1,164 research outputs found
Bibliografia di Umberto Romagnoli
No full textA complete bibliography of Umberto Romagnoli writings, introduced by a few lines by editors of the Journal and completed by an essay by Alberto Mattei dealing with some technical aspects of the collection of the
bibliography interwoven with some scholarly life moments of the author
La famiglia nel diritto internazionale
No full textL’opera approfondisce in modo organico i principali aspetti della disciplina dei rapporti di famiglia nella dimensione transnazionale, individuando e proponendo soluzioni interpretative per i temi di maggiore attualità e rilevanza.
Il contributo dato all’opera, oltre all’impianto complessivo e all’armonizzazione tra loro delle sue parti, si è focalizzato sulla rivisitazione della disciplina dell’adozione dei minori nella dimensione transnazionale. Sono state prospettate linee interpretative volte a legittimare il riconoscimento in Italia di adozioni straniere da parte di cittadini single con effetto pieno, conformemente ad alcune ancora isolate pronunce di merito che si sono discostate dalla posizione fino ad ora assunta dalla Corte di Cassazione ma che paiono avallate dagli orientamenti più recenti sia della Corte EDU che della Corte costituzionale
Contro i nemici della risata : Le stagioni teatrali di Umberto Simonetta al Teatro Gerolamo
No full textDirettore del Teatro Gerolamo fra il 1978 e il 1983, Umberto Simonetta è stato autore, regista e produttore di numerose pièce di successo, fra le quali Sta per venire la rivoluzione e non ho niente da mettermi (con Livia Cerini), Mi voleva Strehler (con Maurizio Micheli), che ha oltre mille repliche all’attivo, Ne ho mangiata troppa (con il figlio adottivo Luca Sandri).Head of the Teatro Gerolamo between 1978 and 1983, Umberto Simonetta was the author, director and producer of numerous successful plays, among which The revolution is about to come and I have nothing to wear (with Livia Cerini), I wanted Strehler (with Maurizio Micheli), who has over a thousand repeats to his credit, I ate too much (with his adopted son Luca Sandri)
Mario Giacomelli, Luigi Crocenzi and italian photography in the fifties and sixties
No full textIl lavoro si focalizza sull’opera fotografica di Mario Giacomelli (1925-2000) nel periodo 1954-1973. A partire da un vasto materiale documentario inedito, tratto dall’ Archivio Giacomelli e dal Fondo Luigi Crocenzi, conservato presso il CRAF di Spilimbergo, vengono ricostruiti i rapporti dell’artista col mondo fotoamatoriale degli anni Cinquanta e l’importante collaborazione con Crocenzi negli anni 1960-1973, fino ad oggi mai considerata. La stessa figura di Crocenzi, del resto, è poco nota. Fondatore nel 1954 del Centro per la Cultura nella Fotografia, fautore di una fotografia intesa come letteratura per immagini, collaborò, tra gli altri, con Elio Vittorini, Cesare Zavattini, Umberto Eco, Ugo Mulas, dando vita a una moderna commistione di linguaggi diversi. È lui, si scopre, a fornire a Giacomelli le sceneggiature per le serie di A Silvia (1964) e Caroline Branson (1967-1974), o lo spunto per le celebri foto dei “pretini” sulla neve.
Dalla vicenda critica emerge una forte dicotomia interpretativa, per cui le stesse opere sono state lette o in termini realistico-narrativi o lirico-soggettivi, complice l’estrema atipicità della produzione dell’artista, in cui convergono influssi ed elementi eterogenei e contrapposti. L’impasse viene superata attraverso una nuova messa a punto teorica, condotta sugli scritti e i testi della biblioteca Giacomelli, che consente di approdare a una concezione dialettica delle tensioni che animano l’opera e la poetica del fotografo marchigiano. A partire da questi presupposti, e sulla base di nuovi documenti, viene ricostruita per la prima volta la vicenda filologica delle celebri serie degli anni Cinquanta e Sessanta, per procedere poi a un’analisi comparativa con la produzione fotoamatoriale di quegli anni e le teorie del fotoracconto di Luigi Crocenzi.This work is focused on the photographic works produced by Mario Giacomelli (1925-2000) between 1954 and 1973. Its main purpose is to examine the artist’s relations with the scene of
the amateur photographers of the fifties, by availing of an extensive inedited documentation which has been retrieved from the Giacomelli’s Archive and the Luigi Crocenzi’s Collection, currently housed by CRAF in Spilimbergo. Furthermore, this work takes into account the hitherto neglected yet fundamental collaboration that the artist carried on with Crocenzi between 1960 and 1973. In this respect, some further information about Crocenzi is worth being provided. Founder of the “Centro per la cultura nella fotografia”, supporter of a photography aimed at being literature in pictures, he collaborated with Elio Vittorini, Cesare Zavattini, Umberto Eco and Ugo Mulas amongst others, thus helping develop a modern commixture of different disciplines. It came about that it was Crocenzi himself who provided Giacomelli with the scripts for the series of A Silvia (1964), Caroline Branson (1967-1974) and a cue for the artist’s renowned photos portraying “little priests” in the snow.
It must be said that criticism gave rise to an interpretational dichotomy about the artist, which resulted in a reading of Giacomelli’s works either in realistic and narrative terms or under a lyrical and subjective point of view. This contradiction is certainly due to the artist’s extreme singularity, being his works characterized by converging influences and opposing elements. However, the aforesaid deadlock can be partly broken thanks to a new theoretical approach, carried out by searching the writings and texts in the Giacomelli’s library. Such an approach makes it possible to come to a more dialectic conception of the tensions pervading the author’s works and poetics. Working on these assumptions and with the aid of the new documents at our disposal, this is the first research to conduct a philological study of the popular series from the fifties and sixties, hence proceeding to a comparative analysis with the amateur photography of that period and Luigi Crocenzi’s theories about photo stories.restricte
Paranoia and irony in the Anglophone dectective narrative and the novels of Umberto Eco
No full textThe thesis provides a reading of Umberto Eco's three novels, The Name of the
Rose, Foucault's Pendulum, and The Island of the Day Before, that, while it
acknowledges the importance of the Italian literary tradition in which they stand, also
seeks to explain why their author appeals so frequently to literary models outside
Italy, and in particular the Anglo-American detective genre.
Chapter One explains Eco's relationship to the development of Italian literature
through his lifetime. It is noted that Eco is beginning, both in his semiotics and his
fiction, from a position where post-structuralism has been extensively explored by
neo-avant-gardew riters. Eco positions himself alongsides uchw riters as Italo Calvino
and Jorge Luis Borges, who wish to explore the ludic possibilities of working within
structures, while all the time acknowledging the epistemological limitations of so
doing. Eco's chosen structure, more often than not, is the highly defined genre of
the detective story.
From here, the following chapters engage in close readings of the three novels,
with particular emphasis on The Name of the Rose and Foucault's Pendulum,
demonstrating that they explore problems of interpretation central to the detective
narrative. In doing this, they display an intimate knowledge of generic developments
within the detective tradition, and of the philosophical and aesthetic uses made of the
genre by other writers. The embedding of intertextual references to other detective
narratives within Eco's novels is an important factor, as they come together to form
a narrative of epistemological inquiry that itself follows Eco's philosophical progress
through the years. In short, the novels, inter alia, map a systematic inquiry into the
possibility of systematic inquiry. They reserve the space to engage in such an ironic
and self-referential project precisely through their fictionality
Author Correction: Multisensory task demands temporally extend the causal requirement for visual cortex in perception
No full textThe original version of this Article incorrectly included the 6th author Cyriel M. A. Pennartz as a corresponding author. The correct version lists only 7th author Umberto Olcese as corresponding author. In addition, the original version of the Article omitted to include a statement to indicate that Cyriel M. A. Pennartz and Umberto Olcese jointly supervised the work. This has been corrected in both the PDF and HTML versions of the Article
Umberto Romagnoli (1935-2022). Presentazione
No full textA complete bibliography of Umberto Romagnoli writings, introduced by
a few lines by editors of the Journal and completed by an essay by Alberto
Mattei dealing with some technical aspects of the collection of the
bibliography interwoven with some scholarly life moments of the author
Between Author and Text
No full textLithuanian translation of 'Between Author and Text' by Umberto Eco
Umberto Eco's "Open Work" and the Bible
No full textIn this study the author presents the concept of the Umberto Eco’s model of "open work". The question is: if this model can be applied to Bible. Umberto Eco argued that literary texts have many fields of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. We can say the same about Bible. The model of "open works" is very useful in the research of relation between Bible and a reader of Saint text. The model of "open works" does not include verification function of the community and Tradition
Sobre a intentio operis de Umberto Eco
No full textThe article tries to present Umberto Eco’s proposal of intentio operis in opposition to intentio auctoris and intentio lectoris. It also intends to present some critical appraisal of that proposal taking as starting point the notion that intentionality can only be understood as a projection of meaning from an author or a reader.O artigo busca apresentar a proposta da intentio operis em Umberto Eco como contraposição à intentio auctoris e à intentio lectoris. Visa também apresentar alguns críticos em relação a esta proposta a partir da noção de que intencionalidade só pode ser entendida como projeção de sentido a partir de um autor ou do um leitor
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