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Статті в журналах з теми "Giuseppe Carle"
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Ługowski, Piotr. "Carlo i Francesco Ceroniowie w świetle nowych źródeł archiwalnych." Biuletyn Historii Sztuki 81, no. 3 (September 2, 2020): 481–97. http://dx.doi.org/10.36744/bhs.483.
Повний текст джерелаАнотація:
W 2. połowie XVII w. do Warszawy przybyła grupa architektów pochodzących z położonej nad jeziorem Lugano Valsoldy, w północnej Lombardii. Wśród nich znaleźli się Carlo i Francesco Ceroniowie. Postacie te za sprawą badań prof. Mariusza Karpowicza doczekały się samodzielnych opracowań. To on odnalazł w archiwum parafialnym w Albogasio Inferiore ich metryki, ustalił koligacje rodzinne, dotarł do kontraktu Francesca Ceroniego na prace przy kościele sakramentek oraz do testamentu Carla Ceroniego. Badania prowadzone przez autora tekstu dla Słownika architektów i budowniczych środowiska warszawskiego XV-XVIII wieku przyniosły szereg informacji biograficznych. Kwerenda w archiwum parafialnym w Albogasio Inferiore ujawniła nowe dokumenty źródłowe. Odnaleziono pełnomocnictwo Ceroniego dane w 1711 r. przed władzami Miasta Starej Warszawy dla Pietra Martiriego i Carla Antonia Bellottich na występowanie w jego imieniu przed władzami Valsoldy oraz zbiór dokumentów dotyczących konfliktu miedzy Carlem Ceronim a Carlem Fariną. Konflikt ten, o podłożu finansowym, skłonił Ceroniego do wyłączenia w testamencie rodziny Farina z udziału w spadku. Farina, który zabezpieczał w latach 1693-1699 włoskie interesy architekta, zarzucił Ceroniemu niespłacenie całości długu. Ceroni w liście z Warszawy z 16 maja 1714 roku skierowanym do kuzyna, burmistrza Valsoldy, przedstawił argumenty w których wykazał, że dług spłacił, a nawet poniósł szkody na wspólnych interesach z Carlem Fariną. Z tego samego listu wynika, że druga córka architekta, Lucia - wbrew dotychczasowym ustaleniom - dożyła pełnoletniości i w wieku 31 lat wstąpiła do zakonu (zm. 1717). Kwerenda w aktach notarialnych archiwum państwowego w Como pozwoliła odnaleźć kodycyl Franciszka Ceroniego oraz plenipotencję wystawioną przez spadkobierców Ceroniego architektom Carlo Antonio Bay i Giuseppe Rachetti na odzyskanie długów od Zofii i Dominika Combonich.
Sześć listów Carla Ceroniego do Samuela Pączkowskiego, administratora dóbr Krasińskich, odnalezionych w Archiwum Głównym Akt Dawnych w Warszawie przyniosło nowe informacje na temat prac prowadzonych w Węgrowie. Listy te każą zweryfikować czas trwania prac przy zespole kościoła i klasztoru węgrowskich reformatów, i wydłużyć je o co najmniej dziesięć lat.
Przeprowadzona przez autora analiza źródeł pozwala stwierdzić, iż głównym właścicielem przedsiębiorstwa budowlanego był młodszy z braci Ceronich - Francesco. Carlo i Francesco Ceroniowie dorobili się znacznego majątku, który po ich śmierci przeszedł na własność mieszkańców Albogasio jako Eredita Ceroni. Jeszcze w XIX w. zyski z niego przeznaczane były na potrzeby mieszkańców miasteczka.
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Green, London. "Don Carlo. Giuseppe Verdi." Opera Quarterly 7, no. 3 (1990): 179–80. http://dx.doi.org/10.1093/oq/7.3.179.
Повний текст джерела
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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.
Повний текст джерела
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Parker, R. "Giuseppe Verdi's Don Carlo(s): "Live" on DVD." Opera Quarterly 26, no. 4 (September 1, 2010): 603–14. http://dx.doi.org/10.1093/oq/kbq043.
Повний текст джерела
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Höink, Dominik. "Zensurverfahren gegen Giuseppe Verdis "Don Carlo" vor der Römischen Inquisition." Die Musikforschung 60, no. 4 (September 22, 2021): 362–77. http://dx.doi.org/10.52412/mf.2007.h4.552.
Повний текст джерелаАнотація:
Einen exzeptionellen Sonderfall eines Inquisitionsverfahrens im Rom des 19. Jahrhunderts stellt die Verhandlung von Giuseppe Verdis "Don Carlo" dar. Auf der Grundlage der Akten aus dem Archiv der Glaubenskongregation wird das Verfahren nachgezeichnet und in einem editorischen Anhang das Gutachten dargeboten. Ersichtlich wird an diesem Verfahren eine Facette des kirchlichen Umgangs mit liberalen Ideen zur Zeit Pius IX.
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Kelly, Cathie C. "Carlo Rainaldi, Nicola Michetti, and the Patronage of Cardinal Giuseppe Sacripante." Journal of the Society of Architectural Historians 50, no. 1 (March 1, 1991): 57–67. http://dx.doi.org/10.2307/990546.
Повний текст джерелаАнотація:
The chapel dedicated to Beata Lucia in the cathedral of Narni has been attributed to Nicola Michetti on the basis of both style and the fact that he had worked elsewhere for the patron, Cardinal Giuseppe Sacripante. The configuration of the altar surround, however, is not typical of Michetti's work. That structure, in fact, is by Carlo Rainaldi and originally stood in the chapel of S. Antonio di Padova in SS. Apostoli in Rome. Sacripante purchased the altar surround in October 1711 and had it set up in Narni sometime between 1712 and 1714. Michetti's contribution to the design of the chapel, therefore, is limited to the revetment of the walls, the windows, and the transverse oval dome. Rainaldi's altar surround is an important find. Conceived in 1652 and constructed between 1654 and c. 1656, it is the immediate forerunner of his urbanistic masterpieces of the early 1660s, S. Maria di Montesanto and S. Maria dei Miracoli, on piazza del Popolo.
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Kościukiewicz, Jakub. "Cello in the Baroque, part 2: Cello literature in the 17th century." Notes Muzyczny 2, no. 10 (December 20, 2018): 9–23. http://dx.doi.org/10.5604/01.3001.0012.9810.
Повний текст джерелаАнотація:
The present text is the second instalment of the cycle of articles based on its author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, prac-tice, and selected literature examples (Academy of Music in Łódź, 2017). It is an at-tempt to systematise the knowledge about the first cello literature creators and their compositions. The text includes descriptions (characterisations) of the first pieces writ-ten for the cello as early as in the 17th century along with short biographical sketches of their composers. The article characterises the main centres of development of cello mu-sic, such as Bologna and Modena, the places of work of Giovanni Battista Vitali, Do-menico Gabrielli, Petronio Franceschini, Giuseppe Jacchini, Bononcini brothers, Gio-vanni Battista Degli Antoni, Domenico Galii, Giuseppe Colombi, and others. These composers mainly focused around Bologna’s Accademia Filarmonica and Basilica of San Petronio, as well as the court of Francesco II d'Este in Modena. The article also pays attention to the circumstances in which the first attempts to write cello pieces were made. Moreover, it mentions singular historical items of early cello literature written in such centres as Rome, Venice or Naples, where Carlo Fedeli, Giovanni Lorenzo Lulier, Nicola Francesco Haym or other composers worked.
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Ferreira, Laiane Marchon. "A máscara e o monstro." Revista Entrecaminos 3, no. 1 (September 30, 2019): 41–51. http://dx.doi.org/10.11606/issn.2447-9748.v3i1p41-51.
Повний текст джерелаАнотація:
O artigo busca mostrar a relação entre rosto, máscara e monstruosidade no romance argentino El desierto y su semilla, de Jorge Baron Biza. Para tal, encararemos a obra com um olhar antropofágico, pensando no Movimento que leva esse nome e sua relação com a carne, a destruição e a reconstrução. A partir da análise da professora e pesquisadora María Soledad Boero sobre a obra em questão e da análise do quadro “O Jurista”, de 1566, do pintor Giuseppe Arcimboldo (imagem marcante e fundamentalmente presente na obra), pensaremos na relação do romance de Baron Biza com a figura do monstro, o valor da máscara para a construção da identidade e sua correspondência com a língua através da experimentação.
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Rovetta, Alessandro. "Le Osservazioni sull’architettura in Lombardia di Gaetano Cattaneo (1824): tra Jean-Baptiste Seroux d’Agincourt, Carlo Bianconi e Giuseppe Bossi." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 229–60. http://dx.doi.org/10.48294/s2020.013.
Повний текст джерелаАнотація:
Gaetano Cattaneo (1771-1841), founder of the Numismatic Cabinet of Brera, inherited in 1815 from Giuseppe Bossi the historiographical materials that the secretary of the Brera Academy had collected with the aim to create a work dedicated to the history of Lombard art. Cattaneo also devoted himself to the project of a History of the arts and artists of the Lombard school, which never came to light, although its preparation is largely documented by his correspondence with Italian and foreign scholars, such as Cicognara, De Lazara and Passavant. A trace of Cattaneo’s work survives in an unpublished manuscript, kept in the Biblioteca Ambrosiana. In a schematic form, the document reconstructs the history of architecture in Lombardy from the Middle Ages to the sixteenth century, though it was supposed to be continued until the early nineteenth century. The information provided by Cattaneo about the origins of the different “epoche”, in which he divides the developments of Lombard architecture, as to the distinctive structural and stylistic characteristics or as to the masters and their main works offer a very interesting insight into the Milanese historiographical consciousness in the time between French domination and Restoration. The essay considers in particular the judgment on the different phases of the Middle Ages, with particular regard to the profile of Longobard architecture and the origins of the Milan Cathedral. In this case both local debates and the work of Seroux D’Agincourt are fundamental for Cattaneo. Another significant theme is the judgment on the architecture of the sixteenth century in Lombardy, which re-evaluates Leonardo, resizes Bramante and, above all, censors the protagonists of the Borromean age, from Galeazzo Alessi to Francesco Maria Richino. In this respect, the internal debate at the Brera school of architecture and the historiographical positions of Carlo Bianconi and Giuseppe Bossi played an important role, other significant latest sources such as Francesco Antonio Albuzzi and Venanzio De Pagave. The essay reports the complete edition of Cattaneo’s text according to the Ambrosian copy, which was probably made by his collaborator Carlo Zardetti.
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Palma, Adriano. "Persuasion and Rhetoric, by Carlo Michelstaedter, edited and translated by Wilhelm Snyman and Giuseppe Stellardi." Philosophical Papers 39, no. 1 (March 2010): 141–45. http://dx.doi.org/10.1080/05568641003669573.
Повний текст джерелаДисертації з теми "Giuseppe Carle"
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Elbaba, Alejandra. "El mándala en la obra de Carl Gustav Jung: experiencia y contexto." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/462856.
Повний текст джерелаАнотація:
En esta investigación exploramos el origen, significado y funciones del simbolismo del mándala en la obra de Carl Gustav Jung. Partimos de lo que consideramos su experiencia personal en El libro rojo, la serie de dieciocho mándalas pintadas por él y ubicadas en el centro del libro, producto de su imaginación activa. Indagamos en su comprensión, mediante el método comparativo, poniéndola en relación con el contexto más amplio del ambiente intelectual que rodea a Jung en la primera mitad del siglo XX.
Este estudio ahonda en la influencia del pensamiento y tradiciones orientales en las investigaciones de Jung y se sumerge en el Círculo Eranos por sus estudios sobre el simbolismo y la profundización de la relación Oriente – Occidente; considera la figura de Giuseppe Tucci destacando su teorización del mándala indo-tibetano en el marco de la psicología junguiana y, finalmente, atiende a la conceptualización del mándala como categoría especial de la simbólica en la obra teórico – científica de Jung, testimonio de su vivo interés por el simbolismo mandálico.In this research we look deeply into the origin, significance and functions of the mandala’s symbolism in Carl Gustav Jung’s work. We base our research on his personal experience in his Red Book, a series of eighteen mandalas painted by himself and placed in the center of the book, as a product of his active imagination. We also look into its understanding through the comparative method, by relating it with the largest intellectual scope around Jung in the first half of the twentieth century. This study goes deeply into the influence of the East thoughts and traditions in Jung’s researches and dives into the Eranos Circle, due to its studies about symbolism and deepening of the East-West relation. It takes into account Giuseppe Tucci as an important figure, emphasizing his theorizing of the Indo-Tibetan mandala within the framework of Jung’s psychology and, finally, pays attention to the conceptualization of the mandala as a special category of symbolism in the theoretical-scientific work of Carl G. Jung, which is a testimony of his intense interest in the Mandala symbolism.
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Junior, Ivan Aparecido Gotardelo Pacheco. "Giuseppe Salerio, um comediógrafo veneziano na São Paulo de 1900: análise e tradução de \'Un ammalato per forza\'." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-08112007-153636/.
Повний текст джерелаАнотація:
Esta dissertação apresenta ao público um desconhecido escritor imigrante italiano da São Paulo de 1900. Durante sua vida em São Paulo, Giuseppe Salerio trabalhou como dentista na Av. São João no centro da cidade, quando ela mostra ao país seu grande potencial para ser a maior e mais industrializada cidade do Brasil. Un ammalato per forza, uma comédia em um ato. Esse trabalho possui muitos aspectos do teatro do imigrante italiano em São Paulo. A dissertação quer mostrar alguns valores da arte dos imigrantes, depois de momentos difíceis na terra natal: a Itália. Também será apresentada uma tradução e análise de Un ammalato per forza. A análise leva em conta as leituras feitas pelo autor, bem como a influência de Carlo Goldoni.This work seeks to present to the public an unknown Italian immigrant writer in São Paulo in the 1900\'s. During his life in São Paulo, Giuseppe Salerio worked as a dentist in the Av. São João, downtown, when the city was beginning to show what it would be in the future: the biggest and the most industrialized city in Brazil. Un ammalato per forza is a comedy in one act. This work reveals many aspects of the Italian immigrant theatre in São Paulo. This study wants to discuss some merits of the immigrants\' art, after a very difficult life in their country: Italy. Besides there is a translation and an analysis of Un ammalato per forza. The analysis considers readings done by the author, as well as the influence of Carlo Goldoni on his work.
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Muscoloni, Alessandro [Verfasser], Carlo Vittorio [Akademischer Betreuer] Cannistraci, Michael [Gutachter] Schroeder, and Giuseppe [Gutachter] Mangioni. "Generative modelling and inverse problem solving for networks in hyperbolic space / Alessandro Muscoloni ; Gutachter: Michael Schroeder, Giuseppe Mangioni ; Betreuer: Carlo Vittorio Cannistraci." Dresden : Technische Universität Dresden, 2019. http://d-nb.info/122690226X/34.
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BASILE, Giuseppe Domenico. "Scrivere del Mezzogiorno.Processi di auto-orientalism nella Letteratura italiana." Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/90860.
Повний текст джерелаАнотація:
Questo lavoro guarda al contributo che la letteratura italiana ha dato relativamente alla costruzione e alla sedimentazione, nell'immaginario comune e nella percezione pubblica, dell'identità geografica e culturale del Mezzogiorno, ovvero di quella «consapevolezza geopolitica» di cui parlava Edward Said a proposito di altre aree del globo. Per fare ciò, sono stati identificati e presi in esame due diversi momenti che nella storia d'Italia si sono contraddistinti per una forte ridiscussione dell'immagine delle regioni meridionali del paese. I
decenni immediatamente successivi all'Unità, infatti, sono stati caratterizzati da ampi dibattiti in merito al ruolo che il Sud doveva avere all'interno della nuova nazione, e in tale quadro il campo letterario appare aver avuto una funzione tutt'altro che marginale, contribuendo insieme ai campi editoriale, artistico, culturale e politico, a sviluppare le diverse rappresentazioni del Mezzogiorno. Il ventennio fascista, poi, ha dovuto fare i conti con strategie descrittive che del Sud avevano fatto una problematica regione dell'immaginario, di cui si erano messi in risalto in prevalenza gli aspetti di alterità rispetto al resto d'Italia, e le ha
riformulate in maniera complessa e disorganica, calandole poi (spesso a fini propagandistici) all'interno di dialettiche che ruotavano intorno alle opposizioni città/campagna, centro/periferia e tradizione/innovazione.
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Steffan, Annalisa <1994>. "Verso un inventario delle carte di Giuseppe Mazzariol e una proposta di riconnessione virtuale dei suoi archivi. Censimento analitico dei materiali dei fondi conservati presso la Fondazione Querini Stampalia e il Dipartimento Filosofia e Beni Culturali - Università Ca’ Foscari Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17177.
Повний текст джерелаАнотація:
Storico dell’arte, docente e politico, Giuseppe Mazzariol (Venezia, 1922 - Treviso, 1989) è stata una figura centrale del panorama culturale italiano dagli anni Cinquanta per il suo impegno e il suo innovativo approccio alla diffusione della cultura. A Venezia Mazzariol collabora con le maggiori istituzioni culturali - lo IUAV, l’Università Ca’ Foscari Venezia, la Fondazione Querini Stampalia, la Biennale Internazionale d’Arte, Università Internazionale d’Arte … - ed è attivo nel dibattito politico sul futuro della città lagunare, in particolare negli anni in cui presiede il Consorzio per lo Sviluppo Economico Sociale (CoSES).
Oggi, la documentazione raccolta e conservata da Mazzariol nell’arco della sua brillante carriera compone i due archivi personali: l’Archivio Giuseppe Mazzariol conservato presso la Fondazione Querini Stampalia e l’Archivio Fototeca Giuseppe Mazzariol conservato presso il Dipartimento di Filosofia e Beni Culturali dell’Università Ca’ Foscari Venezia. Nella seguente ricerca vengono presentati i censimenti analitici afferenti ai due archivi in questione. Tramite questi, si pongono le basi per la realizzazione di un futuro inventario e per un progetto di riunione virtuale delle carte dei due archivi. I censimenti sono introdotti dalla biografia di Giuseppe Mazzariol, dalla storia archivistica e dalla descrizione del contenuto di quest’ultimi.
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BINDA, LAURA. "NUOVE RICERCHE PER LA BIOGRAFIA E LA PRODUZIONE STORIOGRAFICA DI CARLO BIANCONI (1732-1802)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18751.
Повний текст джерелаАнотація:
Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico.New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.
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BINDA, LAURA. "NUOVE RICERCHE PER LA BIOGRAFIA E LA PRODUZIONE STORIOGRAFICA DI CARLO BIANCONI (1732-1802)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18751.
Повний текст джерелаАнотація:
Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico.New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.
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Giani, F. M. "IL CANTIERE DEL DEAMBULATORIO DEL SANTUARIO DI SANTA MARIA DEI MIRACOLI PRESSO SAN CELSO A MILANO." Doctoral thesis, Università degli Studi di Milano, 2017. http://hdl.handle.net/2434/488289.
Повний текст джерелаАнотація:
La tesi di dottorato affronta la ricostruzione del cantiere decorativo del deambulatorio del Santuario di Santa Maria dei Miracoli presso San Celso, tra il 1540 e il 1566 circa, attraverso l'esame delle opere, dei documenti e della bibliografia. La prima parte è dedicata al Santuario nel suo complesso ed è costituita da un capitolo che analizza la storiografia artistica dalla fine del Cinquecento ad oggi, e da tre appendici, rispettivamente dedicate alla guidistica, alla fortuna visiva e ai fabbricieri. La seconda parte è dedicata al cantiere decorativo del deambulatorio ed è costituita da un capitolo che analizza in ordine cronologico l'intero sviluppo del cantiere (con aperture sul periodo precedente il 1540 e successivo il 1566, in particolare sull'epoca borromaica e sui restauri ottocenteschi) e da schede specifiche per ogni opera (pala d'altare) o intervento (stucchi e affreschi). La tesi è corredata da un consistente apparato di immagini (in larga parte derivate da una campagna fotografica realizzata grazie alla strumentazione messa a disposizione dal Dipartimento), da un ricco regesto dei documenti e dalla bibliografia.The PhD thesis consists in a reconstruction of the different phases of the decoration of the ambulatory of the Sanctuary of Santa Maria dei Miracoli presso San Celso (between 1540 and 1566) through the examination of works, documents and bibliography. The first part is dedicated to the Sanctuary as a whole, and consists of: a chapter that analyzes the art historiography from the end of the Sixteenth century to today; three appendices, respectively dedicated to the guides (of the Sanctuary and of Milan), the visual fortune and the "fabbricieri" (the Sanctuary holders). The second part is dedicated to the phases of the decoration of the ambulatory and consist of: a chapter that analyzes in chronological order the making of the decoration (with digressions on the period prior to 1540 and next to 1566, in particular on the Borromaic period and on the nineteenth-century restorations); a entry for each work (altar piece) or decorative intervention (stuccoes and frescoes). The thesis is accompanied by a substantial array of images (largely derived from a photo campaign thanks to the instrumentation made available by the Department), a rich document summary and a bibliography.
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Sokolova, Iana. "Pittura veneta a San Pietroburgo sotto i regni di Elisabetta e Caterina II (1741-1796)." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423318.
Повний текст джерелаАнотація:
Il presente lavoro pone la lente d’ingrandimento sui rapporti artistici e culturali intercorsi tra la Repubblica di Venezia e l’Impero Russo nel XVIII secolo, dando rilievo alla presenza della pittura veneta a San Pietroburgo. Il consolidamento dei legami con Venezia, avviato nell’epoca di Pietro il Grande, aveva permesso alla pittura veneta di ‘espandersi’ fino alle sponde della città sul fiume Neva. Negli anni venti del Settecento il primo pittore veneto ad arrivare in Russia è Bartolomeo Tarsia, mentre bisogna aspettare il regno di Elisabetta Petrovna, figlia dello zar Pietro, per vedere all’opera contemporaneamente un gran numero di artisti veneti: Giuseppe Valeriani, Antonio Peresinotti, Pietro e Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani e Carlo Zucchi.
In primo luogo, sono state indagate le condizioni di vita e di lavoro dei pittori veneti a San Pietroburgo con un’attenzione particolare agli ingaggi, ai privilegi e ai rapporti relazionali. Successivamente si sono prese in esame da una parte l’attività decorativa all’interno delle fastose residenze imperiali, come i Palazzi d’Inverno, i Palazzi d’Estate, il palazzo di Caterina a Tsarskoe Selo e quello di Peterhof, dall’altra l’insegnamento nelle più grandi istituzioni di formazione artistica della Russia dell’epoca.
Sono stati poi delineati i profili biografici di Diego Bodissoni, Giuseppe Dall’Oglio e Pano Maruzzi, attivi come intermediari e commercianti d’arte, i quali hanno il merito di aver favorito l’approdo di dipinti della scuola veneta a San Pietroburgo.The present work places the magnifying glass on the artistic and cultural relations between the Republic of Venice and the Russian Empire in the eighteenth century, highlighting the presence of Venetian painting in St. Petersburg. The consolidation of ties with Venice, initiated in the era of Peter the Great, had allowed Venetian painting to 'expand' to the banks of the city on the Neva river. In the 1720s the first Venetian painter to arrive in Russia was Bartolomeo Tarsia, while it was necessary to wait for the reign of Elisabetta Petrovna, daughter of Tsar Pietro, to see a large number of Venetian artists at work at the same time: Giuseppe Valeriani, Antonio Peresinotti, Pietro and Francesco Gradizzi, Francesco Fontebasso, Pietro Rotari, Andrea Urbani and Carlo Zucchi. First of all, the living and working conditions of Venetian painters in St. Petersburg were investigated, with particular attention paid to engagements, privileges and interpersonal relations. Subsequently, the decorative activity within the sumptuous imperial residences, such as the Winter Palaces, the Summer Palaces, the Catherine Palace in Tsarskoe Selo and the Peterhof Palace, were examined on one hand, while on the other hand, the teaching in the largest institutions of artistic education in Russia at the time. The biographical profiles of Diego Bodissoni, Giuseppe Dall'Oglio and Pano Maruzzi were also outlined, active as intermediaries and art dealers, who have the merit of having favoured the arrival of paintings of the Venetian school in St. Petersburg.
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
Повний текст джерелаАнотація:
Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
Книги з теми "Giuseppe Carle"
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Beretti, Giuseppe. Giuseppe e Carlo Francesco Maggiolini: L'officina del Neoclassicismo. Milano: Edizioni libreria Malavasi, 1994.
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2
Calavalle, Alberto. Don Orione, Carlo Bo e don Giuseppe De Luca. Urbino: Quattroventi, 2008.
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3
Capogrossi, Giuseppe. Giuseppe Capogrossi: Tempere 1962-1971 : omaggio a Carlo Cardazzo. Milano: Galleria d'arte di Ada Zunino, 1993.
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Landini, Agnese, ed. Giuseppe Dessí. Florence: Firenze University Press, 2002. http://dx.doi.org/10.36253/978-88-6453-264-6.
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A venticinque anni dalla scomparsa di uno degli scrittori più raffinati e appartati del nostro secondo Novecento è disponibile, grazie al lavoro e alla competenza filologica di Agnese Landini, il catalogo completo delle opere e delle carte d'autore presenti nel Fondo Giuseppe Dessí. La schedatura del materiale, depositato all'Archivio Contemporaneo del Gabinetto Vieusseux di Firenze, consente di ricostruire la bibliografia completa degli editi e inediti dello scrittore sardo e, mentre racconta con i documenti la storia di un percorso narrativo, facilita l'accesso alla consultazione di appunti e abbozzi di romanzi, racconti, teatro, antologie, traduzioni, saggistica, poesia, interviste.
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Federico, Navire, ed. Il regno di Carlo Emanuele III: Cronaca dell' Abate Giuseppe Pasini. Bonn: Romanistischer Verlag, 2010.
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Cinque studi: Carlo Michelstaedter, Giuseppe Ungaretti, Alberto Savinio, Italo Calvino, Giacomo Debenedetti. Roma: Bulzoni, 2010.
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Giuseppe Battista Piacenza e Carlo Randoni: I reali palazzi fra Torino e Genova : 1773-1831. Torino: CELID, 2012.
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Giuseppe Candido: Vescovo e scienziato : Lecce, Castello Carlo V, 20 dicembre 2006/14 marzo 2007. [Lecce, Italy]: Grifo, 2009.
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Angela, Pellicciari, ed. I panni sporchi dei Mille: L'invasione del Regno delle Due Sicilie nelle testimonianze di Giuseppe La Farina, Carlo Persano e Pier Carlo Boggio. Roma: Liberal, 2003.
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Vincenzi, Barbara. Giuseppe Spagnulo e Carlo Zauli: Dialoghi, confronti ed eredità artistiche tra gli anni '50 e '90. Faenza (RA): Museo Carlo Zauli, 2021.
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1
Marcheschi, Daniela. "David Sassoli: Europa, Europa!" In Libere carte, 111–13. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0010-3.12.
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David Sassoli has best interpreted the great Italian tradition of Europeanism, which had in Giuseppe Mazzini, Vincenzo Gioberti, Altiero Spinelli and Ernesto G. Rossi, the highest and most concrete theoretical and political expressions of the contemporary age. Europe means democracy, therefore freedom, social justice, solidarity among the peoples and within the peoples that make up the European Union. It means building and looking upwards towards peace.
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Lorusso, Lorenzo, and Stefano Zago. "Carlo Francesco Giuseppe Bellingeri." In The Birth of Modern Neuroscience in Turin, 23–36. Oxford University Press, 2022. http://dx.doi.org/10.1093/med/9780190907587.003.0003.
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The Piedmontese Francesco Bellingeri (1785–1848) was an eminent physician and experimentalist in the neurological field at the turn of the 19th century. However, his experimental work and his pioneer investigations have largely fallen into obscurity. This chapter highlights the key events of his life and the varied and significant contributions made by Bellingeri to neurological sciences. His most important work was demonstrating the distinct functions of the fifth and seventh pair of cranial nerves. He adamantly claimed to have been the first to do so. He also made remarkable investigations of the neuralgia, the use of electrotherapy for neurological diseases and neuroinfectious disorders with the description of encephalitis and, in particular, the lethargic types This chapter pays tribute to the memory of a scientist and clinician who was unfairly forgotten.
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Pernicone, Nunzio, and Fraser M. Ottanelli. "The Risorgimento and the Origins of Anarchist Violence." In Assassins against the Old Order, 7–24. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041877.003.0002.
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Chapter 1 highlights the continuity between the Risorgimento and Italian anarchist activities during the movement’s formative years. Specifically, it describes how anarchist violence based on insurrections, guerrilla warfare and tyrannicide was an amalgam of two revolutionary ideologies and traditions inherited from the Risorgimento: the revolutionary democracy of Carlo Pisacane (specifically his articulation of “propaganda of the deed,”) Giuseppe Mazzini and Giuseppe Garibaldi along with lesser known republicans, and the anarchist socialism introduced into Italy by Mikhail Bakunin.
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Körner, Axel. "America as History." In America in Italy. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691164854.003.0002.
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This chapter examines early Italian writings on the history of the American War of Independence, including Carlo Botta's History of the War of Independence of the United States of America (1809), Carlo Giuseppe Londonio's three-volume Storia delle colonie inglesi (1812–1813), and Giuseppe Compagnoni's twenty-nine-volume Storia dell'America (1829). The chapter compares the context in which these works were created to the changing responses they generated during the later course of the Risorgimento. It also draws on these writings to discuss historiography as political thought, arguing that most Italian historians writing about the American Revolution presented the United States as a political reality far removed from European experiences. Even 500 years after the American Declaration of Independence, Italian references to the United States did not necessarily mean an open endorsement of popular sovereignty.
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Steinberg, Jonathan. "Carlo Cattaneo and the Swiss Idea of Liberty." In Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264317.003.0012.
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Carlo Cattaneo (1801–69), who belonged to Mazzini's generation, took an active part in the Risorgimento, wrote important works in many fields, and became a leader of the national rising in his native Milan in 1848. Like Mazzini he had to flee, and settled in Lugano in Italian Switzerland. Unlike Mazzini, Cattaneo preferred to see a federal, not a unitary Italy. A principled republican, no less pure in his belief in democracy than Mazzini, he thought a federal and decentralized structure more appropriate for Italy, and opposed Mazzini's vision of a centralized democracy of individual citizens. Though Cattaneo lived the rest of his life in Switzerland and in 1858 was granted honorary Swiss nationality, this chapter argues that he never accepted the Swiss concept of liberty, Gemeindefreiheit (communal liberty). This communal democracy frustrated his reform schemes and exasperated him personally.
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Wolkowicz, Vera. "The Incas Go to the Opera." In Inca Music Reimagined, 172–213. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197548943.003.0006.
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Through the nineteenth century many composers wrote operas that turned to the Inca topic: from Giuseppe Verdi’s Alzira (1845) to Carlo Enrico Pasta’s Atahualpa (1875). These operas mainly explored the encounter between the Spanish and the Incas. At the beginning of the twentieth century, however, influenced by the centennial celebrations of independence, Latin American composers started writing operas that were solely based on the Inca past in the construction of their national and continental identity and heritage. This chapter discusses the operas written by composers in the three countries explored. It also analyzes the reception of these works in the press and the impact (or mostly lack of it) in the audiences.
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Körner, Axel. "Concepts in the Language of Politics." In America in Italy. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691164854.003.0003.
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This chapter examines references to the United States of America in the Risorgimento's political language by focusing on concepts such as constitutional government, political representation, and federalism. It first considers the question of natural rights in a constitutional government before discussing the ways in which Italians assimilated and translated American ideas into the historical context of their experiences in the context of the more general Italian assessment of American political institutions. The chapter focuses on the works of Giuseppe Mazzini and other prominent political thinkers such as Cesare Balbo, Vincenzo Gioberti, and Gian Domenico Romagnosi. It also looks at Luigi Angeloni's 1832 pamphlet entitled Schifezze politiche proposte dal dottor Carlo Botta, in which he condemned Botta's antirepublican attitudes, and Antonio Rosmini's critique of American democracy.
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Reiter, Walter S. "Into the Galant: Tartini, Telemann, Quantz, and Zuccari." In The Baroque Violin & Viola, vol. II, 186–200. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0019.
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The final ornamentation module deals with examples by Giuseppe Tartini, Georg Philipp Telemann, Johann Joachim Quantz, and Carlo Zuccari. Tartini’s treatise on ornamentation contains a clear and systematic approach to ornamentation, dealing with grace notes, trills, vibrato, turns, and mordents, and giving many examples of embellished cadences. Telemann’s Methodical Sonatas contain embellished slow movements in both French and Italian styles. They are categorized, and an exercise is devised for assimilating them. Quantz wrote one of the most comprehensive interval-based ornamentation tables of the entire Baroque period, relevant above all to the Style Galant and including note-by-note instructions for performance. Examples are given with these instructions reproduced. He also composed an Adagio with instructions for almost every note: these have been transcribed from the instructions for ease of study. Quantz also offers advice on cadenzas, of which two are reproduced. To conclude, a page of Carlo Zuccari’s 1760 True Method of Playing an Adagio is reproduced.
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Stow, Kenneth. "Jewish and Christian Awareness." In Anna and Tranquillo. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300219043.003.0010.
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This chapter describes how the Jews of Rome were perfectly aware of the forces that governed their existence. Accordingly, when legal, spiritual, cultural, and social distinctions of persons were removed under Napoleonic rule, the Jews hastened to respond optimistically. However, the Jews did not need to await Napoleonic liberation to appreciate how contradictory and absurd had been their condition. Scholars such as Giovanni Battista de Luca, Carlo Luti, and Giuseppe Sessa openly questioned, or were at least uneasy about, the paradox of Jews being simultaneously cives yet still denied full civic rights. The persona of Anna del Monte as Tranquillo fashioned it is that of “a figure on the seam.” Anna's story encapsulates the winds of the past, but it was no less a prologue to a sometimes precarious future.
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Galloni, Marco R. "Seeing the History of Neuroscience in Turin through the Lenses of Its Instruments/Part 2." In The Birth of Modern Neuroscience in Turin, 143–48. Oxford University Press, 2022. http://dx.doi.org/10.1093/med/9780190907587.003.0012.
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In the second half of the 19th century, the physiologist Angelo Mosso and the anatomist Carlo Giacomini collaboratively investigated the pulsation of the brain blood vessels and the variations of the brain surface temperature. Mosso invented the human circulation balance to measure the blood distribution throughout the human body. In the attempt to correlate cerebral activity and energy supply, he tried to explore the relationship between the blood distribution to the brain and various types of stimulation. At the beginning of the 20th century, Turin became the capital of silent movies, and Camillo Negro used this new technique to document clinical cases of neurological disorders in mental hospitals. In the 1930s, Giuseppe Levi brought in-vitro cell culture to Italy and used time-lapse cinematography to study the behavior of neurons.