1,720,989 research outputs found
La decorazione di un ambiente dell’edificio con tre esedre.
No full textSi descrivono i risultati di una ricerca mirata alla ricostruzione della decorazione marmorea di un ambiente dell'edificio con tre esedre a villa Adrian
Tecnica e tecnologia nell'Edificio con Peschiera.
No full textSono discussi i risultati di una indagine di rilevamento condotta a Villa Adriana allo scopo di ottenere una conoscenza più esaustiva dell'edificio con Peschiera. Vengono illustrate le innovative tecnologie adottate nella costruzione e le verifiche condotte mediante studi specialistic
Cupole volte e calotte: la magnificenza dell’impero
No full textVengono descritte tre diverse coperture a cupola presenti nella villa imperiale tiburtina e, in particolare, quella dell'edificio di Rocca Bruna, quella del cd Teatro Marittimo e quella del Corpo Triconco dell'Edificio con Tre Esedre. Si analizzano le implicazioni formali, strutturali e simboliche di ciascuna cupola mediante le restituzioni grafiche dei rilievi, le verifiche strutturali e le indagini archeologiche
A multidisciplinary approach to investigate the peculiar artistic technique of Scagliola: Modern age decorations in Hadrian's Villa (Tivoli, Italy)
No full textIn the present work, a multi-technique approach was adopted to study and characterize six polychrome deco-rated elements found in the storerooms of the archaeological site of Hadrian's Villa in Tivoli (Rome). In particular, preliminary microscope observations along with mu-Raman and FT-IR spectroscopies and FESEM-EDS analyses were adopted to identify the used materials and the execution technique. This information could allow placing the artefacts in a chronological context, in particular by evaluating possible coherences with the modern phases of the archaeological site. At first visual observation, both stylistic and technical details suggested that the artefacts had been performed by using Scagliola, a particular and not deeply investigated artistic technique developed in Europe at the end of the XVI century for interior decorations. The acquired information has been compared with data obtained by similar in-situ decorations, found on the vault of the Casino Fede, an XVIII century building of the Villa. The characterization of the constituent materials revealed a rich palette, based on both inorganic and organic pigments, some alteration products, and a massive presence of gypsum in the matrix. These results led to confirm the use of Scagliola technique in the realization of all the artefacts, even though this information is not sufficient to confirm if they belong to the same building. Furthermore, a peculiar result was the identification of arsenic-based pigments as pararealgar and amorphous arsenic sulphide as an orange pigment. In particular, pararealgar was identified as the initial material used for the synthesis of the amorphous pigment, a very rare identification in artworks
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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