Статті в журналах: "Giuseppe (1945-....)"

1

Gugelot, Frédéric. "Angelo Giuseppe Roncalli, Journal de France, Tome 1 : 1945-1948." Archives de sciences sociales des religions, no. 138 (June 1, 2007): 97–251. http://dx.doi.org/10.4000/assr.7042.

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2

Evangelista, Rhiannon. "The particular kindness of friends: ex-Fascists, clientage and the transition to democracy in Italy, 1945–1960." Modern Italy 20, no. 4 (November 2015): 411–25. http://dx.doi.org/10.1017/s135329440001485x.

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This article examines some of the social implications of Italy's limited purge of the bureaucracy and Fascist political class following the Second World War. Using the postwar personal correspondence of former Fascist government ministers Giuseppe Bottai (1895–1959) and Dino Alfieri (1886–1966), the article analyses the informal networks that promoted the continued influence of these ex-Fascists with high-ranking bureaucrats and other prominent individuals (such as Pope Paul VI and Aldo Moro). Thanks to the long-standing social practice of theraccomandazione, Bottai and Alfieri maintained their Fascist-era connections well into the postwar period, often serving as intermediaries between ‘ordinary Italians' and governmental, political and cultural elites. Although they no longer held political power, these ex-Fascists represented a class of ‘alternative elites' unassociated with the democratic values of the new Republic.

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3

Kossel, Elmar. "Das »Haus aus Glas« und sein langer Schatten." Architectura 49, no. 2 (February 1, 2019): 194–221. http://dx.doi.org/10.1515/atc-2019-2004.

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Abstract Using examples from the period of Italian fascism and the National Socialist era in Germany, the relationship of modernism and modern architects to power is examined. The focus is on the changing and in part contradictory connotations to which modernism was exposed. The field of state architecture in both totalitarian regimes provide the occasion to discuss a basic problem of modernism: The instrumentalisation of its formal language for any ideology. For the Italian context, Giuseppe Terrgani’s Casa del Fascio in Como and the Florentine railway station of the Gruppo Toscano are used as examples; for Nazi Germany, the positions of Wilhelm Pinder and the system-relevant role of industrial building, as well as the myth of the flight into industrial building as an outlook into the time after 1945.

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4

Kalmanovitz, Salomón. "Editorial." Tiempo y economía 2, no. 1 (June 30, 2015): 7–8. http://dx.doi.org/10.21789/24222704.1003.

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En este segundo número de tiempo&economía presentamos dos ensayos sobre temas fiscales en diferentes períodos y regiones. Salomón Kalmanovitz alarga su análisis sobre las cuentas fiscales del Estado Soberano de Panamá (Revista de Economía Institucional, No 27, 2012) a la nueva nación que surge de su separación de Colombia, auspiciada no sólo por el imperio norteamericano sino resentida por el maltrato que recibió del centro político colombiano. Su aporte es mirar con detenimiento las cuentas fiscales de Panamá en medio de un difícil proceso de construcción de Estado sin contar con el monopolio de los medios de violencia y sin disponer de su territorio más valioso. Junto con Giuseppe De Corso se estima el PIB de Panamá entre 1906 y 1945, que es el primer intento que se hace en este sentido y permite completar la serie que la Cepal hizo desde 1945 para todo el siglo XX. Claudia Chaves, por su parte, examina los conflictos fronterizos entre las provincias de Minas Gerais y Sao Paolo entre 1780 y 1815 en torno a la jurisdicción y administración financiera con el cambio que significó pasar de las juntas de hacienda real del Brasil colonial, a la creación del Erario Real del Imperio Portugués que se trasladó al Brasil tras la invasión de Napoleón a la península ibérica.

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5

Delić, Ante. "U misiji Sv. Stolice kod Ante Pavelića i Josipa Broza Tita." Crkva u svijetu 54, no. 2 (June 21, 2019): 176–200. http://dx.doi.org/10.34075/cs.54.2.2.

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The Vatican had never recognized the Independent State of Croatia (henceforth ISC) in accordance with its traditional policy of not giving recognition to the countries formed in war until hostilities cease and peace treaties come into effect. However, a few months after the declaration of the ISC, the Holy See sent an apostolic visitor to the Croatian Catholic episcopate in Zagreb, Dr. Ramiro Marcone, a monk from the Benedictine abbey in Montevergine, Italy. Marcone was accompanied by his secretary, Dr. Giuseppe Masucci, also a Benedictine monk. The two men lived in Zagreb until the end of the ISC in 1945 but also stayed for some time after that. In accordance with their duties, Marcone and Masucci were in contact with the archbishop of Zagreb, Alojzije Stepinac, on a daily basis and were thus well-informed about numerous issues of the time, especially those pertaining to the relationship between the Catholic Church and the government of ISC. The Catholic hierarchy headed by archbishop Stepinac, welcomed the proclamation of ISC and throughout the war expressed their belief that the Croatian people had the right to its own independent state. Abbot Marcone and his secretary Masucci acted in synergy with archbishop Stepinac. In accordance with his mission Marcone submitted reports to the Holy See while his secretary Masucci kept notes in his diary. One can observe Masucci's constant work on saving the persecuted, specially Jews from his diary (which has two different versions in Croatian translation). After the end of ISC, Masucci and Marcone were under strict surveillance and control of the secret service of the new communist regime which considered the Catholic Church an enemy of the state and openly persecuted it with the intention of destroying it. Abbot Marcone travelled to Rome on 10 July 1945 and the Yugoslav authorities denied him re-entry. His secretary Masucci also left Yugoslavia on 20 March 1946 after constant pressure from the new administration and was also denied re-entry.

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6

Spindola Zago, Octavio. "“Hemos hecho Italia, ahora tenemos que hacer a los italianos”. El aparato educativo transnacional del régimen fascista italiano, 1922-1945." Historia Mexicana 69, no. 3 (January 1, 2020): 1189. http://dx.doi.org/10.24201/hm.v69i3.4021.

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Otoño de 1922, las “escuadras de combate” del movimiento fascista marchan sobre Roma con Benito Mussolini y los miembros del Quadrumvirato a la vanguardia, demandando el final de la parálisis parlamentaria que había costado tan caro a Italia durante la Gran Guerra. Asaltado el poder, el nuevo régimen puso en marcha su objetivo más ambicioso: una revolución antropológica para forjar un nuevo hombre. Para este fin condujo la economía por los senderos del corporativismo, encuadró al Estado dentro del partido único y refundó las directrices de la política educativa. Esta última encomienda recayó, primero, en manos de Giovanni Gentile, arquitecto de la reforma educativa de 1923. Con el régimen en lo que Felice ha denominado como “la hora del consenso”, tocó el turno a Giuseppe Bottai, ideólogo del corporativismo, la labor de operar la consolidación del sistema educativo, promulgando la Carta della Scuola en 1939. Los actuales debates sobre el fascismo italiano como fenómeno global, exportador de subjetividades culturales y experiencias políticas que fueron recepcionadas con negociaciones de sentido e implementación, buscan situar la capacidad del Estado fascista para poner en acto su proyecto geopolítico. Existe actualmente en la historiografía consenso respecto a que no dispuso de los medios económicos ni la capacidad diplomática de penetración que su contraparte nazi. No obstante, en este artículo se ensaya un ejercicio de estudio de caso para demostrar la convicción mussoliniana para hacer a los italianos donde quiera que estos estuviesen. Dispuso para ello de una variedad de aparatos, desde las legaciones y embajadas, hasta la diplomacia informal o actores independientes cuyos intereses fueron seducidos por Roma, como es el caso de la Congregación Salesiana en la colonia de Chipilo.

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7

Menzani, Tito. "Streikertransport. La deportazione politica nell'area industriale di Sesto San Giovanni (1943–1945), by Giuseppe Valota, Milano, Guerini e associati, 2007, 454 pp., €35.00 (paperback), ISBN 978-88-8335-978-1." Modern Italy 14, no. 4 (November 2009): 503–4. http://dx.doi.org/10.1080/13532940903237664.

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8

De Coro, Alessandra. "Carla De Gennaro (1946-2021) e Giuseppe Nonini (1944-2021)." STUDI JUNGHIANI, no. 55 (August 2022): 115–18. http://dx.doi.org/10.3280/jun55-2022oa14071.

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9

Prokop, Krzysztof R. "Sukcesja święceń biskupich pasterzy Kościoła warszawskiego (1798-2007)." Prawo Kanoniczne 53, no. 1-2 (January 9, 2010): 315–66. http://dx.doi.org/10.21697/pk.2010.53.1-2.16.

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Nel presente articolo è stata trattata la problematica della successione apostolica (delle ordinazioni episcopali) dei pastori della diocesi (dal 1818 archidiocesi) di Varsavia. Prima sono presentati insieme i dati riguardanti le ordinazioni episcopali dei singoli vescovi ordinari, arcivescovi metropoliti ed ausiliari, nonché degli insigniti di dignità vescovile amministratori apostolici della Chiesa di Varsavia. Poi, questi presuli sono stati aggregati alle distinte, nella letteratura d’argomento, linee della successione delle ordinazioni episcopali. I trattati nel presente lavoro membri dell’episcopato cattolico – enumerando in ordine cronologico secondo la data dell’ordinazione episcopale – sono: Adalberto Giuseppe Skarszewski (1791), Giovanni Battista Albertrandi (1796), Giuseppe Miaskowski (1800), Francesco Malczewski (1815), Giovanni Paolo Woronicz (1816), Daniele Elia Ostrowski (1816), Stefano Hołowczyc (1819), Niccolò Giovanni Manugiewicz (1822), Francesco Pawłowski (1827), Stanislao Choromański (1829), Tomasso Chmielewski (1837), Antonio Melchiore Fijałkowski (1842), Giovanni Dekert (1859), Enrico Lodovico Plater (1859), santo Sigismondo Feliński (1862), Vincenzo Teofilo Popiel (1863), Casimiro Ruszkiewicz (1884), Alessandro Kakowski (1913), Stanislao Gall (1918), Ladislao Szcześniak (1925), Augusto Hlond (1926), Antonio Ladislao Szlagowski (1928), Stefano Wyszyński (1946), Sigismondo Choromański (1946), Venceslao Majewski (1946), Giorgio Modzelewski (1959), Bronislao Dąbrowski (1962), Ladislao Miziołek (1969), Sbigneo Giuseppe Kraszewski (1970), Giuseppe Glemp (1979), Casimiro Romaniuk (1982), Mariano Duś (1986), Stanislao Kędziora (1987), Casimiro Nycz (1988), Giuseppe Zawitkowski (1990), Slavoj L. Głódź (1991), Pietro Jarecki (1994), Stanislao Wielgus (1999) e Taddeo Pikus (1999). Tra essi la maggioranza apparteneva alla linea polacca (famiglia di Lorenzo Gembicki/Claudio Rangoni) e solo tre – G.B. Albertrandi, G. Miaskowski, C. Nycz – rappresentano la linea romana (famiglia di Scipione Rebiba).

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10

Tondi, Emanuele. "Giuseppe Cello (1946–2006)." Tectonophysics 476, no. 1-2 (October 2009): 1. http://dx.doi.org/10.1016/j.tecto.2009.06.005.

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11

Sacchi, N. "Giuseppe Bigi (1944–2002)." Leukemia 21, no. 12 (November 21, 2007): 2575. http://dx.doi.org/10.1038/sj.leu.2404950.

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12

Dalpozzo, Renato, Giorgio Bencivenni, Letizia Sambri, Enrico Marcantoni, and Paolo Melchiorre. "Giuseppe Bartoli (1941–2020)." Angewandte Chemie International Edition 59, no. 18 (March 13, 2020): 6962. http://dx.doi.org/10.1002/anie.202002941.

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13

Dalpozzo, Renato, Giorgio Bencivenni, Letizia Sambri, Enrico Marcantoni, and Paolo Melchiorre. "Giuseppe Bartoli (1941–2020)." Angewandte Chemie 132, no. 18 (March 13, 2020): 7026. http://dx.doi.org/10.1002/ange.202002941.

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14

Leone, Matteo. "Giuseppe Giuliani (Editor). Per una storia della fisica italiana, 1945–1965. Volume 1. (Percorsi della Fisica, 6.) iv + 336 pp., figs., tables. Pavia: La Goliardica Pavese, 2002. €20, $19.54 (paper)." Isis 96, no. 4 (December 2005): 673–74. http://dx.doi.org/10.1086/501408.

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15

Prisco, Domenico. "Obituary: Giuseppe Licata (1943–2019)." Internal and Emergency Medicine 15, no. 1 (December 23, 2019): 169. http://dx.doi.org/10.1007/s11739-019-02259-1.

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16

S̆vestka, Zdenĕk. "Giuseppe Salvatore Vaiana 1935–1991." Acta Astronautica 35, no. 12 (June 1995): 817. http://dx.doi.org/10.1016/0094-5765(95)90069-1.

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17

Morente Valero, Francisco. "Giuseppe Bottai e il rinovamento fascista dell’università italiana (1936-1942)." Historia y Memoria de la Educación, no. 11 (December 9, 2019): 677. http://dx.doi.org/10.5944/hme.11.2020.24425.

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18

Thomassen, Bjørn, and Rosario Forlenza. "Il professorino. Giuseppe Dossetti tra la crisi del fascismo e la costruzione della democrazia, 1940–1948." Journal of Modern Italian Studies 20, no. 3 (May 27, 2015): 408–10. http://dx.doi.org/10.1080/1354571x.2015.1026172.

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19

Durand, Jean-Dominique. "Enrico Gavalotti, Il professorino. Giuseppe Dossetti tra crisi del fascismo e costruzione della democrazia 1940-1948." Archives de sciences sociales des religions, no. 168 (December 31, 2014): 188. http://dx.doi.org/10.4000/assr.26415.

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20

Faggioli, Massimo. "Il Professorino: Giuseppe Dossetti tra crisi del fascismo e costruzione della democrazia, 1940–1948 by Enrico Galavotti." Catholic Historical Review 101, no. 1 (2015): 177–79. http://dx.doi.org/10.1353/cat.2015.0043.

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21

Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.

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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.

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22

Caroli, Dorena, and Giulia De Florio. "ITALIAN ANTHOLOGIES ABOUT RUSSIAN CHILDREN’S LITERATURE. AN OVERVIEW (1926–1944)." Children's Readings: Studies in Children's Literature 21, no. 1 (2022): 8–17. http://dx.doi.org/10.31860/2304-5817-2022-1-21-8-17.

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The “Archive” section publishes four fragments selected from studies of Italian authors who wrote about children’s literature — the writers and teachers Giuseppe Fanciulli (1881–1951) and Olindo Giacobbe (1880–1950), the children writer, translator and publisher Mary Tibaldi-Chiesa (1896–1968) and teacher Olga Visentini (1893–1961). These works, written between 1926 and 1943, are taken from textbooks and are interesting in that they present the view of Italian experts on Russian children’s literature. The authors build the history of Russian literature for children, give an overview of contemporary émigré children’s literature, and try to determine the national identity of children’s literature in Russia. Giuseppe Fanciulli turns to Russian folklore, to the fairy tale genre and brings the line of his research to the beginning of the 20 th century. The work of Mary Tibaldi-Chiesa gives a detailed review of translations of Russian literature into Italian, made with a focus on children’s and youthful readers, and also presents a detailed biography of Alexander Pushkin. Olga Visentini’s essay is based on the previous experience of Olindo Giacobbe, supplementing and continuing his work up to the first attempts at Soviet children’s literature.

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23

Suping, Hu. "An Investigation on Giuseppe Ros’s (1883–1948) Book Collection." Annali Sezione Orientale 81, no. 1-2 (June 14, 2021): 144–72. http://dx.doi.org/10.1163/24685631-12340115.

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Abstract Giuseppe Ros, an Italian diplomat in China during the period of the Republic of China (1912–1949), was famed for his book collection, which was very rich but only seen by few. During the years of turmoil in China, Ros’s collection went through great hardship and was lost, remaining an unsolved issue today, it could not be found anymore in its entirety. Nevertheless, according to the diaspora course of the collection, the overview and the storage place of the collection at present can still be speculated at a certain extent of precision. After years of study the author has come up with the conclusion that Ros’s collection can be grouped into five categories: 1) The earlier collection, stored in the National Library in Beijing, made up of books written in foreign languages; 2) A number of Chinese maps of the collection are retained in Dalian Library; 3) Ros’s partial collections stored in Guangzhou, now conserved in Guangzhou and Taiwan; 4) A special section on Hainan historical data is kept in the Sun Yat-sen Library in Guangzhou; 5) Scattered parts of the collection are currently stored outside China. This paper offers an insight on the usually neglected figure of Giuseppe Ros by outlining the main features of his outstanding collection of books.

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24

PRINCIPE, CLAUDIA, and JONAS MALFATTI. "GIUSEPPE FOLGHERAITER: THE ITALIAN PIONEER OF ARCHAEOMAGNETISM." Earth Sciences History 39, no. 2 (November 12, 2020): 305–35. http://dx.doi.org/10.17704/1944-6187-39.2.305.

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ABSTRACT The history of the science of archaeomagnetism conventionally starts in 1600 with the publication of William Gilbert's monumental work De Magnete, but the theoretical basis of this scientific field has to be positioned at the end of the nineteenth century. In Italy at that time, a number of scientists such as Giambattista Beccaria, Macedonio Melloni and Silvestro Gherardi, were working on magnetic field characteristics and their work variously contributed to the early study of Earth and rock magnetism. A major contribution to the birth of paleomagnetism as a science, and archaeomagnetism as a dating technique, was produced by Giuseppe Folgheraiter (1856–1913) by means of his research on the magnetic properties of volcanic deposits and his attempts to date ancient pottery of different epochs based on the magnetic properties of clay materials. Initially, Folgheraiter studied the rock magnetism of the volcanic rocks of Latium where he replicated the findings of Macedonio Melloni, who had studied Vesuvius lavas, and found that volcanic rocks are affected by a permanent magnetization. In addition, Folgheraiter verified the discovery by Filippo Keller of the Punti distinti. Folgheraiter also made the innovative proposal that lightning strongly influences the magnetic properties of lavas resulting in magnetic disorder. The main analytical effort of Folgheraiter at the end of the nineteenth century was dedicated to the study of the variations of magnetic inclination in different epochs as registered in archaeological pottery. He produced archaeomagnetic sets of analyses on 191 samples grouped into 10 epochs, that resulted in the first reconstruction of a geomagnetic secular variation curve (SVC). Even if nowadays the Folgheraiter analytical results have been replaced by more precise measurements, a great portion of the development of modern archaeomagnetic techniques originated with Folgheraiter’s experiments and intuitions. Many of those advances were improved upon only during the first half of the twentieth century by Emile Thellier (1904–1987). Actually, the well-known work by Thellier, resulting in the birth of the Saint Maur archaeomagnetic laboratory at the Institut de Physique du Globe de Paris, had as a starting point the theories and suggestions developed by Giuseppe Folgheraiter. Based on the studies by Thellier, the well-known secular variation curve for France was derived, later to be perfected by Ileana Bucur in 1994.

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25

Wataghin, Lucia, and Lenira Marques Covizzi. "Ungaretti tradutor discreto e a analogia entre os poetas árcades Tomás Antônio Gonzaga e Giovanni Meli." Revista de Italianística, no. 6-7 (July 30, 2003): 181. http://dx.doi.org/10.11606/issn.2238-8281.v0i6-7p181-198.

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Será apresentada e discutida a interessante analogia, sugerida por Giuseppe Ungaretti, entre a poesia de T.A. Gonzaga e a poesia em dialeto siciliano de um outro árcade, Giovanni Meli, seu contemporâneo. Em seguida, a partir das traduções realizadas por G. Ungaretti (1946). G. Vegezzi-Ruscalla (1844), E. de Monglave e P. Chalas (1825) da lira Tu não verás, Marília..., de T.A. Gonzaga, serão comentados aspectos do poema e de sua recepção em épocas e países diferentes.

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Paolella, Francesco. "Alcool, guerra, manicomio. Vita di Giuseppe Righi, decoratore (1876-1944)." STORIA E PROBLEMI CONTEMPORANEI, no. 74 (May 2017): 95–114. http://dx.doi.org/10.3280/spc2017-074006.

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Duggan, Christopher. "Giuseppe Mazzini in Britain and Italy: Divergent legacies, 1837-1915." Italianist 27, no. 2 (October 2007): 263–81. http://dx.doi.org/10.1179/026143407x234176.

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Braghini, Anna. "Luigi Piccinato, 1947-1950: Italia - Argentina, idas y vueltas de ideas y proyectos." Estudios del hábitat 19, no. 2 (September 19, 2022): e099. http://dx.doi.org/10.24215/24226483e099.

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El artículo propone examinar y discutir la transferencia y difusión, en el contexto argentino, de las ideas y teorías acerca del urbanismo moderno que el arquitecto italiano Luigi Piccinato (1899 - 1983) elaboró en su actividad editorial en Italia durante la década de los 40, en revistas especializadas (Metron y Urbanistica) y en el texto Urbanistica publicado en 1947. En 1948, al ser contratado por el Instituto de Arquitectura y Urbanismo de la Universidad Nacional de Tucumán, Piccinato dio a conocer aquellos postulados a través de proyectos y artículos publicados en medios argentinos como Revista de Arquitectura. Luego, a su regreso a Italia en 1950, convocado por Giuseppe Samonà como profesor de Urbanismo en el Instituto Universitario de Arquitectura de Venecia, fue nombrado corresponsable de la planificación del barrio San Giuliano, en Mestre. Y en 1952 presentó en la revista italiana Urbanistica (1952) tres proyectos ejecutados durante su estadía en el exterior: los barrios 17 de Octubre, Los Eucaliptos y La Florida. El análisis de los proyectos urbanos realizados en Argentina e Italia permite verificar el impacto de la experiencia latinoamericana de Piccinato en la visión urbana que este desarrolló en los ámbitos profesional y académico al retornar a su país de origen, y cuál fue su influencia en la clarificación de temas como la adherencia del plan al contexto, y la idea de ciudad como organismo.

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Bianconcini Anjos, Ana Paula. "A adaptação cinematográfica de Uma Tragédia Americana e Otelo em Match Point." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (January 27, 2017): 161. http://dx.doi.org/10.5007/2175-8026.2017v70n1p161.

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http://dx.doi.org/10.5007/2175-8026.2017v70n1p161O artigo retoma o histórico das adaptações cinematográficas do romance Uma Tragédia Americana (1925), de Theodore Dreiser, recuperando as discussões sobre a cena do afogamento. Os estudos de Sergei Eisenstein sobre o uso do monólogo interior no cinema e o comentário de Bertolt Brecht a respeito da trilha sonora na adaptação do romance de Dreiser oferecem importante ponto de entrada para a análise do filme Match Point (2005), de Woody Allen. Em Match Point, o uso da trilha sonora, notadamente a colagem com a ópera Otelo (1887), de Giuseppe Verdi, permite que o espectador reflita sobre as possibilidades narrativas da adaptação para o cinema.

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Walsh, Michael J. "Il giornale del'anima. Soliloqui, note e diari spirituali. Edited by Alberto Melloni. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 1.) Pp. xlviii+546. Bologna: Istituto per le scienze religiose, 1987. €50. 88 901107 0 8 - Nelle mani di Dio a servizio dell'uomo. I diari di don Roncalli, 1905–1925. Edited by Lucia Butturini. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 2.) Pp. xlvii+598. Bologna: Istituto per le scienze religiose, 2008. €50. 978 88 901107 5 7 - Tener da conto. Agendine di Bulgaria, 1925–1934. Edited by Massimo Faggioli. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 3.) Pp. l+285. Bologna: Istituto per le scienze religiose, 2008. €50. 978 88 901107 5 7 - La mia vita in oriente. Agende del delegato apostolico, I: 1935–1939; II: 1940–1944. Edited by Valeria Martano. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 4.1, 4.2.) Pp. xxxiii+823, xxi+865. Bologna: Istituto per le scienze religiose, 2006, 2008. €50 each. 88 901107 7 5; 978 88 96118 01 6 - Anni di Francia, I: Agende del nunzio, 1945–1948; II: Agende del nunzio, 1949–1953. Edited by Étienne Fouilloux. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 5.1; 5.2.) Pp. xxviii+595, xxii+725. Bologna: Istituto per le scienze religiose, 2004. €50 each. 88 901107 1 6; 88 901107 9 1 - Pace e vangelo. Agende del patriarca, I: 1953–1955; II: 1956–1958. Edited by Enrico Galavotti. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 6.1; 6.2). Pp. xxxiii+697, xxxvi+81. Bologna: Istituto per le scienze religiose, 2008. €50 each. 978 88 901107 4 0; 978 88 901107 6 4 - Pater amabilis. Agende del pontefice, 1958–1963. Edited by Mauro Velati. (Edizione nazionale dei diari di Angelo Giuseppe Roncalli – Giovanni xxiii, 7.) Pp. xxxvii+569. Bologna: Istituto per le scienze religiose, 2007. €50. 978 88 901107 2 6." Journal of Ecclesiastical History 63, no. 1 (December 5, 2011): 199–202. http://dx.doi.org/10.1017/s0022046911001047.

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Dolci, Roberto. "L’uso della propaganda nell’insegnamento dell’italiano: Il Giornalino diretto da Giuseppe Prezzolini a New York, 1934–1943." Forum Italicum: A Journal of Italian Studies 52, no. 1 (March 21, 2018): 85–110. http://dx.doi.org/10.1177/0014585817753366.

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La diplomazia culturale considera la promozione della lingua e della cultura uno strumento per esercitare il soft power. Esse, però, possono anche diventare un mezzo di propaganda, come è successo nel periodo fascista. Questo articolo analizza il caso del Giornalino. Una rivista, per insegnanti e studenti di italiano diretta da Giuseppe Prezzolini durante i suoi anni alla Casa Italiana di Columbia University, finora mai analizzata. Attraverso l’esame dei materiali pubblicati si cercherà di dimostrare che anche Il Giornalino ha svolto un ruolo significativo nel delineare un’immagine positiva del fascismo negli USA presso un’utenza formata essenzialmente dagli studenti di origine italiana e dalle loro famiglie, a cui il regime dava particolare importanza.

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Meghnagi, David. "La malattia come" premonizione"." PSICOTERAPIA E SCIENZE UMANE, no. 2 (May 2012): 209–24. http://dx.doi.org/10.3280/pu2012-002003.

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Vengono fatte alcune riflessioni sull'ebraismo e sul dramma della Shoah prendendo spunto dal libro del 1979 di Silvano Arieti Il Parnŕs (Milano: Mondadori, 1980), che parla di Giuseppe Pardo Roques, capo (Parnŕs) della Comunitŕ ebraica di Pisa, trucidato nella sua abitazione nell'agosto del 1944, assieme ad altre 11 persone, da un gruppo di soldati tedeschi mai identificati. Il Parnŕs soffriva di un disturbo psicologico di tipo persecutorio, e la sua malattia viene vista anche come una forma di "premonizione" dei tragici eventi che in quegli anni avrebbero colpito la popolazione ebraica. Il Parnŕs č uno degli ultimi libri di Silvano Arieti (1914-1981), uno psichiatra pisano emigrato negli Stati Uniti dove diventerŕ uno degli psichiatri piů importanti del suo tempo.

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Gugelot, Frédéric. "Angelo Giuseppe Roncalli, Étienne Fouilloux,(introd., annot.), Journal de France. Tome 2, 1949-1953." Archives de sciences sociales des religions, no. 148 (December 31, 2009): 75–342. http://dx.doi.org/10.4000/assr.21184.

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Vantorre, Sarah. "Truth, justice, freedom: The trial as an emancipatory narrative framework in the cultural actions of Giuseppe Fava." Forum Italicum: A Journal of Italian Studies 51, no. 1 (February 17, 2017): 22–44. http://dx.doi.org/10.1177/0014585816682481.

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In the late 1950s, after a brief career as a lawyer, Giuseppe Fava (Palazzolo Acreide, 1925) became a journalist. The exploitative activities of Cosa Nostra in the tragic aftermath of the Second World War made clear to him Sicilian society’s urgent need for progress towards greater social justice so that violence could be prevented. Fava developed an ethical conception of journalism and, by extension, of literature and theatre. ‘Where there’s truth’, Fava wrote, ‘justice can be done and freedom can be defended’. This article shows how Giuseppe Fava put his intellectual impegno into practice in order to provide the Sicilian public with a means of interpreting and understanding the mechanisms behind the Sicilian tragedy, and an incentive to take up their collective responsibility. In order to illustrate how Fava translated his journalistic and intellectual impegno into cultural actions ( Freire, 1998a ) of an emancipatory character, it focuses on his use of the criminal trial as a metaphor for his journalistic investigation into the ills of Sicilian society in his essay Processo alla Sicilia (1967), and as a narrative framework for the closing chapters of his novels Prima che vi uccidano (1976) and Passione di Michele (1980) and for his courtroom dramas La Violenza (1969) and Ultima Violenza (1983). It shows how, by literally co-opting the audience as jurors in the trial – a technique which is in many respects reminiscent of the methodologies for conscientisation developed by Paulo Freire and Augusto Boal – Fava stimulated the Sicilian public to pursue their own freedom and dignity through the creative and continuous transformation of their contextual reality.

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Colaci, Michele, and Giovanni Ponti. "Innovative use of magnesium oxide in the treatment of “neuralgia of the celiac plexus of rheumatic origin” by G. Moscati in 1923." Acta medico-historica Adriatica 16, no. 1 (2018): 157–66. http://dx.doi.org/10.31952/amha.16.1.8.

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Prikazali smo i razmotrili zanimljivu medicinsku terapiju doktora Giuseppea Moscatija (1880. – 1927.) koji je propisao magnezijev oksid (magnesia usta) pacijentu s dijagnozom “neuralgije celijačnog pleksusa reumatoidnog podrijetla”. Osim tradicionalne upotrebe magnezija kao antacidnog lijeka u to doba, pretpostavili smo da je Moscati propisao magnezij kako bi liječio samu neuralgiju. S obzirom na znanstvenu pozadinu Moscatija u školi Filippa Bottazzija (1867. – 1941.), oca talijanske biokemije, sugerirali smo da je liječnik pokušao primijeniti preliminarne koncepte dobivene iz elektrofizioloških istraživanja na magneziju u svoju kliničku praksu. Tek nakon nekoliko desetljeća magnezij je prepoznat kao temeljni ion u energetskom metabolizmu koji pridonosi održavanju ionske intracelularne homeostaze, uključujući i neurona.

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Carbutto, Letizia. "Les classiques français (re)traduits dans la « Biblioteca Romantica » (1930-1942) et le cas emblématique de Madame Bovary." RELIEF - Revue électronique de littérature française 15, no. 1 (July 7, 2021): 85–99. http://dx.doi.org/10.51777/relief10905.

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Avec la collection « Biblioteca Romantica », dirigée pour le compte de la maison d’édition Mondadori de 1930 à 1938, Giuseppe Antonio Borgese introduit en Italie un nouveau discours éditorial, qui fait de la (re)traduction le pilier et l’enjeu principal du projet. La postface que Borgese signe pour le premier volume, La Chartreuse de Parme traduite par Ferdinando Martini, devient un véritable document programmatique, dans lequel il manifeste pleinement sa profonde sensibilité traductologique et propose une réflexion intéressante sur les rapports culturels entre France et Italie au début du XXe siècle. C’est l’importance accordée au traducteur qui fait de la « Biblioteca Romantica » un cas unique sur la scène éditoriale italienne de l’époque : l’épineuse aventure qui se joue autour de la traduction de Flaubert est ici présenté comme cas emblématique de cette nouvelle conscience traductologique.

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Łopatecki, Karol. "PROBLEMY Z OBSADZENIEM NUNCJATURY W POLSCE (XI 1935 – V 1937)." Zeszyty Prawnicze 13, no. 1 (December 14, 2016): 125. http://dx.doi.org/10.21697/zp.2013.13.1.05.

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PROBLEMS WITH THE APPOINTMENT OF THE PAPAL NUNCIO TO POLAND, NOVEMBER 1935 – APRIL 1937SummaryThe article describes the appointment of Filippo Cortesi to the office of papal nuncio to the Republic of Poland, and reviews the role of the Polish diplomats accredited to the Holy See in this process. The appointment of a nuncio following the departure of Francesco Marmaggi was extremely complicated. The list of candidates was the resultant of a number of factors. The individuals whose names were on it had used influence with the pope, the Vatican’s secretary of state, or former nuncios to Warsaw. Both the Polish government and the bishops of Poland had a say in the final outcome. In addition there was also the volatile political situation in Europe at the time, especially in Spain and Yugoslavia, which exerted an effect on the process. In June 1936 Carlo Chiarlo received the nomination for the office. However, the unanimously negative position of the Conference of the Bishops of Poland, especially Cardinals Kakowski and Hlond, stopped the appointment at the last moment. The Polish Government did not want Ermenegildo Pellegrinetti to be appointed and tried to prevent it, considering Angelo Giuseppe Roncalli the ideal candidate. Eventually Pius XI appointed Filippo Cortesi, formerly nuncio to Argentina.

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Guarrera, Fabio. "El Monumento como instrumento de identidad nacional." Arquitextos, no. 33 (February 17, 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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De Alencar Arnaut de Toledo, Cezar, and Jarbas Mauricio Gomes. "Antonio Gramsci e a organização da escola italiana (1922-1932)." Revista Diálogo Educacional 13, no. 40 (July 12, 2013): 1105. http://dx.doi.org/10.7213/dialogo.educ.13.040.ao01.

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Este texto analisa o pensamento educacional de Antonio Gramsci (1891-1937) sobre a organização escolar italiana entre os anos de 1922 e 1932, contextualiza historicamente as análises gramscianas e demarca o amadurecimento de suas ideias apresentadas nos Quaderni del carcere. Gramsci analisou a reforma educacional do Estado fascista, conhecida como Reforma Gentile (1922-1923), e apontou que ela se voltava à manutenção dos privilégios culturais de um grupo sobre os demais, impedindo o acesso dos subalternos à universidade e à cultura humanista. Promovida por Giovanni Gentile (1875-1944) e Giuseppe Lombardo-Radice (1879-1938), a organização escolar italiana era tida como democrática, pois ampliava a oferta do Ensino Profissionalizante e permitia o ingresso dos subalternos no mercado de trabalho. No Caderno 12, Gramsci (2007) criticou a organização escolar italiana e seu caráter aparentemente democrático e propôs a criação de uma escola única, formadora da cultura geral, humanista, filosófica e desinteressada na formação imediata do trabalhador.

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Lamberti, Mariapia. "Dos visiones del Descubrimiento y la Conquista: Giuseppe Parini (1729-1799) y Cesare Pascarella (1858-1940)." Anuario de Letras Modernas 7 (July 31, 1997): 11–23. http://dx.doi.org/10.22201/ffyl.01860526p.1996.7.877.

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Morris, Jonathan. "The organization of industrial interests in Italy, 1906–1925." Modern Italy 3, no. 01 (May 1998): 101–7. http://dx.doi.org/10.1080/13532949808454794.

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Franklin Hugh Adler,Italian Industrialists from Liberalism to Fascism. The Political Development of the Industrial Bourgeoisie, Cambridge University Press, Cambridge, 1996, xv + 458 pp., ISBN 0–521–433406–8 hbk, £40.00Giuseppe Berta,Il governo degli interessi. Industriali, rappresentanza e politica nell'Italia del nord-ovest 1906–1924, Marsilio, Venice, 1996, xv + 175 pp., ISBN 88–317–6342–3 pbk, 32,000 LireGiorgio FioccaStoria della Confindustria 1900–1914, Marsilio, Venice, 1994, 266 pp., ISBN 88–317–5850–0 hbk, 70,000 LireThe three books under review trace the organization of industrial interests in Italy from the foundation of the Lega industrial di Torino (LIT) in 1906 to the insertion of Confindustria into the Fascist totalitarian state. As Franklin Hugh Adler's ambitious and detailed account relates the Lega (LIT) begat first a Federazione Industriali Piemontesi (1908) and then the Confederazione Italiana dell'Industria (CIDI) in 1910 which was relaunched as the Confederazione generale dell'industria Italiana (Confindustria) in 1919. All of these organizations came under the effective direction of Gino Olivetti, the first secretary of the Lega who emerges from Adler's analysis as the principal theorist of a liberalproductionist ideology that the author regards as the central value system of the Italian industrial bourgeoisie. The slimmer volumes (in both scope and size) of Giuseppe Berta and Giorgio Fiocca diverge from Adler's account in stressing the discontinuities in the process of association which are attributed to the triumph of one industrial faction over another, and the changes in direction consequent upon this. By presenting these organizations within the broader context of entrepreneurial and associational activity, their accounts also call into question the extent to which the positions of Confindustria can be assumed to be representative of Italian industrialists as a whole.

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Ohtsu, Iwao, Youichi Yasuda, and Masayuki Takahashi. "Discussion of “Sequent Depth Ratio of a B-Jump” by Francesco Giuseppe Carollo, Vito Ferro, and Vincenzo Pampalone." Journal of Hydraulic Engineering 139, no. 2 (February 2013): 254. http://dx.doi.org/10.1061/(asce)hy.1943-7900.0000533.

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Carollo, Francesco Giuseppe, Vito Ferro, and Vincenzo Pampalone. "Closure to “Sequent Depth Ratio of a B-Jump” by Francesco Giuseppe Carollo, Vito Ferro, and Vincenzo Pampalone." Journal of Hydraulic Engineering 139, no. 2 (February 2013): 254–55. http://dx.doi.org/10.1061/(asce)hy.1943-7900.0000684.

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Sciacovelli, Antonio. "Restare o partire? Sulle rappresentazioni non stereotipate di Napoli." Italianistica Debreceniensis 25 (March 29, 2020): 36–53. http://dx.doi.org/10.34102/itde/2019/5553.

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L'immagine letteraria di Napoli, "Capitale del Sud", che vede periodiche alternanze di crisi e splendore nelle arti, è sicuramente dicotomica: da un lato il locus amoenus in cui fiorisce l'inventiva e diverse tradizioni culturali si intersecano e convivono; dall'altro, il luogo simbolico di immense disparità sociali, uno scoppio di epidemie e la culla di una mentalità rilassata e reazionaria. L'immagine usata da Benedetto Croce per definire la città, "un paradiso abitato dai diavoli", risale al Medioevo, e viene negata di volta in volta dagli autori che intendono costruire un mito positivo di napoletanità, ma già agli inizi 20° secolo, e quindi soprattutto nel periodo dal 1943 (ai giorni nostri), ci sono accenti sempre più critici nei confronti di questa immagine, che risultano - più che nell'odio o nel disprezzo per la città e i suoi abitanti - nella tendenza ad allontanarsi da Napoli, per abbandonare una realtà contraddittoria che non risolve i suoi problemi, ma come una foresta vergine ricresce distruggendo ogni elemento del progresso. Gli autori esaminati nell'articolo sono: Carlo Bernari, Anna Maria Ortese, Raffaele La Capria, Fabrizia Ramondino, Ermanno Rea, Giuseppe Montesano, Elena Ferrante.

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Wataghin, Lucia. "Ungaretti entre Oswald de Andrade, Blaise Cendrars, Haroldo de Campos: afinidades e assimetrias." Remate de Males 37, no. 2 (December 19, 2017): 971. http://dx.doi.org/10.20396/remate.v37i2.8648503.

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Já foi muito comentada no Brasil a presença do poeta italiano Giuseppe Ungaretti, que viveu no país de 1937 a 1942, como professor da recém-fundada Universidade de São Paulo. Suas relações com os poetas da vanguarda brasileira que ele conheceu em São Paulo no final dos anos 1930 e com os artistas das vanguardas francesas, que encontrara em Paris nos anos 1920, constituem um intrincado e rico campo de associações, assonâncias e dissonâncias. A poesia de Ungaretti nasce entre as influências parisienses e as do contemporâneo futurismo italiano; analogamente, há sólidos vínculos entre a arte e a cultura brasileiras e esses mesmos movimentos. Na França e no Brasil se encontram, em momentos diferentes, Ungaretti e Blaise Cendrars; Oswald de Andrade, Tarsila do Amaral e Cendrars; Ungaretti, Oswald e Haroldo de Campos. O próprio Haroldo de Campos escreve estudos fundamentais para a interpretação da obra de Oswald de Andrade e traduz e comenta a poesia de Ungaretti. Destaco, nesse campo de relações ítalo-franco-brasileiras, alguns temas comuns, enriquecidos pelas frequentações recíprocas desses poetas e artistas: as relações vanguardas e primitivismo, o contraste velho/novo, a ideia do Brasil.

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Venza, Claudio. "Toponomastica nostalgica. Il caso Granbassi a Trieste." HISTORIA MAGISTRA, no. 2 (November 2009): 35–46. http://dx.doi.org/10.3280/hm2009-002005.

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- The "Granbassi Case" exploded in Trieste after the decision of the Comunal council to re-name a public space in his honour. The honour of being a "fascist hero". Mario Granbassi (1907-1939) was a journalist of the «Piccolo», a local newspaper, but above all a propagandist of the fascist regime. He conducted a fortuitous radio transmission, in the early thirties, "Mastro Remo" aimed at children and young adults and founded a specialized weekly magazine. He died in Spain as a volenteer fighting on Franco's side and was awarded, not only the gold metal, but also the name of a street. A street that in 1946 resumed it's ancient name; that of Samuel Romanin, an historian wantingly canceled by the racial laws for being "non-arian". This past year has seen this continual controversy tighten between the council and the opponents who have written several letters and articles, organized press conferences and rallies in the contested site. The site consists of steps dedicated to Giuseppe Revere, a Trieste born jewish Mazzini follower.Key words: Granbassi, Trieste, the racial laws, toponymic, Fascism, Spanish Civil War.Parole chiave: Granbassi, Trieste, leggi razziali, toponomastica, fascismo, guerra civile spagnola.

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Sbacchi, Alberto. "The Archives of the Consolata Mission and the Formation of the Italian Empire, 1913-1943." History in Africa 25 (1998): 319–40. http://dx.doi.org/10.2307/3172192.

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The Institute of the Consolata for Foreign Missions was founded in Turin, Italy in 1901 by the General Superior, Giuseppe Allamano (1851-1926). The primary purpose of the mission is to evangelize and educate non-Christian peoples. Allamano believed in the benefit of religion and education when he stated that the people “will love religion because of the promise of a better life after death, but education will make them happy because it will provide a better life while on earth.” The Consolata distinguishes itself for stressing the moral and secular education and its enthusiasm for missionary work. To encourage young people to become missionaries, Allamano convinced Pius X to institute a world-wide mission day in 1912. Allamano's original plan was for his mission to work among the “Galla” (Oromo) people of Ethiopia and continue the mission which Cardinal Massaia had begun in 1846 in southwestern Ethiopia. While waiting for the right moment, the Consolata missionaries ministered among the Kikuyu people of Kenya. In 1913 the Propaganda Fides authorized the Consolata Mission to begin work in Kaffa, Ethiopia. In 1919 it entered Tanzania and, accepting a government invitation in 1924, the Consolata installed itself in Italian Somalia and in 1925 in the Portuguese colony of Mozambique. Before the World War I the mission also expanded in Brazil, in 1937, and after 1937 its missionaries went to Argentina, Colombia, Venezuela, Canada, the United States, Zaire, Uganda, South Africa, and South Korea.

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Nowakowska-Sito, Katarzyna. "Maria Lednicka-Szczytt – kariera polskiej rzeźbiarki we Włoszech, 1924–1934." TECHNE. Seria Nowa, no. 3 (December 22, 2020): 81–106. http://dx.doi.org/10.18778/2084-851x.07.05.

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Twórczość Marii Lednickiej-Szczytt (Maryli Lednickiej), uczennicy Antoine’a Bourdelle’a, uważanej w okresie międzywojennym za jedną z najbardziej znanych polskich artystek za granicą, jest dziś w zasadzie nieznana. W rekonstrukcji artystycznej biografii, skupiam się na okresie włoskim jako najbardziej owocnym w jej karierze. Za daty graniczne tego okresu przyjęłam 1924 – rok pierwszej indywidualnej wystawy artystki w mediolańskiej Galerii Pesaro, za końcowy, rok 1934 – datę pierwszej indywidualnej wystawy w nowojorskiej Wildenstein Galleries, inicjującej przenosiny pracowni artystki za ocean. Urodzona w Moskwie, córka jednego z najważniejszych polskich polityków w carskiej Rosji Aleksandra Lednickiego, została wcześnie dostrzeżona jako sprawna organizatorka i aktywna uczestniczka polskiego życia artystycznego nad Sekwaną. Zyskała dowody oficjalnego uznania w postaci życzliwych recenzji popularnych krytyków (jak Woroniecki czy Vauxcelles) oraz przyjęcia w 1921 roku w poczet członków Salon d’Automne, a w 1925 roku członka warszawskiego TZSP. W początku lat 20. rozpoczęła współpracę z Adrianną Górską (Adrienne Gorską), siostrą Tamary Łempickiej, z którą wykonała projekty fontann i małej architektury, a także nagrobek rodziny Lednickich na cmentarzu Powązkowskim w Warszawie (1923–1925). Okres włoski, w którym Lednicka stworzyła wiele portretów osobistości ze świata sztuki, arystokracji i polityki, upłynął pod znakiem ówczesnych protektorów rzeźbiarki – małżeństwa Teoplitzów. Józef (Giuseppe), pochodzący z warszawskiego rodu żydowskiej burżuazji, wpływowy prezes Banca Commerciale Italiana, oraz jego żona – gwiazda scen krakowskich ok. 1900 roku i podróżniczka – Jadwiga Mrozowska, prowadzili w Mediolanie artystyczny salon, promujący młodych artystów. Zaprzyjaźnieni z d’Annunziem i czołowymi postaciami ówczesnych Włoch, ułatwiali sukcesy swej podopiecznej, a także promowali związane z nią uzdolnione kobiety (Adrienne Gorska, Tamara de Lempicka). Współpracując w latach 30. przy dekoracji kilku włoskich transatlantyków, Lednicka biegle opanowała technologię prac w różnych materiałach – od ulubionego drewna, po rozmaite gatunki kamienia, płaskorzeźbę i panele dekoracyjne. Dorobek artystki dziś zupełnie rozproszony (w Polsce w zbiorach muzealnych zaledwie 3 rzeźby) i zapo mniany, byłby dziś niemożliwy do odtworzenia gdyby nie materiały archiwalne przekazane w latach 60. XX wieku przez brata artystki – Wacława, do Muzeum Narodowego w Warszawie. Funkcjonując w różnych krajach i środowiskach, była Lednicka zawsze ambasadorką polskiej kultury, organizatorką wystaw i uczestniczką wydarzeń, W 1932 roku na pokładzie statku – Conte di Savoia – na który wykonała popiersie żony następcy tronu, Księżnej Piemontu, odbyła pierwszą podróż do Ameryki, która wzbudziła fascynację tym krajem i decyzję o przeprowadzce za ocean. Wybuch drugiej wojny światowej, zmieniający radykalnie oblicze świata, w którym Lednicka miała uznaną pozycję, stał się przyczyną załamania zdrowia, depresji i samobójczej śmierci w roku 1947. Choć szczątkowe zachowanie twórczości Lednickiej, utrudnia dziś przywrócenie jej trwałego miejsca w historii polskiej rzeźby dwudziestolecia, rekonstrukcja artystycznej biografii rzeźbiarki zdaje się dopełniać w wielu aspektach obraz epoki, w której funkcjonowała. Wydobywa z mroku powiazania i nieoczekiwane związki, wzbogacając obraz polskiego międzywojnia. Niczym papierek lakmusowy lub brakujący kawałek układanki, przywrócona obecność Lednickiej pozwala odczytać ukryte sensy większej struktury.

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Oliveto, Giuseppe, and Willi H. Hager. "Closure to “Morphological Evolution of Dune-Like Bed Forms Generated by Bridge Scour” by Giuseppe Oliveto and Willi H. Hager." Journal of Hydraulic Engineering 141, no. 12 (December 2015): 07015015. http://dx.doi.org/10.1061/(asce)hy.1943-7900.0001076.

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50

Dal Falco, Federica. "Italian Rationalist Design: Modernity between Tradition and Innovation." Arts 8, no. 1 (February 22, 2019): 27. http://dx.doi.org/10.3390/arts8010027.

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This article is devoted to the Italian modern project of the 1930s, which involved architecture and design. The main theme is the influence that the autarchic economic policy of the Fascist regime had in the choice of materials and technologies, and, above all, the manner in which this choice led to innovative practices and figurative research. Through significant examples, the essay provides some insight into the style of Italian rationalism, whose contradictory aspects—conditioned by the regime’s policy—shaped urban planning, architecture, and design in the 1930s. I show that the Italian rationalist culture is a field of investigation that is of considerable scientific interest because it represents the idea of an integral project comprised of all the elements associated to a building, including those that are still used today. In particular, I present a case study centered on the Physics Institute of Rome’s Sapienza University (1933–1935) designed by the architect Giuseppe Pagano Pogatschnig, analyzing its materials, technologies, and architectural features, as well as its furnishings. Along these lines, the objective of this investigation is the transmission of a specific knowledge, looking at objects as essential parts of the aesthetics of Rationalism in order to protect and enhance the cultural heritage of modernity.

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