Gotowa bibliografia na temat „Archives – Modène (Italie)”

Il volume è dedicato a ricostruire il profilo biografico e dottrinario del modenese Nicolò Mattarelli, docente di diritto civile a Padova dai primi anni Novanta del secolo XIII al secondo decennio del Trecento. La ricerca si sviluppa lungo tre tappe distinte ma reciprocamente interconnesse: la conoscenza delle esperienze pubbliche e private del giurista basata, in larga misura, sulla lettura dei registri dei Memoriali notarili conservati all’Archivio di Stato di Modena; la ricostruzione della sua produzione didattica e scientifica grazie al recupero di numerosi manoscritti in archivi e bibliot

AbstractBetween 31 May and 23 September 1973, the exhibition Domus: 45 ans d’architecture design, art,1928–1873 was held in Paris. It occupied an entire floor of the Pavillon Marsan in the Louvre, involving the entire editorial staff of the magazine. The exhibition, subdivided by decades, used panels, a collection of objects, and original artworks to illustrate the history of Ponti’s magazine from its foundation to 1973.It presents different levels of interpretation that are exemplary of the way of telling the Italian design in an international framework practised since the years of the first issues of “Domus”. On the one hand, the placement of the magazine’s interests in a temporal flow, in the form archive. On the other hand, the curatorial choice clearly privileges the cotè reserved for the visual arts, both in the reproduction of articles and reviews published over the years and thanks to the extraordinary contribution of exhibited artworks by Marino Marini, Max Bill, Renato Guttuso, Ben Sahan, Chillida, Tinguely, Armand among others.The thesis of the paper is that this has been a mode of the Italian project that shapes its narrative code as a transformism calibrated to the culture and mood of the host countries with the aim of presenting a compact and coherent image (the Made in Italy, the Italian way or the Italian line depending on the situation) but also to adapt it to the foreign public, both the generalist -and possible buyer- and the specialist.

AbstractNarratives have increasingly come to the forefront of both design and innovation management. As a fundamental scheme of the human cognitive process and mode of communication, the role of narratives has been emphasized in relation to design and innovation processes. Although recent contributions have explored some characteristics of narratives and storytelling in both design and innovation, the literature remains lacking in understanding how narratives by design can affect innovation processes. Drawing from the creative process literature and narratives in design and innovation studies, this study analyzes how design experts employ design narratives at both the personal-cognitive and social-collaborative levels of creative process. The study aimed at building a basic analytical construction of the roles of design narratives in creative processes. Through an explorative and qualitative study, the authors explore the roles of design narratives through the lens of the collective knowledge of 17 design experts. Data collection was conducted using an explorative-systematizing expert interview, supplemented by secondary data, such as existing interview data and archival data, in the three design foundations in Italy. As a result, three aggregated personal-cognitive themes were identified: taking original perspectives as frame tales, weaving problem and solution pairs, and making storyworlds and senses. On the social-collaborative level, three themes emerged: orchestrating idea recombination, an imaginary and aesthetic manner of tension and conflict management, and contextualizing and generating narrativity. This study contributes to the design and innovation literature in terms of narratives by exploring and constructing basic themes regarding the role of design narratives in creative processes.

During the second half of the 19th century, a collection of Italian sculpture was created in the Ajuda National Palace. In this context, this collection was studied in a context of investigation extended to the entire sculptural core. However, and with reference to the general starting point, there was an Italian sculptor born in 1833 and coming from Modena, who came to work in Portugal, at the invitation of King Luís I. , we proceeded to the investigation of his artistic production, in the feld of Carrara marble sculpture. The question of this invitation was then posed and what is the hypothesis of developing his sculptural work in an environment of the second half of the 19th century, in Portugal and in this historical period. The objective was to investigate the permanence of an Italian artist in the city of Lisbon at the invitation of the Portuguese royal house, in whose signature of his works he is designated as Cesare Sighinolf. The methodology adopted was the direct observation of the sculptural pieces and access to all the existing documenta-tion in the Torre do Tombo Archive in Lisbon, with reference to the period under study.

Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the idea of performing authorship in the terms of self-fictionalization and masquerade. In particular, in his short film La ricotta (The Ricotta, 1964), which represents the first example of the spectacularization of Pasolini’s authorship, he projects his authorial self onto the figure of American star director Orson Welles. An outsider of the studio system, Welles furnishes Pasolini a model for an auteur who persistently seeks out a performative mode, putting himself in play as the author alongside the other characters. At the same time, through the figure of this star director, Pasolini also expresses his uncompromising attitude toward celebrity culture and culture industry. In La rabbia (The Rage, 1963)—created through montages of unused film footage from a film archive—Pasolini uses another international star, Marilyn Monroe, to stage his ambivalence towards the role of his own representation in the media. For Pasolini, Monroe’s death becomes a tragic, symbolic form of subjective resistance and a protest against the conformist system of celebrity that they both confronted.

The oldest medieval domus in Ravello date back to the twelfth century, as an evolution of the original house with barrel vaults, a primitive stone construction with walls of dry masonry of limestone and almost always connected to an olive grove or a vineyard, widespread on the Campania coasts between the island of Capri, the coast of Sorrento and that of Amalfi. Vertical and horizontal aggregations of this module have constituted, over time, the evolution of the building typology, while retaining some of the pre-existing architectural elements and the peculiar construction characteristics, inc