675 research outputs found
La messa in scena del passato. L’iconografia lealista in Italia (1793-1804)
No full textThe essay explores the role of imagery in interpreting and shaping the past during the
late 18th century in Italy, focusing on counter-revolutionary propaganda. The analysis of
engraving and caricature production highlights how these traces were used to influence
public opinion and legitimize the counter-revolution. Starting from emblematic figures
such as Louis XVI and Pius VI, the research demonstrates how political iconography was
employed to narrate and reinterpret historical events, creating an idealized image of the past
and promoting a conservative vision of society. The aim of the essay is also to show how
these dynamics are strongly linked to editorial contexts and the circulation of iconographic
documents, emphasizing their impact on society at the time and their role in constructing
historical memory
La Vestale 'incesta'
No full textMarcello Salvadore: La Vestale incesta.
Dionysius of Halicarnassus, Pliny the Younger and Plutarch are the sources
of a detailed account of Vestalis incesta’s punishment: they say that she was
sentenced to death. Dionysius adds that there was no after death ritual.
Modern scholars generally accept what the three authors assert. In this article
the author surmises that the Vestalis incesta, together with the parricida, was
not condemned to death: both of them were sentenced to a particular kind
of banishment from the Society
De Lope a Celano: la adaptación italiana de "Los tres diamantes"
No full textAbstract
This paper explores an Italian adaptation of Lope de Vega’s play Los tres diamantes, written in the
second part of the seventeenth century. Its author, Carlo Celano, was a famous writer of opere regie,
i.e., adaptations of Spanish comedies of situation. The analysis focuses on the way in which the
adaptation of the Aristotelian units of space and time leads to a reduction of the characters and a
simplification of the situation, although this is compensated by enriching its ludic component. This
last trait can be also observed in a previous re-elaboration of Lope’s comedy, the scenario of the
Commedia dell’arte titled Il cavaliere dai tre gigli d’oro
Due note critiche
No full textMarcello Garzaniti
Answers to Criticism
The author answers to the critics of M. Capaldo and A.Giambelluca Kossova with the aim to bring the different proposed questions back into the sphere of scientifi c dialogue
Continuità e rottura nelle colonie asiatiche francesi. La Rivoluzione nell’Île Bourbon (1790-1810)
No full textA visible revolution : political iconography in Italy in the years 1789-1800
No full textL’objectif de la recherche de thèse est d’examiner les rapports de production, de circulation et d’assimilation de l'iconographie politique circulant en Italie durant la dernière décennie du XVIIIème siècle. La recherche est introduite par une revue d’études sur l’utilisation historique des sources iconographiques et, plus particulièrement, sur l’intérêt des historiens de la période révolutionnaire pour ce genre de traces, plutôt rare pour le cas italien. L’enquête se concentre donc sur cinq cas représentatifs de cinq topoi iconographiques illustrant bien l’éventail du corpus de sources : les scènes historiques, les allégories officielles d’institutions et d’individus, les caricatures, les rapports entre les révolutionnaires et les espaces urbains des grandes et petites villes et l’iconographie de Napoléon Bonaparte. En conclusion, on cherche à établir un bilan du rôle social et culturel de la production iconographique italienne au sein de la production européenne, tout en cherchant à comprendre et à définir les rapports entre le contexte révolutionnaire et le contexte contre-révolutionnaire. Deuxièmement, l’étude de ces processus peut être une nouvelle perspective pour aborder le débat historiographique sur la révolution passive et la question de la nécessité d’un Bonaparte dans le cadre du développement démocratique en Italie.The aim of the thesis research is to examine the relations of production, circulation and assimilation of political iconography circulating in Italy during the last decade of the eighteenth century. The research is introduced by a review of studies on the historical use of iconographic sources and, more particularly, on the interest of historians of the revolutionary period on this kind of traces, rather rare for the Italian case. The survey therefore focuses on five representative cases of five iconographic topoi that well illustrate the range of the corpus of sources: the historical scenes, the official allegories of institutions and individuals, the caricatures, the relations between the revolutionaries and the urban spaces of the big and small cities and the iconography of Napoleon Bonaparte. In conclusion, the aim is to assess the social and cultural role of Italian iconographic production in European production, while at the same time trying to understand and define the relations between the revolutionary and the counter-revolutionary context. Secondly, the study of these processes can be a new perspective with which to address the historical debate on the passive revolution and the question of the need for a Bonaparte in the framework of democratic development in Italy
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