37 research outputs found
La decadenza in giardino. Il "Trattenimento in un giardino di Albaro" di Alessandro Magnasco
No full textLe interpretazioni del quadro di Magnasco, Trattenimento in un giardino di Albaro sono variate nel corso del tempo. La più recente tende a vedere nel quadro una rappresentazione critica dei costumi del patriziato genovese. Questa interpretazione da parte degli storici dell'arte dipende però dall'adesione a una interpretazione del Settecento genovese, inteso come epoca di decadenza, che può essere soggetta a discussione e non accolta
Rifar Ferrara in Roma. Alessandro d’Este, un cardinale dimezzato tra diplomazia e collezionismo
No full textQuesto lavoro di ricerca intende ricostruire, attraverso l’analisi degli eventi storico-culturali che coinvolsero Ferrara e la corte Estense alla fine del XVI secolo, il tessuto formativo del cardinale Alessandro d’Este per dimostrare il suo ruolo fondamentale nella realizzazione della sua collezione romana e nella diffusione della pittura ferrarese nelle raccolte d’arte della capitale pontificia di inizio Seicento.
A partire dallo stato degli studi già effettuati sulla sua personalità sia per quanto riguarda le raccolte d’arte, sia per quanto concerne il suo ruolo politico nel complesso scacchiere della Devoluzione allo Stato Pontificio del 1598, è stata portata avanti un’indagine sulla formazione artistica di Alessandro in seno ai grandi pittori della Maniera ferrarese, soprattutto grazie alla pratica del disegno appresa dal Bastarolo, e sui luoghi della sua infanzia, dove ha potuto costruire ed esercitare il suo gusto come collezionista.
La corte romana del porporato Estense si pone in continuità con la trattatistica rinascimentale e, al tempo stesso, risulta di grande innovazione in particolare per il suo ruolo di protettore di artisti, come nei casi di Lavinia Fontana, Annibale Mancini ed Emmanuel Sbaigher restituiti dai documenti d’archivio, e per la raccolta di pitture, un nucleo di opere dal forte carattere identitario, che rispecchiano alla perfezione la personalità e il ruolo di Alessandro all’interno della corte pontificia. Questi due aspetti, grazie all’enucleazione di alcune notizie emerse dalle ricerche archivistiche, hanno contribuito a confermare che la presenza del cardinale Estense a Roma è stato uno dei motivi che hanno condotto a un radicale cambiamento di interesse dal collezionismo di antichità cinquecentesco a quello pittorico secentesco. In tal senso, risultano fondamentali alcune scelte di Alessandro, come quella di esporre accanto ad alcuni dipinti originali della pittura del Rinascimento delle copie realizzati da artisti ferraresi contemporanei o di realizzare una galleria di ritratti così come suggerito da Giovan Battista Marino nella sua Galeria.
Tutti gli attori della complessa vicenda si concretizzano all’interno del testamento del prelato ferrarese, dove emerge l’importante legame con i cardinali Borghese e Barberini, reso ancora più saldo dalla presenza presso le loro corti, alla sua morte, di Annibale Mancini ed Emmanuel Sbaigher, eredi, propagatori e traghettatori della memoria figurativa estense nelle dimore romane del Seicento.This research work aims to reconstruct, through the analysis of the historical and cultural events that involved Ferrara and the Este court at the end of the Sixteenth century, the Alessandro d’Este’s education to demonstrate its fundamental role in the creation of his Roman collection and in the dissemination of Ferrara paintings in the art collections of the papal city at the beginning of the Seventeenth century.
Starting from the studies already published on his personality regards his art collection and his political role in the complex events of the Devolution to the Papal State of 1598, the analysis on Alessandro was conducted through the deepening of his artistic training within the great painters of the Ferrara manner, above all thanks to the practice of drawing learned from Bastarolo, and on the residences of his childhood, where he was able to build and exercise his taste as a collector.
The Roman court of the Estense cardinal is in continuity with the Renaissance treatises and, at the same time, is innovative for his role as patron of artists, as in the cases of Lavinia Fontana, Annibale Mancini and Emmanuel Sbaigher found in the archive documents, and for the paintings collection with a strong identity character, which perfectly reflect the personality and role of Alessandro within the papal court.
These two aspects, thanks to the enucleation of some information emerged from archival research, have helped to confirm that the presence of Cardinal d’Este in Rome was one of the reasons that led to a radical change of interest from collecting Sixteenth century antiquities to painting in seventeenth century.
On this way, some of Alessandro’s choices are fundamental, such as to display copies made by contemporary Ferrarese artists next to some original paintings of Renaissance or to realize a portrait gallery as suggested by Giovan Battista Marino in his Galeria.
All the protagonists of the complex affair are concretized in the prelate’s will, where the important link with the cardinals Borghese and Barberini emerges, made even more solid by the presence at their courts, on his death, of Annibale Mancini and Emmanuel Sbaigher, heirs, propagators and bearers of the Estense figurative memory in the Roman residences of the Seventeenth century
Rainerius tunc comunis Cortone notarius. Contributo alla storia del documento comunale a Cortona nella prima metà del XIII secolo
No full textIl saggio approfondisce il rapporto fra notariato e comune di Cortona nella prima metà del XIII secolo. È questo infatti il periodo in cui il comune raggiunge piena maturità politica e istituzionale, grazie anche all’apporto dei professionisti della scrittura locali. In un primo momento la documentazione comunale rimane fedele alle forme della contrattualistica utilizzata nel medesimo periodo per conto e a favore di privati, poi, grazie anche alla ‘comparsa’ del notaio Rainerio/Ranerio, la politica comunale acquisisce maggiore riconoscibilità e capacità di intervento. Lo testimoniano quattro documenti oggi conservati all’Archivio di Stato di Siena: compilati apparentemente per la risoluzione di una controversia tra privati, essi diventano lo strumento attraverso il quale il comune di Cortona coglie l’occasione per formalizzare con Siena un accordo più generale, finalizzato alla tutela del commercio. Autore della documentazione è Ranerio, un notaio sui generis, reclutato molto probabilmente al di fuori del circuito cittadino, ma che ha contribuito in maniera determinante alla genesi di nuove forme documentarie atte a manifestare specifiche esigenze espressive
dell’autonomia comunale cortonese.The article explores the relationship between notaries and the municipality of Cortona in the first half of the thirteenth century. This is in fact the period in which the municipality reaches full political and institutional maturity, thanks also to the contribution of local writing professionals. At first the municipal documentation remains faithful to the forms of contracts used in the same period on behalf of and in favor of private individuals, then, thanks also to the ‘appearance’ of the notary Rainerio / Ranerio, the common policy becomes more recognizable. This is evidenced by four documents now preserved in the Siena State Archive: apparently compiled for the resolution of a dispute between private individuals, they become the instrument through which the
municipality of Cortona seizes the opportunity to formalize a more general agreement with Siena, aimed at protecting the commercial reports between the two cities. Author of the documents is Ranerio, a sui generis notary, most probably recruited outside the city circuit, but who contributed in a decisive way to the genesis of new documentary forms able to express specific expressive needs of the Cortona municipal autonomy
Il paradigma conoscitivo ’stupefacente’: rappresentazioni letterarie della droga dagli anni Settanta al 2000.
No full textLa presente tesi mira ad analizzare il cambiamento del paradigma conoscitivo ’stupefacente’, dagli anni Settanta al 2000. Si è scelto di introdurre l'argomento attraverso una breve cronistoria della diffusione delle sostanze stupefacenti in Italia, per poi riflettere sul ruolo delle prime riviste underground sul finire degli anni Sessanta e in particolare su un autore formatosi su quelle pagine: Eros Alesi. Il secondo capitolo esamina la rappresentazione letteraria delle droghe nel contesto del Movimento del '77, focalizzandosi su alcuni testi di Ravera-Radice, Palandri e Tondelli. Il terzo capitolo mostra come la questione fosse di estremo interesse anche nel fumetto e nel cinema, con un approfondimento dell'opera di Andrea Pazienza e di Claudio Caligari. Il quarto capitolo conclude l'excursus, con una rassegna dei testi "stupefacenti" più significativi degli anni '90, con una particolare attenzione alle antologie, e alle esperienze letterarie collettive, nate in questo decennio.
This thesis aims to analyze the changing 'narcotic' cognitive paradigm from the 1970s to 2000. It is chosen to introduce the topic through a brief history of the diffusion of narcotics in Italy, and then to reflect on the role of the first underground magazines in the late 1960s and in particular on an author formed on those pages: Eros Alesi. The second chapter examines the literary representation of drugs in the context of the '77 Movement, focusing on some texts by Ravera-Radice, Palandri and Tondelli. The third chapter shows how the issue was also of extreme interest in comics and cinema, with an in-depth look at the work of Andrea Pazienza and Claudio Caligari. The fourth chapter concludes the excursus, with a review of the most significant "astonishing" texts of the 1990s, with special attention to the anthologies, and collective literary experiences, born in this decade
La mostra "Ettore Sottsass: un designer italiano" alla Biennale di Venezia del 1976 : Un’opera deduttiva, variata, sintetica
No full textThe article deals with the many exhibition design interventions of Ettore Sottsass for the 1976 edition of Venice Biennale, with a specific focus on the first Italian solo review contextually dedicated to the designer in the Napoleonic wing of Palazzo Correr: the exhibition Ettore Sottsass: un designer italiano, produced by the Biennale in collaboration with the
International Design Zentrum in Berlin and other partners, was curated by François Burkhardt together with Sottsass himself; the setting up was signed by the latter together with his Finnish collaborator Ulla Salovaara; the presentation text in the catalogue was by Alessandro Mendini.
The exhibition, consisting mainly of drawings and photographs, but also of furniture and glass or ceramics objects, exhaustively documented Sottsass’s diversified activity as an artist and as a designer at that time. It presented the Olivetti production as well as those for Poltronova and Bitossi, the Italian companies that had given the designer the greatest professional opportunities in the previous twenty years.
The choice of a first retrospective event extremely rich in terms of project typologies, is an element that distinguishes it within the logic of design exhibitions. The neoclassical setting of Palazzo Correr represents both a cultured pre-existence and a complex and problematic palimpsest to harmonize with what is presented.
The article, based on mainly unpublished sources, aims to analyse Sottsass’s presence at 1976 Biennale and to investigate how Sottsass’s all-round activity coincided not only with the construction of products or settings but also with the development of a fertile and peculiar creative process
A Robust Design for Cellular Vehicles of Gold Nanorods for Multimodal Imaging
No full textAuthors Dr. Marisa Benagiano and Prof. Mario Milco D’Elios were not included when this article was originally published. The corrected list of author of this manuscript is: F. Ratto,* S. Centi, C. Avigo, C. Borri, F. Tatini, L. Cavigli, C. Kusmic, B. Lelli, S. Lai, M. Benagiano, M. M. D’Elios, S. Colagrande, F. Faita, L. Menichetti, and R. Pini The affiliation for Dr. Benagiano and Prof. D’Elios is: Department of Experimental and Clinical Medicine University of Florence, Largo Brambilla 3, 50134 Florence, (FI), Italy Ref. [82] was not included in the originally published version of this article. It should be added to the second paragraph on page 7179, which then reads as follows: “More recently, the notion to exploit the natural tropism of cells, such as tumor-associated macrophages,[35–39] T cells,[40,82] mesenchymal stem cells,[41–43] and neural stem cells,[44,45] has begun to emerge as a radical alternative.” Ref. [82] is: G. Baldi, C. Ravagli, M. Comes Franchini, M. M. D’Elios, M. Benagiano, M. Bitossi (Colorobbia Italia S.p.A.) WO 104664, 2015. The Acknowledgements should be corrected to read as follows: “This work was in part supported by the Projects of Tuscan Region “NANOTREAT” and “SYNERGY” and by the ERANET+ Project of Tuscan Region and European Community “LUS BUBBLE”. The authors wish to thank Dr. Daniele Panetta for his expertise in X-ray micro imaging and Dr. Giovanni Baldi of CERICOL Research Center of Colorobbia Group for his expertise and knowledge on cellular nano-engineering.” The authors apologize for any inconvenience or misunderstanding that these errors may have caused. © 2016 WILEY-VCH Verlag GmbH & Co. KGaA, Weinhei
A systematic review of the quality of studies on dementia prevalence in Italy
No full textAbstract Background Dementia, including Alzheimer’s disease (AD), is one of the most burdensome medical conditions. In order to better understand the epidemiology of dementia in Italy, we conducted a systematic search of studies published between 1980 and April 2014 investigating the prevalence of dementia and AD in Italy and then evaluated the quality of the selected studies. Methods A systematic search was performed using PubMed/Medline and Embase to identify Italian population-based studies on the prevalence of dementia among people aged ≥60 years. The quality of the studies was scored according to Alzheimer’s Disease International (ADI) criteria. Results Sixteen articles on the prevalence of dementia and AD in Italy were eligible and 75 % of them were published before the year 2000. Only one study was a national survey, whereas most of the studies were locally based (Northern Italy and Tuscany). Overall, the 16 studies were attributed a mean ADI quality score of 7.6 (median 7.75). Conclusions Available studies on the prevalence of dementia and AD in Italy are generally old, of weak quality, and do not include all regions of Italy. The important limitations of the few eligible studies included in our analysis, mostly related to their heterogeneous design, make our systematic review difficult to interpret from an epidemiologic point of view. Full implementation of a Dementia National Plan is highly needed to better understand the epidemiology of the disease and monitor dementia patients
Influence of OPRM1 Polymorphism on Postoperative Pain After Intrathecal Morphine Administration in Italian Patients Undergoing Elective Cesarean Section
No full textPublisher's Note: Search for gravitational waves from binary black hole inspiral, merger, and ringdown
No full textThis paper was published online on 6 June 2011 with an omission in the Collaboration author list. S. Dwyer has been
added as of 12 April 2012. The Collaboration author list is incorrect in the printed version of the journal
