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Добірка наукової літератури з теми "Opera in the Seventeenth Century Venice"

Автор: Grafiati
Опубліковано: 23 вересня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Opera in the Seventeenth Century Venice"

1

Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (January 2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.

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Анотація:
Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.
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Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.

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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century America.
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3

Thorburn, Sandy. "What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice." Canadian University Music Review 23, no. 1-2 (March 6, 2013): 166–200. http://dx.doi.org/10.7202/1014523ar.

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Commercial operas of seventeenth-century Venice, the earliest public operas, are generally described as rigorously literary from 1637-1660. Various tools, including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works.
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Rosand, Ellen. "Commentary: Seventeenth-Century Venetian Opera as Fondamente nuove." Journal of Interdisciplinary History 36, no. 3 (January 2006): 411–17. http://dx.doi.org/10.1162/002219506774929845.

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Seventeenth-century Venice was the ideal center for the development of opera because of certain special conditions: regular demand from a broad and depend able audience of citizens and travelers alike, dependable financial backing from the many competing patrician families who constructed and operated theaters, a flourishing publishing industry that provided publicity, and a tradition in which the arts were designed specifically to enhance the self-image of the republic. These conditions combined to sustain a genre that appealed to its audience on multiple levels. The increasing demand for new works precipitated the development of new modes of production and communication, and the various musical and dramatic conventions that originated during this era have persisted to the present day.
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5

Rosselli, John. "From princely service to the open market: Singers of Italian opera and their patrons, 1600–1850." Cambridge Opera Journal 1, no. 1 (March 1989): 1–32. http://dx.doi.org/10.1017/s0954586700002743.

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We are used to thinking of ‘opera singer’ as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer’ was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian term for them all was musici. Others again were actors or actresses who could sing, like Virginia Andreini, drafted in an emergency to create the title part in Monteverdi's Arianna of 1608.
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Mamy, Sylvie, and Ellen Rosand. "Opera in Seventeenth-Century Venice. The Creation of a Genre." Revue de musicologie 81, no. 2 (1995): 293. http://dx.doi.org/10.2307/946973.

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Bouwsma, William J., and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Journal of Interdisciplinary History 23, no. 2 (1992): 383. http://dx.doi.org/10.2307/205320.

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Schmidt, Carl B., and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Notes 49, no. 2 (December 1992): 520. http://dx.doi.org/10.2307/897890.

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Williams, Sarah F. "Opera and Women's Voices in Seventeenth-Century Venice. Wendy Heller." Early Modern Women: An Interdisciplinary Journal 1 (September 1, 2006): 159–61. http://dx.doi.org/10.1086/emw23541461.

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10

Bruno, Salvatore, and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Italica 70, no. 3 (1993): 406. http://dx.doi.org/10.2307/479570.

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Дисертації з теми "Opera in the Seventeenth Century Venice"

1

Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.
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MARGETTS, JAMES ANOR. "Echoes of Venice: The Origins of the Barcarolle for Solo Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218894990.

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Calcagno, Mauro P. "Staging musical discourses in seventeenth-century Venice : Francesco Cavalli's Eliogabalo (1667) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050069g.

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De, Vivo Filippo Luciano Carlo. "Wars of papers : communication and polemic in early seventeenth-century Venice." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/272055.

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Patierno, Carolina. "Miti allo specchio : Ero e Leandro, Piramo e Tisbe : dal testo alla scena, dalle fonti classiche alle riscritture del Seicento italiano." Thesis, Sorbonne université, 2021. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2021SORUL152.pdf.

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Анотація:
Le présent travail de recherche porte sur la réception des fabulae de Héro et Léandre et de Pyrame et Thisbé dans la littérature italienne du XVIIe siècle, en particulier dans quatre textes différents par genre, style et origine géographique : Gli amori infelici di Leandro ed Ero (1618), l'idylle de Giovanni Capponi, Hero et Leandro (1630) et La Tisbe, respectivement la «Favola maritima » et la «lieta favola» de Francesco Bracciolini, et Il Leandro (1679), le drame musical de Badovero-Pistocchi. La décision de mettre les deux mythes en relation étroite l'un avec l'autre se fonde sur certaines considérations exposées dans des études historico-philologiques faisant autorité sur l'origine du roman et de la nouvelle grecque (Rodhe 1876, Lavagnini 1921, Cataudella 1957) où les deux fabulae sont citées comme des exemples de proto-romans ou de proto-nouvelles en raison de la présence récurrente de topoi propres au roman hellénique. À partir d'une analyse thématique et rhétorique du « patrimoine génétique commun » aux deux mythes ou, mieux, du « noyau hellénique-romanesque » appartenant aux versions classiques de référence (Mus.; Ov., Her.18-19, Ov. Met., IV, 55-166), le parcours d’analyse des réécritures modernes des oeuvres à l’étude suit trois axes principaux : la vérification de l’idée de correspondance entre les deux mythes, déjà présente dans les versions anciennes, médiévales et de la Renaissance, ainsi que l’identification de leurs modalités d’expression dans les textes du XVIIe siècle ; l’analyse des processus de réécriture du mythe au sein des nouvelles métamorphoses baroques et des nouveaux hybrides scéniques, tant en référence à l'interaction entre le «noyau hellénique-romanesque», l'héritage tragique et les influences du genre idyllique et pastoral, qu’en ce qui concerne la relation entre le romanesque hellénique et le romanesque baroque ; la focalisation sur l'aspect herméneutique permettant de comprendre le sens nouveau assumé par le mythe pour les deux couples d'amants : clementia ou sententia ?
The present research focuses on the reception of the fabulæ of Hero and Leander and of Pyramus and Thisbe in Seventeenth-century Italian literature, in particular in four texts differing by genre, style and geographical origin: the idyll of Giovanni Capponi, Gli amori infelici di Ero e Leandro (1618); the ‘favola maritima’ Hero e Leandro (1630) and the ‘lieta favola’ La Tisbe by Francesco Bracciolini; and the ‘dramma per musica’ Il Leandro by Badovero-Pistocchi (1679). The decision to place the two myths in close relationship with each other was inspired by some remarks found in authoritative historical-philological studies on the origin of the ancient Greek novel and the Greek novella (Rodhe 1876, Lavagnini 1921, Cataudella 1957) where the two fabulæ are cited as examples of proto-novels for the insistent recurrence in them of topoi proper to the Hellenic novel. Starting from an accurate thematic-rhetorical analysis of the 'common heritage', or rather, of the 'Hellenic-romance nucleus' belonging to the classic versions of reference (Mus.; Ov., Her. 18-19; Ov. Met., IV, 55-166), the course of the research in modern rewritings in question follows three main coordinates: verification of the idea of correspondence between the two myths, already found in the ancient, medieval and Renaissance versions, and identification of the ways in which it is expressed in seventeenth-century texts; analysis of the processes of rewriting the myth within the new Baroque metamorphoses and the new stage hybrids, both in reference to the interaction between the 'Hellenic-romance nucleus', tragic inheritance and influences of the idyllic and pastoral genre, as well as in regard to the relationship between Hellenic and Baroque romance; focus on the hermeneutic aspect within which to read the new meaning assumed by the myth: clementia or sententia for the two couples of lovers?
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Karp, Jamie Marie. "The Changing Symbolic Images of the Trumpet: Bologna and Venice in the Seventeenth Century." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500135/.

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The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins this symbolic identity was linked to the instrument’s limited ceremonial and signaling function, the seventeenth century represents a period in which a variety of new roles and identities emerged. Bologna and Venice represent the two most important centers for trumpet writing in Italy during the seventeenth century. Because of the differing ideologies at work in these cities, two distinctive symbolic images of the instrument and two different ways of writing for it emerged. The trumpet’s ecclesiastic role in Bologna and its participation in Venetian opera put the instrument at the service of two societies, one centered around the Church, and another around a more permissive state. Against the backdrop of the social and political structures in Venice and Bologna, and through an examination of its newly-emerging musical roles in each city, the trumpet’s changing identities during a most important point in the history of the instrument will be examined.
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Lin, Thomas Wen Tsen. "Giasone's Travels: Opera and Its Performance in the Seventeenth Century." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467520.

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This dissertation presents an in-depth examination of Giacinto Andrea Cicognini and Francesco Cavalli’s Giasone (1649). Its premiere in Venice took the city by storm, generating such enthusiasm among opera audiences that the publisher Andrea Giuliani was forced to print two additional editions of the libretto that same year simply to meet widespread demand. In an industry that chewed up and spat out operas, one in which most productions had an effective shelf life of one year, Giasone would go on to be performed throughout Italy over the next forty years, ranging as far south as Palermo and as far west as Turin, until its final performance in Brescia, 1690. It was without a doubt the most performed stage work of the Seicento. The four decades between 1649 and 1690 saw many changes, both to a public opera economy and culture that were barely nascent in Venice when Giasone saw its first performance, and to the opera itself. Not only were words, verses, swaths of text, and even entire scenes cut, shifted, or added from city to city, Giasone was even revived under different titles from the 1670s onward. Part 1 of my dissertation untangles the forty-five librettos, twelve scores, two scenari, and four prose editions associated with the opera. I divide these sources into groups of librettos and families of scores based on a combination of publication city, historical data, and most importantly the similarity or variation of content. This philological work sets the stage for Part 2, a close analysis of Giasone employing textual and musical methods that accounts for and explicates the dramatic nucleus of the work, one focused around continuities—of location, character focus, interlocution, and harmony. I show how despite the revisionary pressures exerted on it throughout its forty-year performance history, Giasone’s identity as a sentimental, at times ribald love story, remained intact. In doing so, I provide insight into some of the creative and artistic processes behind the composition of the seventeenth century’s most popular opera.
Music
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Hammerton, Rachel Joan. "English impressions of Venice up to the early seventeenth century : a documentary study." Thesis, University of St Andrews, 1987. http://hdl.handle.net/10023/2792.

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The first Englishmen to write about the city-state of Venice were the pilgrims passing through on their way to the Holy Land. Their impressions are recorded in the travel diaries and collections of advice for prospective fellow pilgrims between the early fourteenth and early sixteenth centuries, the most substantial being those of William Wey, Sir Richard Guylforde and Sir Richard Torkington, who visited Venice in 1458 and '62, 1506, and 1517 respectively. In the 1540s arrived the men who saw Venice as part of the new Europe--Andrew Borde and William Thomas. Thomas's study of the Venetian state emphasized the efficiency of its administration, seeing it as an example of constructive government, where effective organisation for the common good led directly to national stability and prosperity. The mid-sixteenth century saw the beginnings of Venice as a tourist centre; the visitors who came between 1550 and the end of the century described the sights and the people, the traditions and way of life. Fynes Moryson's extensive account details what could be seen and learned in the city by an observant and enquiring visitor. In addition to information available in first-hand accounts of Venice, much could be learned from the work of the late sixteenth-century English translators. Linguistic, cultural, geographical, historical and literary translations yielded further knowledge and, more importantly, new perspectives, Venice being seen through the eyes of Italians and, through Lewkenor's comprehensive work, The Commonwealth and Government of Venice, of Venetians themselves. Finally, to assess the general impressions of Venice and the Venetians, we consider the literature of the turn of the sixteenth-seventeenth century; what, and how much, of the three-hundred year accumulation of knowledge of the city and people of Venice had most caught the attention and imagination of the English mind, and how close was the relationship between the popular impression and the documentary information from which it had largely developed.
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Pfost, Bodie. "The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19710.

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Music published in Venice, Italy in the first half of the seventeenth century includes a substantial amount specifying the trombone. The stylistic elements of this repertoire require decisions regarding general pitch, temperament, and performing forces. Within the realm of performing forces lie questions about specific instrument pitch and compositional key centers. Limiting this study to repertoire performed and published in approximately the first half of the seventeenth century allows a focus on specific performance practice decisions that underline the expressive elements of the repertoire. Using the trombone in A allows the performer several advantages over using the trombone in B-flat. Matching the instrument to the music is more than good decorum, it yields a more effective performance of the rhetorical and expressive elements imbedded in the music, satisfying the goal of music in this early seventeenth-century “modern” style.
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Henderlight, Justin. "Declamation in seventeenth-century English opera, or the nature of "recitative musick"." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42032.

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During the English Reformation, composers attempted to create a uniquely English take on opera, one rooted in dramatic elements and conventions tied to the English court masque of the earlier part of the century. One component essential to opera, recitative, was understood then and now to be an Italian invention, and though the Britons knew it to be an indispensible element of operatic style, they had only a passing acquaintance with its specific characteristics. Using stylistic features present in declamatory lutesongs from within masques and without, English composers attempted to develop their own brand of musical monody to fulfill the dramatic function of recitative in their operas. Traditionally, the stunted growth of this tradition has been explained by cultural and political factors alone; however, this study shows how the difficulties encountered while developing an English recitative tradition prevented composers from having the tools necessary for their operas to flourish. This fact is shown by examining the obstacles that had to be overcome when attempting to reconcile a rich, existing tradition of dramatic poetry with the demands of creating a moving and varied musical setting of the text. Further, an attempt is made to define the genre of English recitative and the breadth of style therein by examining the specific features of declamation in the major operatic works of Restoration England. The analysis further shows how the inconsistent degree of efficacy in these composers’ efforts prevented them from creating a conventionalized style of declamation applicable to all dramatic situations.
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Книги з теми "Opera in the Seventeenth Century Venice"

1

Opera in seventeenth-century Venice: The creation of a genre. Berkeley: University of California Press, 1991.

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2

Emblems of eloquence: Opera and women's voices in seventeenth-century Venice. Berkeley: University of California Press, 2003.

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3

Emmanuel, Glixon Jonathan, ed. Inventing the business of opera: The impresario and his world in seventeenth-century Venice. New York: Oxford University Press, 2005.

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4

Glixon, Beth Lise. Inventing the business of opera: The impresario and his world in seventeenth-century Venice. New York, NY: Oxford University Press, 2006.

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5

Alm, Irene. Theatrical dance in seventeenth-century Venetian opera. Ann Arbor: UMI Dissertation Services, 1993.

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Venice, Austria, and the Turks in the seventeenth century. Philadelphia: American Philosophical Society, 1991.

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7

Venice and Amsterdam: A study of seventeenth-century elites. 2nd ed. Cambridge, UK: Polity Press, 1994.

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8

The theatre of praise: The panegyric tradition in seventeenth-century English drama. Newark: University of Delaware Press, 1986.

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9

Coryate, Thomas. Venice visited: Being a dozen extracts from the journal of Thomas Coryat, who, in the early seventeenth century, walked from Somerset to Venice and back. Bath: Old School Press, 1999.

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10

Aikin, Judith Popovich. A language for German opera: The development of forms and formulas for recitative and aria in seventeenth-century German libretti. Wiesbaden: Harrassowitz, 2002.

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Частини книг з теми "Opera in the Seventeenth Century Venice"

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Tedesco, Anna. "Ancora sulla fortuna de La Fuerza lastimosa nell’opera del Seicento: Alfonso I di Matteo Noris (Venezia Napoli Palermo)." In Studi e saggi, 179–204. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.12.

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Lope de Vega’s play, La fuerza lastimosa, written around 1599 and first published in 1609, was very popular in Seventeenth-Century Italy, as research by Fausta Antonucci and Salomé Vuelta has demonstrated. Several Italian adaptations are already known, among which a dramma per musica, La forza compassionevole, written by Antonio Salvi and staged in Leghorn in 1694. In the same year, another opera based on Lope’s drama was staged in Venice (as Alfonso I) and in Naples (under the title Alfonso il Sesto re di Castiglia). Two years later, this last version was revived in Palermo, again, as in Naples, to celebrate the birthday of King Charles II of Spain. None of these three librettos indicates Lope’s authorship nor it has been hypothesized until now. However, the plot of all librettos is clearly based on Lope’s play. This chapter aims at illustrating the relation between the librettos for these three performances and La fuerza lastimosa. It also discusses the context of all the stagings and identifies some of the existing musical sources. Finally, it argues that Alessandro Scarlatti could be the author of the Neapolitan score.
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Davis, Robert C. "9. Arsenal and Arsenalotti: Workplace and Community in Seventeenth-Century Venice." In The Workplace before the Factory, edited by Leonard N. Rosenband, 180–203. Ithaca, NY: Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501737732-011.

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Shaw, James. "14. Liquidation or certification? Small claims disputes and retail credit in seventeenth-century Venice." In Buyers and Sellers, 277–95. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.seuh-eb.4.00125.

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Kennedy, T. Frank. "Jesuit Opera in Seventeenth-Century Vienna: Patientis Christi memoria by Johann Bernhard Staudt (1654–1712)." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy, 787–92. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-048.

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Markaki, Tatiana. "Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)." In La moda come motore economico: innovazione di processo e prodotto, nuove strategie commerciali, comportamento dei consumatori / Fashion as an economic engine: process and product innovation, commercial strategies, consumer behavior, 15–24. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-565-3.04.

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This paper investigates innovations of the early modern European textile industry and practices of cultural transfer using seventeenth-century Venetian Crete as a case study. It explores the use of novelties, such as mixed cloths, in the dowries assigned to brides in the urban setting of Candia (modern Heraklion) and the surrounding countryside during the period 1600-1645. It draws on computer-processed data from marriage agreements and inventories of movables from the State Archives of Venice. It illustrates, through a comparative lens, how brides used (silk) mixed fabrics to differentiate themselves from others and how Venetian Crete followed the changes in production techniques of the European textile industry.
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6

Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." In Studies in Seventeenth-Century Opera, 181–203. Routledge, 2017. http://dx.doi.org/10.4324/9781315087610-7.

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7

Glixon, Beth L. "La sirena antica dell’Adriatico: Caterina Porri, a Seventeenth-Century Roman Prima Donna on the Stages of Venice, Bologna, and Pavia." In Studies in Seventeenth-Century Opera, 207–33. Routledge, 2017. http://dx.doi.org/10.4324/9781315087610-8.

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Glixon, Beth L., and Jonathan E. Glixon. "INTRODUCTION TO THE BUSINESS OF OPERA IN SEVENTEENTH‐CENTURY VENICE: PEOPLE AND FINANCES." In Inventing the Business of Opera, 3–16. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195154160.003.0001.

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9

"OPERA." In Music in the Seventeenth Century, 161–264. Cambridge University Press, 1987. http://dx.doi.org/10.1017/cbo9780511586132.006.

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10

Antonelli, Valerio, Raffaele D’Alessio, and Emanuela Mattia Cafaro. "Bookkeeping Treatises in Seventeenth-Century Venice." In The Origins of Accounting Culture, 101–25. Routledge, 2018. http://dx.doi.org/10.4324/9781315102627-6.

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Тези доповідей конференцій з теми "Opera in the Seventeenth Century Venice"

1

Simou, Xeni. "The Old Navarino fortification (Palaiokastro) at Pylos (Greece). Adaptation to early artillery." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11389.

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Анотація:
Old Navarino fortification (Palaiokastro) is located on the promontory supervising the naturally endowed Navarino-bay at the south-western foot of Peloponnese peninsula, near the contemporary city of Pylos. The cliff where it is built and where ancient relics lie, was fortified by Frankish in the thirteenth century. The fortification though knows significant alterations firstly by Serenissima Republic of Venice from the fifteenth century that aims to dominate the naval routes of Eastern Mediterranean by establishing a system of coastal fortifications and later by the Ottomans after the conquest of Venice’s possessions at Messenia in 1500. Between fifteenth and seventeenth century, apart from important modifications at the initial enceinte of the northern Upper City, the most notable transformation of Old Navarino is the construction of the new Lower fortification area at the south and the southern outwork ending up to the coastline. Especially the Lower fortification is a sample of multiple and large-scale successive alterations for the adjustment to technological advances of artillery (fortification walls reinforcement, modification of tower-bastions, early casemates, gate complex enforcements). The current essay focuses on the study of these specific elements of the early artillery period and the examination of Old Navarino’s strategic role at the time of transition before the adaptation of “bastion-front” fortification patterns, such as those experimented in the design of the fortified city of New Navarino, constructed at the opposite side of the Navarino gulf by the Ottomans (1573).
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2

Ballarin, Matteo, and Nadia D'Agnone. "Paesaggio, suolo, tempo: la rappresentazione dei tempi geologici nella citta' di Catania." In International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.8041.

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Анотація:
Parlare di tempo geologico è un modo di contestualizzare i processi materiali della terra nella sua storia. La scala dei tempi geologici suddivide la lunga storia della terra in eoni, ere, periodi ed epoche, non omogenei tra loro, ma in relazione l'un l'altro a seconda di ciò che emerge dall'analisi dei dati stratigrafici o dallo studio della stratificazione dei diversi livelli della crosta terrestre. Recentemente negli studi relativi a territorio e paesaggio è stata introdotta l'idea che l'epoca dell'Olocene, iniziata circa 11.700 anni fa, sia terminata e che sia stata sostituita da una nuova epoca geologica chiamata Antropocene, ovvero, 'l'era della razza umana'. Per confermare o meno questa ipotesi, siamo partiti da due categorie concettuali di paesaggio: il paesaggio terrestre ed il paesaggio costruito. Il caso studio della città di Catania, in Sicilia, ben si applica a questa ricerca: il suolo della città si è costruito sia tramite l'intensa opera dell'uomo -negli ultimi 40 anni fino a risalire al XVII secolo ed al nucleo greco antico- sia tramite una non indifferente attività geologica, rappresentata dalle molteplici eruzioni vulcaniche e dai frequenti terremoti che hanno colpito la conurbazione nel corso dei secoli. L'analisi -tramite sezioni e carotaggi- della stratigrafia storica ha evidenziato come la forma non solo della città ma del paesaggio di Catania abbia risentito in maniera eccezionale delle mutazioni geologiche intercorse, più di ogni altra città europea, e la rende un oggetto di studio privilegiato per esaminare la correlazione tra paesaggio, tempo ed usi. Geologic time is a way of contextualizing the material processes of the Earth within its long history. The geologic time scale divides the long history of the earth in eons, eras, periods and epochs, not separately, but in relation to each other depending on what emerges from the analysis of stratigraphic data and the different levels of the crust of the earth.Recently, studies related to territory and landscape have introduced the idea that the current Holocene epoch that began 11,700 years ago has ended and has been replaced by a new geological epoch called the Anthropocene, or, 'the era of human race'. To confirm or reject this hypothesis, we started from two conceptual categories of landscape: the terrestrial landscape and the constructed landscape. We apply this research using the case study of Catania, Sicily. The soil of the city of Catania is built is through both the intense work of man – in the last 40 years going back to the seventeenth century and to antiquity with the ancient Greeks – and, through substantial geological activity – by the many volcanoes and frequent earthquakes over the centuries. The analysis is defined by a sectioning and dissection of the historical stratigraphy of the ground of Catania. It reveals how the form of the city and landscape of Catania has undergone exceptional change and mutation evolving slowly in geologic time, more so than any other European city. It is therefore an interesting object of study to examine the relationship between landscape, time and use.
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