330 research outputs found
Archaeological and historical notes on the Castellum Tariona in the Roman Era
No full textAutor donosi ispravak dosadašnjeg čitanja rimskoga
terminacijskog natpisa iz Bljušćevice kod sela Rastovca u
Trogirskoj zagori koji je u vrijeme Publija Kornelija Dolabele
uklesan u kamen živac. Također donosi novi nalaz cipusa iz zaselka
Bašelovici u Grebaštici kod Šibenika. Na njemu se spominje
Salto(ru)m F(inis) / Tariot(arum), a oznacava zapadnu granicu
tariotskog pašnjaka.The author provides a correction to the previous reading of the
Roman boundary inscription from Bljušćevica near the village of
Rastovac in the elevated hinterland of Trogir which was engraved
in solid rock during the consulship of Publius Cornelius Dolabella.
He also presents a new discovery of a cippus from the hamlet
of Bašelovici in Grebaštica near Šibenik. The inscription reads
Salto(ru)m F(inis) / Tariot(arum), designating the western boundary
of the Tariote pastures
Portrait de l’artiste en facteur de ponts
No full textLe texte “Portrait de l’artiste en facteur de ponts” relève davantage du témoignage personnage personnel que de l’article. L’auteur, le dramaturge Enzo Cormann, y donne des “Notes pensives en résonance de l’œuvre de Jean-Marie Piemme” : une série de notes, de forme libre, non ponctuées qui réagissent, commentent et dialoguent avec l’œuvre et avec les écrits critiques de Piemme.The text "Portrait de l'artiste en facteur de ponts" (Portrait of the artist as a bridge-builder) is more of a personal testimony than an article. In it, the author, playwright Enzo Cormann, gives some "Notes pensives en résonance de l'œuvre de Jean-Marie Piemme": a series of free-form, unpunctuated notes that react to, comment on and dialogue with Piemme's work and critical writings
Nuevas derechas, viejas izquierdas : Una conversación con Enzo Traverso
No full textThe present reflections are the result of a series of conversations with Enzo Traverso that took place in mid-November, in the city of Buenos Aires. Traverso obtained his PhD degree at the École des Hautes Études en Sciences Sociales (Paris, France), who currently works as a professor and researcher in the United States. Author of important books on contemporary European history, Enzo Traverso has written numerous reflections on historiographical practice and on the relationship between memory, politics and history. During his last visit to Argentina, he gave lectures and seminars in the framework of the Marx 200 years International Encounter. On this occasion, and about the publication in Spanish of his last two books (The New Faces of the Right and Left Melancholy. Marxism, history and memory), he agreed to discuss the new Latin American rights, the feminist movements, the situation of the left worldwide, and the nature of neoliberalism. Here we present and transcribe the result of those conversations.Las presentes reflexiones son el resultado de una serie de conversaciones con Enzo Traverso que tuvieron lugar a mediados de noviembre, en la ciudad de Buenos Aires. Traverso es un historiador italiano doctorado en París que, actualmente, se desempeña como docente e investigador en Estados Unidos. Autor de importantes libros sobre historia europea contemporánea, Enzo Traverso ha escrito numerosas reflexiones sobre la práctica historiográfica y sobre la relación entre memoria, política e historia. En su última visita a la Argentina, dictó conferencias y seminarios en el marco del Encuentro Internacional Marx 200. En esta oportunidad, y a propósito de la publicación en español de sus dos últimos libros (Las nuevas caras de la derecha y Melancolía de izquierda. Marxismo, historia y memoria), aceptó debatir sobre las nuevas derechas latinoamericanas, los movimientos feministas, la situación de la izquierda a nivel mundial, y la naturaleza del neoliberalismo. Aquí presentamos y transcribimos el resultado de esas conversaciones
La domus sentinate col mosaico di Aiòn:decorazione musiva e anomalie iconografiche
No full textPrevious careful “excavation” work in the archives had allowed the author to shed light on the little known antiquarian issues relating to the discovery, removal and sale to Duke Ludwig of Bavaria of the great multi-coloured mosaic of Aion at the centre of the zodiac and Tellus with the four seasons. The work was discovered in the first half of the nineteenth century in a town house in Sentinum (modern day Sassoferrato, in the province of Ancona).
Now, some decades later, the author returns to the subject for a more detailed stylistic examination of the mosaic and of the mistakes and iconographic anomalies, especially in terms of the sequence of the signs of the zodiac, since the Sentinum mosaic only has eleven signs and these are not depicted in accurate astronomic order.
This contribution re-launches the thesis that such incongruities and anomalies should be attributed to damage done by the excavators and nineteenth century restorers in cutting and later putting the panels back together when the great mosaic was sectioned to make transport to Munich possible and that it is preferable to attribute such mistakes and lack of understanding to groups of itinerant Italian mosaic makers working from “travelling” drawings of complex subjects who did not fully understand the deep astronomical and symbolic meaning
POSITIVE EXISTENTIALISM OF ENZO PACI
No full textThe article deals with analysis of philosophic views of one representative of Italian existentialism - Enzo Pachi. It investigates principle ideas of his philosophy, his attempts to link irrational with rational in the problem of world structure. Using key sources of the essence of positive existentialism we can see how philosophy of Pachi is connected with Gusserl phenomenology, some ideas of Marx and other philosophers who thought about the human being. Positive existentialism of Pachi is considered to be non-system philosophy, which is open to different ideas and directed to uniting people through overcoming their problems. The author comes to the conclusion that philosophy of E.Pachi is an integral and important part of existentialism as a philosophic trend in general
Sulla prima attività di Gregorio Guglielmi
No full textSulla prima attività di Gregorio Guglielmi
La ricerca condotta dall’autore nelle chiese e archivi di Roma e di Praga ha prodotto una nuova conoscenza sulla prima attività del pittore romano Gregorio Guglielmi. Dopo un inizio come incisore (1734), egli fu incaricato da vari ordini religiosi (Gesuiti, Oratoriani, Servi di Maria, Agostiniani), di eseguire alcune pale d’altare e altre opere a carattere religioso, in parte ancora conservate.
Particolare importanza riveste la sconosciuta commissione della tela dell’altare maggiore della chiesa degli Agostiniani a Praga e di una per un altare laterale della stessa chiesa nel 1739, di cui si pubblicano inediti documenti in appendice. L’autore ha anche identificato una tela ed un affresco inediti di Guglielmi nel palazzo del Commendatore dell’Ospedale di Santo Spirito in Saxia eseguiti poco prima del 1750.Contribution to the early activity of Gregorio Guglielmi
The article derives from a research carried out by the author in the churches and archives of Rome and Prague and throws fresh light on some aspects of the early work of the Roman painter Gregorio Guglielmi. It analyses at first some of Guglielmi’s experiments in the field of engraving (1734) and afterwards the various altarpieces commissioned to him by religious orders (Jesuits, Oratorians, Servants of Mary, Augustinians). Some of this works still survive and can partially be reconstructed through indirect testimonies.
In particular, the commission of the altarpiece of the Augustinians' church in Prague and another commission of 1739 for a side altar in the same church are investigated. The relevant unedited documents are to be found in the appendix. The author has also identified a canvas and a fresco by Guglielmi in the Palazzo del Commendatore of the Hospital of Santo Spirito in Saxia in Rome, performed shortly before the middle of the century
Dialetto e italiano locale a Borgo Sansepolcro
No full textThis paper is the third and last of essays by the author to the linguistic history of the Tuscan town. On the basis of extensive documentation from personal investigations on the field the purpose is intended to provide a thorough description of the linguistic characteristics of today's dialect of Borgo Sansepolcro and its variety of local Italian. An examination of the phonetic and morphosyntactic phenomena and some observations on the vocabulary confirm the particular location of this Tuscan dialect of the high Valley of the Tiber that, as is well known, hosts many linguistic peculiarities coming from the northern Marche presenting typology from Romagna
White coat hypertension as predictor of long-lasting blood pressure decline in stage 1 hypertension
No full textLe immagini di culto
No full textThe Author proposes a synthesis on the Pompeian cult statues, examining findings and iconography to try to reconstruct the chronological sequence of the dedications. The result is a profile of the different phases in which the apparatus of local simulacra is developed; several materials and various construction tecniques mark consecutive phases and ever-changing patterns of models and needs of the community. Even through the cult statues, in this way, it's possible to outline the transformation of the Pompeian town, his inclusion in the Mediterranean network, his cultural orientations and the sources of local figurative tradition. In this reesarch, the attention given to each individual context and to the overall documentation is compared to the observations already made in the bibliography on the style and dating of the sacred images considered. This survey allows to recover the historical and functional dimension of the simulacra of Pompeii as elements of a specific rapresentative system. It is a cognitive path to continue also to investigate and compare the situations of other Italic contemporary communities, less thoroughly known
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