Добірка наукової літератури з теми "Pordenone's history"

David Robinson (1930) é personagem incontornável na historiografia do cinema, em especial do cinema silencioso. Além de crítico e autor de uma vasta bibliografia – que inclui obras como Hollywood in the Twenties (1968), The History of World Cinema (1973) e a biografia oficial de Charlie Chaplin, Chaplin: His Life and Art (publicada originalmente em 1985) –, Robinson também desempenha papel ativo na Giornate del Cinema Muto (ou Jornada do Cinema Silencioso de Pordenone), um evento anual que ocorre em outubro, na cidadezinha de Pordenone, ao norte da Itália. Ao longo da entrevista, que se deu na última Giornate, Robinson discorre extensivamente sobre o objeto fílmico, desde a materialidade da película aos sentidos históricos atrelados às obras, destacando a fundamental importância da pesquisa arquivística, catalogação, preservação, restauração e difusão da obra audiovisual produzida durante a voga do cinema silencioso.

Festival Report: For passionate lovers of silent cinema, the first weekend of October is permanently highlighted in the calendar: it is then that a small city in the north of Italy serves up more than just excellent antipasti and chilled Aperol Spritz. Le Giornate del Cinema Muto, or “the days of silent cinema,” commonly known as the Pordenone Silent Film Festival, has been the mecca for film historians and amateurs of “mute flickers” since its founding in 1982. The festival is the largest silent film festival in the world, offering a nine-day bombardment of rediscoveries, restorations, retrospectives, and special events from dusk until well past dawn, projected at the proper speeds and accompanied by such leading early cinema musicians as Neil Brand, John Sweeney, and Günter Buchwald. Film history comes alive. Films reviewed include: Douro, Faina Fluvial (1931), Chuji tabinikki (A Diary of Chuji's Travels, Daisuke Ito, 1927), and Henri Fescourt's 1925–26 rendition of Les Misérables.

Resumo: A tradução de obras em latim para idiomas vernáculos criou a possibilidade de expandir o número de leitores e patrocinou mudanças nas formas de assimilação dos textos. Este artigo pretende investigar como essas mudanças ocorreram tomando como base o estudo do Relatio (1330), um texto de viagem baseado no relato oral do franciscano Odorico de Pordenone em sua jornada ao Extremo Oriente. A partir das cópias em latim e suas traduções dos séculos XIV e XV, buscamos as conclusões, conexões e opiniões dos leitores do norte da Península Itálica, Reino da França e das Ilhas Britânicas. Para tanto, avaliaremos a materialidade das fontes em seu aporte físico, paratextos, interferências escriturais, sinais de manuseio e marcas de propriedade que apontem diferenças no processo de assimilação dos livros em diferentes comunidades de leitores.Palavras-chave: História da leitura medieval; narrativas de viagem; comunidades de leitores; paratextos; codicologia.Abstract: The translation of Latin works to vernacular languages created the possibility to expand the readership and change in the forms of assimilation of these writings. This article intends to find out how these changes have occurred based on the case study of the Relatio (1330), a travel narrative of the Franciscan friar Odoric of Pordenone to the Far East. Drawing on Latin and translated copies written between the 14th and 15th centuries in the north of theItalianPeninsula,Kingdom ofFrance and theBritish Isles, we seek the conclusions, connections and opinions of these readers in their reading process. To do so, we will assess the materiality of the sources physical constitution, paratexts, copyist interference, handling marks and trademarks that point to differences in the assimilation of books in different communities of readers.Keywords: History of medieval reading; travel narratives; communities of readers; paratexts; codicology.

This paper reconsiders Andrea Doria's 16th-century villa in Genoa as an architectural and garden monument in relation to its original suburban setting. The villa has thus far been discussed primarily as a decorative monument, with scholars focusing their attention upon the interior fresco and stucco decorations of Perino del Vaga and façade paintings by Perino, Beccafumi, and Pordenone. However, these paintings have not been understood fully in terms of the architectural, garden, and suburban context of the villa, which serves as the focus of this study. A biographical sketch of Doria is followed by a building history of his villa, tracing its classical and Renaissance prototypes, the development of the building plan, and phases of construction. Giovanni Angelo Montorsoli's gardens of the 1540s are reconstructed from visual and literary sources, then related to the villa architecture and its suburban environs. A discussion of urban planning around the villa during the 1530s and 1540s shows how the villa functioned as a ceremonial entry monument into Genoa. Concluding remarks on the triumphal receptions of Emperor Charles V and Philip II at the Villa Doria during the mid-16th century underscore the importance of the villa's architecture, gardens, and suburb as a unified work of art.

Objectives: To review the cases of patients with suspected penile fracture and asses erectile and sexological outcomes. Materials and methods: from 1987 to 2013 presented to the Urology Clinic of Trieste and at the AIED of Pordenone a total of 41 cases that were divided into two groups according to the timing of treatment: 18 patients with anamnestic diagnosis of penile fracture treated nonimmediately and 23 patients treated immediately after the trauma. For all patients we evaluated the type of treatment adopted, the occurrence of complications and reoperations and the follow-up. The erectile function was also evaluated through the IIEF, as well as the psychological impact of the trauma on social and sex life, using a psycho- sexological questionnaire. Results: Among patients treated immediately after the trauma 14 were subjected to surgery. About a year after surgery, penile curvature was reported in 1 patient, pain in 3 patients, urinary disorders in 1 patient, while none reported erectile dysfunction (ED). Out of these, only 3 patients underwent reoperation. Among those treated conservatively 1 patient reported curvature, 1 patient reported pain and none reported ED. Among patients who were admitted at a later date, 14 reported curvature and 4 reported pain whereas urinary disorders were reported in 1 and ED in 4 patients. From a psychological point of view, the trauma caused in most cases a fear of new trauma and of repercussions on erectile function and sensitivity. Conclusions: The diagnosis is mainly clinical; however, radiological investigation is essential to confirm the diagnosis, assess the site and extent of the trauma and possible urethral involvement, so as to plan the most appropriate treatment. In addition, immediate treatment leads to better long-term results, with a lower incidence of ED and penile curvature. Psychologically, penile trauma intensifies the fear of reoccurrence; it decreases, however, with the passage of time.

AbstractThe article deals with several medieval travel accounts about Asia, which were produced during the 13th and 14th centuries, in the time of the so called Mongol mission. These reports were written by Franciscan and also some Dominican missionaries, namely William of Rubruck, John Plano of Carpini, Odoric of Pordenone, John of Marignola, Jordanus Catalanus and a few others. The aim of the article is to analyze the encounter of European travelers’ “traditional” ideas about Asia with the actual reality. Did the friars mostly rely on their anticipations, or were they open to new information, even if this could destroy views often advocated by eminent authorities of European medieval thought? The article analyses three “traditional” topoi, each of them in the context of the above-mentioned reports: earthly paradise, the kingdom of Prester John and human monsters. All of them belonged to the medieval lore regarding the East, as testified by many literary as well as pictorial documents. Each of the authors adopted a slightly different strategy for how to solve the potential conflicts between “tradition” and experience. Finally, I suggest conceptualizing the problem of “tradition” and experience in medieval travel accounts with reference to a typology of “otherness” created by Karlheinz Ohle. According to Ohle, a “cognitive Other” (1) is an unknown, never encountered Other which can only be imagined, whereas a “normative Other” (2), is an Other which is directly encountered and gradually explored. In my opinion, the friars’ medieval travel accounts actually reflect a shift from imagination towards gradual encounter and exploration — in these reports the imagined (cognitive) fabulous East gradually turned into an explored (normative) reality.

A combined spectroscopic–chemometric approach is used to investigate the possible sources of material exploited by the Romans to build four domus and a public thermae complex (I century BC–II century AD) located in the X Regio portion between the rivers Livenza and Tagliamento in northeast Italy. The rounded grain shapes observed in the aggregates recovered from the mortar fragments suggest that the rivers flowing close to the archaeological sites are the most likely sources of material. Coarse-grained sediment samples from nine rivers and streams in this area are examined and their similarities to the aggregate samples evaluated. The diffuse reflection Fourier transform infrared (FT-IR) spectra of the sand samples in the 63–420 µm fraction, consisting mainly of carbonates and silicates, are studied and compared in suitable spectral ranges through principal components analysis. As an additional step, the relationship between the most significant scores plots and the composition of the samples is investigated using appropriate descriptive indexes obtained from the spectra. The analysis performed on the river sand spectra alone shows that the samples from the easternmost Lemene and Tagliamento rivers present a behavior distinct from that of the western rivers (Cosa, Livenza, Meduna, Meschio, and Noncello), in agreement with their present location and past history. All the aggregate spectra investigated are compatible with the spectral characteristics of the samples from the Tagliamento and Lemene rivers, except for those from the Torre di Pordenone site, which are more similar to the sand spectra of the western rivers.

From family archive to aristocratic collection. The Montereale Mantica collection The history of the Montereale Mantica family starts at the beginning of the Seventeenth century from the union of two dynasties with different background and origin, but both significantly present in the XV-XVII centuries in the social and political life of Pordenone. An important role built also thanks to the network of parental ties woven over time with members of the Friulian aristocracy, including the Fontana and Ricchieri. It is no coincidence, therefore, that two fundamental works to the city's history - the Diplomatarium Portusnaonense by Giuseppe Valentinelli (1865) and the Storia di Pordenone by Andrea Benedetti (1964) - have largely drawn on the papers kept in the Montereale Mantica house to document both facts and institutional and cultural contexts of this community. The aim of this work is to traces the history of the family's archive, highlighting settings and ways in which the documents where created or transferred, stored and ordered. In particular, the work analyses the impact of the personal interests and activities of Pietro Montereale Mantica (1793-1861) on the constructed nature of the collection. The investigation of the archival material has interwoven three directives. Firstly the comparison with the timeline, represented by the story of the family and of the groups, persons and institutions that, for various reasons, had participated in its events; secondly the attention to extrinsic aspects and marks that could explain the development of practices and strategies on the archive's processing; thirdly the analysis of the incidence of professional and cultural relations of Pietro Montereale Mantica on the internal structure of the fond. And it is precisely his passion for collecting and his cooperation with the Nineteenth-century world of local historiography that makes the structure of his family archive, as documented by this work, peculiar. It is, in fact, a collection that differs in various aspects from the "azienda famiglia" archive, the model of Italian's aristocratic archive in the pre-unification period, of which there are also examples in Friuli. Certainly, we find in Peter a "genealogical ganze", which is the basis of the vision of the archive as a heritage to be handed down on to future generations. But in addition to this, there is particular attention to identify in the papers of his family, and other private and public corporate bodies, the documents useful to shed light on the events and personalities of the Pordenone's history. In this context, the introduction to the inventory, exclusively based on a topographical criterion, presents an interpretation of the general structure of the collection. Besides, it identifies the archive’s parts and the interrelations between them, how the documents were acquired, the choices made by the authors of the archival process and the modifications due to the early Twentieth century's researchers. Forgotten for over fifty years, the Montereale Mantica archive is now available again to researchers. It forms the basis for the analysis and deepening of the history of this family and of the parental groups linked to it. Moreover, the comparison between the documents of this archive and other local archives will shed light on aspects of the community's history that are still unexplored.

Le contact entre le vénitien et le frioulan se retrouve dans tous les domaines : géographique, historique, linguistique et socio-linguistique. En l’étudiant dans la province de Pordenone, plus précisément à Bannia, nous sommes arrivée à la conclusion qu’il s’agit d’une langue qui a toutes les caractéristiques d’une zone de contacts. Le frioulan parlé dans le Frioul Occidental présente des particularités au niveau linguistique : les plus importantes sont la diphtongaison, la présence de dentales et de sonores. Le dialecte de Bannia a toutes les particularités du frioulan occidental avec des marques du vénitien. Il est l’exemple type d’une zone de transition. Il est à noter qu’au niveau socio-linguistique les habitants de Bannia gardent leur identité frioulane même s’ils intègrent l’italien et qu’ils font des emprunts à la langue vénitienne. Nous constatons que la démarche des habitants de Bannia d’intégrer le vénitien dans leur parler tend à diminuer depuis quelques années au profit de la réintégration du frioulan. Nous nous trouvons dans une situation de bilinguisme et de diglossie. Les locuteurs frioulans semblent avoir créé une langue propre, qu’ils nomment “el talian furlan”, que nous pouvons traduire par l’italien-frioulan
Le contact entre le vénitien et le frioulan se retrouve dans tous les domaines : géographique, historique, linguistique et socio-linguistique. En l’étudiant dans la province de Pordenone, plus précisément à Bannia, nous sommes arrivée à la conclusion qu’il s’agit d’une langue qui a toutes les caractéristiques d’une zone de contacts. Le frioulan parlé dans le Frioul Occidental présente des particularités au niveau linguistique : les plus importantes sont la diphtongaison, la présence de dentales et de sonores. Le dialecte de Bannia a toutes les particularités du frioulan occidental avec des marques du vénitien. Il est l’exemple type d’une zone de transition. Il est à noter qu’au niveau socio-linguistique les habitants de Bannia gardent leur identité frioulane même s’ils intègrent l’italien et qu’ils font des emprunts à la langue vénitienne. Nous constatons que la démarche des habitants de Bannia d’intégrer le vénitien dans leur parler tend à diminuer depuis quelques années au profit de la réintégration du frioulan. Nous nous trouvons dans une situation de bilinguisme et de diglossie. Les locuteurs frioulans semblent avoir créé une langue propre, qu’ils nomment “el talian furlan”, que nous pouvons traduire par l’italien-frioulan

The fact that silent cinema is not to be considered just as a precursor to sound cinema, in an evolutionary sense, is today well acknowledged. The studies of scholars such as Tom Gunning, André Gaudreault, Richard Abel, Noël Burch and Charles Musser have moreover invited to consider what the “silent era” harbored not just as another cinema than the “sound” one, but as a number of “other” ways to conceive cinema, each one of them needing an accurately different approach, whatever is the chosen perspective (historiographical, aesthetic, sociologic, etc.) to look at them from. However, it is strange how one of these perspectives seems to be reluctant in accepting this awareness towards the silent production. It is the musical perspective: even if studies that deal with silent film music according to the specific features of the different languages of the silents have been developed indeed (most notably, the ones by Rick Altman), they nonetheless remain a minority. The panorama of discourses about film music, as of 2010, can still include authoritative contributions saying that «almost nothing has changed from the beginnings to present days» in the general way in which music interacts with moving images. Signs of this attitude are to be found even in the field of film preservation. Film archives devoted to silents, in fact, do not often accompany their film collections with pertinent music collections. There are, of course, meaningful exceptions, like the silent music collections at the Library of Congress or at the MoMA, or the Eyl/Van Houten Collection at the Nederlands Filmmuseum. But they are, precisely, exceptions. This situation apparently clashes with the need for «painstaking historical research» that Rick Altman recommends to be at the core of contemporary studies on silent films. A research done within an archive of silent film, in fact, is likely to be incomplete on the side of music and sound practices. Musicians of the silent era interacted with films by staying at the side of the screen, in the shadows next to the light of the projector: it is quite ironic how the discourse on their music, now, is again confined in a “shadow” – a metaphoric one, though - which borders with the “light” of the modern studies on silent cinema, but cannot proficiently interact with it. «It is time», as Altman said, «to include sound in silent cinema’s historiographical revival». A complete silent film music archive should be at the interface between a music library and a performing arts collection. Written scores, during the silent era, were a minority: the greatest part of the musical practice was instead based on cue sheets, compilations, repertoires, or even improvisations –which cannot of course have left any trace outside occasional accounts from audience members or the performers themselves. Moreover, practices of non-musical sonorization where often complementary to and concurrent with music performances: so, there is an evident need to keep record of them too. In addition to that, it must be remembered that, especially since the 1980 Thames Television presentation of Abel Gance’s Napoléon, reconstructed by Kevin Brownlow with new music by Carl Davis, the repertoire of the music for the silents started to grow again. In the last 30 years, the venues where silent film are screened in a way respectful of historical practices multiplied, as well as the production of appropriate music accompaniments founded on complete scores, but also, again, on cue sheets and improvisations, just like during the actual silent age. It seems reasonable for this “new” tradition of music for silents to be preserved alongside the historical documents which are its origin and source of inspiration. My Ph. D. thesis uses these considerations as a premise to reconstruct and study a special and circumscribed collection of silent film music: the repertoire played at the international silent film festival Le Giornate del Cinema Muto from 1982 to present days. The accuracy shown by this festival in the presentation and divulgation of silent film music practices provides in fact a solid ground for a project of this kind. In addition to that, Le Giornate have already expressed, in 2009, the intention of having such an archive developed in Pordenone, after a suggestion I advanced during the XI Collegium organized by the festival. The thesis is divided into two parts. The first one includes an introductory chapter, where problems about the archival preservation of musical sources pertinent to silent film music are discussed; then, a first chapter deals with an outline of the history of music for silent films, choosing a non-linear approach based on the insurgence of musical practices more than on a chronological succession; finally, the first part is concluded by a chapter describing the aesthetic of music for silent films, comprehensive of a review of the pertinent literature and a description of the audiovisual strategies used by the composers. The second part is the repertoire of the music that has been performed live at Le Giornate del Cinema Muto on the basis of written scores. 115 films are listed following the 29 editions of the Festival, with full filmographic information. Each film is accompanied by a short analysis of the main audiovisual strategies. The sources of this research are mainly the audiovisual recordings of the screenings at le Giornate del Cinema Muto preserved at La Cineteca del Friuli, Gemona. Other details have been collected through conversations (in person or via email) with some of the authors of the music: Gillian B. Anderson, Neil Brand, Günter A. Buchwald, Philip Carli, Antonio Coppola, Berndt Heller, Stephen Horne, Maud Nelissen, Donald Sosin and Gabriel Thibaudeau.
Il fatto che il cinema muto non possa essere considerato un mero precursore del cinema sonoro, secondo una logica «biologica e teleologica», è oggi ampiamente riconosciuto. Le riflessioni di studiosi quali Tom Gunning, André Gaudreault, Richard Abel, Noël Burch e Charles Musser hanno inoltre invitato a considerare il muto non solo come un altro cinema rispetto al sonoro, ma come un sistema di pratiche cinematografiche concorrenti ed essenzialmente diverse da quella del sonoro, decisamente mal raccolte sotto l’etichetta generica “cinema muto”. Ciascuna di queste maniere cinematografiche, numerose e dall’identificazione e denominazione controversa– cinematografia-attrazione, cinema dei primi tempi, cinema primitivo, ecc. – necessita di distinti strumenti d’analisi, quale che sia il punto di vista (storiografico, estetico, sociologico, ecc.) scelto per studiarla. È tuttavia strano come uno di questi possibili punti di vista si stia ancor oggi dimostrando piuttosto riluttante nell’accettare tale genere di consapevolezza nei confronti del muto. Si tratta del punto di vista musicale. È vero che non sono mancati gli studi teorici capaci di trattare la musica per il cinema muto tenendo conto della molteplicità e delle differenti necessità dei linguaggi visivi di quell’epoca: Rick Altman ha in particolare offerto alcune delle riflessioni più interessanti in tal senso. Ma tali riflessioni sono rimaste una minoranza. Il panorama dei discorsi sulla musica per film nel 2010 è ancora in grado di accogliere contributi importanti che tuttavia non differenziano le strategie audiovisive del sonoro da quelle del muto, sostenendo che nella maniera generale in cui la musica interagisce con l’immagine in movimento «poco o nulla è cambiato dalle origini ad oggi». Segni di questa tendenza si riscontrano persino nell’ambito della preservazione dei film. Gli archivi cinematografici attivi nella conservazione del muto, infatti, raramente accompagnano le loro collezioni con archivi paralleli destinati alla documentazione relativa alla musica. Esiste, bisogna riconoscere, la consapevolezza dell’importanza che i documenti musicali possono avere nelle operazioni di restauro e preservazione dei film. Esistono inoltre casi particolari di raccolte di musica per il muto gestite in sinergia con archivi di film, come le collezioni di musica per il muto conservate alla Library of Congress di Washington, DC, o al Museum of Modern Arts (MoMA) di New York, oppure la Eyl/Van Houten Collection presso il Nederlands Filmmuseum. Ma si tratta di eccezioni: e fino alla fine degli anni ’80 in effetti non esistevano significative raccolte di musica per il cinema muto al di fuori di quella del MoMA. Questo stato delle cose sembra in apparente contrasto con la necessità di una «ricerca storica coscienziosa» che Altman raccomanda parlando dell’approccio contemporaneo al muto. Infatti, allo stato attuale delle cose, una ricerca sul muto svolta in un singolo archivio rischia plausibilmente di essere molto carente sul versante delle pratiche sonore e musicali. Durante l’epoca del muto, i musicisti interagivano con i film restando accanto allo schermo, nell’ombra vicina alla luce del proiettore. È piuttosto ironico come oggi i discorsi sviluppati attorno alla loro musica siano nuovamente costretti in un’“ombra” – metaforica, stavolta – che sta ai confini della “luce” costituita dai moderni studi sul cinema muto, senza però poter ben interagire con essa. «È tempo», come ha scritto Altman, «di includere il suono nella rinascita storiografica del cinema muto». Un archivio della musica per il cinema muto dovrebbe porsi all’intersezione tra una biblioteca musicale ed una collezione di materiali legati alle arti performative. Le partiture scritte, durante l’epoca del muto, erano infatti una minoranza: la maggior parte della pratica musicale si fondava su cue sheet, compilazioni, repertori o improvvisazioni – che non possono aver lasciato alcuna traccia al di fuori di occasionali resoconti di membri del pubblico o degli stessi musicisti. In più, pratiche di sonorizzazione non musicali erano spesso concomitanti e complementari alle esecuzioni: esiste dunque una chiara urgenza di preservare anche qualsiasi tipo di documentazione parli di esse. In aggiunta a ciò, occorre ricordare che, almeno dalla presentazione del 1980 del Napoleon di Abel Gance prodotta da Thames Television, che ha mostrato il film ricostruito da Kevin Brownlow con una nuova musica di Carl Davis, il repertorio della musica per il muto ha cominciato a crescere di nuovo. Negli ultimi trent’anni, i luoghi dove i film muti vengono proiettati in maniera rispettosa di pratiche musicali storiche si sono moltiplicati, assieme alla produzione di partiture, cue sheet e improvvisazioni. Sembra ragionevole offrire a questa “nuova” tradizione di musica per il muto un posto accanto ai documenti che ne sono origine ed ispirazione. La mia tesi di dottorato utilizza queste considerazioni come premessa per ricostruire e studiare una collezione particolare e circoscritta di musica per il cinema muto: il repertorio di partiture eseguite al Festival internazionale Le Giornate del Cinema Muto, dal 1982 al 2010. L’accuratezza filologica dimostrata da tale Festival nella presentazione e nella divulgazione delle pratiche musicali del muto offre infatti una solida base per studi di questo genere. Inoltre, Le Giornate del Cinema Muto hanno già espresso, nel 2009, l’intenzione di fondare concretamente un archivio come quello sopra descritto, in seguito ad un suggerimento da me avanzato nel corso del XI Collegium di studi organizzato dalla manifestazione. La tesi è divisa in due parti. La prima include un capitolo introduttivo, dove vengono discussi problemi riguardanti la conservazione archivistica delle fonti musicali pertinenti alla musica per il muto; dopodiché, un primo capitolo tratta della storia della musica per il muto, scegliendo un approccio non lineare guidato dallo sviluppo delle pratiche musicali, e non da una consequenzialità cronologica; infine, la prima parte si conclude con un capitolo descrivente l’estetica della musica per il muto, nel quale si offre una rassegna della letteratura sull’argomento ed una descrizione delle strategie audiovisive utilizzate dai compositori. La seconda parte presenta il repertorio della musica che è stata eseguita a Le Giornate del Cinema Muto sulla base di partiture scritte. Si tratta di un elenco di 115 film, coprente la 29 edizioni del Festival e completo di informazioni filmografiche. Ogni scheda di film è accompagnata da una breve analisi delle principali strategie audiovisive. Le fonti di questa ricerca sono principalmente le registrazioni audiovisive delle proiezioni a Le Giornate del Cinema Muto conservate presso La Cineteca del Friuli, Gemona. Altri dettagli si sono ottenuti tramite conversazioni (di persona o tramite email) con alcuni degli autori delle musiche: Gillian B. Anderson, Neil Brand, Günter A. Buchwald, Philip Carli, Antonio Coppola, Berndt Heller, Stephen Horne, Maud Nelissen, Donald Sosin e Gabriel Thibaudeau.