30 research outputs found
Confini violati: al di là delle sembianze e del preconcetto. Tracce ed esempi scelti e raccolti di paese in paese.
No full textThe contribution is an essay wondering which must be the method and the quality of the historiographical approach to the landscape subjects.
Going on with the same thin irony seized in the title “ Il paesaggio riconosciuto “ by Santino Langè
, representing some aspects, the author warns against the abstraction risks due to the appearances and prejudices when we speak about the landscape.
The landscape is real, not an invention, an idea of ours, often it isn't what it appears.
For this reason people try to profane the boundaries of the appearance and prejudice, which seem impassable today, from time to time taking clear instances gathered from land to land.
From the word land used in the current language in a wholly improper way, to the recall that landscape derives from land, to the horizontal plane as the first form of real concreteness, fit to the person.
The author ends by the invention of the antilandscape, created by the chaos and by all the inventions
due to the appearance and prejudice
Paesaggi dell'Appenino Ligure Orientale
No full textThe work is placed among the conclusive considerations as to the aims attained in the research suggested by the University of Genua ( co-ordinator Annalisa Calcagno Maniglio ) and financed by the University and the Scientific and Technological Research Ministry.
It is a voyage at the discovery of the least known , but not the least interesting landscape aspects of the Valle Sturla, an area situated almost entirely in the administrative boundaries of the Commune of Borzonasca, in the province of Genua.
The text is composed of two parts.
In the first part some peculiar characteristics of the valley landscape, i.e. The monumental trees in the wide chestnut woods, or monumental cypresses qualifying the surroundings near important religious buildings are mentioned.
In the second part the author has spoken about the traditional villages formed by small narrow groups arranged in constellations.
The aim of “The European Convention of the Landscape” subscribed in Florence in October 2000 has been achieved and a strategic centrality of the unknown aspects of the landscape has been attained
Storia e tutela delle identità. Spunti per una nuova geografia delle aree di omogeneità culturale. L'abbazia di Borzone in val di Sturla presso Chiavari.
No full textThe publication is a part of the conclusions of the research MIUR which has investigated the St.Benedict foundations in Italy, after the Cluny reformation coordinated by Alfonso Gambardella.
In the volume about Northern Italy the author collects the results of his research through texts, photographs and drawings referring to the Abbey of Borzone and the territory influenced by it and situated in the central part at the east of the actual province of Genua.
The aim has been achieved because the area is uniform both referring to the cultural aspects now belonging to an ancient past and also referring to the material witnesses still largely existing.
There are remarkable resemblances of the Abbey and the monumental complex it belongs to ( church, monastery, cloister and service buildings ) and the familiar architecture of the surrounding valley.
Surprising analogies have been noticed between the geometrical proportions and the way of workingthe stones used in the nearby buildings and the stones in the wall of the Abbey church of St Andrew.
Going on with the research, even the stones , the techniques and the construction elements, used in the historical buildings arranged on the territory of the Tigullio hinterland are similar to those of Borzone, owing to the link with the more important Abbey of St. Colombano in Bobbio.
In the Byzantine age and during the whole early Middle Ages, this area was called “ Maritima di Bobbio” also for its characteristics of homogeneity.
Surprisingly this work has discovered that the peculiarities of that ancient homogeneity have remained until today.
It is necessary to find the suitable forms of defence for these areas of cultural homogeneity through the appointed bodies
A nomenclatural survey of the genus Amaranthus (Amaranthaceae) 9: names published by Roxburgh
No full textA nomenclatural study of the names in Amaranthus published by W. Roxburgh was carried out. Seven names appear to have been published by the author, three being not valid from the nomenclatural point of view (Amaranthus atropurpureus, A. fasciatus, and A. lanceofolius, nomina nuda, Arts. 38.1 and 38.2 of ICN). The remaining four names are valid and they are typified by illustrations included in "The Roxburgh Collection" at the library of the Royal Botanic Garden of Kew [Nos. 447 (lectotype of A. fasciatus), 1676 (lectotype of A. lanceolatus), and 1677 (lectotype of A. frumentaceus)] or included in the Seikei Zusetsu Agricultural Catalog (neotype of A. atropurpureus)
L'Architettrice di Melania Mazzucco. Una cattedrale romanzesca per Plautilla
No full textIl saggio analizza il romanzo più recente di Melania Mazzucco, L’Architettrice (2019). Per raccontare la vicenda di Plautilla Bricci
(1616–1705) e di un intero secolo l’autrice compie un lavoro di ri-
cerca erudita imponente, ma l’esito editoriale è un solo romanzo e
non una coppia di libri come nel caso precedente di Mazzucco (2008
e 2009). La lista dei documenti archivistici consultati – un file pdf di ventisei pagine – è confinata nel portale dell’editore. Il rapporto tra storia e invenzione, tra documento e finzione, si sviluppa dunque
in modo assai diverso rispetto alla diade narrativa precedente (quella dedicata alla figlia di Tintoretto). Si dedicherà perciò particolare cura al rapporto triangolare tra la narrazione principale – quella della famiglia e di Plautilla, la prima architettrice della storia – il complesso paratesto che stabilisce un contatto tra i valori del passato e quelli del presente e i numerosi intermezzi dedicati alla fase finale della Repubblica romana che narrano la repentina distruzione della principale opera realizzata da Plautilla. Tale ricostruzione dei fatti, con il Seicento che crea e innova e l’Ottocento che invece devasta, impatta sulla storia lunga dei generi di cui ci stiamo occupando – dai Promessi sposi ai molti romanzi novecenteschi ambientati nel XVII secolo – sia sul piano narratologico che sul piano ideologico.The essay analyses Melania Mazzucco's most recent novel, L'Architettrice (2019). In order to tell the story of Plautilla Bricci (1616-1705) and of an entire century, the author undertakes an impressive erudite research work, but the editorial outcome is a single novel and not a pair of books as in Mazzucco's previous case (2008 and 2009). The list of archival documents consulted - a twenty-six-page pdf file - is confined to the publisher's portal. The relationship between history and invention, between document and fiction, is thus developed in a very different way from the previous narrative dyad (the one dedicated to Tintoretto's daughter). Particular attention will therefore be paid to the triangular relationship between the main narrative - that of the family and Plautilla, the first architect of the story - the complex paratext that establishes a contact between the values of the past and those of the present, and the numerous interludes dedicated to the final phase of the Roman Republic that narrate the sudden destruction of Plautilla's main work. This reconstruction of events, with the seventeenth century creating and innovating and the nineteenth century devastating, has an impact on the long history of the genres we are dealing with - from I Promessi Sposi to the many twentieth-century novels set in the seventeenth century - on both a narratological and ideological level
Il movimento attoriale nei bozzetti di Duilio Cambellotti per Siracusa
No full textThe role of the theatre director is a recently established figure. In fact, since the time of the Greek tragedians, it is mostly the author himself who gives the actors gestural indications, while a real geography of almost recurrent and stylized movements is most often noted laterally or incidentally in the text.
At the beginning of the twentieth century, the extension of the visual imagery and the taking charge of the historical repertoire require the care of a more complex directorial institution, especially when the author is no longer present to give indications, nor his annotations in the margins of the text are any longer sufficient to define a movement that is no more just convention. When the Roman artist Duilio Cambellotti (1876-1960), designs the scenes for the first editions of the Ancient Drama Season at the Teatro di Siracusa, from 1914 until 1948, the role of the director is not yet institutionalized, although it was recognizable the need for a stylistic and technical guide to the movements of actors. So, many times the scenic sketch, almost as a necessity, prefigures the movements of the director, not only from the technical point of view of a simple "geography" of stage, but above all from the stylistic point of view, in a visual and gestural unity.
Through the examination of some sketches by Duilio Cambellotti, the paper highlights how this practice is symptomatic of the prevalence of the interpretive aspect over that textual and how the visual project of the show is no longer the result of a single worker (generally anchored to the pictorial magisterium), but rather the result of a multiple msynergy between three-dimensional and four-dimensional apparatuses
