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1
Caponigri, Felicia. "Malleable monuments and comparative cultural property law: The Balbo monument between the United States and Italy". International Journal of Constitutional Law 19, n. 5 (1 dicembre 2021): 1710–37. http://dx.doi.org/10.1093/icon/moab136.
Testo completoAbstract (sommario):
Abstract Still standing in situ today, the Balbo monument in Chicago has presented an especially monumental challenge for the Chicago community, including members of the Italian American community in Chicago. This article considers the laws which regulate cultural heritage in the separate territories of Italy and the United States, cultural property law and historic preservation law, respectively, in light of archival research on the behind-the-scenes maneuvers of the Balbo monument’s installation. In certain circumstances, historic property is not the same as cultural property, even though historic property and cultural property may at times overlap. Identity may more greatly inform one category over another through the law’s terminology, connections to place, and resulting historical connections. The central proposal of this article is that some monuments, as they are defined with reference to history under the law, seem so specific to certain histories and historical narratives that they might be meant to be, perhaps counterintuitively, malleable monuments. Despite their characterization as historic property or cultural property, malleable monuments should, can, and, at times, already do, proverbially bend to our shifting and evolving notions of identity as they are inevitably tied to our histories. In Italy, “malleable” may mean tangible monuments with changing symbolism and cultural significance; in the United States, “malleable” may mean embodied symbolism and cultural significance with the impermanence of tangible monuments. Permanence is not definitive of malleable monuments’ existence; rather, impermanence is. Recognizing the complexity of what it means to be Italian in America today through the Balbo monument, the article concludes, may mean accepting the Balbo monument as a malleable monument.
2
Bovo, Martine. "Igiaba Scego’s Roma negata: The ethical nomadism of a second generation migrant writer". Letras de Hoje 54, n. 4 (31 dicembre 2019): 512. http://dx.doi.org/10.15448/1984-7726.2019.4.33259.
Testo completoAbstract (sommario):
Igiaba Scego (Rome 1974-) appartient à la seconde génération d’auteures italo-somaliennes. L’article se concentre sur son essai Roma negata, Percorsi postcoloniali nella città publié en 2014, et montre que l’itinérance dans la ville de Rome proposée par l’auteure n’a rien d’une simple visite touristique mais relève d’une démarche éthique visant à informer les Italiens de la persistance, encore de nos jours, d’un héritage du colonialisme dans leur sensibilité, et leur vécu quotien. La déambulation de Scego dans Rome s’apparente au nomadisme qui rappelle la culture maternelle, et focalise l’attention sur les corps humains et les monuments de Rome, en mettant en relation les temps passés de l’époque coloniale au temps présent de l’histoire italienne. Ce faisant, Scego déconstruit la perception habituelle de Rome et reconstruit, par une opération de décentrement du regard, une cartographie de la capitale, émotive et engagée, postcoloniale.Mots-clés : Igiaba Scego. Rome. Nomadisme. Écriture éthique. Vision postcoloniale. Roma negata.***Roma negata de Igiaba Scego: o nomadismo ético de uma escritora migrante de segunda geração***Igiaba Scego (Roma, 1974) pertence à segunda geração de autores ítalo somalis. O artigo concentra-se em seu ensaio Roma negata, Percorsi postcoloniali nella città, publicado em 2014, mostrando que a itinerância pela cidade de Roma proposta pela autora não tem nada de uma simples visita turística, mas está ligada a uma atitude ética que visa a revelar a persistência do colonialismo na maneira de agir e nas vivências cotidianas dos italianos. A deambulação de Scego em Roma aparenta-se ao nomadismo próprio à sua cultura materna. Ao focalizar-se nos corpos humanos e nos monumentos de Roma, a autora estabelece ligações entre o presente e o passado colonial. Desse modo, Scego desconstrói a percepção habitual de Roma e reconstrói, por uma operação de descentramento do olhar, uma cartografia emotiva e engajada da capital pós-colonial.
3
Chamoux, Par F. "La Cyrénaïque, des origines à 321 a.C., d'après les fouilles et les travaux récents". Libyan Studies 20 (gennaio 1989): 63–70. http://dx.doi.org/10.1017/s0263718900006592.
Testo completoAbstract (sommario):
En 1953, j'avais exprimé le voeu que les antiquités de la Cyrénaïque, que les archéologues italiens avaient si remarquablement étudiées entre 1912 et 1942, fussent à nouveau l'objet de recherches régulières, dès que les épreuves dues à la guerre auraient été surmontées. Ce voeu a été pleinement exaucé. Dès la fin des hostilités, comme j'avais pu le constater sur place en janvier–février 1946, puis en mai–juin 1947, l'Administration militaire britannique avait pris en charge la sauvegarde des monuments et des sites. L'oeuvre réalisée par les responsables successifs de cette administration, à travers mille difficultés et avec des moyens modestes, fut fort efficace. A partir de 1953, elle fut poursuivie et développée par R. G. Goodchild, nommé Controller of Antiquities pour la Cyrénaïque dans le cadre du nouvel Etat libyen. Il suscita et contrôla la reprise des recherches sur le terrain, en même temps qu'il créait de toutes pièces un Service des antiquités dont les jeunes archéologues libyens, en grande partie formés par lui, fournirent les cadres. Avec leur concours, il exécuta lui-même des fouilles, des restaurations de monuments, des prospections à travers le pays, conduites avec une méthode exemplaire, en particulier à Cyrène et à Apollonia. Les missions étrangères, accueillies avec faveur, ouvrirent des chantiers: les Britanniques à Benghazi et à Tocra, les Américains à Ptolémaïs, les Français à Apollonia. Mais surtout la mission archéologique italienne, animée par S. Stucchi, revint travailler à Cyrène à partir de 1958 et, depuis trente ans, accomplit un admirable travail de publication dans tous les domaines, exploitant à Cyrène les fouilles antérieures, en les complétant par des sondages, et procédant parallèlement à la reconstruction des monuments quand l'état des ruines le permet.
4
Monteiro, Michelli Cristine Scapol. "A América como consagração". Revista de História, n. 178 (10 luglio 2019): 1–41. http://dx.doi.org/10.11606/issn.2316-9141.rh.2019.141992.
Testo completoAbstract (sommario):
Ettore Ximenes (Palermo, 1855/Roma, 1926) foi um escultor italiano de grande notoriedade internacional nas primeiras décadas do século XX. Autor do Monumento à Independência do Brasil, situado em São Paulo, sua maior obra escultórica, Ximenes construiu uma trajetória de grande relevo na América, desde que ganhou o concurso para o Monumento ao General Belgrano, em Buenos Aires, em 1898. Nos Estados Unidos, Ximenes realizou esculturas em homenagem a italianos célebres, como os monumentos a Giovanni da Verrazzano e a Dante Alighieri, encomendados por Carlo Barsotti, editor do jornal Il Progresso Italo Americano, na cidade de Nova York. Este artigo reconstitui o processo de encomenda destas duas obras e evidencia a relevância dos monumentos para os seus promotores e para a projeção da carreira de Ximenes, de modo a perceber como as ações de valorização da identidade italiana foram centrais na consagração do artista naquele país, ao mesmo tempo em que enalteciam a comunidade imigrante italiana e um de seus mais destacados líderes políticos.
5
Vadimovich Griger, Maxim, Enzhe Midhatovna Dusaeva e Igor Vladimirovich Vostrikov. "CREATING A MEMORY OF A SAINT: FRANCIS OF ASSISI IN ITALIAN MONUMENTAL PROPAGANDA OF THE 19TH-21ST CENTURIES". Humanities & Social Sciences Reviews 7, n. 5 (19 ottobre 2019): 663–66. http://dx.doi.org/10.18510/hssr.2019.7578.
Testo completoAbstract (sommario):
Purpose: This article explores the mechanisms of constructing cultural memory in Italy in the 19th – 21st centuries on the example of the history of the erection of monuments dedicated to St. Francis of Assisi. They are interested only in the monuments placed in urban areas. This way they analyze “appropriation” of St. Francis by secular society. It is explained why this medieval saint became the hero of the national cultural pantheon of united Italy and in 1939 the holy Patron of Fascist Italy.
Methodology: We studded the monuments putting them in historical and cultural context, searching for information about customers, funds, sculptors, placement, and meaning
Result: There studded following questions: who was the customer of the monument, what was the main purpose of the customer(s), the historical and cultural context of monuments erection, the choice of the space for the monument, the composition of the monument, and others. Based on it step-by-step it is reconstructed the evolution of St. Francis’s monumental commemoration on the wide field of general changes in the cultural requests of Italian society and the state. The authors show the cultural aspects of commemorating.
Applications: This research can be used for universities, teachers, and students.
Novelty/Originality: In this research, the model of Creating a memory of a saint: Francis of Assisi in Italian Monumental Propaganda of the 19th-21st centuries is presented in a comprehensive and complete manner.
6
Ramos, Eloisa Helena Capovilla da Luz. "As cidades e seus monumentos: um estudo sobre a imigração italiana em Buenos Aires e Caxias do Sul 1910 - 1954 - 2016". Almanack, n. 17 (dicembre 2017): 224–27. http://dx.doi.org/10.1590/2236-463320171708.
Testo completoAbstract (sommario):
Resumo O texto faz um estudo sobre dois monumentos à imigração italiana - o Monumento a Cristóvão Colombo, em Buenos Aires/AR e o Monumento Nacional ao Imigrante, em Caxias do Sul/BR, ambos erigidos em espaços urbanos e ligados à presença italiana nestes dois países Sul-americanos. Sendo portadores dessa identidade, os dois monumentos representam não só as comunidades que os ergueram e a sua vontade, mas carregam consigo lembranças e homenagens de quem os doou. Tais monumentos, ao mesmo tempo em que são espaços de memória e lugares de rememoração, pertencem ao patrimônio cultural de seus países. Embora sensíveis às modificações que podem acompanhá-los ao longo do tempo, esses equipamentos urbanos tiveram, na sua trajetória, destinos diferentes.
7
Baldassar, Loretta. "Migration Monuments in Italy and Australia: Contesting Histories and Transforming Identities". Modern Italy 11, n. 1 (febbraio 2006): 43–62. http://dx.doi.org/10.1080/13532940500492241.
Testo completoAbstract (sommario):
Rather than focusing on how Italians share the neighbourhood with other groups, this paper examines some of the intra-group processes (i.e. relations between Italians themselves) that produced various monuments to Italian migration in Australia, Brazil and Italy. Through their distinct styles and formulations, the monuments reflect diverse and often competing elaborations of the migrant experience by different generations at local, national and transnational levels. The recent increase in the construction of such monuments in Australia is linked to the gradual disappearance of ‘visibly’ Italian neighbourhoods. These commemorations effectively transform Italian migrants into Australian pioneers and, thus, resolve moral and cultural ambiguities about belonging and identity by de-emphasizing difference (ethnic diversity) and concealing intergenerational tensions about appropriate ways of expressing Italianness. Similarly, the appearance of monuments in Italy is linked to an emergent ‘diasporic’ consciousness fuelled by Italian emigrants’ growing ability to travel to Italy, but also to the attempt to obscure potentially destabilizing dual identities by emphasizing (one, Italian) ‘homeland’.
8
Zamparutti, Louise. "The Basovizza monument: Constructing memory and identity". Research in Social Change 11, n. 3 (1 settembre 2019): 25–38. http://dx.doi.org/10.2478/rsc-2019-0013.
Testo completoAbstract (sommario):
Abstract The Foiba di Basovizza monument in northeast Italy commemorates victims of mass killings instigated by communist partisans at the end of World War II. These killings are known as “foibe” in the Italian literature. This word has come to signify the “ethnic cleansing” of Italians by Yugoslavians, despite evidence indicating that the majority of victims of these killings were from Slovenia and Croatia and that the killings were politically motivated. The Foiba di Basovizza was designated a national monument in Italy in 2007 and the narrative of “ethnic cleansing” it presents has been accepted throughout Italy as a legitimate version of history. Nationalistic comments made by European Parliament president Antonio Tajani at the monument’s annual commemoration on 10 February 2019, however, sparked international outcry and revealed that the site is still a vortex for longstanding discursive battles over territorial rights and victimhood contests. This paper argues that the Basovizza monument outmaneuvers questions of historical and scientific accuracy by constructing an exclusive notion of Italian identity that galvanizes nationalism and fuels fear of foreign infiltration. My analysis is a case study that investigates how productions of public memory can be used politically to influence the formation of national, ethnic, and cultural identity.
9
Guarrera, Fabio. "El Monumento como instrumento de identidad nacional". Arquitextos, n. 33 (17 febbraio 2019): 49–60. http://dx.doi.org/10.31381/arquitextos.v0i33.1859.
Testo completoAbstract (sommario):
Entre 1860 y 1950 la arquitectura italiana tuvo la tarea de construir la imagen moderna de
una nación joven. Se les pedía a los arquitectos de apoyar la política para construir, a través
de la arquitectura, edificios que transmitieran mensajes de identidad, sociales y colectivos.
Este proceso ha sido particularmente fuerte en el período del fascismo (1922-1943),
o sea, la época de Benito Mussolini. A través de mensajes fuertes y profundamente unidos
a la antigua tradición romana, el fascismo buscaba construir una identidad compartida
para garantizar la duración del régimen. Los elementos básicos sobre los cuales construir
esta identidad eran los monumentos, lugares donde la masa de las personas sentía la
necesidad de reconocerse para expresar el culto de la patria.
El artículo analiza varios monumentos, desde la construcción del Vittoriano por Giuseppe
Sacconi, hasta el monumento Ardeatine del grupo Fiorentino-Perugini: una evolución
histórica que se une profundamente a la piedad del pueblo italiano
10
Guarrera, Fabio. "monumento como instrumento de identidad nacional". Arquitextos, n. 33 (28 febbraio 2023): 49–60. http://dx.doi.org/10.31381/arquitextos33.1859.
Testo completoAbstract (sommario):
Entre 1860 y 1950 la arquitectura italiana tuvo la tarea de construir la imagen moderna de
una nación joven. Se les pedía a los arquitectos de apoyar la política para construir, a través
de la arquitectura, edificios que transmitieran mensajes de identidad, sociales y colectivos.
Este proceso ha sido particularmente fuerte en el período del fascismo (1922-1943),
o sea, la época de Benito Mussolini. A través de mensajes fuertes y profundamente unidos
a la antigua tradición romana, el fascismo buscaba construir una identidad compartida
para garantizar la duración del régimen. Los elementos básicos sobre los cuales construir
esta identidad eran los monumentos, lugares donde la masa de las personas sentía la
necesidad de reconocerse para expresar el culto de la patria.
El artículo analiza varios monumentos, desde la construcción del Vittoriano por Giuseppe
Sacconi, hasta el monumento Ardeatine del grupo Fiorentino-Perugini: una evolución
histórica que se une profundamente a la piedad del pueblo italiano
11
Arifi, Arben, e Luan Tetaj. "The Monastery of Deçan and the Attempts to Appropriate It". Journal of International Cooperation and Development 3, n. 2 (23 novembre 2020): 60. http://dx.doi.org/10.36941/jicd-2020-0015.
Testo completoAbstract (sommario):
The Monastery of Deçan is a monument of cultural heritage in Deçan-Kosova. The monastery was built in the 14th century, and is listed at the UNESCO monuments list. The monastery of Deçan is considered one of the most important cultural and monumental building pertaining to the medieval period in Kosova and in the region in general. The paper deals especially with the historical aspect of its existence as well as its architectonic properties. The architecture of monastery of Deçan is characterized by Byzantine elements, but one can also observe Roman Italian elements in its architecture. The attempts to appropriate and assimilate the historical and cultural background that is characteristic to the monastery, and classify it as a Serbian monastery are numerous and often times lack sufficient scientific basis. The monastery of Deçan, with its Roman-Gothic architecture and its unique history enriches the cultural mosaic of cultural heritage in Kosova, and as such it is part of the culture of all Kosovars.
12
Woldemaram, Hirut. "Linguistic Landscape as standing historical testimony of the struggle against colonization in Ethiopia". Linguistic Landscape. An international journal 2, n. 3 (23 dicembre 2016): 275–90. http://dx.doi.org/10.1075/ll.2.3.04wol.
Testo completoAbstract (sommario):
Ethiopia is Africa’s oldest independent country and its second largest in terms of population. Apart from a five-year occupation by Italy, which is considered as a war time, the country has never been colonized. The Linguistic Landscape (LL) of Addis Ababa, the capital city of Ethiopia and the seat of the African Union, prominently depicts that important history. Erected in the main squares of the city, the various monuments serve as standing testimonies of the struggle, victory and important figures pertaining to Italian fascist invasion of Ethiopia. Moreover, there are different institutions (schools, hospitals) and infrastructures (bridges, streets) officially named after significant historical moments. Visible in the central locations and squares of the city, monuments, statues, and the naming of streets, bridges, schools, and hospitals, keep the peoples’ memory about the struggle against the Italian invasion and the victories obtained. Symbols of the Lion of Judah, cross and national flags are also part of the public exhibit marking identities, ideologies and references to the country’s history. This study aims at showing how the LL serves as a mechanism to build the historical narrative of Ethiopia. It overviews how the LL in Addis Ababa via its monuments depicts the anti-colonial struggle and the victory over Fascist Italian forces. The monuments considered are: the Victory Monument, The Patriots Monument, The Abune Petros statute, and the Menelik II Statue. After presenting background aspects, this paper tackles Ethiopians’ memories of the Italian invasion as expressed in Addis Ababa’s LL and their identity construction and reconstruction. The last section discusses the findings and draws concluding remarks. Methodologically, digital Figures of the monuments were collected coupled with interview. Ethnographic approaches to the LL are used to analyze the selected memorial objects. As Creswell (2003) indicates ethnographic designs like qualitative research procedures, aims at describing, analyzing, and interpreting a culture-sharing group’s patterns of behavior, beliefs, and language. Semi-structured interviews were carried out in 2014 with a sample of 15 pedestrians, males and females, of different ages and educational categories who were standing in front of the monuments waiting for buses. The interviewers wanted to know what people think of the significance and relevance of location of the monuments in the public space. Most of the interviewees tended to support the views of the prevailing popular interpretations. They strongly relate the monuments with memories of brutality of Italian invaders on the one hand, and the strong resistance, patriotism and heroism of the Ethiopian people. The interviews agree that this unique victory needs to keep being celebrated and glorified as part of the history of Ethiopia.
13
Manola, Maria. "Contribution of the Venetian Monuments of Rhodes to Cultural Tourism and the Local Development of the Island". Open Journal for Research in Economics 5, n. 1 (30 dicembre 2022): 35–42. http://dx.doi.org/10.32591/coas.ojre.0502.02035m.
Testo completoAbstract (sommario):
This article examines the contribution of Italian monuments to the local development of the island of Rhodes. It is an island with tradition which is undoubtedly famous for its history as well as for the manners and customs that represent the contribution of culture to local sustainability. This particular island provides rich cultural as well as natural resources that contribute to tourism development. Our theme is connected to the active role played by the cultural heritage created by the Venetians, the Genoese and the Knights and which the Italians preserved, highlighted and utilized in the period 1912-1948. The quantitative research we carried out deals with the cultural tourism of Rhodes with a focus on the Italian monuments, the visitation and the tourist interest as well as the order of preference of the Italian monuments by the visitors.
14
Pane, Andrea. "Las raíces de la Carta de Venecia". Loggia, Arquitectura & Restauración, n. 27 (17 giugno 2015): 8. http://dx.doi.org/10.4995/loggia.2014.3946.
Testo completoAbstract (sommario):
<p>El texto ahonda en el contexto de posguerra italiano que generó la redacción de la Carta de Venecia, investigando en la discusión que surgió en torno a los centros históricos italianos, muchos de ellos bombardeados gravemente durante la Segunda Guerra Mundial, cuyo futuro se debatía en aquel entonces entre la protección y la apertura al planeamiento urbano. El artículo revisa el rol desempeñado por los principales promotores de esta carta internacional de protección de monumentos, Piero Gazzola y Roberto Pane, junto con otros protagonistas de la escena italiana e internacional como Raymond Lemaire, en una lucha prolongada por el reconocimiento de los conjuntos urbanos o rurales anónimos como monumentos en sí mismos, uno de los mayores logros de la Carta de Venecia, y por ende, por su tutela y salvaguarda frente a los fenómenos de especulación urbana.</p>
15
Dragoni, Patrizia, e Antonija Mlikota. "Uništeni talijanski spomenik „Ara ai Caduti Dalmati” u Zadru". Ars Adriatica 8, n. 1 (28 dicembre 2018): 179–94. http://dx.doi.org/10.15291/ars.2761.
Testo completoAbstract (sommario):
The article deals with a monument commemorating the Dalmatian soldiers fallen in World War I, erected in the Croatian coastal city of Zadar in 1928. It was totally destroyed during and demolished after World War II. As a result of joint research in Croatia and Italy, this article presents the project of the Zadar Monument, those who participated in its construction, and the connections between the four Roman imperial sculptures (now located in the Archaeological Museum of Zadar) and the Italian Monument in Zadar, explaining the reason why some of the older citizens in Zadar still refer to this specific part of the historical centre of Zadar as Monumento.
16
Vites, Silvia Maria. "Ripartenza postbellica in due mostre a Roma, in Palazzo Venezia, negli anni 1944 e 1945". ACME 76, n. 1-2 (3 maggio 2024): 7–24. http://dx.doi.org/10.54103/2282-0035/23015.
Testo completoAbstract (sommario):
Il presente articolo si propone di spiegare il contesto storico-artistico e il significato politico di due esposizioni dell’immediato dopoguerra svolte a Palazzo Venezia, il quartier generale di Mussolini. Esse sono la Mostra dei capolavori della pittura europea (XV-XVII secoli), che ha luogo dall’agosto 1944 al febbraio 1945, e la Mostra d’arte italiana a Palazzo Venezia, inaugurata a maggio e conclusa nell’ottobre 1945. La prima è organizzata e promossa dal Governo Militare Alleato, la seconda dall’Associazione Nazionale per il Restauro dei Monumenti Danneggiati dalla Guerra, fondata e diretta dal filantropo Umberto Zanotti Bianco. Numerose vicende si intrecciano nell’organizzazione di queste esposizioni, tra cui il lavoro dei Monuments Men, le operazioni di salvataggio del patrimonio mobile da parte di alcuni ex funzionari del Ministero dell’Educazione Nazionale, la nascita del Governo Militare Alleato e delle nuove istituzioni italiane antifasciste, la necessità di restaurare il patrimonio artistico distrutto e la fondazione dell’associazione di Zanotti Bianco. Chiunque voglia affrontare lo studio della situazione storico-artistica del dopoguerra romano e nazionale deve necessariamente fare i conti con le due mostre di Palazzo Venezia.
17
Frei, Cheryl Jiménez. "Columbus, Juana and the Politics of the Plaza: Battles over Monuments, Memory and Identity in Buenos Aires". Journal of Latin American Studies 51, n. 03 (agosto 2019): 607–38. http://dx.doi.org/10.1017/s0022216x18001086.
Testo completoAbstract (sommario):
AbstractIn 2013, Argentina's then-President Cristina Fernández de Kirchner sparked controversy for her decision to replace a monument of Christopher Columbus in Buenos Aires with one of nineteenth-century mestiza revolutionary Juana Azurduy. This article examines the history and iconography of these monuments, exploring the intersections between public space, art, politics and memory. It argues that these monuments — one representing Argentina's previously maligned Italian immigrant heritage, the other its forgotten indigenous culture — demonstrate how fundamental struggles over national identity have been embedded and contested in the capital's urban landscape, in ways that remain influential. It highlights Argentina's 1910 centennial and 2010 bicentennial as key to these efforts, and examines the power/politics of place in the central plaza where various actors have fought for public commemorative representation.
18
Fabbrizzi, Fabio. "Giovanni Tortelli, Roberto Frassoni. Musealizzazione dell’Aula meridionale del battistero della basilica patriarcale, Aquileia". Firenze Architettura 25, n. 2 (25 marzo 2022): 62–73. http://dx.doi.org/10.36253/fia-13493.
Testo completoAbstract (sommario):
Ad Aquileia, il lavoro dei due architetti bresciani, allievi ed eredi di alcuni tra i più importanti maestri della lezione italiana dell’allestimento e della museografia, appare nella sua appropriatezza, come la chiusura di una virtuosa circolarità che partendo proprio dal rilievo, dalle indagini storiche ed archeologiche, nonché dalle esigenze diagnostiche e conservative, riesce a far diventare le rovine del monumento, quindi la dimensione più tangibile della sua testimonianza, un fatto vitale e non un’entità semplicemente da conservareIn Aquileia, the work of the two architects from Brescia, pupils and heirs to some of the most important Italian masters of exhibition design and museography, appears in its aptness, as the closing of a virtuous circle which, beginning precisely from the survey, from the historical and archaeological research, and from the diagnostic and conservative requirements, manages to make the ruins of the monument, therefore its most tangible dimension, become a active fact and not simply an entity to be preserved.
19
Hodzhakulieva, Bahar A. "FROM THE HISTORY OF STUDYING MATERIAL OBJECTS OF THE UNESCO WORLD HERITAGE SITE". EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 8/4, n. 139 (2023): 71–76. http://dx.doi.org/10.36871/ek.up.p.r.2023.08.04.009.
Testo completoAbstract (sommario):
The article discusses a range of issues related to the relevance of the study of historical monuments of a global scale, which are rich in the territory of Turkmenistan. The role of UNESCO in the study, protection and promotion of these objects is emphasized. On the example of the monument of ancient Nisa, the capital of the Parfian state, the aspects of cooperation between UNESCO and Turkmenistan are studied. Based on the analysis of a number of sources, the role of famous orientalists, archaeologists in the research of Old and New Nisa is shown. Considerable attention is paid to modern archaeological research, which is carried out by joint Turkmen-Italian, Turkmen-Russian expeditions. The importance in the history of world civilization of the monuments of Turkmenistan included in the list of tangible objects of UNESCO World Heritage is emphasized.
20
Maniou Fotini, Roιdo Mitoula, Laloumis Dimitrios e Olga-Eleni Astara. "Cultural entrepreneurship opportunities and new technologies regarding the Italian monuments of the island of Kos". World Journal of Advanced Engineering Technology and Sciences 12, n. 2 (30 luglio 2024): 115–22. http://dx.doi.org/10.30574/wjaets.2024.12.2.0243.
Testo completoAbstract (sommario):
The period of the Italian Occupation was an important chapter in the traditions and cultural heritage of the Dodecanese, as it led to the development of a particular culture. The effects of this period are still felt today. This paper briefly studies Italian architecture in the Dodecanese and, specifically, in Kos during the Italian occupation (1912-1943). Reference is made to the main monuments/buildings of the period and their use then and now. The aim of this paper is to highlight the cultural heritage of the Italians on the island of Kos and to examine the possibilities of its exploitation in the context of cultural entrepreneurship.
21
Maria Manola. "Italian monuments in Kos- present situation and tourist interest and the role of ICTs in their promotion". World Journal of Advanced Engineering Technology and Sciences 12, n. 2 (30 luglio 2024): 098–114. http://dx.doi.org/10.30574/wjaets.2024.12.2.0242.
Testo completoAbstract (sommario):
The present study has to do with the Italian architecture in the Dodecanese and specifically on the island of Kos. The departure of the Italians bequeathed to the island a rich architectural work, which is a valuable capital for its tourist industry. It is the result of thirty-one years of Italian rule and is an important and special part of the island's cultural heritage. After a quantitative survey carried out in November 2023 with questionnaires distributed on the island, it was shown that the Italian monuments have been utilized to a satisfactory extent, so that today they provide the visitor with a unique combination of history and architecture that attracts tourists and contributes to local and cultural development and presentation.
22
Gameson, Richard. "The Medieval Books of Durham". Bulletin du bibliophile N° 369, n. 1 (1 gennaio 2019): 11–29. http://dx.doi.org/10.3917/bubib.369.0023.
Testo completoAbstract (sommario):
Le fonds de la bibliothèque médiévale de la cathédrale de Durham est le plus riche qui nous soit parvenu de toutes les institutions bénédictines d’Angleterre. Ses nombreux catalogues, rédigés entre les xi e et xv e siècles, montrent non seulement la croissance inexorable de la collection, mais aussi la pertinence de son organisation et de son exploitation à travers les âges. Les origines de la communauté de Durham remontent à celle fondée sur l’île de Lindisfarne en 635, ainsi les ouvrages les plus anciens de la collection remontent aux origines du christianisme en Northumbrie, voire au-delà avec ses manuscrits datant de la Rome du xv e siècle. Après avoir transformé la communauté de chanoines en prieuré bénédictin suite à la conquête normande, le premier évêque normand, Guillaume de Saint-Calais, le dote d’une cinquantaine de livres, pour partie réalisés en Normandie et pour partie en Angleterre. L’âge d’or de la production manuscrite à Durham se situe entre la fin du xi e et la première moitié du xii e siècle. Par la suite, comme nombre d’autres communautés religieuses, le prieuré diversifie ses approvisionnements et fait notamment venir des ouvrages du nord de la France. À la fin du xiii e siècle, Durham crée un centre d’études à Oxford, qui devient par la suite la principale source d’enrichissement de la maison-mère, en volumes neufs comme anciens, qu’ils soient édités à Oxford ou fassent l’objet de commerce international de livres, tels les ouvrages de jurisprudence italiens superbement enluminés toujours à son catalogue. Le centre d’études se constitue en faculté au xiv e siècle et devient vite un lieu d’échange fécond (et particulièrement bien documenté) avec la bibliothèque de Durham. Dès la fin du xv e siècle, les moines de la cathédrale se procurent avec enthousiasme les exemplaires nouvellement imprimés des grands textes ; ils n’en continuent pas moins d’utiliser abondamment les manuscrits anciens, comme l’indiquent les nombreuses annotations qui y figurent. L’annotateur le plus prodigue, le moine Thomas Swalwell, décède peu avant la dissolution du prieuré en décembre 1539, ce qui révèle ainsi un usage constant des premiers fonds jusqu’au début de la Réforme anglicane. La mémoire de la bibliothèque médiévale est heureusement préservée au-delà de cet épisode de l’histoire anglaise grâce à une pièce maîtresse de sa collection pour les informations qu’elle contient, éditée à la fin du xvi e siècle, The Ancient Monuments, Rites and Customs of the Monastical Church of Durham before the Suppression .
23
Rogov, Mikhail A. "SPECULUM HUMANAE SALVATIONIS IN THE MONUMENTAL PAINTING OF EAST PRUSSIA: VISUAL INTERTEXTUALITY". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series 1 (2023): 210–27. http://dx.doi.org/10.28995/2686-7249-2023-1-210-227.
Testo completoAbstract (sommario):
This research is dedicated to two rare cycles of monumental painting from the second half of the 14th century, in the interior of Königsberg (Kaliningrad) Cathedral and St. Catherine’s Church in Arnau (Rodniki, Kaliningrad region). Although these monuments are almost completely lost, their reconstruction based on available photo documents, sketches, and descriptions carries a special value towards understanding the visual intertextuality of the Speculum humanae salvationis iconographic program in the symbolic context of the architectural space of the two churches. Contrary to the monumental cycles of Europe sharing this iconography, here in these two the zoning of space for knights and townspeople plays an important role. The study concludes that the manuscript miniatures from Wolfenbüttel HAB 2805 and the East Prussian mural cycles have a common protograph of the “Italian” or “mixed” type in an abbreviated edition (“Cologne group”), which can be traced back to an earlier prototgraph (of the “Italian” type), used in the Darmstadt Codex Hs. 2505. The interest of the patrons in the iconographic program, which preaches the dignity of the priesthood, could be associated with the relationship between the clergy of the Samland diocese and the Teutonic Knights engaged in northern crusades.
24
Doyle, Waddick. "Why Dallas was Able to Conquer Italy". Media Information Australia 43, n. 1 (febbraio 1987): 49–52. http://dx.doi.org/10.1177/1329878x8704300116.
Testo completoAbstract (sommario):
In some future cultural history of Italy, the early 1980s may appear as a seminal point in that tendency known as Americanisation. Its characteristic monuments will be seen as McDonalds in the Piazza di Spagna in Rome (1985), the Dandy-burger in Piazza Maggiore in Bologna (1984) or that entirely American chain of fast food known as Italy, Italy. This transformation of the architectural face of Italian cities would not have been possible, cultural historians will remark, without a transformation of the eating habits of at least some Italians and perhaps even their perception of the very nature of food itself. This Americanisation of Italian habits, it will be remarked, is even more evident in the interior of Italian homes — not so much in the appearance of increasing numbers of cornflakes on breakfast tables, but in types of television habits and television programs.
25
Tomasella, Paolo. "La partecipazione degli architetti, scultori e impresari italiani alla costruzione dei monumenti ai caduti della Grande Guerra nella Romania interbellica". Studia Universitatis Babeș-Bolyai Historia Artium 66, n. 1 (30 dicembre 2021): 155–79. http://dx.doi.org/10.24193/subbhistart.2021.06.
Testo completoAbstract (sommario):
"The Participation of Italian Arhitects, Sculptors and Entrepreneurs in the Construction of the Heroes’ Monuments Fallen in the First World War in Interwar Romania. Seasonal or permanent migration from Italian regions to Romania in the 19th and 20th centuries involved a variable number of unskilled workers but also personalities (artists and sculptors), many Venetians and Friulians, who left clear, tangible evidence, of their stay and the results of their work on the Romanian territory. With the end of the First World War and with the outbreak of Greater Romania, the need to build memorials dedicated to those who fell in the struggles for the unification of the nation was felt throughout the country. Sculptors and entrepreneurs from Veneto and Friuli were among the protagonists of this process of institutionalizing memory. It is worth mentioning, regarding the sculpture, the presence in Romania of the artists Ettore Ferrari and Raffaello Romanelli; the Italian entrepreneurs and stonemasons, Giovanni Battista De Nicolò, Victor and Giovanni Mezzarobba, made a significant contribution to the materialization of the projects to honor the memory of the heroes of the First World War. The artistic and urban involvement of the Italians settled in Romania proved to be important in the construction of public monuments in many cities in Romania. Vincenzo Puschiasis (1874–1941), a sculptor established in Piatra Neamț in 1899, played a special role among the stone carvers of Friulian origin living in Romania. Puschias is established himself in Romania not only locally, but also nationally, through the large number and quality of monuments erected for the Romanian heroes who fell in the First World War. His works are characterized by strength, finesse, elegance, combination of styles and aesthetic harmony. After 1919, Vincenzo Puschias is founded the Construction Company in the County of Neamț, specializing in the construction of memorials dedicated to those who fell in the First World War. Among his most remarkable works in this field are: the funeral complex from the “Eternitatea” Cemetery of Piatra Neamț, made in collaboration with Gheorghe Iconaru; monuments of the heroes erected in Bistricioara, Căciulești, Verșești, Roznov, Bahna, Văleni, Zănești; obelisks in Gârcina, Oanțu, Roznov, Piatra Șoimului, Podoleni; the statue of the hero soldier from Viișoara. Keywords: Italian emigrants; First World War; sculptors and entrepreneurs; Ettore Ferrari; Raffaello Romanelli; The Mausoleum of the Heroes of Mateiaș; Vincenzo Puschiasis. "
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Pchelov, Evgeny. "The Horseman of the Seal of Ivan III: Sources of Visual Image". ISTORIYA 14, n. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027125-6.
Testo completoAbstract (sommario):
The article analyzes the image of a rider defeating a dragon on the front side of the seal of Ivan III of the 1490s. This image has a number of characteristic features, including a special method of sitting on a horse and holding a spear. These features are not characteristic of the old Russian art of the XV century, however, they find analogues in the works of art of the Italian Quattrocento. They go back to the ancient tradition of depicting a horseman armed with a spear, which Renaissance masters could get acquainted with by the example of the monumental monuments of Rome. Thus, the master of the seal of Ivan III could belong to the Florentine-Roman art school, and perhaps it was the Roman master Christopher mentioned in the chronicles.
27
Manola, Maria, Anna-Irini Tsatalbassoglou e Kleopatra Geronymou. "The Cultural Monuments of the Italians in Rhodes and Their Use Today". Open Journal for Studies in Arts 6, n. 1 (4 giugno 2023): 1–10. http://dx.doi.org/10.32591/coas.ojsa.0601.01001m.
Testo completoAbstract (sommario):
The island of Rhodes forms an exceptionally popular destination, which hosts thousands of visitors every year. Its natural beauty, together with its rich local history, have contributed to that, as it has been a landmark of many historical events. Great is the contribution of the Italian buildings in Rhodes’ current image and function, which were constructed under the Italian occupation of the island during 1912-1948. The present paper is referring to the significance of the Italian monuments in Rhodes. Through a historical retrospection that has to do with the construction of the Italian buildings and the people who contributed to it, this paper focuses on a quantitative research through questionnaires and statistical analysis of the data regarding the review of the current condition of those monuments in Rhodes, as well as a presentation of the touristic interest on them. The assignment is enhanced with photographic depiction and subtitling of the monuments in their current state.
28
Ugrekhelidze, Irina. "Georgian men’s dress of XVII century". Linguistics and Culture Review 5, S4 (13 novembre 2021): 1161–75. http://dx.doi.org/10.21744/lingcure.v5ns4.1753.
Testo completoAbstract (sommario):
The article raises the issue of the importance of the work of Cristoforo de Castelli, an Italian missionary, Patrice of the Order of Theatine, in the study of Georgian historical costume. The sketches made by the author during his work in Georgia are analyzed, according to which it is possible to identify the types of clothes. According to the drawings, the clothes of different strata of the population are compared with the clothes of historical figures depicted in the monumental paintings of Georgian monuments of the same period and the clothes of the characters depicted in the illustrations of literary works. It emphasizes the identity of the costume depicted in Castelli's paintings and the miniatures of Georgian artist Mamuka Tavakarashvili and the similarity of some of the paintings. Finally, it is concluded that the visual material created over the years by Castelli as an eyewitness is still relevant today.
29
Ugrekhelidze, Irina. "Comparative analysis of the paintings of the Italian missionary Cristoforo de Castelli and the sources of Georgian fine art". Scientific Herald of Uzhhorod University Series Physics 2024, n. 55 (25 gennaio 2024): 1677–86. http://dx.doi.org/10.54919/physics/55.2024.167ub7.
Testo completoAbstract (sommario):
Relevance. The article raises the issue of the importance of the work of Cristoforo de Castelli, an Italian missionary, Patrice of the Order of Theatine, in the study of Georgian historical costume.Purpose. The sketches made by the author during his work in Georgia are analyzed, according to which it is possible to identify the types of clothes.Methodology. According to the drawings, the clothes of different strata of the population are compared with the clothes of historical figures depicted in the monumental paintings of Georgian monuments of the same period and the clothes of the characters depicted in the illustrations of literary works.Results. It emphasizes the identity of the costume depicted in Castelli's paintings and the miniatures of Georgian artist Mamuka Tavakarashvili and the similarity of some of the paintings.Conclusions. Finally, it is concluded that the visual material created over the years by Castelli as an eyewitness is still relevant today.
30
Triulzi, Alessandro. "Adwa: from monument to document". Modern Italy 8, n. 1 (maggio 2003): 95–108. http://dx.doi.org/10.1080/1353294032000074106.
Testo completoAbstract (sommario):
SummaryTo the Italian historian the Battle of Adwa in March 1896 has offered a field of interpretation which has been heavily marked by the events that occurred between (and within) the two countries—Ethiopia and Italy—before and after the battle. Adwa has been variously depicted by Italian historiography of the liberal period as a major military defeat, a political mistake by Crispi's expansionist government and the result of deep contrasts within the newly born state over the ‘colonial burden'. Fascist historiography painted Adwa as proof of liberal decay and political inefficiency. Adwa's name could be avenged only in the battlefield, which was done during Mussolini's invasion of Ethiopia in 1935-36. From the Ethiopian point of view, Adwa's image changes no less. Until recently, the Battle of Adwa was painted as the landmark for Ethiopian unification and independence during the colonial era. Menelik's momentous victory at Adwa crowned his bid for power in the national arena, while his successful ability to stave off external colonial pressure appeared to cancel, or rather conceal, the internal policy of expansion and consolidation of his country's rule in the region. Today's insistence on Adwa as an African victory appears to be the dominant historiographical representation. The different interpretations all contain elements of truth, yet all, if frozen into historiographical truths, become embarrassing to the historian who needs documents, rather than monuments, as tools of analysis. To many historians both in Italy and Ethiopia, Adwa's respective symbolism of victory/defeat has been transformed into an icon, an historiographical monument, unassailable and immovable. The centenary of Adwa allows us to reconsider historical events of a shared past as critical documents and biased representations reflecting their own culture and time. This article attempts to deconstruct the historiographical monument of Adwa in Italian society so as to transmit such a heavily coded event to the critical examination of future historians in both Italy and Ethiopia.
31
Meister, Jan B. "Antike und moderne Propaganda". Historische Zeitschrift 312, n. 3 (1 giugno 2021): 587–613. http://dx.doi.org/10.1515/hzhz-2021-0013.
Testo completoAbstract (sommario):
Zusammenfassung Die Propaganda des faschistischen Italiens setzte die Antike prominent in Szene. Diese Instrumentalisierung der Antike in moderner Propaganda hatte sehr konkrete Rückwirkungen auf das Bild, das man sich von der Antike machte. Teilweise direkt unter dem Eindruck faschistischer Propaganda begannen damals Altertumswissenschaftler, moderne Propaganda in der Antike zu erkennen: Antiken Texten und Monumenten wurde nun eine ganz andere Wirkungskraft und -absicht zugeschrieben als noch in den Jahrzehnten zuvor. Die zeitbedingten Anachronismen sind offenkundig, doch die faschistische Inszenierung der Antike offenbarte eine Wirkungsmöglichkeit antiker Monumente, die man so vorher nicht gesehen hatte und die nicht per se ‚falsch‘ ist. Dass dabei die römische Kaiserzeit im Vordergrund stand, ist bezeichnend: Die auffallende Omnipräsenz von Bildern, der Fokus der Repräsentation auf städtische Räume und die besonders ausgeprägte Zuspitzung dieser Repräsentation auf die Person des Herrschers ließen die römische Kaiserzeit innerhalb der Vormoderne für moderne Anachronismen besonders anschlussfähig erscheinen. Die Auseinandersetzung mit der modernen Übertragung des Propagandabegriffs auf die Antike zielt daher nicht bloß auf eine Offenlegung von Anachronismen, sondern kann als heuristisches Instrument den Blick für die Besonderheit der Antike innerhalb der Vormoderne schärfen.
32
Noelle, Louise. "Comunicare L'Architettura. I: Venti Monumenti Italiani". Anales del Instituto de Investigaciones Estéticas 14, n. 56 (6 agosto 1986): 247. http://dx.doi.org/10.22201/iie.18703062e.1986.56.1318.
Testo completo
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Ciampi, Gabriele. "Moving to Map and Mapping to Move: The East Africa Colonial Itineraries of the IGMI Archives and Library as a Special Genre in Cartography". Aethiopica 18 (7 luglio 2016): 22–55. http://dx.doi.org/10.15460/aethiopica.18.1.736.
Testo completoAbstract (sommario):
Colonial Itineraries represent an informative product that has its origins in the innovative military organization of Revolutionary and Napoleonic France. Italian Colonial Itineraries were the outcome of exploration and intelligence activities carried out by selected military units in unknown lands. The knowledge of the places was an essential precondition of conquest and its stabilization. The major feature of the itineraries is the juxtaposition of a reconnaissance map to a list of detailed information concerning every short stretch of route covered: running times, road conditions, climate, landforms, land-use, water resources, culture, economy, monuments, etc. The Archives and the Library of the IGMI (Istituto Geografico Militare Italiano), set in Florence, preserve a great deal of such documents and they are probably the richest Italian stock. Itineraries represent a valuable source of geographical knowledge about Ethiopia and Eritrea during the period between the late nineteeth and the thirties of the twentieth century. These pages are the result of an attempt at census and interpretation.
34
Calderón Roca, Belén. "La gestión de la ciudad histórica en la Roma fascista 1: la instrucción sobre restauro urbano a través de la obra de Gustavo Giovannoni". Boletín de Arte, n. 28 (25 marzo 2018): 253–77. http://dx.doi.org/10.24310/bolarte.2007.v0i28.4486.
Testo completoAbstract (sommario):
La dicotomía existente en el contexto italiano respecto a la instrucción de la arquitectura (canalizada hacia la restauración arquitectónica) entre la Scuola di Applicazione per gli Ingegneri y el Istituto di Belle Arti constituyó el germen de las máximas del restauro urbano. Hay que destacar la importancia de dos personalidades clave en este aspecto: Gustavo Giovannoni y Marcello Piacentini (al cual dedicaremos una segunda fase de este artículo). Escritor prolífico, la obra del arquitecto-urbanista-historiador de la arquitectura resultó decisiva para consolidar un método y una disciplina sobre el estudio de la historia de la arquitectura, la urbanística y la restauración de monumentos. El autor condujo su trayectoria didáctica hacia la salvaguardia del patrimonio monumental y la valoración de la figura profesional del arquitecto, cuya formación histórica resultaba determinante e imprescindible en los estudios de Arquitectura.
35
Вевюрко, И. "Journal «Apocrypha. Apocrypha. Revue International des Littératures apocryphes»". Библия и христианская древность, n. 4(16) (15 novembre 2022): 168–80. http://dx.doi.org/10.31802/bca.2022.16.4.006.
Testo completoAbstract (sommario):
В седьмом номере «Апокрифы» опубликованы статьи на французском, англииском, итальянском и немецком языках. В центре внимания исследователей находятся следу-ющие апокрифические сюжеты, памятники и группы текстов: традиция апостола Фомы (Поль - Гюбер Пуарье), тайное Евангелие Марка (Ален ле Булюэк), «Псевдо-Климентины» (Бернар Пудерон), «Откровение Ездры», «Видение Ездры» и «Откровение Седраха» (Флавио Нуволоне), «Тюбингенская теософия» (Пьер Франко Беатрис), «Гомеровский центон» (Андре-Луи Рей), физический облик апостола Петра в «Церковной истории» Никифора Каллиста (Кристофер Мэтьюз), традиция Симона Мага (Альберто Феррейро), «Золотая легенда» (Барбара Фляйт), традиция св. апостола Иакова Старшего (Марек Старовейский), ранний итальянский перевод памятника «Ps. Marcellus brevior» (Эдуардо Барбьери). Кроме того, исследуются евангельские цитаты у авторов ІІ в. (Анневиес ван ден Хук) и ряд памятников изобразительного искусства (Маргарет Рассар-Деберг, Николь Тьери, Джузеппе де Спирито, Пьера-Ален Марио). Также в номере помещена значимая дискуссия о соотношении апокрифа и канона, представленная статьями Пьера Гизеля, Марка Фэсслера, Вальтера Ребеля и Катрин Попэр. The seventh issue of Apocrypha published articles in French, English, Italian and German. The researchers focus on the following apocryphal plots, monuments and groups of texts: «The Tradition of the Apostle Thomas» (Paul- Hubert Poirier), «The Secret Gospel of Mark» (Alain le Boulluec), Pseudo - Clementines (Bernard Pouderon), «The Apocalypsis of Ezra», «The Vision of Ezra» and «The Apocalypsis of Sedrach» (Flavio Nuvolone), «Tübingen Theoso-phy» (Pierre Franco Beatrice), «Homerocentra» (Andre- Louis Rey), the physical appearance of the Apostle Peter in the «Church History» of Nicephorus Callistus (Christopher Matthews), the tradition of Simon Magos (Alberto Ferreiro), «The Golden Legend» (Barbara Fleith), the tradition of st. apostle James the Elder (Marek Starowieyski), an early Italian translation of the monument «Ps. Marcellus brevior» (Eduardo Barbieri). In addition, evangelical quotations from authors of the second century (Annevies van den Hoek) and a number of monuments of fine art (Margaret Ras-sart-Debergh, Nicole Thierry, Giuseppe de Spirito, Pierre -Alain Mariaux) are studied. The issue also contains a significant discussion on the relationship between the apocrypha and the canon, presented by articles by Pierre Gisel, Mark Faessler, Walter Rebell and Catherine Paupert.
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Borghi, Alessandro, Paola Cadoppi e Giovanna Antonella Dino. "Heritage Stone 2. The Dora-Maira Unit (Italian Cottian Alps): A Reservoir of Ornamental Stones Since Roman Times". Geoscience Canada 43, n. 1 (14 marzo 2016): 13. http://dx.doi.org/10.12789/geocanj.2016.43.084.
Testo completoAbstract (sommario):
The Dora-Maira Unit is a geological unit cropping out in the inner part of the Cottian Alps and belonging to the Penninic Domain of the Western Alps (northwestern Italy). It consists of a Paleozoic basement and its Mesozoic carbonate cover, metamorphosed under eclogite facies conditions in the Cenozoic. Due to the complexity of the rock associations and the textural-metamorphic transformations, the Dora-Maira Unit has been a source of ornamental stones over the centuries, and still represents a reservoir of material locally employed for historical and contemporary buildings. Several varieties of orthogneiss, quartzite and marble, derived from the Paleozoic basement and Mesozoic cover, are known by different local names (e.g. Luserna Stone, Borgone and Vaie Stone, Perosa Stone, Bargiolina Quartzite, Foresto and Chianocco Marble).These stones were largely employed during the 17th and 18th centuries for some of the most famous and important monuments in Turin (capital of Piedmont region, northwestern Italy), as well as in the countryside, since Roman times. Some of the materials exploited in the Dora-Maira Unit were also exported to foreign countries: Borgone and Vaie Stone were used for the paving of the Louvre Museum, and Perosa Stone was employed for the construction of the monument of Independence in Lagos, Nigeria. Consequently, the Dora-Maira Unit can be designated as a Global Heritage Stone Province.RÉSUMÉL’Unité Dora-Maira est une unité géologique affleurant dans la partie interne des Alpes Cottiennes; elle appartient au Domaine Penninique des Alpes occidentales (Italie du Nord-Ouest). Elle se compose d'une croûte continentale d’âge Paléozoïque supérieur et de sa couverture carbonatique Mésozoïque, métamorphosées en faciès éclogite pendant le Cénozoïque. En raison de la complexité des associations lithologiques et des transformations métamorphiques et structurelles, l’Unité Dora-Maira a été une source de pierres ornementales au cours des siècles, et encore il représente un réservoir de matériau employé localement pour des bâtiments contemporains et historiques. Plusieurs variétés de gneiss, de quartzite et de marbre, provenant du socle paléozoïque et de la couverture mésozoïque et connues sous différents noms locaux (par exemple Pierre de Luserna, Pierre de Borgone et Vaie, Pierre de Perosa, Bargiolina, marbres de Foresto et Chianocco), étaient largement utilisées pour certains monuments les plus célèbres et importants à Turin (capitale de la région Piémont), au cours des 17ème et 18ème siècles, et dans les alentours de la ville depuis l'époque romaine. Certains des matériaux exploités dans l'Unité Dora-Maira ont été également exportés aux pays étrangers: la Pierre de Borgone et Vaie a été utilisée pour le pavage du Musée du Louvre, et la Pierre de Perosa a été employé en Afrique, à Lagos, au Nigéria, pour la construction du monument de l'indépendance. Par conséquent, l'Unité Dora-Maira peut être indiquée comme une Pierre Province du patrimoine mondial.
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Dirkse, P., e H. I. M. Defoer. "Het grafmonument van Jan van Scorel". Oud Holland - Quarterly for Dutch Art History 100, n. 3-4 (1986): 171–96. http://dx.doi.org/10.1163/187501786x00430.
Testo completoAbstract (sommario):
AbstractJan van Scorel was the only one of the painters of note of the I6th ard I7th centuries to whom an imposing monument was erected. He owed this not to his fame as a painter, but to his capacity as Canon of the Chapter of St. Mary's, Utrecht, an office conferred on him by Pope Adriaen vl in I628. The monument was already lost during the first stage of the demolition of the church in I712 and was known only from descriptions by Arnold Buchelius, notably that in his Monumenta of I592 (Note I), while the inscriptions on it are also mentioned by Van Mander (Note 2). The description in Buchelius' Monumenta is accompanied by a rough sketch (Fig. I), in the centre of which appears an empty tondo, where there is said once to have been a portrait of Scorel by Antonie Mor, the surround of which was in Bentheim stone. One of the texts is said to have been carved on the wall, the others on the floor. Carel van Mander also speaks of a portrait of Scorel painted by Mor in I560, two years before his death, and records the inscription on it. It is generally agreed that the portrait is that by Mor now in the Society of Antiquaries in London (Fig.2, Note 5). This still bears part of the text cited by Van Mander, while examination by infrared reflectography in 1977 revealed a further part ofit, the remainder presumably appearing on the frame (Note 6) . This examination also reavealed the date 1559. In I984 three fragments of Namur stone were unearthed from the garden of the Old Catholic Almoner's House on Mariahoek (Fig.3) . The fragmentary inscriptions on these proved them to be part of Scorel's tombstone, namely two pieces from the left side and one from the top right corner (Fig. 4). This find also proved that the interpretations of Buchelius' description as a wall monument in the Italian style with a sarcophagus under the portrait (Notes 7, 8), were incorrect and that it actually comprised a combination of a wall monument in Bentheim stone and a tombstone in Namur stone. Carved on the latter in low relief is a sarcophagus with vases at the corners and pilaster legs, which has an inscription between garlands at the top and gadrooning below. The sarcophagus rests on a base with a long inscription between two pilasters decorated with grotesques and on either side a putto with an inverted torch. The find proves that Buchelius' drawing is only a rough sketch and certainly not correct in every detail and the same must be true oj the surround of the tondo.
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Ferreira Neto, Orlando Marcondes. "Caminhando em solo clássico – Karl Philipp Moritz em Roma: literatura e imaginação histórica". Rapsódia, n. 16 (12 dicembre 2022): 126–51. http://dx.doi.org/10.11606/issn.2447-9772.i16p126-151.
Testo completoAbstract (sommario):
Nesse artigo abordamos aspectos do pensamento e da sensibilidade histórica de Karl Philipp Moritz. Para tanto, tomamos como fio condutor o topos do “solo clássico”, enfatizado por Moritz no livro a Viagem de um alemão à Itália de 1786 a 1788: um diário de viagem em cartas (Reisen eines Deutschen in Italien in den Jahren 1786 bis 1788: Reisebericht in Briefen). No contexto das viagens formativas à Itália realizadas na década de 1780 por intelectuais e poetas alemães, o termo “solo clássico” (klassische Boden) denota uma relação que Moritz – assim como Goethe, Herder e outros autores de narrativas de viagens dessa época – estabelece entre a imaginação literária e os locais nos quais os eventos retratados pela literatura antiga tiveram lugar. Segundo Moritz, a experiência de ler um autor antigo (ou recordar essa leitura) no local onde os fatos retratados teriam ocorrido seria capaz de ativar, por meio da “imaginação”, a memória histórica, concedendo ao passado uma presença viva. Ao evocar esta experiência do (no) “solo clássico”, Moritz estabelece uma dialética entre imaginação e lugar, literatura e paisagem, linguagem e “solo”. Ele constata que em Roma o antigo persiste imbricado no moderno, seja na paisagem (que inclui a arquitetura, os monumentos, ruínas, o traçado urbano da cidade e a natureza italiana), ou no “povo” italiano (em seus hábitos linguísticos e “culturais”, cerimônias e instituições políticas e religiosas). Trata-se, para ele, por fim, de pensar em que medida, partindo dessas sobrevivências, a Antiguidade pode ser (re)visitada e depurada de suas imbricações com o moderno.
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Quatember, Ursula. "The Bouleuterion and its environs in Early Imperial Aphrodisias". Journal of Roman Archaeology 32 (2019): 516–28. http://dx.doi.org/10.1017/s104775941900028x.
Testo completoAbstract (sommario):
Research on the remains of the monumental city center of Aphrodisias has been ongoing for over a century. After an Italian mission began here in 1937,1 work was intensified from 1961 under the direction of K. T. Erim of New York University and has continued since 1990 under R. R. R. Smith.2 While many of the projects have yielded results for the High Imperial, late-antique and Byzantine periods, our knowledge of the Late Hellenistic and Early Imperial monuments outside the temple area remains scant. The layout of urban spaces such as the Agora or the “South Pool Complex” is owed to the Early Imperial period and mostly saw only minor changes.3 But while the general urban plan persisted, the Late Hellenistic and Early Imperial buildings were often replaced or remodelled as the urban space was transformed. This is particularly true for the area north of the Agora and south of the Temple of Aphrodite (fig. 1). This paper intends to re-assess our evidence for the function of this space in the Early Imperial period.
40
Cordiviola, Alfredo. "Um catálogo americano: a coleção de Ramusio / An American Catalogue: Ramusio’s Collection". Caligrama: Revista de Estudos Românicos 26, n. 1 (22 aprile 2021): 145. http://dx.doi.org/10.17851/2238-3824.26.1.145-161.
Testo completoAbstract (sommario):
Resumo: Publicados em Veneza em meados do século XVI, os três volumes de Delle Navigationi et viaggi, compilados, traduzidos ao italiano e anotados por Giovanni Battista Ramusio, reúnem em um único monumento bibliográfico um amplo conjunto de crônicas de viagens e de mapas. Mesmo sem ter participação direta nas empresas expansionistas e colonizadoras promovidas nesse século pelos impérios ibéricos, Veneza manteve uma importante relação com esse sistema-mundo que estava surgindo, propiciando o trabalho de cartógrafos, editores, cosmógrafos, tradutores e tratadistas que divulgaram e consolidaram esses conhecimentos sobre terras distantes. A coleção de Ramusio se insere nesse vasto projeto epistemológico; neste artigo pretendo analisar as condições e os antecedentes que possibilitaram a publicação desse inventário de explorações e conquistas ultramarinas, particularmente das relativas ao Novo Mundo, e sua importância na percepção das novas e modernas realidades naturais e culturais que estavam redefinindo o orbe.Palavras-chave: Ramusio; navegações; Novo Mundo.Abstract: Published in Venice in the middle of the sixteenth century, the three volumes of Delle Navigationi et Viaggi, compiled, translated into Italian and annotated by Giovanni Battista Ramusio, gather in a single bibliographic monument a wide set of travel chronicles and maps. Even without having direct participation in the expansionist and colonizing projects promoted in that century by the Iberian empires, Venice maintained an important relationship with this world-system that was emerging, providing the work of cartographers, editors, cosmographers, translators and writers who disseminated and consolidated this knowledge about distant lands. Ramusio’s collection is part of this vast epistemological project; in this article I intend to analyze the conditions and antecedents that made possible the publication of this inventory of overseas explorations and achievements, particularly those relating to the New World, and their importance in the perception of new and modern natural and cultural realities that were redefining the orb.Keywords: Ramusio; navigations; New World.
41
Golan, Romy. "Vitalità del negativo/Negativo della vitalità". October 150 (ottobre 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.
Testo completoAbstract (sommario):
Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Borri, Antonio, e Marco Corradi. "Architectural Heritage: A Discussion on Conservation and Safety". Heritage 2, n. 1 (13 febbraio 2019): 631–47. http://dx.doi.org/10.3390/heritage2010041.
Testo completoAbstract (sommario):
This paper presents a study carried out in the Italian region of Umbria, after the 2016 Central Italy earthquake. The aim is to address the problem of the conservation and protection of architectural heritage in Italy. The application of retrofitting strategies, while improving the seismic performance of historic—and frequently listed by conservation bodies—buildings, will not significantly alter their appearance, will be reversible, and fall within the principle of minimum intervention (minimal (least) intervention (or conservative repair)). These issues were evaluated in the paper by considering the different points of view of structural engineers and conservators. Heavy structural-oriented interventions as well as the underestimation of the importance of the structural safety for masonry monuments has produced, in the past, irreversible damage to important buildings and monuments, and loss of architectural heritage in Italy. The requirement of structural safety, especially for monuments located in seismic-prone areas, is compared with the need for conservation. The Italian building guidelines for interventions of cultural heritage are also discussed, highlighting some limitations and important advancements.
43
Pereira, Syrléa Marques. "“Substitutos da presença”: imigrantes italianos(as), retratos e fotografias". Cadernos CERU 32, n. 2 (20 dicembre 2021): 165–77. http://dx.doi.org/10.11606/issn.2595-2536.v32i2p165-177.
Testo completoAbstract (sommario):
O artigo observa a “grande migração” italiana para o Brasil, a partir de fotografias conservadas por imigrantes ao longo de suas vidas. Esses “fragmentos da realidade” revelam marcas culturais de um outro tempo, experiências e trajetórias de vida. Às(aos) historiadoras(es) cabe a tarefa de fazer perguntas a esses “documentos/monumentos”. Assim, são apresentadas premissas teóricas para compreensão dessas fontes enquanto artefatos e suportes de memória; e a História Oral como abordagem para a análise das narrativas tecidas pelos(as) proprietários(as) das imagens. Percebeu-se que as fotos se constituíram em imagens-mensagens para os imigrantes “atestarem” aos parentes distantes que viviam em boas condições de vida, mas que nem sempre eram reais. Hoje, as imagens permitem a construção da identidade do grupo italiano em terras brasileiras.
44
Stanley-Price, Nicholas. "Memorial sculpture in the Protestant Cemetery at Rome. New discoveries and an inventory of identified works". Opuscula. Annual of the Swedish Institutes at Athens and Rome 15 (15 novembre 2022): 189–219. http://dx.doi.org/10.30549/opathrom-15-06.
Testo completoAbstract (sommario):
The funerary sculpture in the Protestant Cemetery in Rome, the heart of Catholicism, has been little studied. A new inventory of monuments lists over 130 works for which the sculptor, architect or bronze foundry, either Italian or non-Italian, has been identified. Many new identifications, often based on previously unrecorded inscriptions, have brought to light the work of well-documented foreign sculptors who had settled in Rome either temporarily or permanently. Several elaborate monuments were evidently commissions from wealthy relatives or friends of the deceased, but a greater number were contributed by artistic family members or by other fellow artists. In these frequent cases, a desire to commemorate a relative or personal friend, rather than financial gain, would have been the primary motivation.
45
Incerti, Manuela, e Elio Antonello. "MENSURA CAELI Territory, Town, Architectures, Tools". Proceedings of the International Astronomical Union 5, S260 (gennaio 2009): 497–502. http://dx.doi.org/10.1017/s1743921311002742.
Testo completoAbstract (sommario):
AbstractA brief discussion is given on the possible contributions of the schools of architecture to the safeguard of important monuments of astronomical interest. Some highlights of a meeting dedicated to the italian astronomical cultural heritage are also reported.
46
Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane". Ars & Humanitas 13, n. 1 (20 agosto 2019): 248–63. http://dx.doi.org/10.4312/ah.13.1.248-263.
Testo completoAbstract (sommario):
The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
47
Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane". Ars & Humanitas 13, n. 1 (20 agosto 2019): 248–63. http://dx.doi.org/10.4312/ars.13.1.248-263.
Testo completoAbstract (sommario):
The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
48
Kovalchuk, Lada Igorevna. "Specificity of arrangement of apse space in the Franciscan Church of San Lorenzo Maggiore in Naples (1260-1340)". Исторический журнал: научные исследования, n. 4 (aprile 2020): 146–54. http://dx.doi.org/10.7256/2454-0609.2020.4.32913.
Testo completoAbstract (sommario):
This article explores the peculiarities of spatial planning and construction phases of apse in the Franciscan Church of San Lorenzo Maggiore in Naples. Gothic deambulatory with a crown of radial chapels in the Church of San Lorenzo Maggiore is a unique typology of apse structure for the architecture of Franciscans in Italy. The architectural monument is ranked with a number of other Franciscan churches in Naples, built under the patronage of the monarchs of the Kingdom of Naples from Anjou Dynasty. Analysis is conducted on engineering aspects and system of orders of the Neapolitan Church. The analysis of formal-stylistic features and taking and consideration of historical peculiarities of the architectural monuments, the author suggests possible influence of the architectural language of French Gothicism upon the plan of the Church of San Lorenzo Maggiore. The article revises historiography of the question of origin of oriental hue in the Church of San Lorenzo Maggiore. The author substantially broadens the vector of research problems and interpretations associated with examination of French influence upon the plan of the apse of the Church of San Lorenzo Maggiore. The novelty of consists in the analysis of apse of the Church of San Lorenzo Maggiore the context of logics of the development of deambulatory in French Gothicism, rather than borrowing of this shape from medieval Italian architecture.
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Antonio, Asciuto, Borsellino Valeria, D'Acquisto Marcello, Franco Caterina Patrizia Di e Schimmenti Mariarosa Di Gesaro and Emanuele. "Monumental trees and their existence value: the case study of an Italian natural park". Journal of Forest Science 61, No. 2 (3 giugno 2016): 55–61. http://dx.doi.org/10.17221/86/2014-jfs.
Testo completo
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Pleskovics, Viola. "Additions to the history of Hungarian medieval royal centre rehabilitations in the interwar period". Acta Historiae Artium 63, n. 1 (26 aprile 2023): 327–46. http://dx.doi.org/10.1556/170.2022.00008.
Testo completoAbstract (sommario):
After the Treaty of Trianon (1920) the long-destroyed medieval royal centres of Hungary could be used as sites to replace the “lost historic monuments” on the areas separated from Hungary.In 1934, the art historian Tibor Gerevich, a famed person in Italian-Hungarian cultural diplomacy became the Chairman of the National Committee of Historic Monuments. The Committee lead three iconic works among others during this era: the excavation of the medieval royal palace of Visegrád, the rehabilitation of the ruins of the medieval provostal church in Székesfehérvár, and the renovation of the medieval royal palace of Esztergom. The reconstructions of two of them could have been fulfilled, using the modernist style of the Italian restaurations. Until these works, the reconstructions happened only with additions in historicistic styles. The study examines the transformation as a phenomenon which did not happen so sharply. During the planning processes, the attitude of historicistic way of seeing can be also observed in the architectural renovation practices.