Università degli studi di Macerata: Riviste digitali
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I saperi storico-educativi all’Università di Torino tra istanze istituzionali, processi culturali e strategie didattiche (1845-2000)
Get PDFThe essay traces the stages through which the transmission of historicalpedagogical knowledge took place at the University of Turin between the 19th and 20th centuries. The establishment of chairs, the educational and research profiles of professors, as well as the programs and the contents transmitted are examined. Although following a non-linear path, characterized more by continuity rather than by transformations, the history of historical-pedagogical subjects at the University of Turin shows the acquisition of an increasingly distinctive identity both in research and teaching, particularly evident from the 1960s onward.The essay traces the stages through which the transmission of historicalpedagogical knowledge took place at the University of Turin between the 19th and 20th centuries. The establishment of chairs, the educational and research profiles of professors, as well as the programs and the contents transmitted are examined. Although following a non-linear path, characterized more by continuity rather than by transformations, the history of historical-pedagogical subjects at the University of Turin shows the acquisition of an increasingly distinctive identity both in research and teaching, particularly evident from the 1960s onward
La storia della scuola e della letteratura per l’infanzia tra rappresentazione museale e educazione al patrimonio: l’esperienza del Museo della scuola e dell’educazione popolare dell’Università del Molise
Get PDFThe paper aims to present the experience of the Museum of School and Popular Education (MuSEP) at the University of Molise. The Museum was officially established in 2013 as an outgrowth of the Ce.S.I.S., which had already been active since 2006. Since 2017, MuSEP has also been part of the university museum network MuseUnimol. The paper highlights the close relationship between the orientations of historical-educational research and the activities carried out by the Museum. A theoretical framework on heritage education is then provided, accompanied by several project-based examples. Another area of focus of the Museum is the promotion of reading, which is described both in its conceptual dimensions and through concrete initiatives. Attention is also given to the most innovative aspect, namely the use of new technologies.The paper aims to present the experience of the Museum of School and Popular Education (MuSEP) at the University of Molise. The Museum was officially established in 2013 as an outgrowth of the Ce.S.I.S., which had already been active since 2006. Since 2017, MuSEP has also been part of the university museum network MuseUnimol. The paper highlights the close relationship between the orientations of historical-educational research and the activities carried out by the Museum. A theoretical framework on heritage education is then provided, accompanied by several project-based examples. Another area of focus of the Museum is the promotion of reading, which is described both in its conceptual dimensions and through concrete initiatives. Attention is also given to the most innovative aspect, namely the use of new technologies
Falsi e falsari nell’epoca di Internet. False testimonianze. Copie, contraffazioni, manipolazioni e abusi del documento epigrafico antico
Get PDFL’interesse per i falsi epigrafici è esploso – si può dire – in quest’ultimo decennio, dando luogo a convegni di studio (Spurii lapides, ecc., Milano 2018; La falsificazione epigrafica, ecc. Venezia 2019; False notizie… fake news, ecc., Milano 2019, nonché quello di cui tratta in queste pagine), e ad una quantità considerevole di contributi in varie sedi (di qualcuno avrò occasione di fare cenno)
Scavi di Suasa II. La necropoli orientale
Get PDFIl secondo volume della collana “Scavi di Suasa” ha per argomento l’indagine condotta con campagne mensili dal 2012 al 2016 nell’area della Necropoli Orientale di Suasa, la città romana dell’ager Gallicus ubicata nella media valle del fiume Cesano, nell’ambito della più che trentennale attività di ricerca e valorizzazione del sito svolta, su concessione ministeriale, dagli archeologi dell’Università di Bologna
Screditare Benedetto Croce. Aldo Romano tra storiografia e spionaggio
Get PDFThe essay examines the winding life path of Aldo Romano, a young Neapolitan intellectual in Benedetto Croce’s inner circle. He was recruited by the regime to gather information in order to blackmail Croce for his anti-fascist early years. Espionage intertwines with the historiography on Risorgimento and the immediate postwar period, when the damning papers, exposing him as a spy, resurfaced and damaged his professional prospects. In the background looms the rivalry with Carlo Rosselli, and the efforts of De Vecchi and Volpe to endorse a new generation of scholars.Il saggio analizza il tortuoso itinerario di un giovane intellettuale partenopeo, Aldo Romano, inserito nell’entourage di Benedetto Croce e utilizzato dal regime per carpire informazioni ai suoi danni, ricattandolo per i trascorsi antifascisti. Lo spionaggio s’intreccia con la storiografia risorgimentale e, nell’immediato dopoguerra, con l’emergere dell’infamante documentazione, col risultato di bollare Romano come spia e penalizzarlo nell’avvenire professionale. Sullo sfondo campeggiano la rivalità con Carlo Rosselli e l’operato di De Vecchi e Volpe per promuovere una nuova generazione di studiosi
Play that game. Gli scivoli di Carsten Höller. Il gioco come strumento partecipativo in contesti istituzionali / Play that Game. Carsten Höller's slides. Games as a Participatory Tool in Institutional Contexts
No full textSince the 1960s, an increasing number of exhibitions and artistic interventions have called for the direct participation of the viewer as an integral part of the process of signification of the works of art. Such a methodology, in recent decades, seems to occupy a prominent place in the artistic production and exhibition activities of museums and galleries, initiating a radical rethinking of the relationship between object, artist, audience and institution. Among the various ways of organizing participation, play and entertainment have been chosen by numerous artists who, through their work in institutional spaces, have contributed to the development of what has been called the "ludic museum": Carsten Höller represents, without a doubt, a paradigmatic example of such an approach. The contribution aims to offer, considering the recent critical debate on the issue, a key to interpreting the famous slides that the German artist has been setting up in museums and cultural institutions around the world since the late 1990s.A partire dagli anni Sessanta del secolo scorso, un numero crescente di mostre e interventi artistici ha richiesto la partecipazione diretta del fruitore come parte integrante del processo di significazione delle opere stesse. Una siffatta metodologia, negli ultimi decenni, sembra occupare un posto di rilievo nella produzione artistica e nelle attività espositive di musei e gallerie, avviando un radicale ripensamento del rapporto tra oggetto, artista, pubblico ed istituzione. Tra i vari modi di organizzare la partecipazione, il gioco e l’intrattenimento ludico sono stati scelti da numerosi artisti che, con il loro lavoro in spazi istituzionali, hanno contribuito alla messa a punto di quello che è stato definito “museo ludico”: Carsten Höller rappresenta, senza dubbio, un esempio paradigmatico di un siffatto approccio. Il contributo mira ad offrire, alla luce del recente dibattito critico sulla questione, una chiave di lettura dei celebri scivoli che l’artista tedesco, dalla fine degli anni Novanta del Novecento, allestisce in musei e istituzioni culturali di tutto il mondo.
Since the 1960s, an increasing number of exhibitions and artistic interventions have called for the direct participation of the viewer as an integral part of the process of signification of the works of art. Such a methodology, in recent decades, seems to occupy a prominent place in the artistic production and exhibition activities of museums and galleries, initiating a radical rethinking of the relationship between object, artist, audience and institution. Among the various ways of organizing participation, play and entertainment have been chosen by numerous artists who, through their work in institutional spaces, have contributed to the development of what has been called the "ludic museum": Carsten Höller represents, without a doubt, a paradigmatic example of such an approach. The contribution aims to offer, considering the recent critical debate on the issue, a key to interpreting the famous slides that the German artist has been setting up in museums and cultural institutions around the world since the late 1990s
La chiesa di Petrus e Johanna: nuove proposte su Santa Maria in Pallara a Roma / The church of Petrus and Johanna: new proposals on Santa Maria in Pallara in Rome
No full textThe church of S. Maria in Pallara on the Palatine has always attracted the attention of scholars for its uniqueness among the 10th century Roman paintings, for its unknown patron and for his innovative iconographic choices. This essay, through the study of various descriptions and Antonio Eclissis’watercolors, proposes an overall reconstruction of the paintings on the side walls and, therefore, of the personalities behind their patronage. The new proposals aim to reintegrate the monument within the long history of Roman Early Middle Ages wall painting to highlight its inspiring models, its possible comparisons and, above all, its relationship with the cultural and religious environment of the 10th century, and the unexpected activism of women as patron.La chiesa di S. Maria in Pallara sul Palatino ha sempre attirato l’attenzione degli studiosi per la sua unicità tra le pitture del X secolo romano, per il suo ignoto committente e per le sue innovative scelte iconografiche. Questo saggio, tramite lo studio di varie descrizioni e degli acquerelli di Antonio Eclissi, propone una ricostruzione complessiva delle pitture delle pareti laterali e, quindi, delle personalità alla base della loro committenza. Le nuove proposte mirano a reintegrare il monumento all’interno della lunga storia della pittura parietale dell’Alto Medioevo romano per evidenziare i suoi modelli ispiratori, i suoi possibili confronti e, soprattutto, il suo rapporto con l’ambiente culturale e religioso del X secolo e l’inaspettato attivismo delle donne come committenti.
The church of S. Maria in Pallara on the Palatine has always attracted the attention of scholars for its uniqueness among the 10th century Roman paintings, for its unknown patron and for his innovative iconographic choices. This essay, through the study of various descriptions and Antonio Eclissis’watercolors, proposes an overall reconstruction of the paintings on the side walls and, therefore, of the personalities behind their patronage. The new proposals aim to reintegrate the monument within the long history of Roman Early Middle Ages wall painting to highlight its inspiring models, its possible comparisons and, above all, its relationship with the cultural and religious environment of the 10th century, and the unexpected activism of women as patron
La storia della miniatura attraverso le attività del Ministero della Pubblica Istruzione: per una breve biografia novecentesca della disciplina / The History of the Miniature through the Activities of the Ministry of Education: for a Brief Biography of the Discipline in the 20th Century
No full textAbstract: Based on the method of the History of art history, this article attempts to contribute to the reconstruction of the Italian history of illumination history. The main subject of the research is the development of the historiographical method as it emerges from a critical analysis of some studies published in the «Bollettino d’arte» over about fifty years. The quantity and quality of the contributions dedicated to the philological study, the identification of the author and the dating of the illuminations discovered and investigated in the Italian territory during the first half of the century allowed the analysis to highlight the general path of consolidation and emancipation of the realm of the History of Illumination from the method of the History of paintings, from which it depended at least until the 1960s.Inserendosi nel solco metodologico della storia della storia dell’arte, il saggio è dedicato al tentativo di ricostruire in filigrana lo sviluppo della storiografia italiana della miniatura per come emerge da una rilettura critica di alcuni contributi comparsi sul «Bollettino d’arte» nell’arco di un cinquantennio. Luogo di riflessione e divulgazione delle conoscenze specialistiche che si assestavano parallelamente in studi accademici e cataloghi, l’archivio storico della rivista ministeriale restituisce un repertorio esemplare di ricerche in grado di sintetizzare la complessità del pro-cesso. La densità dei contributi dedicati allo studio filologico, all’attribuzione e alla datazione delle miniature scoperte e riscoperte nel territorio italiano nel corso della prima metà del secolo consente all’analisi, benché specificamente condotta sulla rivista governativa, di mettere in evidenza il percorso generale di consolidamento ed emancipazione del settore della storia della miniatura dal metodo peculiare della storia della pittura, da cui dipese almeno inizialmente, fino al raggiungimento di una piena specializzazione negli anni Sessanta del Novecento.
Based on the method of the History of art history, this article attempts to contribute to the reconstruction of the Italian history of illumination history. The main subject of the research is the development of the historiographical method as it emerges from a critical analysis of some studies published in the «Bollettino d’arte» over about fifty years. The quantity and quality of the contributions dedicated to the philological study, the identification of the author and the dating of the illuminations discovered and investigated in the Italian territory during the first half of the century allowed the analysis to highlight the general path of consolidation and emancipation of the realm of the History of Illumination from the method of the History of paintings, from which it depended at least until the 1960s
Il Medioevo di Charles Percier (1764-1838). Tra percezione e documento: prime riflessioni su alcuni inediti disegni romani/The Middle Ages by Charles Percier (1764-1838). Between perception and document: initial reflections on some unpublished Roman drawings
No full textThe graphic work of the French architect Charles Percier, pensionnaire at the Académie de France in Rome, shows a strong interest in the Middle Ages. Although this aspect is well known, it has not yet been studied in depth. For this reason, the present article is intended to serve as a first moment of reflection and investigation, on the one hand to explore how Percier perceived and represented medieval architecture, and on the other to assess the reliability of his drawings as a record of a heritage that has since disappeared or been altered. This corpus of work has proved to be an invaluable resource, highlighting, among other things, two distinct contexts between Italy and France. This essay presents a selection of examples, with particular reference to the sketches made during Percier's stay in Rome between 1789 and 1791.Nell’opera grafica dell’architetto francese Charles Percier, pensionnaire dell’Accademia di Francia a Roma, si riscontra un interesse non trascurabile per il Medioevo. Sebbene questo aspetto sia noto, è stato tuttavia finora poco approfondito. A ragione di ciò, il presente contributo si propone come un primo momento di riflessione e indagine, volto da un lato a esplorare il modo in cui Percier percepisce e rappresenta l’architettura medievale e dall’altro a valutare l’attendibilità dei suoi disegni come documento di un patrimonio ormai scomparso o modificato. Il corpus si è rivelato una risorsa di grande valore, mettendo in luce, tra l’altro, due contesti distinti tra Italia e Francia. In questo saggio vengono presentati alcuni esempi, con particolare riferimento agli schizzi realizzati durante il soggiorno romano, tra il 1789 e il 1791.
The graphic work of the French architect Charles Percier, pensionnaire at the Académie de France in Rome, shows a strong interest in the Middle Ages. Although this aspect is well known, it has not yet been studied in depth. For this reason, the present article is intended to serve as a first moment of reflection and investigation, on the one hand to explore how Percier perceived and represented medieval architecture, and on the other to assess the reliability of his drawings as a record of a heritage that has since disappeared or been altered. This corpus of work has proved to be an invaluable resource, highlighting, among other things, two distinct contexts between Italy and France. This essay presents a selection of examples, with particular reference to the sketches made during Percier's stay in Rome between 1789 and 1791
