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Le residenze romane di Luigi Moretti per Ettore Muti, "L'Africano"
No full textIl Fascismo manifesta presto la volontà, incoraggiata dalle indagini legate agli sventramenti romani e agli scavi di Pompei, Ercolano ed Ostia, di stabilire una continuità tra le memorie archeologiche e la Terza Roma. La sinergia tra archeologia e regime sostiene le volontà auto rappresentative del Fascismo in vista del bimillenario della nascita di Augusto (1937), celebrandone con una mostra l’identificazione con il Duce e stimolando il cinema di propaganda. Il regista Gallone gira prima Gli ultimi giorni di Pompei, dove Pietro Aschieri allestisce scenografie e costumi attingendo dai risultati degli scavi, e poi Scipione L’Africano, con cui si celebra la campagna etiopica. Quando, nel 1940, Luigi Moretti è chiamato ad allestire l’abitazione romana del gerarca Ettore Muti nell’antica Porta Appia, oggi San Sebastiano, immagina un allestimento scenografico in bilico tra modernità, trofei di guerra e reperti antichi: una ideale residenza all’antica in cui l’architetto-regista ambienta le gesta quotidiane del presunto delfino di Mussolini. Curiosamente, una prima versione della residenza di Muti va in scena dentro Porta San Paolo. Questo spiega le contraddizioni presenti nei pochi documenti grafici e fotografici rimasti, qui riordinati e utilizzati dagli autori per produrne delle ricostruzioni. Le ragioni di questo spostamento, al di là dei semplici benefici dimensionali, si possono cercare proprio nel contesto archeologico, mediatico e propagandistico di quegli anni. Moretti elabora una associazione tra Muti, artefice delle conquiste africane, e Publio Cornelio Scipione l’Africano, vittorioso a Zama, il cui sepolcro si trova in prossimità di Porta San Sebastiano. Nella ricerca del genius loci, Moretti trova un ulteriore mediatore nell’imperatore Carlo V, che dopo aver sconfitto i Turchi a Tunisi, l’antica Cartagine, era entrato trionfante a Roma nel 1536 proprio attraverso l’antica porta, con modalità e percorsi ripresi durante la visita di Hitler del 1938.Fascism soon manifests the intent, encouraged by the investigations linked to the Roman demolitions and excavations of Pompeii, Herculaneum and Ostia, to establish a continuity between the archaeological memories and the Third Rome. The synergy between archeology and regime supports the Party self-representation in view of the two thousandth anniversary of the birth of Augustus (1937), celebrating his identification with the Duce with an exhibition and stimulating the propaganda cinema. The Director Gallone first shoots Gli ultimi giorni di Pompei, where Pietro Aschieri organizes sets and costumes after the results of the excavations, and then Scipione L’Africano, whom the Ethiopian countryside is celebrated with. When, in 1940, Luigi Moretti was called to set up the Roman home of the hierarch Ettore Muti in the ancient Porta Appia, today San Sebastiano, he imagined a scenic setting between modernity, war trophies and ancient finds: an ideal residenza all’antica in which the architect-director sets the daily events of the alleged dolphin of Mussolini. Curiously, a first version of Muti’s residence is staged inside Porta San Paolo. This explains the contradictions visible in the few remaining graphic and photographic documents, here ordered and used to conjecture reconstructions. The reasons for this movement, beyond the simple size benefits, can be found precisely in the archaeological, media and propaganda context of those years. Moretti elaborates an association between Muti, architect of the African conquests, and Publio Cornelio Scipione, called the African, victorious in Zama, whose tomb is located near Porta San Sebastiano. In searching for the genius loci, Moretti finds a further mediator in the Emperor Charles V, who after defeating the Turks in Tunis, the ancient Carthage, had triumphantly entered Rome in 1536 right through the ancient gate, with methods and paths resembled during Hitler’s visit in 1938
Luigi Moretti e la residenza all’antica in Porta San Sebastiano per Ettore Muti, “L’Africano”
No full textIn 1940, Ettore Muti, the secretary of the National Fascist Party, commissioned the architect Luigi Moretti a very special residence, able to harmonize the trophies of his military campaigns with the relics of the Roman Empire. Despite what was believed, the apartment involved two different sites: Porta Ostiense-San Paolo and Porta Appia-San Sebastiano. The first embodiment of this all’antica apartment was staged in the rooms of Porta Ostiense, as evidenced by a few photographs and a single sketch. Half-way between a cinematic stage and an archeological site, Moretti’s project gathers and develops the suggestions that come from the brave biography of Muti and, through the mediation of the architect Vittorio Cafiero and his associates, from the rhetoric of political power that serves of archaeological discoveries and propaganda cinema to convey the new incarnation of the Empire. Within a year, the apartment is moved to the Porta Appia, a site that offers better environmental and spatial conditions and the opportunity of further developing the former prototype. In this case, only the drawings by Moretti and Achille Capizzano remain to testify to the existence of a residence that has left few traces in the building. However, the reasons for these peculiar choices could be more complex and sophisticated than it appears.
After a historical synthesis of the figures of Muti and Moretti at the end of the 1930s, of the political role of the Roman archaeological tradition and of the nascent mass cinema, the authors investigate the possible reasons behind the project, in the archaeological, media and propaganda context of those years; reconstruct the organization of the two apartments by comparing the visual documents, appropriately rearranged in relation to the two sites, and the current state of the two monuments; finally, they propose some hypotheses on the reasons for the move within the framework of an association between Muti, Publio Cornelio Scipione known as the African and Carlo V, winner over the Turks by the ancient Carthage
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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