324 research outputs found
L'umorismo scapigliato e Rossini: Il barbiere di Siviglia di Costantino Dall'Argine (1868)
No full textGiuseppe Rovani’s admiration for Rossini is well known. For the author of Cento anni, Rossinian comedy forms the basis for modern humour as theorised by the scapigliati. In the famous «Almanacco del Pungolo [for the year] 1858», which appeared at the end of 1857 and was compiled by Leone Fortis, humour is defined as the «first-born son of contemporary society». Meanwhile, November 1856 saw the birth of «L’uomo di pietra» (The stone man), the most famous scapigliato weekly journal, which was subtitled «Literary, humorous-critical journal». But the most notable theorist of modern scapigliato humour was without doubt Carlo Dossi, who in his Note azzurre considered Rossini «the musician of humour». It was in this context that post-unification Italy saw the development of a new form of comedy, influenced by French vaudeville (Labiche), and operetta (Hervé, Offenbach). In Milan new musical shows of a satirical type met with success: for example, Antonio Scalvini wrote some riviste (reviews) for the Teatro Fossati that are exemplary of this type, among others Se sa minga (9 December 1866), Il diavolo zoppo (10 December 1867) and La lanterna (7 December 1868). The music for the first was composed by Carlos Gomes, for the second by Costantino Dall’Argine, and for the third by Michele Iremonger. Dall’Argine also had great success with a three-act opera buffa, I due orsi, whose libretto was put together by another representative of the humorous scapigliato spirit of the time, Antonio Ghislanzoni. The opera appeared on stage at the Teatro di Santa Radegonda on 4 February 1867 and is in every way saturated with modern humour, including multiple parodic and metadiscursive references. The following year Dall’Argine re-set the libretto of Rossini’s Barbiere di Siviglia to music. The effort was not a success, not least because, with perfect timing, it appeared on the stage of the Teatro Comunale in Bologna two days before the death of the Swan of Pesaro. The essay dicusses Dall’Argine’s Barbiere in comparison with Rossini’s, and at the same time explores its cultural meaning in light of the context sketched above
Il Mercurio errante delle grandezze di Roma, tanto antiche, che moderne
No full textdi Pietro Rossini antiquario : in questa settima edizione migliorato, et accresciuto, con l'aggiunta delle fabriche fattevi sin'al presente diviso in due parti : la prima contiene palazzi, e chiese, la seconda ville, giardini, terme, acque, teatri, cerchi, archi trionfali, guglie, sepolcri, ed altre antichità, e cose singulari di Roma ..
Mercurio errante delle grande-zze di Roma, tanto antiche, che moderne di Pietro Rossini Antiquario... : diviso in due parti, la prima contiene Palazzi e Chiese, la seconda Ville, Giardini, Terme... ; parte I
No full textDatos da ed. preceden a: "diviso in due..."Sign.: a, A-R, SPort. con viñeta xilAs il. son f. preg. de grav. calc., representan arquitectura de Rom
Rossini: son opéra de Guillaume Tell (1829)
No full textTranscript of ROSSINI: SON OPERA DE GUILLAUME TELL by anonymous author, appearing in REVUE MUSICALE, 1829, pp. 103-104
Damage detection of prestressed concrete beams affected by shear and flexure cracks through vibration monitoring
No full textThis paper reports the results of an experimental campaign carried out on prestressed concrete beams (PCB), equipped both with bonded and unbonded strands, with the aim to employ Operation Modal Analysis (OMA) techniques to detect early warning signs (i.e., variation of natural frequencies and/or relevant mode shapes) associated to the onset of structural damages. With respect to similar past experimental studies, the main novelties presented hereafter concern the application of OMA to the following situations: (1) a PCB equipped with bonded strands and affected by a “almost pure” shear-cracks pattern; (2) a PCB equipped with unbonded strands and affected by an almost negligible (i.e., reversible) flexural damage. Among the outcomes of this study, it was found that, especially in the second case, the assessment of variations in the PCB natural fundamental frequencies, is not always an effective index of damage. On the contrary, a qualitative comparison between the undamaged and damaged identified mode shapes can be helpful even for the spatial location of the damage. Eventually, despite the diverging opinions in the reference literature, it is found that OMA technique is not a suitable tool to assess the potential influence of variations of the precompression load on the PCB fundamental frequencies, unless this variation is so high to cause cracking
Censorship in World War I: the Action of Wilson's Committee on Public Information
No full text"The Committee on Public Information was created by Woodrow Wilson during World War I as a government instrument for the management of public opinion during wartime. Headed by George Creel, the CPI quickly dominated two key and interwined aspects of mass communications: censorship and propaganda. Praised as "a nationalizing force at home and an Americanizing agent abroad", the Committee's overall goal was to promote the circulation of positive images of the United States and counter or prevent the spread of negative perceptions of the USA or of Great Britain and other Allied Powers. Daniela Rossini sees in the CPI's activities "a crusading attitude and a skillful combination of selective repression, centralization of information, control of the media and propaganda", that enabled Wilson's administration to manage public opinion in an unparalleled way. Censorship was not simply imposed by the government. The press, the film industry, other mass media, and the general public were urged, for the sake of honor and patriotism, to comply with CPI guidelines. In other words, the government sought to mobilize a general "self-imposed conformism" in order to achieve what amounted to high level of voluntary censorship. The CPI also undertook missions abroad. Charles Merriam led one such mission to Italy, organizing the first mass propaganda campaign in favor of he United States in that country, and offering a plan to improve Italian propaganda in the United States. Noting John Dewey's observation on the efficacy of mass methods in manufacturing popular sentiment for all kinds of causes (worth or not), this essay argues that the fabrication of consent was in fact achieved by repression of democratic rights. Daniela Rossini is careful to point out that U.S. censorship and propaganda were not so heavy handed as they were at that time in Italy, France or other European countries, but she echos arguments similar to those used by Alex Goodall regarding the contradictory nature of Wilsonian policies and their adverse effects on the functioning of democracy in the United States. The capacity of government-inspired censorship and propaganda to fabricate majority consent was proven by the CPI and the reactions of USAmerican society during World War I. This experience undermined basic U.S. assumptions about enlightened public opinion. It shed doubts on the capacity and willingness of an intelligent general public to maintain independent and diverse rational opinions. Furthermore, the author argues, it created a social atmosphere which was unfavorable to the expression of dissent, while sowing the seeds of reactionary postwar hysteria which encouraged antidemocratic attitudes of "isolationism, illiberalism and intollerance"." [from the editors' introduction
Rossini and his School
No full textHenry Sutherland Edwards (1828–1906) wrote this volume in Francis Hueffer's 'Great Musicians' series, published by Novello, in 1881. It was unusual for this series because of the addition of 'the School': most of the other books dealt with an individual composer, but Edwards discusses Bellini and provides chapters on Donizetti and Verdi (still alive, and at the height of his powers, at the time this book was published) as well as his main subject. The book covers Rossini's life and deals in detail with what the author regarded as his most significant works – a selection which may surprise or even outrage Rossini enthusiasts today.</jats:p
Memoirs of Rossini / by the author of the Lives of Haydn and Mozart
No full text"Chronological list of the works of Gioacchino Rossini" p. 282-28
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