Gotowe bibliografie tematyczne / Monuments italiens

Gotowa bibliografia na temat „Monuments italiens”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Monuments italiens"

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Caponigri, Felicia. "Malleable monuments and comparative cultural property law: The Balbo monument between the United States and Italy". International Journal of Constitutional Law 19, nr 5 (1.12.2021): 1710–37. http://dx.doi.org/10.1093/icon/moab136.

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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.
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Bovo, Martine. "Igiaba Scego’s Roma negata: The ethical nomadism of a second generation migrant writer". Letras de Hoje 54, nr 4 (31.12.2019): 512. http://dx.doi.org/10.15448/1984-7726.2019.4.33259.

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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.
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Chamoux, Par F. "La Cyrénaïque, des origines à 321 a.C., d'après les fouilles et les travaux récents". Libyan Studies 20 (styczeń 1989): 63–70. http://dx.doi.org/10.1017/s0263718900006592.

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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.
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Monteiro, Michelli Cristine Scapol. "A América como consagração". Revista de História, nr 178 (10.07.2019): 1–41. http://dx.doi.org/10.11606/issn.2316-9141.rh.2019.141992.

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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.
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Vadimovich Griger, Maxim, Enzhe Midhatovna Dusaeva i 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, nr 5 (19.10.2019): 663–66. http://dx.doi.org/10.18510/hssr.2019.7578.

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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.
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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, nr 17 (grudzień 2017): 224–27. http://dx.doi.org/10.1590/2236-463320171708.

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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.
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Baldassar, Loretta. "Migration Monuments in Italy and Australia: Contesting Histories and Transforming Identities". Modern Italy 11, nr 1 (luty 2006): 43–62. http://dx.doi.org/10.1080/13532940500492241.

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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’.
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Zamparutti, Louise. "The Basovizza monument: Constructing memory and identity". Research in Social Change 11, nr 3 (1.09.2019): 25–38. http://dx.doi.org/10.2478/rsc-2019-0013.

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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.
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Guarrera, Fabio. "El Monumento como instrumento de identidad nacional". Arquitextos, nr 33 (17.02.2019): 49–60. http://dx.doi.org/10.31381/arquitextos.v0i33.1859.

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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
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Guarrera, Fabio. "monumento como instrumento de identidad nacional". Arquitextos, nr 33 (28.02.2023): 49–60. http://dx.doi.org/10.31381/arquitextos33.1859.

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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
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Rozprawy doktorskie na temat "Monuments italiens"

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Schwarz, Martina. "Tumulat Italia tellus : Gestaltung, Chronologie und Bedeutung der römischen Rundgräber in Italien /". Rahden/Westfalen : M. Leidorf, 2002. http://catalogue.bnf.fr/ark:/12148/cb39277742z.

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Michalsky, Tanja. "Memoria und Repräsentation : die Grabmäler des Königshauses Anjou in Italien /". Göttingen : Vandenhoeck & Ruprecht, 2000. http://catalogue.bnf.fr/ark:/12148/cb372150781.

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Vidor, Gian Marco. "Biografia di una necropoli italiana del XIX secoloBiographie d'une nécropole italienne du XIXe siècle : il cimitero della Certosa di Bologna : le cimetière de la Chartreuse de Bologne : thèse en co-tutelle". Versailles-St Quentin en Yvelines, 2008. http://www.theses.fr/2008VERS022S.

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Fondé en 1801, le cimetière de la Chartreuse n'est pas une simple application des réformes des Lumières en matière de sépultures. Par certains aspects, il constitue un exemple unique dans le panorama italien et européen. Grande nécropole presque complètement fermée sur le monde extérieur, le cimetière est conçu comme une sorte de musée d'art funéraire contemporain. C'est également un village où vit une petite communauté, composée des employés et de leurs familles. L'histoire de la Chartreuse de Bologne a permis de mettre en lumière la nature polymorphe des nécropoles du XIXe siècle et de mettre en évidence une hiérarchisation complexe des sépultures basée sur des catégories pluriséculaires de séparation, marginalisation et exclusion des cadavres. Lieu fondamental pour la constitution de l'identité citadine et nationale, le cimetière présente une interaction des éléments de la ville des morts du Moyen Age avec celles de la ville imaginée et projetée par la culture du XVIIIe siècle
Founded in 1801, the Certosa cemetery is not a simple application of Enlightenment reforms regarding sepulchres. In certain aspects, it constitutes a unique example in the Italian and European panorama. A large necropolis, almost completely closed off from the exterior world, the cemetery is conceived as a sort of museum of contemporary funerary art. It is also a village where lives, not always peacefully, a small community, composed of employees and their families. The history of the Certosa of Bologna highlights the polymorphous nature of necropolises of the nineteenth century and shows a complex hierarchical organization of sepulchres based on plurisecular categories of separation, marginalization, and exclusion of the cadavers. Fundamental location for the constitution of urban identity and national identity, the cemetery presents an interaction between the elements of the Middle Ages burial ground with those of the necropolis imagined and projected by eighteenth century culture
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Pinon, Pierre. "Pierre-Adrien Pâris (1745-1819), architecte, et les monuments antiques de Rome et de la Campanie /". Rome : [Paris] : École française de Rome ; [diff. de Boccard], 2007. http://catalogue.bnf.fr/ark:/12148/cb41083614b.

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Texte remanié de: Thèse de doctorat--Art et archéologie--Paris 4, 1998. N°: 1997PA040294. Titre de soutenance : Pierre-Adrien Pâris (1745-1819), architecte ou l'archéologie malgré soi.
Bibliogr. p. 417-420. Index.
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Mason, David Robert. "'New lamps for old' : English responses to the restoration of monuments in Italy, ca. 1860-1890". Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/4115.

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Ferrante, Roselene de Souza 1979. "Entre "deuses de bronze" e "homens de papel" : análise das obras do escultor italiano Pasquale De Chirico em Salvador (1906-1944)". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279637.

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Orientador: Iara Lis Franco Schiavinatto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-25T20:50:00Z (GMT). No. of bitstreams: 1 Ferrante_RoselenedeSouza_M.pdf: 9510528 bytes, checksum: 95280e4b6a8d1824700b011e2d599b55 (MD5) Previous issue date: 2014
Resumo: Esta dissertação aborda a produção artística de Pasquale De Chirico em Salvador, Bahia, no período de 1906 a 1944. A pesquisa encadeia fontes documentais inéditas, quer a respeito de sua trajetória biográfica, quer no tocante às suas obras, destinadas tanto ao âmbito público quanto privado. Aqui, há um mapeamento da inserção dos monumentos escultóricos na malha urbana de Salvador, a exemplo de Castro Alves ¿ obra que marcou a consagração do artista. De modo paralelo à produção de monumentos públicos, Pasquale De Chirico elaborou um amplo conjunto de registros em papel e bronze de "tipos humanos", em especial de afrodescendentes; são homens e mulheres mergulhados em seu anonimato sob cânones acadêmicos que configuram uma iconografia de negros
Abstract: This dissertation approaches the artistic work by Pasquale De Chirico in Salvador, Bahia, Brazil, within the period from 1906 to 1944. The research links unpublished documentary sources, either about his biographical path or regarding his works, aimed both at the public and private spheres. Here, there is a mapping of the insertion of sculptural monuments in the urban area of Salvador, such as Castro Alves ¿ work that marked the artist¿s consecration. Parallel to the production of public monuments, Pasquale De Chirico prepared a wide range of records in paper and bronze of "human types", especially of Afro-descendants; they are men and women immersed in their anonymity under academic canons that set an iconography of black people
Mestrado
Politica, Memoria e Cidade
Mestra em História
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Caillet, Jean-Pierre. "L'évergétisme monumental chrétien en Italie et à ses marges : d'après l'épigraphie des pavements de mosaïque (IVe-VIIe s.)". Paris 4, 1989. http://www.theses.fr/1988PA040118.

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Marlier, Thomas. "Tradition grecque et innovation romaine dans l'architecture en Cyrénai͏̈que à l'époque impériale: les monuments publics". Paris 4, 2004. http://www.theses.fr/2004PA040096.

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Quelle est la part de tradition grecque et d'innovation romaine dans l'architecture d'une ancienne cité grecque durant le Haut-Empire ? Le cas de Cyrène et des quatre autres cités de la région - Apollonia, Ptolémai͏̈s, Taucheira et Bérénikè - montre qu'hellénisme et romanité sont souvent conjoints : la grande majorité des édifices conservent des procédés de constructions grecs, mais une grande partie des bâtiments neufs ou restaurés à cette époque recouvrent des types romains, notamment les théâtres, les temples et les arcs monumentaux. Des types complètement neufs comme l'amphithéâtre ou la basilique apparaissent, et certains ensembles monumentaux adoptent une configuration romaine : le forum de Cyrène, par exemple, associe un quadriportique à un temple et une basilique. Ça n'est pas dans la situation politique, démographique, religieuse ou sociale qu'on trouvera des explications aux innovations romaines. Il apparaît que le conservatisme des façons de construire s'explique essentiellement par une inertie du savoir-faire où les artisans et architectes en Cyrénai͏̈que reproduisent simplement leurs habitudes en utilisant le système technique qu'ils connaissent déjà. L'innovation romaine semble ressortir soit à un simple phénomène de mode où les nouveaux types architecturaux sont imités " pour faire romain " sans que de nouveaux usages romains leur correspondent ; soit, plus rarement, à la diffusion d'usages romains où de nouveaux types d'édifices sont nécessaires : l'apparition de l'amphithéâtre, par exemple, s'explique par la diffusion des spectacles de chasse et de gladiateurs dans cette région
What is the part of Greek tradition and roman innovation in the architecture of an ancient Greek city during the High Empire ? The case of Cyrene and others cities of the region - Apollonia, Ptolemai͏̈s, Taucheira and Berenike - shows that hellenism and romanity are often joint: the great majority of the buildings preserves Greek techniques of construction, but a great part of news or restored edifices on this period recovers roman types, like the theatres, the temples and the monumental arches. The type of roman theater takes the place of the Greek type, the cyrenaean temples imitate the forms of the roman temple with podium and frontal staircase, the Propylaea evolves to the monumental arch, types completely news as the amphitheatre or the basilica appear, and several monumental complexes adopt a roman configuration: the forum of Cyrene, for example, associates a quadriportico with a temple and a basilica. It is not in the political, demographic or social situation that the explications of the roman innovations will be found. It appears that the conservatism of the manners of construct doesn't explain itself by an inertia of know-how : the craftsmen and the architects reproduce simply their customs by using the technical system which they already know. The roman innovation seems to fall within the scope of a simple fashion where the news architectural types are imitated " to seems roman " without new roman customs corresponding to them ; or, more rarely, by diffusion of roman customs : in this case, new types of buildings are necessary: the apparition of the amphitheatre, for example, explains itself by the diffusion of hunts and gladiators spectacles on this area
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Thoraval, Fanch. "Curarum dulce lenimen. Du document musical au monument dévotionnel : Innocentius Dammonis et le Laude libro primo, Venezia, 1508". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040254.

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Le Laude libro primo est un document bien connu qui, depuis le début du siècle dernier, a fait l'objet de plusieurs études. Fait assez exceptionnel pour un recueil de laude polyphoniques de la période, il transmet un répertoire composé par un unique musicien, un chanoine régulier dont l'appartenance à la congrégation réformatrice de San Salvatore constitue la seule donnée biographique établie. Considérées comme caractéristiques de la culture musicale de dévotion du nord-est de l'Italie, les compositions d'Innocentius Dammonis ont successivement été perçues comme étant destinées à l'usage de ses coreligionnaires ou, au contraire, à celui des différentes confréries laïques vénitiennes. L'observation de la culture musicale, théologique et littéraire mise en mémoire dans ce document permet de le présenter sous une autre lumière. En distinguant la part de la conception éditoriale du livre imputable à l'imprimeur de celle due à l'auteur lui-même, il est possible d'envisager les moyens par lesquels ce dernier a pu vouloir le présenter au public. Il ressort d'une étude onomastique que le musicien est probablement un ultramontain, actif dans divers monastères de la congrégation dans laquelle il paraît avoir été très impliqué. Le Laude libro primo semble ainsi moins s'inscrire dans une tradition locale (vénitienne) que dans un projet individuel dont la congrégation de San Salvatore constitue, en partie, le cadre intellectuel. Ce constat suggère une autre approche des choix compositionnels effectués par le chanoine. Parfois atypiques pour ce type de répertoire, ceux-ci ne semblent pas procéder de l'opposition savant-populaire (ou de son corollaire complexe-simple) qui constitue la principale grille d'analyse des laude polyphoniques ; ils s'avèrent avant tout être au service d'un projet dévotionnel mené par un spécialiste (un clerc) qui mêle les arguments moraux aux références bucoliques et pétrarquiennes
The Laude libro primo is a well known document which has retained scholarship's attention since the beginning of the last century. Quite exceptionally for a collection of polyphonic laude of that period, it contains a repertoire composed by a single musician, a regular canon whose belonging to the congregation of San Salvatore is the only biographical known fact. The compositions by Innocentius Dammonis have been considered a typical product of the musical devotional culture from north-eastern Italy that was intended either for the use of the congregation's members or for that of some venetian confraternities. The observation of the musical, theological and literary culture recorded in this document allows to shed a new light on these laude. The distinction between the responsibility of the printer and the author for its editorial conception makes it possible to understand by which means these laude were intended to be presented. An onomastical study has given some evidence that this musician, who lived in various monasteries of the congregation, was probably born in northern Europe. The Laude libro primo appears to be the product of an individual project, the congregation of San Salvatore being partly its intellectual background, rather than the expression of a local (venetian) tradition. This observation suggests another approach to the canon's compositional choices that are sometimes unusual in that kind of repertoire. They don't seem to be the result of the opposition art/popular music (or its corollary complex/simple) which is the most used analytical framework for the study of polyphonic laude. On the contrary, they appear to serve a devotional project carried out by a specialist (a cleric) who mixes moral arguments with bucolic and petrarchan references
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Malone, Hannah Olivia. "Nineteenth-century Italian cemeteries : the social and political basis of funerary architecture". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648217.

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Książki na temat "Monuments italiens"

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Schulze, Thies. Dante Alighieri als nationales Symbol Italiens (1793-1915). Tübingen: M. Niemeyer, 2005.

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Giovannetti, Bruno. Artistas italianos nas praças de São Paulo =: Artisti italiani nelle piazze di San Paolo. São Paulo: Empresa das Artes Projetos e Edições Artísticas, 1992.

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Schianchi, Lucia Fornari. Parma: History, art and monuments. Bologna, Italy: Italcards, 1989.

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Schianchi, Lucia Fornari. Parma: History, art, and monuments. Bologna, Italy: Italcards, 1991.

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Schianchi, Lucia Fornari. Parma: History, art and monuments. Bologna: Editions Italcards, 1989.

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Paolo, Liaci, i Diakrona (Firm), red. Milan: History, art, monuments. Bologna, Italy: Italcards, 1990.

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Sgarbi, Vittorio. Dizionario dei monumenti italiani e dei loro autori. Milano: Bompiani, 1991.

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Kongress, "Scultura e. monumento sepolcrale del tardo medioevo a. Roma e. in Italia (1985 Rome Italy). Skulptur und Grabmal des Spätmittelalters in Rom und Italien: Akten des Kongresses "Scultura e monumento sepolcrale del tardo medioevo a Roma e in Italia (Rom, 4.-6. Juli 1985) : veranstaltet vom Historischen Institut beim Österreichischen Kulturinstitut in Rom und vom Istituto della Enciclopedia Italiana. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1990.

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Galmozzi, Luciano. Monumenti alla libertà: Antifascismo, resistenza e pace nei monumenti italiani dal 1945 al 1985. Milano: La Pietra, 1986.

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I monumenti Spinola. Genova: Sagep editori, 2018.

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Części książek na temat "Monuments italiens"

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Jones, Kay Bea. "Monuments across the fascist divide". W The Routledge Companion to Italian Fascist Architecture, 507–20. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429328435-47.

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Pazzaglia, Paola, i David Scaradozzi. "Escape from Tolentino During an Earthquake Saving as Many Lives and Cultural Objects as You Can". W Makers at School, Educational Robotics and Innovative Learning Environments, 275–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77040-2_37.

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AbstractIn the last five years, the Italian Ministry of Education has placed its focus on digital skills, recognizing them as fundamental and indispensable for the growth of future citizens in the information age. It has thus backed projects aimed at developing computational thinking and digital creativity at school. One of the highest-funded of such projects is “Più vicini al nostro territorio—Valorizziamo i monumenti di Tolentino … giocando con Scratch e App Inventor” (Closer to our territory—appreciating the value of Tolentino’s monuments … while playing on Scratch and App Inventor). In this paper we describe this project, its vertical path, and the results of the first activities, which have already taken place in a primary school. These results show the progression of the skills and competences defined in the National Operational Programme document “For school 2014–2020” (Axis I Education, Objective 10.2, Improving students’ key competences), and those set out in the National Plan for Digital Education.
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Barisione, Silvia. "The reception of World War I monuments". W The Routledge Companion to Italian Fascist Architecture, 346–58. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429328435-33.

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Rossetti, Edoardo. "Le dinamiche del mecenatismo signorile negli spazi sacri: un percorso per riconsiderare le geografie e le gerarchie del patronage artistico in Italia?" W La signoria rurale nell’Italia del tardo medioevo. 4. Quadri di sintesi e nuove prospettive di ricerca, 81–110. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0187-2.05.

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The paper aims to outline some of the strategies of aristocratic patronage in sacred spaces in the Italian peninsula. The commissioning of elaborate marble funerary monuments, the choice of location for chaplaincies or entire churches, convents and monasteries, and the choice of the religious order to which to entrust them are indicated here as keys to understanding the internal distinctions within the Italian aristocracies. In particular, a new examination of aristocratic patronage between the 14th and 16th centuries is considered a means to address a general revision of the Italian cultural hierarchies and geographies of Vasari's legacy.
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Viggiani, Carlo. "The Leaning Tower of Pisa". W Case Studies on Failure Investigations in Structural and Geotechnical Engineering, 173–96. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2023. http://dx.doi.org/10.2749/cs004.ch14.

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The Leaning Tower of Pisa was stabilised in the years 1999–2000 by an International Committee appointed by the Italian Government. An analysis of the history of the monument and the results of investigations and monitoring led to the conclusion that the tower was affected by a phenomenon of instability of the equilibrium. The stabilisation intervention, conceived to be totally respectful of the integrity of the monument, consisted of slightly decreasing the inclination of the Tower by removing a small volume of soil beneath the north side of the foundation.
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Dogliani, Patrizia. "Constructing Memory and Anti-Memory: the Monumental Representation of Fascism and its Denial in Republican Italy". W Italian Fascism, 11–30. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27245-7_2.

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Fabozzi, S., M. Moscatelli, F. de Silva, L. Starita i E. Bilotta. "Probabilistic evaluation of the seismic vulnerability of rock cavities in a historical Italian site". W Geotechnical Engineering for the Preservation of Monuments and Historic Sites III, 1184–92. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781003308867-95.

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Zurlo, R., i R. Sorbello. "Florence high-speed railway underpass – Preservation of the Italian Renaissance pre-existing structures and historical sites". W Geotechnical Engineering for the Preservation of Monuments and Historic Sites III, 977–88. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781003308867-76.

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Ruberto, Laura E., i Joseph Sciorra. "‘Columbus Might Be Dwarfed to Obscurity’: Italian Americans’ Engagement with Columbus Monuments in a Time of Decolonization". W Public Memory in the Context of Transnational Migration and Displacement, 61–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41329-3_3.

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Goldhahn, Almut. "Kunst im Dienst der Propaganda. Die Photoausstellung im Palazzo Vecchio in Florenz 1917 und Ugo Ojettis Monumentalwerk „I monumenti italiani e la guerra“". W Apologeten der Vernichtung oder »Kunstschützer«?, 61–82. Wien: Böhlau Verlag, 2017. http://dx.doi.org/10.7788/9783412508340.61.

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Streszczenia konferencji na temat "Monuments italiens"

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Benito Vozza, Vito Maria. "Three italian monuments: mass and material". W The 5th International Virtual Conference on Advanced Scientific Results. Publishing Society, 2017. http://dx.doi.org/10.18638/scieconf.2017.5.1.412.

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De Marco, Paolo, i Antonino Margagliotta. "La construcción del lenguaje en el Teatro Popular de Sciacca de Giuseppe y Alberto Samonà. *** The construction of language in the Sciacca popular Theatre by Giuseppe and Alberto Samonà." W 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7580.

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El Teatro popular de Sciacca de Giuseppe Samonà y su hijo Alberto –dos importantes guras de la arquitectura italiana– es una de las más significativas obras italianas de la segunda mitad del siglo XX. Inaugurado en 2015, después de una larga construcción de cuarenta años, el teatro tiene una original implantación con doble sala; está compuesto por tres grandes volúmenes (un paralelepípedo, un cono y una pirámide) y expresa una arquitectura de la imagen, una idea de un espacio determinado por formas puras y del uso de un único material (el hormigón visto). El uso de tres formas arquetípicas es una vuelta a los orígenes, una idea casi clásica y racional de la arquitectura; al mismo tiempo es la evocación de una perfección arcaica. Para esta idea es fundamental el empleo del hormigón, conceptualmente entendido como material primordial, que participa en la expresión de estabilidad y duración. El edificio se convierte en icono y se inserta en el paisaje como un monumento. En este sentido, esta arquitectura es un homenaje a Le Corbusier, construida a través de la interpretación del lenguaje del gran maestro. El Teatro de Sciacca representa, probablemente, el más notable ejemplo de arquitectura le corbuseriana en Italia.***The Sciacca Popular Theatre by Giuseppe Samonà and his son Alberto - two important figures of Italian architecture - is one of the most significant Italian building of the second half of the 20th century. Inaugurated in 2015, after a forty years long construction, the building has an original layout with two auditoriums; composed by three big volumes (a parallelepiped, a cone and a pyramid) and expresses an architecture of image, an idea of space determined by pure forms and using a single material (the raw concrete). The use of three archetypal forms is a return to the origin, an idea al- most classical and rational of architecture; at the same time is the evocation of an archaic perfection. Within this context, the use of raw concrete is also fundamental. Understood as primitive material, it participates to the expression of stability and durability across the building. As a result, the building is converted to an icon that sits in the landscape like a monument. In this sense, this architecture is a tribute to Le Corbusier, built through the interpretation of the great master language. The Sciacca Theatre represents, probably, the most remarkable example of architecture by Le Corbusier in Italy.
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CAROTTA, M. C., E. FERRARI, S. GHERARDI, C. MALAGÙ, M. PIGA i C. VACCARO. "A MULTIDISCIPLINARY STUDY ON STONE MONUMENTS DAMAGE". W Proceedings of the 9th Italian Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701770_0025.

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ANA, J. CALVO QUINT, S. PERMARINI, P. ALBERTANO, G. PALLESCHI i D. MOSCONE. "POTENTIOMETRIC MICROSENSORS FOR CYANOBACTERIAL BIOFDLMS MONITORING IN HYPOGEAN MONUMENTS". W Proceedings of the 7th Italian Conference. WORLD SCIENTIFIC, 2002. http://dx.doi.org/10.1142/9789812776457_0044.

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Носов, Константин Сергеевич. "KREMLINS IN ITALIAN STYLE: STATISTICA LAPPROACH TO THE ITALIAN INFLUENCE". W Международная научно-практическая конференция «Музеефикация фортификационных сооружений. проблемы и пути их решения». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.59.23.018.

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Итальянское влияние на русское военное зодчество началось с приездом в Россию итальянских мастеров во второй половине XV в. Итальянские архитектурные черты настолько полюбились русским зодчим, что они прослеживаются в русской архитектуре даже через два столетия после отъезда из страны последнего итальянца из той плеяды. С целью оценить степень итальянского влияния в данной работе впервые применён статистический подход к подсчёту «итальянизмов» в ряде кирпично-каменных памятников военного зодчества конца XV - начала XVIII в. Italian influence on Russian military architecture began with the arrival of Italian masters in Russia in the second half of the 15th century. Russian architects were so fond of Italian architectural features that the latter can be traced in Russian architecture even two centuries after the last Italian from that Pleiad left the country. In this work, in order to assess the degree of Italian influence, a statistical approach was, for the first time, applied to the calculation of “Italianisms” in a number of brick-and-stone monuments of military architecture of the late 15th - early 18th centuries.
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Stochino, Emanuele. "THE CONCEPTS OF NATIONALISM AND PATRIOTISM IN THE ITALIAN COMMEMORATIVE MONUMENTS OF FIRST WORLD WAR". W 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s15.034.

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Abos, Ileana Ana. "CULTURAL HERITAGE AT THE CROSSROADS: THE RENAISSANCE CASTLES OF THE MURE? VALLEY, TRANSYLVANIA, ROMANIA IN THE 20TH-21ST CENTURIES". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs05.06.

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The Mure? Valley is one of Romania's most culturally cohesive landscapes. Its cultural heritage intertwines with Western and Central Europe. Europe's cultural heritage includes this region's heritage. Starting in the 16th century, several noble residences were constructed in this region in magnificent geographical surroundings. Some of these were built according to designs based on Italian Renaissance architectural treatises. The most impressive style of Transylvanian Renaissance architecture is represented by these monuments. These belonged to noble and princely families, and they varied greatly in terms of size and demand. Around them, parks were constructed, and the castle contained a remarkable collection of books and artwork. After being nationalised in 1949, they underwent significant changes under communism. Some of these changes destroyed them, and others are irreparable. This work aims to illustrate the changes the magnificent Renaissance mansions of the nobility have undergone over time. These changes occurred in the 20th and 21st centuries. On the inside, there were numerous changes. In addition, the parks that border these architectural complexes have been changed or eliminated. The cultural landscape has irrevocably changed. Our research shows three main categories of Renaissance castles in the Mures Valley. A) Saved monuments, where you can see how they were preserved and incorporated into tourist routes. It may also involve returning castles to the community. B) Crumbling castles represent the opposing polarity. C) Castles undergoing restoration. According to their legal standing, castles are either privately owned, owned by the state, or owned by Catholic or Reformed churches. Preserving these monuments and the cultural landscape they generate preserves a significant part of our implicit cultural heritage and European identity.
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Cartiaux, François-Baptiste, Gian Carlo Olivetti, Valeria Fort i Patrice M. Pelletier. "Preserving the heritage of world’s monuments through Structural Health Monitoring – A case study: the Garisenda Tower". W 5th Joint International Symposium on Deformation Monitoring. Valencia: Editorial de la Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/jisdm2022.2022.13787.

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The Italian peninsula has numerous heritage structures, including fifty-five sites registered under the UNESCO World Heritage Convention, living testimonies of the passage of man through times. Heritage structures are subject to aging and impact from the climate, resulting in deterioration of the structural behaviour. These phenomena can significantly reduce their usability, or even undermine the stability, and eventually induce safety, and rehabilitation issues. For those primary reasons, increasing attention is given by local authorities to understand the behaviour of structures and take the right action at the right time. To preserve the cultural heritage, Structural Health Monitoring (SHM) is becoming more important, as it allows to follow the evolution of structural behaviour. The study of meaningful variables allows to identify the activated structural mechanisms and, consequently, implement timely actions against ongoing degradation phenomena. A notable example is represented by the activities undertaken by the Municipality of Bologna on the Torre della Garisenda. The structure is monitored since 2019 to study the behaviour of its basement through measurements collected by deformation and temperature sensors. The installed monitoring system allows to carry out numerous analyses: evaluation of the structural response under dynamic actions, study of the evolution of the static behaviour of the tower and analysis of the effects induced by seasonal thermal variations. Advanced algorithms for data analysis allow to develop critical analysis and interpretation on the obtained results, providing information to support decision making process. Indications on the functionality of the system and typical examples of the collected results are provided.
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Cereti, Carlo, Luca Colliva, Gianfilippo Terribili i Massimiliano Vassalli. "The Monument of Paikuli: the Activities of the Italian Archaeological Mission in Iraqi Kurdistan, Past and Present." W 3rd ISCAHKRD 3rd International Scientific Conference under slogan Archaeology and Heritage of Kurdistan – Erbil. Salahaddin University-Erbil, 2019. http://dx.doi.org/10.31972/iscahkrd19.007.

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Silva, Maria do Carmo Couto da. "O Cristo e a mulher adúltera, de Rodolfo Bernardelli e a escultura italiana do século XIX". W Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3689.

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O tema central dessa comunicação é a análise da produção do escultor brasileiro Rodolfo Bernardelli (1852–1931) na Itália, no final do século XIX, enfocando especialmente a realização do grupo monumental em mármore Cristo e a mulher adúltera (1881-1884). Apesar da importância de Rodolfo Bernardelli no cenário artístico brasileiro, a sua trajetória ainda não foi estudada por completo. Percebendo a ausência de estudos nessa área, enfocamos o período de sua formação em nossa pesquisa de mestrado, concluída em 2005. O artista, que freqüentou a Academia Imperial de Belas Artes, na década de 1870, estudou em Roma por vários anos, onde também criou algumas de suas obras mais conhecidas. Na Itália, o jovem escultor foi aluno de Giulio Monteverde e manteve contato com a obra de destacados artistas como Vincenzo Gemito, Achille d’Orsi e Michetti. Em 1885, ele regressou ao Rio de Janeiro e expôs, em mostra individual, os trabalhos realizados no exterior, obtendo grande repercussão na imprensa e crítica cariocas e também na Academia. O seu grupo escultórico Cristo e a Mulher Adúltera, apresentado nessa mostra, tanto pelo tema como por sua ousada execução formal, revela o diálogo com a escultura italiana contemporânea. É esse aspecto da produção de Bernardelli, presente também em outras obras suas desse período, que faz com que o artista seja prestigiado em seu retorno da Europa e indica novas direções para a escultura no Brasil, no final do Segundo Reinado.
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