Добірка наукової літератури з теми "Authors, Italian – 21st century – Correspondence"

The article is devoted to the study of Italian Renaissance Сourts in Western (mainly Italian) historiography of the 21st century. The authors identify the directions and problems of research, comparing the problems of scientific works were written before the appearance of Italian Court History with works that were appeared at different stages of its development: in the initial period, in the first and second decades of the 21st century (the main emphasis is made on the study of the works of the 21st century). The article provides an overview of the main problems of the history of Italian courts in the works devoted to the influential Italian states of the Renaissance: the Duchy of Milan, the Papal State, the Kingdom of Naples and the Republic of Florence, highlights the issues existing in this area in relation to other Italian states (in particular, Siena and Genoa). The authors explore the works devoted to the problems of the relationship between the Italian and European courts of the Renaissance and other topical issues of modern research.

Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the aspect of the interaction of historical traditions and modern tendencies from viewpoint of comparative interpretation science. Analysis of recent publications on the topic of the article. The Italian opera of the XIX century is the object of many fundamental researches. The monograph of O. Stakhevych [7] demonstrates a multifaceted approach to the problems of becoming and development the bel canto style; in the study by M. Cherkashina [9], the music theatre of Bellini and Donizetti is presented as an independent phenomenon of Italian operatic history in its first period. I. Drach [2] points to debatable and sometimes subjectivity of interpretation of the concept “bel canto”. The evolution of the Italian opera already at the beginning of the XX century is considered in the study of L. Kirillina [3]; reference information about the Italian opera can be found in English-language articles from Grove’s dictionary [17]. An interesting concept is the book of A. Mallach [14] – the author traces the very fast path of the Italian opera from verismo to modernism. As for U. Giordano’s creativity directly, beside the small articles of encyclopaedic character [12; 13], the publication of M. Morini [15] is the most fundamental and complete. It collected not only researches of the composer’s creativity, but also reviews by contemporaries U. Giordano, his correspondence, registers of his performances and music recordings. The study of C. Ruizzo [16] contains arguments about the components of verismo in the work of U. Giordano, in particular, analyzes the finale of the III pictures of the opera “Andre Chenier”. Regarding this opera, we will separate the mini-guide by Burton D. Fisher [11], the articles of I. Sorokina [8], G. Marquezi [5], H. W. Simon [6], C. Duault [10]. The authors discuss not only the dramatic features of this opera masterpiece, the figure of the main character, but also the influences that this opera made, for example, on “Tosca” by J. Puccini. Statement of the main content of the article. The opera “Andrea Chenier” is a sign composition of the verismo era, despite the fact that its main character is the well-known politician, French poet and journalist. After composing (1895) and the premiere (1896, Milan), the opera was staged in Genoa, Mantua, Parma, Turin, New York (1896), Kharkov, Moscow; Budapest, Buenos-Aires, Florence, Naples, Prague, Santiago (1897), Antwerp, Barcelona, Berlin, Cairo, Lisbon, Rio de Janeiro (1898); in 1907, in the production of Covent Garden, E. Caruso played the title role. The composer and librettist brought to the stage as the protagonist of opera bright, courageous and ambitious person, so it is not surprising that both separate arias and the party of Shenier still belong to the repertoire of many prominent tenors of the planet – F. Tamagno, J. Martinelli, E. Caruso, B. Gigly, G. Lauri-Volpi, A. Cortis, F. Corelli, M. Del Monaco, P. Domingo, L. Pavarotti, M. Alvarez. The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. However, the protagonist, in addition to being a poet, is also a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character. These features are embodied in the musical characteristics of Chenier. The main thing in interpreting his famous Improvisation “Un di al’azzurro spazio” (the 1 act of the opera) by E. Caruso is the very elaboration, exact construction of the melodic line and the bright climax, that is, combination the features both a lyrical and a dramatic role specializations that E. Caruso was possessed in equal measure. B. Gigli’s singing (which we consider an example of a dramatic embodiment of the image) is characterized by the refinement of the mezzo voce and the richness, when he sings in full voice, therefore his performance of the Improvisation, in general, is more emotional (a high-profile register, a rhythmic emphasizing that gives a distinct organization the image). M. Del Monaco performs the Improvisation not so much playing by the shades of his strong voice as leading the almost continuous melodic line, which gives mostly lyrical colours to the Chenier’s image. The aria “Come un bel di Maggio” from the 4 act performed by F. Corelli is a model of the exalted lyrics, the lyrical culmination of the opera. F. Corelli performs the aria legato that is tellingly to the bel canto tradition, with a full sound, as if the sound hovers and penetrates everywhere through the skilful addition of dramatic notes (the last sounds of the upper tenor range – si, la of the first octave). P. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4). His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo has literally speaking in the some parts of the recitatives and even the arias, and that, in conjunction with accelerando, fills the musical language by the speech expression. The interpretation by P. Domingo corresponds to Chenier’s status as a revolutionary hero. Conclusions. Composing the opera, U. Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era (strong upper notes, wide range, and equal voice sounding in different registers). The tradition of interpreting the image of Chenier, laid by the first performer J. Borgatti, generally is preserved. The analysis of the most famous interpretations of the Chenier’s part (performed by E. Caruso, B. Gigli, M. Del Monaco, F. Corelli, P. Domingo, J. Carreras, and L. Pavarotti) demonstrated the leading role of the Italian bel canto school. This applies to the principle of canto è riflesso, singing without forcing the sound, the role of breathing, which transforms into the singing sound, the predomination of the head register (la voce di testa), and the integrity of the cantilena. For instance, M. Del Monaco and F. Corelli are lyrical tenors; they sing brightly, with a shine light decoration of high notes. In the performance of B. Gigli, there is a constant movement forward; L. Pavarotti, F. Corelli, J. Carreras, being within the limits of the lyric and dramatic role specifications, transmit in music the power of deep feelings. Instead, B. Gigli and, P. Domingo especially demonstrate the power of drama in the role specification of the Italian tenor, thereby enhancing the heroic side of the image of Shenier. The prospect of further study of the topic is associated with the emergence of new interpretations of the image of A. Chenier in the 21st century, which opens up new dimensions of the science about art interpretation.

The main purpose of the article is to review the most complete and holistic scientific works of Russian authors which are devoted to the study of Italian-Libyan relations. To carry out the research a broad historiographic base on the topic was involved, the author turned to both the “classic” works of Soviet scientists, and to the most modern scientific figures. One of the main tasks in the study of the topic is to identify the historiographic issues associated with the lack of modern Russian scientific literature on the referred theme. The article analyzes the specific features of the literature published from the end of the 20th to the beginning of the 21st century in Russia, highlighting the issue of interaction between two countries in different spheres of international relations. The methodological basis of the work is the issue-chronological and complex analysis of the used literature, the establishment of the cause-effect relationships and patterns in the Russian authors approaches to their research, as well as their interpretation for the current stage of development of relations between the two countries. During research it was revealed that most of the scientific works of our compatriots are devoted to a certain, rather narrow, range of issues: the Italian–Turkish war of 1911–1912, cooperation between Libya and Italy in the control of illegal migration from Africa to Europe, Italian military intervention in the civil war in Libya 2011. At the same time, not many Russian authors cover and analyze the Italian-Libyan cooperation in the politi- cal, cultural, social, and economic fields during the long-term period of Colonel Gaddafi’s rule in Libya. In this regard, the author of the article notes that there is a great amount of historical data: the diplomatic documents, resolutions, offi- cial letters of top public executives, treaties and agreements between the coun- tries, including documents of international organizations that are not studied at present sufficiently. The article identifies the most perspective areas for further research of Italian-Libyan relations, what emphasizes the importance and relevance of the chosen topic. The author comes to a conclusion that at the moment it seems quite difficult to find a well-founded, comprehensive scientific literature designed to determine the nature and options for the development of relations between Libya and Italy at the modern stage.

The article investigates the problem of modeling the childhood world in novels by N. Ammaniti "I am not afraid", "You and me", "As God commanded", A. d'Avenia "White, like milk, red, like blood", a history by A. Nanetti "My grandfather was a cherry tree" when the first contact between a child / teenager and the world of adults appears. Identified microdominants for the world of children in these authors: existential measurement of home and family (N. Ammaniti, A. Nanetti), father-son relations (N. Ammaniti), categorical coloring of the childhood world and seeking oneself (A. d'Avenia), unbreakable unity childhood - adulthood - old age (A. Nanetti). The dysharmony of the world manifests itself in the motives of violence, suffering, uncertainty of the child, which makes hero actively seek his place in society and his identity. The subjective narrative "I" of the child reflects the catastrophic attitude of the 21st century, seeks salvation in adults, but finds the strength to resist evil in the world only in its pure soul. It was found: the destruction of the ordered childhood world with positive images of home, father and mother is the reality of the 21st century.

Although the works of three early Italian Renaissance poets, Brunetto Latini (1220-1294), Dante Alighieri (1265-1321), and Giovanni Boccaccio (1313-1375), may seem far removed from the social science ventures of the 21st century, these three Italian authors provide some exceptionally valuable materials for scholars interested in the study of human knowing and acting. As central participants in the 13th-14th century “humanist movement” (in which classical Greek and Latin scholarship were given priority in matters of intellectual development), Brunetto Latini, Dante Alighieri, and Giovanni Boccaccio helped sustain an analytic focus on human lived experience. Most of the materials addressed here are extensively fictionalized, but our interests are in the sociological insights that these authors achieve, both in their accounts of the characters and interchanges portrayed in their texts and in their modes of presentation as authors. Although lacking the more comprehensive aspects of Chicago-style symbolic interactionist (Mead 1934; Blumer 1969) theory and research, these early Renaissance texts are remarkably self-reflective in composition. Thus, these statements provide us with valuable insights into the life-worlds of (a) those of whom the authors speak, (b) those to whom the authors address their works, and (c) the authors themselves as people involved in generating aspects of popular culture through their poetic endeavors. More specifically, these writers enable us to appreciate aspects of pragmatist emphases on human knowing and acting through their attentiveness to people’s perspectives, speech, deliberation, action, and interaction. In addressing affective relationships, introducing generic standpoints, and considering morality as community matters, these materials offer contemporary scholars in the social sciences some particularly instructive transhistorical and transcultural comparative and conceptual reference points. Inspired by the remarkable contributions of the three 13th-14th century Italian poets and some 12th- 13th century French predecessors, the Epilogue direct specific attention to the ways in which authors might engage poetic productions as “producers” and “analysts” of fictionalized entertainment.

Summary The authors of presented article deal with the issue of breast-feeding in labor relations. The current Slovak legislation allows only women to take a breastfeeding break. The authors wonder whether the regulation in question is still efficient in the 21st century and does not cause problems rather than benefits in practice. In foreign legislation, it is standard that a man, the child’s father, can under certain conditions take a breastfeeding break. The article analyzes Slovak legal norms and compares them with Spanish, Italian and Portuguese legal regulations as well as the chosen decision of the Court of Justice of the European Union regarding breast-feeding break. Methods of analysis, comparison and synthesis were used, which enabled the authors to form comprehensive conclusions as well as suggestions de lege ferenda. The authors’ opinion is, that the legal regulation of breastfeeding break in Slovakia needs to be amended in order to provide a father with the breastfeeding break under certain circumstances.

This article has a historiographic and methodological nature and is devoted to the problematic interpretations of the esoteric content of Dante’s ideas and works by French and Italian scholars from the middle of the nineteenth century to the second half of the twentieth century. Various definitions of Western esotericism are discussed in the light of contemporary approaches. The current interest in the study of Dante’s esotericism and the relevance of this topic are substantiated. The tradition in the interpretation of Dante's esotericism in Italy and France can be traced back to the occultists of the 19th century, who referred to each other's works: G. Rossetti, E. Arou, F. Boissard, J. Péladant, G. Pascoli and others. It has been demonstrated that the studies of Dante's esotericism during 1920s reached a new level of quality, which was adequate to the contemporary scientific requirements for Dante studies: in Italy, this happened in the person of Luigi Valli and his students, Arturo Reghini and then Julius Evola; and in France, at the same time, in the person of René Guénon. The criticism of Valli in the works by Guénon is analyzed in detail. The context of Dante's interpretation by Guénon is revealed in connection with the issue of Templar, Rosicrucian and Islamic influences (Sufism, Arab Neoplatonism). In this respect, a significant difference of tones was observed in the perception of Dante's esotericism within the general paradigm of integral traditionalism between Guénon and his Italian colleagues Julius Evola and especially Guido de Giorgio, whose fundamental work is still unknown to Russian scholars. An intense politicization of the perception of Dante's heritage by Evola and de Giorgio is also remarked in this article. Special attention is then paid to the study of Dante's esotericism by one of the leading Roman Catholic theologian of the twentieth century, Romano Guardini, who engaged a polemic correspondence with the integral traditionalists. Based on the results of our study, it was concluded that the research of Dante's esotericism by French and Italian authors for more than a hundred years can be characterized as a continuous chain of dialogue and polemics of various authors who knew about each other's works and used the appropriate links.

It is possible to say that Giro d’Italia, the road cycling race through Italy, has had a huge popularity mainly, but not exclusively, among the Italians since it was held for the first time in 1909. Some authors even mention, Giro d’Italia did for the formation of the common Italian identity more than the political representatives of the state, which was born in 1861. The fact that the 100th edition of the race took place in 2017 is the proof of its popularity. In the context of this anniversary, its organizers wanted to prepare the wholly Italian race where it would be clearly observed the legacy of the Italian history and of the local cycling, including the presentation of the most famous cyclists from Italy in the history. The aim of this article is to analyse the route of Giro d’Italia 2017 and its presentation as a space that could help to Italians to recognize their Italian identity, even if the local cyclists were not as successful during the 100th edition of the race as the organizers would have wished. Also I would like to mention that in the second decade of the 21st century this cycling race is definitely a popular sporting event all around the world. Not only it has a potential to present itself to the foreign public, but also to promote whole Italy in the most positive way. I think, it is certainly possible to use Giro d’Italia as a tool of the Italian sports diplomacy.

The research paper focuses on the cultural and moral identity in Umberto Eco’s reflections. Attention is paid to the selected pieces. Umberto Eco is one of the most famous contemporary writers dealing with the issues of morality in Italian society. His works are devoted to the current perception of identity in the 21st century. The authors are interested in his view on values and identity in the selected chapters of his work. The aim of the paper is to analyse the identity issue in Umberto Eco’s works.The research objectives are based on recent doubts in cultural studies whether identity is fixed and firmly defined or acquired by a human being freely. Another question is the link between these two aspects. Although the origin of the word identity comes from Latin (idem – the same), nowadays it is more understood in its diversity as linguistic, cultural, national, moral identity, etc.

This article deals with the treatment of phrasal verbs in the dictionaries of the Trentino dialects, where the sequence verb + locative was – and is still – used widely. An introductory paragraph briefly illustrates the spread of phrasal verbs formed with a locative particle in the Romance languages, and particularly in Italian and in the dialects of Northern Italy. In the second paragraph, eight lexicographical Trentino works are examined, five of which have a digital version. The selected dictionaries, written during the last decades of the 20th century and the first decades of the 21st, cover different areas of Trentino. For each work, the analysis focuses on how phrasal verbs are presented in the macro- and the microstructure. The review shows that all authors provide a rich exemplification of phrasal verbs, but only two present these phraseological units systematically and exhaustively. However, the dictionaries that have an online version offer the possibility of an automatic search which makes up for the absence of a coherent registration.

This project outlines the discovery and digitization of previously unpublished correspondence composed by late 19th century author and literary critic, Marcel Schwob. Inspired by the inquiry of Bibliothèque Nationale Librarian Bernard Gauthier, Professor Daryl Lee alerted me to the presence of Marcel Schwob materials at BYU. I found that former BYU Professor John Green established a Marcel Schwob Memorial Collection and successfully published two books using the materials he gathered: Chroniques and Correspondance Inédite. After thoroughly researching the catalogued Schwob materials at BYU and comparing the contents to other Schwob publications, I found 72 previously unpublished letters. The majority of the letters (62) were written by Schwob to family members, and the remaining 9 letters were written to Schwob by colleagues. International interest in Marcel Schwob materials is one of many indicators representing renewed interest in the author, his work, and his influence. Recent publications also reflect growing Schwob interest. In Marcel Schwob, d'hier et d'aujourd'hui (2002), Christian Berg and Yves Vadé shed new light on Schwob through the observations of his contemporaries and modern-day essays on the importance of his contes. In addition, Jean Lorrain: Lettres à Marcel Schwob (2006) furthers the effort to better understand Schwob through a collection of correspondence. In light of this renewed interest, I determined that the previously unpublished correspondence would serve as a useful research tool for Schwob scholars. With the guidance and assistance of employees at the Harold B. Lee Library, I subsequently converted the correspondence into a digital publication. Creating a digital publication is a multifaceted undertaking requiring the involvement and expertise of different individuals and library departments. I successfully learned how to use both the hardware and software involved in the digitization process, thereby facilitating my completion of project deliverables, including: scanning and transcribing the letters; writing letter summaries (in both French and English), extracting names, and completing other metadata; uploading metadata using the Lee Library's external database; establishing authority control records; writing website content (in both French and English), and publicizing the project. This document contains the major deliverables found in the digital publication, specifically the website content, the letter transcriptions, and the metadata.

Dans ce travail on essaye de donner une définition et une historicisation de ce qu’on appelle « littérature italienne de la migration ». Il y a tout de suite une distinction à faire entre les écrivains étrangers qui écrivaient en italien avant le grand flux migratoire des années ’80 et ceux qui sont issus de cette vague, dont la thèse s’occupe dans une manière plus spécifique (années 1989-2007). Les changements sociaux et culturels que les nouveaux immigrés ont apporté, ont transformé l’Italie de pays d’émigration en pays d’immigration. Au niveau littéraire ces écrivains ont d’abord utilisé un langage standard, pour se faire comprendre du public et pour témoigner les difficultés du voyage migratoire et de l’intégration ;les dernières œuvres, pourtant, analysées dans la deuxième partie de la thèse, ont été écrites par des écrivains qui manipulent plus facilement la langue italienne, utilisant un plurilinguisme témoin d’un lien très stricte entre oralité et écriture, et entre langue d’origine et langue d’accueil. Enfin, les oeuvres des écrivains italophones postcoloniaux et de ceux issus de la deuxième génération peuvent rapporter la littérature italienne contemporaine avec des autres situation (France, Allemagne, Angleterre, Etats Unis) qui semblent très similaires.

ENGLISH: On this work we want to give a definition about “Italian Migrant Literature”. There is a difference between writers came in Italy before or after the migration’s fluxes on the 80’s. With this social and cultural changes, Italy became immigration country. First, migrant writers used a standard language, to have a big public and to talk about migration. Last works are more interesting because they use a plurilingualism that can show the relationship between oral and write. Finally, Postcolonial Italian writers and Second Generation writers make a connection with the literary situation in the other countries (France, Germany, Britain, United States).

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

This paper aims to underline how hidden selves rediscover their identity when they are translating or are being translated into the language of their ethnic origin. It compares two specific instances in which translations have been the primary means through which two famous Italian women writers, both of whom received thoroughly Italian formal educations and considered themselves thoroughly Italian, or “thoroughly translated women into Italian” to recall Rushdie, rediscovered their Armenian identity. The authors are the late 19th and early 29th century Italian-Armenian poetess Vittoria Aganoor and the late 20th and early 21st century novelist Antonia Arslan.

Corporate boards have been male bastions until very recently, and women have been very few and difficult to track. In Italy, this has given rise to growing debates that have eventually led to the introduction of mandatory gender quotas for listed and state-participated (L&SP) firms under public control in 2011. In this chapter, the authors address this topic by investigating the presence of women among the directors of the top 250 Italian joint-stock companies from 1983 to 2017. In 1983, women were still nearly absent from Italian corporate boards. Their number showed a sizeable increase only in the 21st century, especially after the introduction of mandatory gender quotas. Quotas not only increased female presence on boards of L&SP firms, but also triggered an indirect “contagion effect”, that is, a higher proportion of women on boards of non-L&SP firms, even if the latter were not required to comply with this regulation. The massive increase in seats held by women led to a professionalization of female directors in Italy, even though women are still largely excluded from top executive positions.

The COVID-19 pandemic has been the biggest test of the world since Second World War. The novel coronavirus (SARS-CoV-2) ailment causes severe respiratory issues. Nowadays, all the colleges and schools utilize e-learning processes to advance their studies. It has had a remarkable effect on the instruction area, where students are accustomed to going to these schools or universities. In any case, as the circumstance is beyond our control, the college has no alternative but to proceed. This will continue as an elective method of study in the post-pandemic circumstance. In the 21st century, computerized time and information communication technology (ICT) use in the study hall is fundamental for giving students different chances to learn. To procure the most elevated correspondence level in school guaranteed that modernized education learning process where data innovation as a subset of data and interchanges innovation. In this way, to keep up this convention, one should proceed with the e-assets, similar to google study hall, Microsoft teams, class in skype, or any other applications. The authors intended to provide brief knowledge about the COVID-19 pandemic; the international education system classification and need for global education systems have to transfer from traditional to digital platforms. The common problems involved in the digital learning platform, irrespective of the system's international educational classification, have concluded.

The fact that people are living longer is a social and economic challenge for developed countries in the 21st century. An ageing society leads to an increase in the number of people living with multiple chronic conditions, facing the loss of independence and autonomy in daily activities and suffering social isolation caused by the pandemic or by the necessity of long-term care at home. The increasing incidence of sedentarism as well as prolonged immobility caused by long-stay settings (care home) is also a growing health concern. Indeed, spending too much time sitting daily could increase the incidence of postural changes and pressure ulcer formation, further reducing the physical, social, and emotional well-being of older adults.These problems are countable as significant contributors among many threats to elderly health and well-being leading to morbidity, disability, and premature death. In this view, Ambient Assisted Living solutions to monitor house routines of elderly patients and offer simple and healthy exercises daily are essential.This paper reports the results of the research activity conducted by the authors in collaboration with a well-known Italian sofa and armchair producer and health experts to develop an innovative solution for promoting active and safe ageing at home using a Smart Relax Armchair. The goal of the study was to introduce new smart functions to a Relax Armchair to help maintain a correct posture as well as to reduce the formation of bedsores by inducing frequent repositioning.To reach the goal, firstly the authors conducted a benchmarking analysis to identify the smart functions dedicated to health and wellbeing purposes already available on the market in the home furniture sector. A user-centred design methodology has been implemented to identify the Smart Relax Armchair functionalities, by involving industry experts, researchers in active ageing, biomedical engineers, and potential users since the early design stage. A dedicated design thinking tool has been used for users’ needs identification and translation into metrics (i.e. technical features). The Quality Function Deployment (QFD) method and tool have been used to rank such metrics and drive the design of the final product to meet users’ needs at best.3D virtual manikins, technical standards, ergonomic manuals, and the know-how of biomedical engineers and experts in Functional Recovery and Rehabilitation have been used to identify postural misbehaviour in daily life and potential intervention areas on a commercial Relax Armchair. Several active and passive solutions have been identified and tested to help maintain the correct posture and reduce the formation of bedsores. A sensorised mat has been used to assess changes in pressure distribution with respect to different layers of cushioning materials and to help select the specific pressure relief mattresses for bedsore prevention to be integrated into the final design.At the same time, an innovative protocol (anti-decubitus function) has been developed and implemented via ARDUINO to automatically induce a repositioning of the Smart Relax Armchair and thus changing the pressure distribution on the body, if the APP detects prolonged sitting.The protocol of the anti-decubitus function has been validated on a preliminary prototype thanks to a sensorised mat which demonstrated the effectiveness on pressure distribution variation, thus allowing the patenting of the idea.In order to promote active ageing at home, a set of simple rehabilitation exercises to be performed with the help of the Smart Relax Armchair has been designed and implemented in the APP specifically developed to control the product via a Smartphone or a vocal assistant.A final prototype including all the selected and developed solutions has been produced and a clinical trial will be conducted in the next months for the final validation of the product.The solutions developed and implemented on the Smart Relax Armchair have the potential to be applied to any model of Armchair or Sofa by the producer, thus changing the conventional paradigm of expensive products for active ageing only available for residential care facilities which cannot be afforded by those willing to age in place.