5,451 research outputs found
Lo spettacolo della guerra. I «panorami» delle campagne rivoluzionarie e napoleoniche tra Inghilterra e Francia (1793-1816)
No full textIn 1787 Robert Barker, an Irish painter living in Edinburgh, patented the panorama, an immense circular painting which for the first time allowed viewers to immerse themselves in the canvas. Launched in London in 1791, the panorama rapidly spread throughout Europe, becoming particularly popular in Paris. The aim of this article is to reconstruct the genesis of the panorama industry in London and Paris between 1793 and 1816, a period in which war between France and England monopolized the market. More precisely, the article will investigate the reasons for the success of the military panorama, highlighting its decisive role in the transformation of public imaginary and the spectacularization of war
Immersive Risorgimento: The Panoramas of the Battle of Solferino in France and Italy
No full textThe years between the end of the 18th century and the beginning of the 19th century were marked by a great media transformation that led to a process of spectacularisation of politics. The war dimension was decisively affected by this transformation. A whole set of new cultural products offered to the public a virtual participation in war events of the time. Panoramas were the most effective ones, as they allowed for an immersive experience of the battlefields. At the same time, panoramas conquered the interest of institutions which integrated them into their policies of spectacularisation. The aim of this paper is to show how panoramas were crucial in the 19th-century process of militarisation of the imageries, by presenting the Italian unification, the so-called Risorgimento, as a case study. More precisely, the paper will focus on the panoramas devoted to the battle of Solferino (June 24, 1859), in which the Piedmontese and French armies defeated the Austrians. The Panorama of the Battle of Solferino, painted by Jean-Charles Langlois in 1865, and the similarly themed ones exhibited in Milan in 1881 and in Turin in 1884, will be discussed
Visitare il Risorgimento: turismo patriottico e diplomazia della memoria a Solferino e San Martino (1859-1909)
No full textIn the 19th century, battlefields played an increasingly important role in the imaginaries
and sensibilities of the public, establishing themselves as destinations of a new travel
experience that can be defined as patriotic tourism. The article will consider the Italian Risorgimento, presenting the battle of Solferino and San Martino as a case study. More precisely, it will reconstruct the touristic and memorial policies implemented
by the Society of Solferino and San Martino, from the aftermath of the battle until the
celebration of its fiftieth anniversary in 1909, under the different presidencies of Luigi
Torelli, Vincenzo Stefano Breda and Carlo Maluta. A transnational perspective will also
be adopted, analysing touristic flows from abroad and the central role played by French
diplomacy in publicising and promoting the sites of the 1859 Campaign
Dentro la «boutique» filellenica. I «panorami» della Guerra d'indipendenza greca (1821-1832)
No full textIn 1821, the outbreak of the Greek War of Independence sparked a philhellenic mobilization that drew in the European public with a never-before-seen intensity. The media, and military panoramas in particular, played a decisive role in this veritable «Graecomania». Patented in 1787, the panorama consisted in an immense circular canvas, allowing the spectator to be completely immersed in the painted subject. Having faced a crisis with the end of the Napoleonic wars, the military panorama received fresh impetus from the Hellenic conflict, and it became a huge success, especially in Paris and London. Filling a gap in the scientific literature, this article aims to reconstruct the story of the philhellenic panoramas produced in France and England with a transnational perspective, highlighting the innovative ways through which they mediatized and spectacularized the Greek War of Independence. More precisely, the philhellenic season launched two formats: the fixed panorama, perfected in France by Jean-Charles Langlois, and the moving panorama, popularized in England by a varied crowd of stage designers and entertainment entrepreneurs
A imagem de Alessandro Baricco no Brasil
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Tra socialdemocrazie e Perestrojka. Le relazioni internazionali del Pci attraverso le carte di Alessandro Natta
No full textThis essay reconstructs the foreign policy of the Italian Communist Party during the four
years of Alessandro Natta’s secretariat (1984-1988) through largely original archival documentation,
from the Alessandro Natta Fonds of the Historical Archive of the Chamber of
Deputies. Natta’s papers are also cross-referenced with those kept in the PCI Archive at the
Gramsci Foundation. The author analyses the relationship that the PCI establishes with
Gorbachev’s Perestroika, Deng’s China, and European social democracies during the last
years of the Cold War
Volta Alessandro
No full textThe New Dictionary of Scientific Biography (extension and updating of the Dictionary of Scientific Biography) is one of the most substantial reference works in the field of the history of science. An up-to-date overview on Alessandro Volta's science with new perspectives offered by the author. Information and critical analysis is also provided on the main secondary literature produced on this main protagonist of enlightenment science after the 1976 entry "Volta Alessandro" in the Dictionary of Scientific Biography
"Muy señor nuestro Alessandro Varaldo". La ricognizione del mondo spagnolo e portoghese per riscoprire un autore italiano di successo ma dimenticato
Get PDFWho is Alessandro Varaldo (1876-1953)? This first analysis about what was said, adapted and translated of Varaldo’s work in the Iberian Peninsula and South America, maybe the only areas outside Italy where some traces of Italian author can be found, is a chance to go along his literary paths that overtook two temporal barriers (1900 and 1950), although it has not overtaken the oblivion’s threshold.Questa è una prima ricognizione di ciò che è stato detto, adattato e tradotto di Alessandro Varaldo (1876-1953) nella Penisola iberica e in Sud America, che si sospetta siano gli unici territori stranieri dove si riesca a ritracciare qualcosa dell’autore italiano, ed è un’occasione per ripercorrerne la traiettoria letteraria che ha superato due transenne temporali come il 1900 e il 1950 ma non quella della dimenticanza
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