mackerel, Sardine and Tuna. Mackerel brands are African Queen, Geisha, Ena Pa, and Milano; Sardine includes Titus, Festiva, Ohemaa, and Princess, while Tuna were Lele and Star Kist. Flame Atomic Absorption Spectrophotometry was used. Results: The mean concentrations of lead and mercury in the Mackerel, Sardine and Tuna were respectively 0.142± 0.017, 0.122±0.034, 0.141±0.006 µg/g and 0.126± 0.017, 0.132± 0.012, 0.263± 0.006 µg/g below the recommended limits of 0.3 and 0.5 µg/g by EU Reg. No 1881/2006. The concentrations of zinc, iron, tin, and manganese were within the acceptable respective limits. A health risk assessment based on the criteria established by the US EPA revealed no significant health risks associated with the concentrations of the metals. Conclusion: The canned fish samples exhibited low levels of heavy metal contamination, indicating that the fish samples pose no significant health risks to consumers.
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Maffi, Luciano, e Martino Lorenzo Fagnani. "Milano "in omnibus". Esposizioni e turismo urbano nella seconda metà dell'Ottocento". STORIA IN LOMBARDIA, n. 2 (settembre 2020): 94–113. http://dx.doi.org/10.3280/sil2018-002005.
Testo completoAbstract (sommario):
La seconda metà dell'Ottocento è segnata da un incredibile exploit di tecnologia, scienza e rinnovamento industriale in tutto il mondo occidentale. Vetrina del progresso sono le grandi esposizioni, spettacolari kermesse internazionali come quella di Londra nel 1851 o quella di Parigi del 1889. Anche il Regno d'Italia, appena nato nel 1861, si cimenta nell'organizzazione di eventi simili. Si tratta di esposizioni su scala più ridotta, che intendono soprattutto contribuire alla formazione dell'identità nazionale. In più, la grande affluenza di visitatori nelle città ospitanti aiuta a delineare il ramo del turismo urbano. In questo, l'Italia può affiancare il proprio patrimonio storico-artistico alle espressioni di progresso. Il nostro articolo considera questi due aspetti a Milano negli anni Settanta. In particolar modo, analizziamo la percezione che la società milanese da una parte e i visitatori esterni dall'altra hanno dell'Esposizione industriale italiana (1871), dell'Esposizione storica d'arte indu-
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Javier Caspistegui, Francisco. "Barzaghi, Ilaria M.P., Milano 1881: tanto lusso e tanta folla. Rappresentazione della modernità e modernizzazione popolare, Milán, Silvana Editoriale, 2009. 271 pp. ISBN: 9788836614806. 25’00 €." Memoria y Civilización 13 (10 dicembre 2010): 170–74. http://dx.doi.org/10.15581/001.13.4515.
Testo completo
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Milosavljevic, Boris. "A debate between Alimpije Vasiljevic and Milan Kujundzic Aberdar (1865-1873)". Theoria, Beograd 61, n. 3 (2018): 143–67. http://dx.doi.org/10.2298/theo1803143m.
Testo completoAbstract (sommario):
In his lauding review of Dimitrije Matic?s (1821-1884) History of Philosophy (largely based on ?. Schwegler), published in 1865 in the journal Vila, started and edited by Stojan Novakovic (1842-1915), Alimpije Vasiljevic (1831-1911) assessed the pattern of the book as one of the latest and best in the field. In his critical reaction to Vasiljevic?s review, Milan Kujundzic (1842-1893) challenged his assessment. For the generation of the United Serbian Youth, Hegelianism was unacceptable for two reasons: because of increasingly influential positivism (naturalism) and scientism, and because of the strengthening of the ideology of Greater Germany with which it was equated. Both Vasiljevic and Kujundzic were liberals. Their debate, however, was harsh and long, and the intellectual public followed it with ?particular attention?. They polemicized about, inter alia, the actual philosophical relevance of the issue of idealism vs. materialism. Even though the debate showed inconsistencies and contradictions in argumentation, it led to independence in problem formulation and solving.
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Protic, Milan. "The Serbian Radical movement 1881-1903: A historical aspect". Balcanica, n. 36 (2005): 129–49. http://dx.doi.org/10.2298/balc0536129p.
Testo completoAbstract (sommario):
Focusing on the initial stage (until 1903) of the Serbian Radical movement the paper attempts to delineate and explicate the main phases of its political maturation. In its initial stage Serbian Radicalism passed through several significant phases. The earliest phase (1869-80) may be named the period of rudimentary Radicalism. The movement was unorganized and oscillated between the ideas of socialism, anarchism and peasant democracy. The year 1881 saw the founding of the Radical Party as the first organized political party in Serbia with its own internal structure and programme. It opened the second phase, known as a period of militant Radicalism (1881-86) marked by its organized and uncompromising opposition to the existing system and the personal regime of king Milan Obrenovic, culminating in the Timok rebellion in 1883. The period of pragmatic Radicalism (1886-94) saw a recuperation and reorganization of the movement, its inclusion as a legitimate political force into the existing order, the passing in 1888 of a new constitution predominantly influenced by Radical political views and the Party?s first compromises with other factors on the domestic political scene. Finally, there was a period of overpowered Radicalism (1894-1903). Without abandoning their fundamental ideological tenets, the Radicals were forced to make some serious political compromises and moderate their political programme in order to remain in the race for power.
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Pešić, Miroslav. "Party struggles in the Kingdom of Serbia from 1884 to 1887". Зборник радова Филозофског факултета у Приштини 50, n. 4 (2020): 143–59. http://dx.doi.org/10.5937/zrffp50-26092.
Testo completoAbstract (sommario):
Garašanin's Progressive Government proposed to the National Assembly, which was held in Niš in May 1884, to adopt amendments to several laws of a political nature after the demise of the Timok rebellion. These were the bills amending the law: on the press, on the associations and choirs, on the municipality, and on the gendarmerie. By adopting these repressive laws, the progressives practically prevented the work of political parties, reinforced police surveillance over the municipalities, and increased the gendarmerie forces further. The lost war with Bulgaria in 1885 marked the beginning of the political breakdown of the Progressives and King Milan, who was close to them, although they repeatedly disagreed with his political actions. However, their departure from the political scene did not begin immediately after the lost war, as many expected, but took another year and a half for the Progressives, and three years for King Milan. On the other hand, the Radicals began to believe in the possibility that the defeat that they experienced during the Timok rebellion could come to a victory, that is, to power. A long-standing march against the Radical Party was halted, as King Milan realized that he could not rule with the constant ignorance of the will of the people. The broad popular masses led by the People's Radical Party should have approached the throne and the dynasty and together with the representatives of the Progressive Party alleviate the difficult situation created by the war against Bulgaria, and later provide the crown prince with a safer ruler. The royal attempt to persuade the Radicals to agree with the Progressives failed, as representatives of the Radical Party at the assembly held in February 1886 in Niš resolutely refused an agreement with the Progressives. In April 1886, they signed an agreement with the Liberals, which contained a joint program of work of both parties. The most important points of this program, which was a reflection of the compromise on both sides, concerned the change of the Constitution in the internal and the improvement of relations with the Russians in foreign policy. In June 1887, a liberal-radical government was formed, the first coalition government in the political history of Serbia.
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Armour, Ian D. ""Ne bízzatok a hercegekben"". Normaszegés és reprezentációi 38, n. 2 (30 marzo 2023): 171–200. http://dx.doi.org/10.14232/aetas.2023.2.171-200.
Testo completoTesi sul tema "Milano 1881"
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MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
Testo completoAbstract (sommario):
La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
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MAGISTRELLI, GIACOMO. "LA FOTOGRAFIA E I CANTIERI DELLA MILANO POSTUNITARIA 1861-1911". Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/4174.
Testo completoAbstract (sommario):
La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia.
Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione.
Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano.The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.
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Vella, Francesca. "Verdi reception in Milan, 1859-1881 : memory, progress and Italian identity". Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/verdi-reception-in-milan-18591881(ccf17c14-63a8-4239-8d48-7536dd50feba).html.
Testo completoAbstract (sommario):
This thesis explores Verdi reception in Milan during 1859-81, particularly in connection with contemporary notions of italianità. It seeks to shed light on specifically Milanese representations of ‘Italianness’, investigating how attitudes to music, and opera in particular, reflected attempts at constructing and negotiating both local and national identities. By placing Verdi within a larger urban picture, this thesis offers a cultural history – one focused on music and Italian identity – of Milan during the period. The thesis is comprised of four case studies. Chapter One addresses discourse about Verdi and Italian politics during 1859-61, further framing the discussion within a broader historical and historiographical purview. Chapter Two investigates the Milanese premiere of Don Carlo in 1868 in relation to the contemporary spread and perceptions of national monuments. Chapter Three considers the critical reception of Verdi’s Messa da Requiem for Alessandro Manzoni in 1874, suggesting that the binary rhetoric that underpinned the debates was a ‘political’ tool for negotiating musical notions of Italian identity. Finally, Chapter Four examines critical discourse about Verdi-Boito’s revised Simon Boccanegra and the revivals of various operas in Milan in 1881, discussing them in connection with that year’s National Industrial Exhibition and with the interpretative framework of the Operatic Museum. This study overall suggests a revised, more nuanced narrative about late nineteenth-century Verdi, opera and Italy. If, on the one hand, Milan’s contemporary culture maintained a strong awareness of its past, on the other, it was increasingly concerned with defining itself by construing images of the future. Far from representing merely the last epigone of Italy’s past – vocal, ‘melodic’ – musical tradition, Verdi came, in the eyes of Milanese critics, to embody ideas of musical innovation. Concepts of progress and change were indeed as deeply embedded in the contemporary imagination as were concepts of crisis and nostalgia of the past.
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CHIERICHETTI, VALENTINA. "L'ISTRUZIONE SECONDARIA CLASSICA NELLA MILANO DELLA RESTAURAZIONE. PROFESSORI, STUDENTI, DISCIPLINE. (1814-1851)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1376.
Testo completoAbstract (sommario):
La tesi si propone di ricostruire il passato di prestigiosi istituti scolastici milanesi inquadrandoli nella storia socio - culturale e pedagogica del tempo. Sono oggetto di studio i ginnasi di Brera, di Sant’Alessandro, di Santa Marta e i licei di Porta Nuova e di Sant’Alessandro. Il lavoro svolge un approfondimento sulla didattica applicata negli istituti, illustrando i programmi e i libri di testo in uso durante l’età della Restaurazione. La ricerca, inoltre, ricostruendo le carriere, traccia il profilo del corpo docente, e attraverso i registri scolastici analizza l’estrazione sociale, la provenienza geografica, l’età, la condotta e i risultati degli studenti.The purpose of the thesis is to reconstruct the past of prestigious school institutes in Milan setting them in the social-cultural and educational history of their time. The grammar schools of Brera, St. Alessandro, St. Marta and the high schools of Porta Nuova and St. Alessandro are the subject of the rearch. The work shed lights on the didactics adopted in the institutes, on curricola and textbooks used during the Restoration. Moreover the research draws the teaching staff profile, reconstructs teachers’ career and, through the school registers, analyzes the social extraction, the place of birth, the age, the school behaviour and results of the students.
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CHIERICHETTI, VALENTINA. "L'ISTRUZIONE SECONDARIA CLASSICA NELLA MILANO DELLA RESTAURAZIONE. PROFESSORI, STUDENTI, DISCIPLINE. (1814-1851)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1376.
Testo completoAbstract (sommario):
La tesi si propone di ricostruire il passato di prestigiosi istituti scolastici milanesi inquadrandoli nella storia socio - culturale e pedagogica del tempo. Sono oggetto di studio i ginnasi di Brera, di Sant’Alessandro, di Santa Marta e i licei di Porta Nuova e di Sant’Alessandro. Il lavoro svolge un approfondimento sulla didattica applicata negli istituti, illustrando i programmi e i libri di testo in uso durante l’età della Restaurazione. La ricerca, inoltre, ricostruendo le carriere, traccia il profilo del corpo docente, e attraverso i registri scolastici analizza l’estrazione sociale, la provenienza geografica, l’età, la condotta e i risultati degli studenti.The purpose of the thesis is to reconstruct the past of prestigious school institutes in Milan setting them in the social-cultural and educational history of their time. The grammar schools of Brera, St. Alessandro, St. Marta and the high schools of Porta Nuova and St. Alessandro are the subject of the rearch. The work shed lights on the didactics adopted in the institutes, on curricola and textbooks used during the Restoration. Moreover the research draws the teaching staff profile, reconstructs teachers’ career and, through the school registers, analyzes the social extraction, the place of birth, the age, the school behaviour and results of the students.
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Morris, Jonathan. "The political economy of shopkeeping in Milan, 1885-1905". Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/272515.
Testo completo
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Faron, Olivier. "La ville des destins croisés : recherches sur la société milanaise du XIXe siècle, 1811-1860 /". Rome : Paris : École française de Rome ; diff. de Boccard, 1997. http://catalogue.bnf.fr/ark:/12148/cb36698434f.
Testo completo
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Di, Stefano Massimo. "Lieux pieux aumôniers, nobles, finance publique et privée : interactions et ambiguïtés relationnelles dans le Milanais moderne (1615-1801)". Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2018.
Testo completoAbstract (sommario):
Cette étude, couvrant près de deux siècles d'histoire du Milanais, saisit les institutions caritatives, les nobles, les monastères, les opérateurs privés, l'État et les villes, unis par le mince filet de la finance. D'autres types de relations se développent également autour des rapports dette-crédit, liées à la gestion du pouvoir, que le patriarcat milanais tient fermement entre ses mains pendant presque tout l'ère moderne. A ce propos, les lieux pieux aumôniers jouent un rôle non marginal, la preuve en est l'occupation totale de leurs Chapitres (conseils d'administration) par la noblesse milanaise, prête à défendre ses privilèges de caste, quelle que soit l'alternance des dirigeants étrangers.Au fil du temps, les lieux pieux deviennent le siège des intérêts des classes aisées et développent, en plus de celle institutionnelle de la charité, d’autres fonctions: assise pour le contrôle du welfare milanais; nœud du réseau tissé par les familles nobles milanaises pour l'affirmation de leur rôle et la défense de leurs prérogatives; outil permettant de garantir une rente à ses héritiers ou de protéger le patrimoine des risques de perte.Les lieux pieux aumôniers, grands propriétaires fonciers et opérateurs financiers d'une certaine importance, subventionnent l'Etat et surtout les villes, qui ont besoin d'argent pour payer la part des dépenses militaires qui leur sont imposées par le souverain. Les prêts accordés sont - normalement - des accords de longue durée, parfois complexes et même ambigus. Les institutions caritatives participent volontairement au soutien du secteur public, mais y sont parfois induits, voire forcés.La recherche tente de faire ressortir ces multiples aspects liés à l'action des lieux pieux de Milan et aux familles qui les ont contrôlés pour longtempsThis research, which includes almost two centuries of Milan's history, is about charities, aristocrats, monasteries, private entities, the State and the city, all of which were connected by the invisible link of finance. It was around the debit-credit dynamics that different types of connections came to life, which were connected to political and financial power, a stronghold of Milanese patricians throughout almost all the modern era. In those circumstances charities entities had a relevant role, which is proven by the fact that their administrative boards (Capitoli) were entirely taken care of by the Milanese aristocrats, whose priority was to defend their own privileges, without regard for the change of the different foreign rulers that rotated in power. As time goes by, charities entities became the crucial for the activities of the nobles, and started to perform a variety of functions outside their institutional role: court of justice for the control of the Milanese welfare, hub of the aristocrats network aimed to guaranteed their role in society and to defend their Status, as well as a toll that would grant an income to their heirs, or to protect their assets from loss. Charities organisations were also land owners and relevant financial operators and subsidised the government and cities that were in need of money to support the military expenses imposed by the sovereign. The loans were normally long term and the arrangements often complicated and even ambiguous.Charity bodies usually willingly participated to the funding of public sector, however at times they were persuaded or even forced to do so. This study aims to highlight various aspects connected to the role played by the Milanese charities entities and the families whom were widely in control of these institutions
Questo studio, che abbraccia quasi due secoli di storia del Milanese, coglie gli enti elemosinieri, i nobili, i monasteri, gli operatori privati, lo Stato e le città, uniti dal sottile filo della finanza. Attorno ai rapporti di debito-credito si sviluppano anche relazioni di altra natura, connesse alla gestione del potere, che il patriziato milanese tiene saldamente nelle proprie mani per quasi tutta l’età moderna. In tal senso, i luoghi pii elemosinieri rivestono un ruolo non marginale, prova ne è la totale occupazione dei loro Capitoli (consigli di amministrazione) da parte della nobiltà milanese, pronta a difendere i propri privilegi di casta, indipendentemente dall’avvicendamento dei dominatori stranieri. Gli enti elemosinieri divengono, con il passare del tempo, la sede degli interessi delle classi agiate, ed assolvono – oltre a quella istituzionale della carità – diverse altre funzioni: assise per il controllo del welfare milanese; nodo della rete tessuta dalle famiglie nobili milanesi per l’affermazione del proprio ruolo e la difesa delle proprie prerogative; strumento attraverso il quale garantire ai propri eredi una rendita o mettere al riparo il patrimonio da rischi di perdita. I luoghi pii elemosinieri, che sono grandi proprietari terrieri e operatori finanziari di un certo rilievo, sovvenzionano lo Stato e soprattutto le città, bisognose di denaro per pagare la quota di spese militari loro imposta dal sovrano. I prestiti concessi sono – normalmente – di lunga durata, e gli accordi talvolta complessi e, persino, ambigui. Gli enti elemosinieri partecipano al sostegno del settore pubblico volontariamente, ma talora vi sono indotti, se non addirittura costretti. La ricerca tenta di far affiorare questi molteplici aspetti legati all’azione dei luoghi pii elemosinieri milanesi e alle famiglie che, maggiormente, ne detengono il controllo
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Kšiňan, Michal. "Milan Rastislav Štefánik, essai biographique". Paris 1, 2011. http://www.theses.fr/2011PA010695.
Testo completoAbstract (sommario):
La thèse analyse la vie, l’oeuvre et le mythe de M. R. Štefánik. Le but est de comprendre la naissance de la figure du héros. La thèse est divisée en quatre chapitres : le premier Štefánik et l'identité slovaque dans lequel nous traitons les relations entre l' identité slovaque et la personne de M. R. Štefánik ; le deuxième La création et l'utilisation du capital social de Štefánik dans lequel nous analysons comment Štefánik accumule son capital social et comment il l'entretient; le troisième Štefánik - visionnaire dans lequel nous analysons comment Štefánik arrive à convaincre et impressionner ses interlocuteurs; le quatrième Štefánik et la naissance de la Tchécoslovaquie dans lequel nous analysons son apport à la naissance de la Tchécoslovaquie.
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Marazzi, E. "EDITORI PER LA SCUOLA ELEMENTARE A MILANO NEL SECONDO OTTOCENTO. AUTORI, TESTI E MERCATO (1861-1900)". Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/151789.
Testo completoAbstract (sommario):
The work aims at describing the survey of schoolbooks publishing in Milan during the second half of the 19th century. The years which followed the Unification were rich in achievements both in school politics and, especially in Milan, in publishing technology and industry. That is why the work is opened by an outline of the evolution of publishing industry in the city, in a comparison with the national survey. This study is followed by a reconstruction of the main political measures on the topic of schoolbooks publishing, which influenced publishing industry. The texts of the laws also consist in an interesting source for describing the circulation of the books throughout the newly unified nation.
In the second part, which is the main core of the work, three case studies are presented: publishers Antonio Vallardi, Enrico Trevisini and Risveglio Educativo editions are described by analyzing both the history of the firm and the main features of their publishing policies, pointing out similarities and differences.
The third part takes account of two main topics relating to the experiences described. First, the tight relationship between children's literature and textbooks both in the schools and by publishers is highlighted. Finally, the last chapter focuses on and the authors' profiles and their working conditions.
Libri sul tema "Milano 1881"
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Cosmacini, Giorgio. Milano capitale sanitaria: Modelli ideali, organizzativi, assistenziali, scientifici (1881-1950). Firenze: Le Monnier, 2002.
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Antonazzo, Antonino. I dintorni di Milano: Verga tra narrativa di viaggio e impressionismo letterario. Messina: Università degli studi di Messina, Centro internazionale di studi umanistici, 2020.
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Colombo, Paola. La Musica popolare, 1882-1885. Ann Arbor, Mich: U.M.I., 1993.
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Orsenigo, Christian. Victor Loret in Egypt (1881-1899): From the Archives of the Milan University to the Egyptian Museum in Cairo : Egyptian Museum in Cairo, May 19-June 30, 2008. Cairo], Egypt: Supreme Council of Antiquities, 2008.
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Angeleri, Massimo. Rosminianesimo a Milano: Il caso di padre Gazzola (1885-1891). Milano: NED, 2001.
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Maria, Antolini Bianca, e Società italiana di musicologia, a cura di. Milano musicale, 1861-1897. Lucca: Libreria musicale italiana, 1999.
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Tilly, Louise A. Politics and class in Milan, 1881-1901. New York: Oxford University Press, 1992.
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1934-, Rozzi Renato, Boriani Maurizio, Rossari Augusto, Milan (Italy) e Politecnico di Milano. Facoltà di architettura., a cura di. La Milano del Piano Beruto: 1884-1889 : società, urbanistica e architettura nella seconda metà dell'Ottocento. Milano: Guerini, 1992.
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Roy, Pierre. Pierre Roy: Nantes, 1880-Milan, 1950. Paris: Somogy, 1994.
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Anna, Klimová, a cura di. Milan Rastislav Štefánik, 1880-1919: Personálna bibliografia. Banská Bystrica: Štátna vedecká knižnica v Banskej Bystrici, 2000.
Cerca il testo completoCapitoli di libri sul tema "Milano 1881"
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Denison, James. "Impressions of the Milan Convention, 1881". In Deaf American Prose, 1830-1930, 81–88. Gallaudet University Press, 2013. http://dx.doi.org/10.2307/j.ctv2rh289w.20.
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Scaglia, Ilaria. "Introduction". In The Emotions of Internationalism, 1–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848325.003.0001.
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I saw the monument erected in Turin in honor of the portentous Cenisio tunnel and I imagined this choreographic composition Luigi Manzotti* * The epigraph is drawn from Luigi Manzotti, Excelsior: azione coreografica, storica, allegorica, fantastica in 6 parti e 11 quadri, musica di Romualdo Marenco (Milan: Regio Stabilimento Ricordi, 1881), 1...
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Osborne, Richard. "Venice and Milan (1811–1814)". In Rossini, 16–30. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195181296.003.0002.
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Parker, Roger. "Falstaff". In The New Grove Guide to Verdi and His Operas, 223–30. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0030.
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Abstract Commedia lirica in three acts set to a libretto by Arrigo Boito after William Shakespeare’s plays The Merry Wives of Windsor and King Henry IV; first performed in Milan, Teatro alla Scala, on 9 February 1893. Verdi, who by the time he came to write his last operas was a national monument, talked intermittently of writing a comic opera during the latter part of his career, but never found a libretto to his taste until some two years after the success of Otelia in 1887. His librettist for that opera, Arrigo Boito, suggested a work largely based on Shakespeare’s The Merry We Yes of Wendsor. Verdi was immediately enthusiastic about Boito’s draft scenario, made relatively few structural suggestions, and by August 1889 even announced that he was writing a fugue ( quite possibly the comic fugue that ends the opera). Composer and librettist worked closely together during the winter of 1889-90, and by the spring of 1890 the libretto was complete. The composing of the opera took a considerable time, or rather was carried out in short bursts of activity interspersed with long fallow periods.
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Depuydt, Leo. "A Bibliography of the Conjunctive". In Conjunction Contiguity Contingency, 115–16. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195080926.003.0013.
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Abstract BROWNE, G. Michael, Bibliotheca Orientalis, 36 (1979): 181-83, at 182. Review of Tito Orlandi, Il dossier copto del martire Psote. Tosti e documenti per lo studio dell’Antichita 61. Milano: Cisalpino-Goliardica, 1978. , Chronique d’Egypte, 53 (1978): 199-202, at 201-2. Review of Hans Quecke, Das Lukasevangelium sai’disch. Papyrologica Castroctaviana: Studia et Textus 6. Rome and Barcelona: Papyrologica Castroctaviana, 1977.
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"Part III: July – October 1861". In The Milne Papers, 385–544. Routledge, 2017. http://dx.doi.org/10.4324/9781315238302-8.
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Parker, Roger. "Oberto, conte di San Bonifacio". In The New Grove Guide to Verdi and His Operas, 57–58. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0003.
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Abstract Verdi’s first opera has a chequered history. As we first hear of it in 1836, it was called Rocester, with a libretto by Antonio Piazza. After unsuccessful attempts to have the work put on in Milan and Parma, and after a lengthy hiatus during which the composer was employed in his home town of Busseto, Verdi-with the help of the librettist Temistocle Solera-revised and renamed the opera for its La Scala premiere. Oberto was moderately successful and was revived a number of times during the next three years, Verdi taking the opportunity to add various new numbers to the score. For Milan (1840) he supplied a new cavatina for Cuniza and a replacement duet for Cuniza and Riccardo, and adapted the role of Oberto for baritone; for Genoa (1841) he wrote a replacement duet for Leonora and Oberto and new music for the chorus ‘Fidanzata avventurosa’; and for Barcelona (1841-42) he supplied a new first-act aria for Oberto, the cabaletta of which (‘Ma fin cheun brandovindice ‘) later became associated with Ernani.
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Clinkscale, Martha Novak, e John R. Watson. "A". In Makers Of The Piano, 3–12. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166252.003.0001.
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Abstract Aarestrup, Jens Peder Smidt (b 1827-d Bergen?, 1893). Maker of upright pianos at Smaastrandgaden 9 in Bergen, Norway. Aarestrup’s factory was established in 1857 and sold to H. S. Riisna:s in 1886. (Kjeldsberg/ PIANO, 85) Abate, Stefano (fl. late 1830s to c.1853). Dealer and maker in Milan. In the late 1830s Abate and Caspar Lorenz held a patent for soundboard improvement.
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Greeley, Anne. "de Chirico, Giorgio (1888–1978)". In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2051-1.
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The modern Italian painter Giorgio de Chirico was born in the port city of Volos in the Grecian province of Thessaly. After training in Athens and Munich, he lived briefly in Milan and Florence before moving to Paris in 1911. There, between 1911 and 1915, he developed the highly original, ‘metaphysical’ style of painting on which his reputation is chiefly founded. With this singular idiom––epitomised in his 1914 painting The Enigma of a Day––and the critical support of Guillaume Apollinaire, he established himself as one of the luminaries of the Parisian avant-garde, alongside Pablo Picasso and André Derain.
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"Part II: December 1860 – June 1861". In The Milne Papers, 219–384. Routledge, 2017. http://dx.doi.org/10.4324/9781315238302-7.
Testo completoAtti di convegni sul tema "Milano 1881"
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Brito, A., I. Cardoso e C. Boyko. "DESCRIÇÃO DE UMA NOVA ESPÉCIE DO GÊNERO PSEUDIONE KOSSMANN, 1881 (ISOPODA, BOPYRIDAE) ENCONTRADA PARASITANDO MUNIDA MICROPHTHALMA A. MILNE-EDWARDS, 1880 NO ATLÂNTICO SUDOESTE". In X Congresso Brasileiro sobre Crustáceos. Sociedade Brasileira de Carcinologia, 2018. http://dx.doi.org/10.21826/2178-7581x2018270.
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Kupkova, Janka. "GENERAL MILAN RASTISLAV STEFANIK (1880-1919) IN OPTICS OF CONTEMPORARY SLOVAK ART". In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.038.
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Souza, Maria Luiza Zanatta de. "Destaque feminino na coleção de livros raros do MASP". In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4283.
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Este livro "Origine della Greca Architettura" cujo exemplar pode ser encontrado no núcleo de Obras Raras da Biblioteca e Centro de Documentação do acervo do Museu de Arte de São Paulo - MASP (III 3 LR 190) nos propõe, conforme informa o título, a compreensão da ?Origem da Arquitetura Grega". Narrado por PETRALBA N.N. a partir de princípios estabelecidos pelo engenheiro arquiteto Pier(tro) Giovanni Piacenza, foi publicado em Milão, no ano de 1818, pela oficina dos irmãos Ubicini.
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Ferreira, Marlon Gomes Modesto, e JANAÍNA OLIVEIRA DOS SANTOS. "LEVANTAMENTO DA CARCINOFAUNA (CRUSTÁCEA, DECAPODA) DA LAGUNA DE ITAIPU-NITERÓI, RJ". In II Congresso Brasileiro de Biodiversidade Virtual. Revista Multidisciplinar de Educação e meio ambiente, 2022. http://dx.doi.org/10.51189/ii-conbiv/6311.
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Introdução: Crustáceos podem ser encontrados em ecossistemas terrestres, de água doce, salobras e marinhas, desde zonas abissais até zona nerítica, desenvolvendo assim, adaptações que possibilitaram uma vasta distribuição geográfica. A laguna de Itaipu faz parte do bioma Mata Atlântica e contempla uma ampla diversidade de ecossistemas, como restinga e manguezal. A laguna tem capacidade de promover diferentes atividades econômicas para as comunidades locais, mas vem sofrendo historicamente com a urbanização, acarretando modificações ecológicas do ambiente e prejudicando a economia local. Objetivo: O objetivo do estudo foi entender a distribuição e a variedade de espécies de crustáceos decápodes residentes na laguna de Itaipu-RJ. As coletas foram realizadas mensalmente no período de outubro/2019 a março/2020 na laguna de Itaipu, localizada na região oceânica do município de Niterói-RJ. Metodologia: As formas de captura dos decápodes foram classificadas em ativa e passiva, sendo as ativas, coleta manual, puçá e rede de arrastos arrasto (25 mm entre nós oposto), e as passivas, armadilhas (redinha e cova). Os animais coletados foram acondicionados em um caixa térmica com gelo e identificadas em laboratório, de acordo com a literatura especializada. Resultados: Foram encontradas 18 espécies representadas pelas Subordens Dendrobrachiata e Pleocyemata. Dentro delas 10 aquáticas (Callinectes danae Smith, 1869; Callinectes exasperatus Gerstaecker, 1856; Callinectes sapidus Ranthbun, 1896; Charybdis helleri A. Milne-Edwards, 1867; Libinia sp Leach, 1815; Menippe nodifrons Stimpson, 1859; Pagurus brevidactylus Stimpson, 1859; Palaemon sp Weber, 1795; Penaeus brasiliensis Latreille, 1817; Petrolisthes armatus Gibbes, 1850) e 8 espécies semiterrestres (Aratus pisonii H. Milne Edwards, 1837; Cardisoma guanhumi Serville e Guérin, 1828; Goniopsis cruentata Latreille, 1803; Neohelice granulata Dana, 1851; Ocypode quadrata Fabricius, 1787; Pachygrapsus transversus Gibbes, 1850; Minuca rapax Smith, 1870; Ucides cordatus Linnaeus, 1763. Foram identificadas cinco espécies com interesse econômico: U. cordatus, C. guanhumi, C. danae, C. exasperatus, C. sapidus e P. brasiliensis. Conclusão: Houve a ocorrência da espécie exótica Charybdis helleri nativa do Oceano Indico-Pacifico. A quantidade de representantes de decápodes encontrada neste estudo está semelhante ao apontado para outras lagoas/lagunas do litoral brasileiro.
Rapporti di organizzazioni sul tema "Milano 1881"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien e Damon Herd. A New Palingenesis. University of Dundee, novembre 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Government Savings Bank of New South Wales - Martin Place, Sydney - Depositors Ledgers - Accounts - Gulgong - Milton - 1874 - 1881. Reserve Bank of Australia, marzo 2021. http://dx.doi.org/10.47688/rba_archives_2006/22515.
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