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Tra parole e immagini: la valorizzazione del patrimonio storico-educativo al Pio Istituto dei Sordi di Milano
Get PDFThe Pious Institute for poor country deaf mutes of Milan was opened in
1854 and quickly gained fame and stability, allowing it to operate continuously for the education of the deaf until the early 1990s when school activities ceased. Today, the legacy
of the institution has been taken up by a Foundation, which in recent years has promoted
various initiatives to enhance its historical-educational heritage. Firstly, a project was carried out to arrange and catalog the library and then a significant part of the photographic
materials has been organized and digitized. This essay focuses on presenting both the
sources and the projects. Moreover, it aims to specify how the easier access to the heritage
allows the engagement of a wide variety of potential users and particularly of the Italian
deaf community, facilitated in the process of defining its linguistic and cultural identity
through the knowledge of its own history
Carlo Gesualdo: il contesto musicale attraverso la lettura delle dediche al Quinto libro di madrigali
Get PDFLe dediche riportate nelle pubblicazioni di musica
rappresentano spesso un tassello fondamentale
nella ricostruzione del contesto storico-sociale in
cui un'edizione di musica a stampa è stata concepita. Le dediche presenti nelle edizioni di Carlo Gesualdo, a motivo dello status sociale del Principe,
evidenziano dinamiche eccentriche rispetto al
normale rapporto tra musicista dedicante e mecenate dedicatario tipica delle pubblicazioni di quel
periodo. Analizzando le dediche contenute nelle
edizioni del primo Seicento del V libro di madrigali di Carlo Gesualdo si getta un fascio di luce sul
mecenatismo nelle città italiane del Cinque e Seicento, evidenziando l'intenso impatto che l'opera
del principe di Venosa ebbe sui suoi contemporanei.The dedications found in music publications often
represent a key piece in the reconstruction of the
socio-historical context in which a printed music
edition was conceived. The dedications found in
the editions of Carlo Gesualdo, because of the
Prince's social status, highlight eccentric dynamics with respect to the normal relationship between dedicating musician and dedicatory patron
typical of publications of that period. Analyzing
the dedications contained in the early seventeenth-century editions of Carlo Gesualdo's fifth
book of madrigals sheds a beam of light on patronage in Italian cities in the sixteenth and seventeenth centuries, highlighting the intense impact
that the work of the Prince of Venosa had on his
contemporaries
Paola Degli Esposti, Arte e passione. Gli attori nel teatro europeo del XIX secolo, Dino Audino, Roma 2023, 191 pp.
Get PDFTeatranti di razza. Intervista a Pamela Villoresi
Get PDFUna delle più importanti attrici del teatro italiano,
Pamela Villoresi, racconta il suo rapporto con Eleonora Duse, dialogando con Maria Letizia Compatangelo, autrice del monologo La musica dell’anima. Ritratto di Eleonora Duse, che da alcuni anni interpreta con successo in teatro. Dalla giovanile attrazione istintiva verso il “personaggio Duse” alla comprensione matura del valore delle sue innovazioni
nel campo della recitazione. Confronti, eredità, insegnamenti: due epoche diverse, ma lo stesso impegno
totalizzante verso il teatro.One of the most important actresses of the Italian
theatre, Pamela Villoresi, talks about her relationship with Eleonora Duse. She is in conversation with
Maria Letizia Compatangelo, author of the monologue La musica dell’anima. Ritratto di Eleonora
Duse, successfully interpreted for some years. Villoresi’s talk is from her youthful instinctive attraction to the “Duse character”, to her mature understanding of the value of her innovations in the field
of acting. Comparisons, legacies, teachings: two different periods, but the same all-encompassing commitment to the theatre
Existing BIM to digitize and manage the built heritage in Campania Region
Get PDF2020 - 2021It is now 48 years since Eastman theorized what would become known as BIM:
Building Information Modelling. Despite this, we can observe that the methodolo-
gy, together with its associated tools, is still considered an exception to estab-
lished practice, an eternal novelty with clearly something unfinished.
If we exclude a few excellences, such as the United States and the United King-
dom, and countries vying for keeping up, such as France and Italy, there are still a
lot of regions where BIM is completely unsystematized. As a result, it is first im-
plemented in large design studios and public projects and only then, with difficul-
ty, does it spread to the rest of the market.
While we could accept the idea of a silent revolution that takes time to gain a
foothold, it is now clear that too much pressure has been applied to the AEC (Ar-
chitecture Engineering Construction) sector, which was not ready for such a radical
change, first in thought and then in practice. Putting this aside, the time required
for innovation is in any case not compatible with that necessary for digitization in
other sectors, generally between 5 and 10 years (NBS’ 10th National BIM Report).
The fourth industrial revolution (Industry 4.0), the one of data and connections,
has brought out the limits of our domain, which is unable to keep up with other
sectors of production and services. While it is right that transition can only be
triggered by an awareness of needs, it is also true that managing interactions with
external fields is an equally relevant factor.
This paradigm can also be extended to the associated tools, which must interact
and be connected to the web in order to ensure proper data management and the
realization of the so-called “digital twin”. The new AEC software has metabolized the
BIM methodology, or at least it is oriented towards it, although consistent and signif-
icant examples are still linked to large projects and established professional actors.
There are no reports or analyses in the literature that disprove the inevitability
of BIM for any product (infrastructure, buildings, etc.), application (new construc-
tion, renovation, restoration, etc.) or stakeholder (clients, designers, companies,
etc.). Despite commercial maturity and a broad spectrum of technical standards
that seem to be converging towards organicity, the most common image is that of
an unfinished revolution.
Apart from the abovementioned excellences, we can identify an uncertain use
of tools, very specialized, based on approximations through trial and error, ac-
companied by a limited knowledge of the IT (Information Technology) and com-
plexity behind the software front-end. They are compounded by the weaknesses
of a mistaken approach to change: on the one hand, there is a very fragmented
experimentation, which has difficulties in dissemination and systemic interaction,
and on the other hand, we have the inefficiency of a top-down body of rules and
laws, which risks excluding the bottom from participation. .. [edited by Author]XXXIV cicl
Itinerari dusiani nel teatro di Elena Bucci. Intorno a Non sentire il male
Get PDFL’intervista a Elena Bucci ripercorre gli itinerari dusiani e le tappe creative che hanno accompagnato la
scrittura scenica di Non sentire il male, spettacolo
del 2000 dedicato a Eleonora Duse, di cui Bucci è autrice, attrice e regista. L’indissolubile intreccio di vita
professionale, artistica e privata della Grande Attrice
italiana viene qui affrontato attraverso una personale tessitura di documenti e fatti storici, che Bucci
passa nel filtro di un esplicito riconoscimento autobiografico: dalla sua formazione artistica alla fondazione della compagnia Le belle bandiere passando
per il Teatro di Leo, tappe in cui la figura “madrina”
di Duse è sempre evocata. Nel corso dell’intervista si
ricostruiscono inoltre i momenti salienti di ideazione
e sviluppo dello spettacolo, non solo in relazione alla
drammaturgia ma anche rispetto all’allestimento e
alle sue differenti versioni (site-specific, per la sala
teatrale, in forma di concerto). Accompagnano l’intervista alcuni apparati di contesto.The interview with Elena Bucci retraces dusian itineraries and the creative phases that traced the scenic
writing of Non sentire il male (2000), performance
dedicated to Eleonora Duse, whose Bucci is the author, actress and director. The indissoluble connection of the professional, artistic and private life of the
Great Italian Actress is processed here through a personal weaving of documents and historical facts,
which Bucci passes through the filter of an explicit
autobiographical transfer: from her artistic training
to the foundation of the company Le belle bandiere
through the Teatro di Leo, moments in which the figure of Duse is always invoked like a “godmother”.
During the interview, the salient passages of the conception and development of the performance are
also reconstructed, not only in relation to the dramaturgy but also with respect to the staging and its
different versions (site-specific, for black box, like a
live concert). Some contextual notes support the interview
Italy’s Public Memory of its Main Anti-fascist Martyr: Giacomo Matteotti in the Public Space One Century After his Murder
Get PDF10th June 1924: the socialist deputy Giacomo Matteotti was
murdered by a fascist group. After his famous speech in
the Parliament, where he denounced Mussolini’s regime
machinations, he was kidnapped, killed and his body hidden
for two months. Even though previous cases of opposition
to the regime took to the other murders such as the one
of Don Minzoni, the name of Giacomo Matteotti became
soon a symbol of resistance. A standardized photo of his
face, the place of his kidnapping, and some of his supposed
last words were sacralised. His end caused friction even
within the fascist government, while the strong emotional
support of the people, who went to the famous Arnaldo da
Brescia embankment in Rome, where Matteotti was kidnapped, was strongly prevented by the fascists. Matteotti
was able to start the anti-fascist mythopoiesis, to shape
it, at the very moment when the parallel fascist mythopoiesis was getting stronger. His myth got so widespread
that he became the prototype of the anti-fascist martyr:
even the communist Palmiro Togliatti had to admit it in
1928. During the Resistance war, 19 years after his murder,
some partisan formations took on his name. Following
the way of his myth, after the liberation in 1945, how
was he honoured in the public sphere? Who is Giacomo
Matteotti today, besides being the name of many squares
and streets? What is said about him now on the web, in
particular on Wikipedia, ChatGPT and Bard (now named
Gemini) and social media? Where are most of the places
named after him? How did Italy’s capital, Rome, honour
him? What is and what was the public and the political use
of his story? Thanks to digital tools and analysis, a profile
of who Giacomo Matteotti is today can be reconstructed.
The history of the present time can help historians explain
what Matteotti’s myth means in the public sphere and, in
particular, in public place(s)
Veglie, sonni, sogni: figurazioni dell’invisibile nei moderni
Get PDFLa veglia è uno squarcio aperto su territori altrimenti invisibili. Croce di silenzio e attesa, meditazione e assedio che nasce alla letteratura almeno fin dagli apostoli in Getsemani, nella modernità letteraria torna come esperienza narrata in prima persona di fronte alla morte, all’orrore di un conflitto presente o trasfigurato. Da Vigil strange di Whitman alla Veglia (alle veglie) di Ungaretti, passando per Pasolini e Fortini, Quasimodo (e Saffo, e Arghezi), fino a Dylan Thomas. Il contributo vuole indagare e mettere in relazione alcuni specimina letterari di veglie, tra il versante pubblico e quello privato, per disegnare i tratti di un paesaggio sul limitare d’abisso.Vigil is a liminal zone that keeps us in touch with invisible. Waiting, silent time of meditation and siege that belongs to literature since the Bible, since apostles in Gethsemane. It returns in modern literature as a first-person experience of war, of loneliness and desire, of death or disease. From Whitman's Vigil strange to Ungaretti's Veglia (at the vigils), through Pasolini and Fortini, Quasimodo (Saffo, Arghezi), up to Dylan Thomas. The contribution aims to investigate and relate some literary specimina of public and private vigil., to draw the features of a landscape on the edge of the abyss
Annamaria Guarnieri incontra Eleonora Duse
Get PDFDiretta da Maurizio Scaparro in Eleonora, ultima
notte a Pittsburgh di Ghigo De Chiara, Annamaria
Guarnieri è stata premiata come migliore attrice di
monologo a “Le Maschere del teatro italiano” 2012.
La sua interpretazione intensa, a tratti malinconica
e sognante, talvolta impetuosa e tormentata, è stata
definita una grande lezione di recitazione, una prova
di notevole sapienza attoriale, che, senza puntare su
un’impostazione realistica, è riuscita nell'intento di
restituire un’immagine di Duse ricca di sfumature.
Secondo gli osservatori l’esito particolarmente felice
dello spettacolo è dovuto a quelle “vie segrete professionali e umane”, che hanno fatto parlare la stessa
lingua teatrale a due attrici lontane nel tempo.
Nell’intervista Guarnieri racconta come sia riuscita,
partendo da una foto, ad individuare una chiave interpretativa per ridare vita sulla scena a un’artista
dalla personalità così complessa, mentre sola e infelice, oppressa dalla sua stessa grandezza, ripercorre
in punto di morte i momenti più importanti dell'esistenza, mescolando ricordi personali a ricordi professionali.Directed by Maurizio Scaparro in Eleonora, ultima
notte a Pittsburgh by Ghigo De Chiara, Annamaria
Guarnieri was awarded as the best monologue
actress at “Le Maschere del teatro italiano” 2012.
Her particularly intense interpretation, sometimes
melancholic and dreamy, has been called a great acting lesson, a proof of remarkable acting skill, that,
without aiming for a realistic setting, succeeded in
its intent to convey a Duse’s image rich in nuances.
According to observers, the particularly happy outcome of the show is due to those secret professional
and human ways that made two actresses distant in
time speak the same theatrical language. In the interview Annamaria Guarnieri talks about how she
managed to identify an interpretative key starting
from a photo to bringing an artist with such a complex personality back to life on the stage, while alone
and unhappy, oppressed by her own greatness, she
retraces the most important moments of her life mixing personal and professional memories
Variazione intonativa nell’asse diatopico: un tipo prosodico interrogativo in varietà italiane e spagnole
Get PDFThe prosody of interrogative utterances displays high degrees of intra- and interlinguistic variability. Yet
there are less investigated interrogative types, verbless questions that work as generic requests and new
topic selectors (¿Y el niño?, “And [what about] the child?”). This paper aims to pursue an intonational
investigation of this type of questions in two Romance languages, Italian and Spanish. The study employs
dialogic speech collected in 18 regional varieties (9 per language) to observe diatopic variation. The exa-
mined questions are consistently realized in both languages with a flat contour in the pretonic region and
a rise starting from the nuclear syllable that continues to the end of the utterance and reaches wide span
values. The results allow the intonational description of Romance varieties to be enriched with a special
interrogative type, in which the expected inter-variety intonational variation is largely limited, inhibited
by the need to express the illocutionary force