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I magazzini Bocconi e l’Architettura di Giulio De Angelis a Roma
No full textIl saggio affronta le opere di Giulio De Angelis (1845-1906) a Roma, esempi di architettura del ferro, con un approfondimento particolare della vicenda edilizia dei Magazzini Bocconi in via del Corso. L’analisi approfondita del grande magazzino parte dalla genesi progettuale, ampiamente documentata, e prosegue con la restituzione di tutte le fasi del suo processo di trasformazione, dall’esecuzione fino allo stato attuale, indagate attraverso i documenti d’archivio e la pubblicistica dell’epoca, restituite e verificate sulla base del rilievo architettonico effettuato dall’autrice nel 2004.The paper focuses on the architecture designed by Giulio De Angelis (1845-1906) in Rome,based on the technology of iron, espacially the construction of the Bocconi warehouse in via del Corso. The in-depth study of the huge warehouse starts with the ample and extensive documentation about its design. It then provides restitutions of all the changes to the warehouse from its construction to the present day; this part of the study is based on archival documents and press reports, re-elaborated and checked against the author's survey (2004)
Palazzo della Rinascente by Giulio de Angelis, Rome, Italy (1886/1887).
No full textThe study of 19th century buildings in which the outside brickwork served not only as a stopping device, but also as insulation and fire protection, while the iron framework served a purely structural purpose, involves a return to the origins of such building techniques without considering formally aesthetic implications. Viollet-le-Duc in volume II of Conferences states that, “a good architect could, not without logic, conceive the idea of a vast building with a structure made entirely of iron.... protecting it with a cover of stone”. Among brick buildings with iron frameworks constructed in Italy in the second half of the 19th century, Giulio de Angelis’ Palazzo della Rinascente, constructed in Via del Corso in Rome between 1885 and 1887, is of particular importance. “The Rinascente building”, says the bond laid down by the Monuments and Fine Arts Office, “represents the first use of a metal framework with glass walls...and other innovations of 19th century Roman architecture”. The building was designed following a competition won by Giulio de Angelis and Sante Bucciarelli.The firm Mora and Bossi began its construction on 15th December 1885.The chosen site measured almost 1000m and was reclaimed from the demolition of a building near the present day site of Palazzo Chigi, situated between Via San Claudio and Via Caccia Bove. The then exorbitant price of 900,000 lire was paid for the site. It is also for this reason that the dimensions of the plot (which was in fact a trapezium of sides 30.2m; 28.3m; 30.3m; and 27.9m in length) had a large part to play in the typological solution: a relatively compact volume in which it was necessary to balance spaces destined for sale and those dedicated to production
Dall’architettura del ferro ai teatri di Roma capitale: il teatro Quirino di Giulio De Angelis
No full textL’opera di Giulio De Angelis si inserisce nell’ambito dell’architettura del ferro, in particolare delle costruzioni miste con
una struttura portante interna in ferro e ghisa ed esterna in muratura. È il caso del teatro Quirino (1881), uno dei rari esempi di architettura del ferro a Roma (di cui si traccia un breve excursus storico critico) in cui l’utilizzo della tipologia strutturale mista non porta al rinnovamento tipologico nell’impianto o del linguaggio teatrale internazionale già ampiamente diffuso, ma consente una reinterpretazione dello spazio interno e una maggiore attenzione ai problemi della sicurezza intesa anche come prevenzione e resistenza agli incendi.Giulio De Angelis’work is part of cast-iron architecture, especially of the mixed constructions with a supporting structure
inside parts in iron and cast iron and external ones in masonry walls. This is the Quirino theatre case (1881) where the use
of the mixed struttural tipology doesn’t lead to the typological renewal in the plant or of the international theatrical language
already widespread, but it allows a reinterpretation of the inside space and a more attention to security issues understood as
prevention and fire resistance
Review: Italian translations of Ulysses
No full textReviewed works:
Ulisse by James Joyce; Giulio de Angelis
Guida alla lettura dell'Ulisse by Giorgio Melchiori; Giulio de Angelis
Ulisse: (da Ulysses, the Corrected Text) by James Joyce; Giulio de Angeli
Due libri, due vite
No full textParlerò di due libri con la pubblicazione dei quali ho avuto a che fare: Barbari nel secolo XX, di Leo Neppi Modona) e Dal campanile di Giotto ai pozzi di Abramo di Yoel De Malach (Giulio De Angelis)
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
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