194 research outputs found
Il commissario Catullo : il Carme 56 in Eccetera di Emilio Tadini
No full textThis paper deals with Enrico Tadini’s last novel, Eccetera, and its relationship with Catullus
LVI. Tadini was a well-known painter and writer of the second half of XXth century, author of
novels, poems, dramas, critical essays. In a scene of Eccetera the narrator reports the story of a
curious experience by one of the characters. Working as carrier, he delivers a book to a couple:
the book is an old edition of Catullus’ poems and the male of the couple propose to him to an
erotic performance that reproduces the situation of Catullus’ LVI. A close reading of the re-use of
the Latin poem shows that Tadini built the scene – and all his novel – on an elaborate system of
dichotomies and oppositions: old and new, colors and white, otherness and familiarity, classical
culture and contemporary absence of culture, past and present. Such a complexity simply tries to
reflect the complexity of the real life, as the analysis of Tadini’s style confirms. The author
establishes a dialogue with the reader, that is also a way of reflecting – through the powerful lens
of humorism – on the status of the contemporary novel and on our relationships with the past
Sustainable use of water, energy and landscape in the Alps
No full textThe article presents the results of the workshop 4-7, organised by the author in the frame of Forum Alpinum 2014. Its aim was to explore the relationship between hydropower development and landscape transformation in the Alps, hosting two invited speakers, presenting results of two recent research project on the topic: "Recharge.green" (www.recharge-green.eu) and "Ressources paysagères, ressources energetiques" (http://enpaysage.hypotheses.org), here resumed and discussed, testing the hypothesis that landscapes can provide useful insights for a more aware, broader-based, landscape-sensitive development of sustainable renewable energies
Ri. Relazioni estetiche tra Oriente ed Occidente a partire da Kishio Suga
No full textStarting from the work of the artist Kishio Suga, the essay establishes a link between some of the great themes of the eastern and western aesthetics. The author, leader of the movement Mono-ha (もの派 - "school of things"), is a key point of the deep proximity that the Japanese artists at the end of the Sixties had with the western Arte Povera. The essay is divided into four moments of reflection that we could sum up in four key words: reference, thing, mystery, ethics. Such concepts lead to reflections concerning the origin and the enjoyment of the work of art, the concepts of "beauty”, proving that the cultural division is not to be hoped in the contemporary society which must broaden to transculturality. Deeply different structures of languages and cultures can be different but feel admit and in the same time shifted within their mutual values
Ancient pollards in “coltura promiscua” in Italy : history, geography and perspectives
No full textThe Italian expression “coltura promiscua”, internationally used (Meynier, 1958; Zimmermann, 1981; Meeus, and al., 1990; Pinto Correia 2005; Zimmermann, 2006), indicates the association between pollarded trees, vines and arable land, typical of the Italian Peninsula,. Until the 1960s it used to provide one of the most famous traditional agricultural landscapes of Europe (Sereni, 1957; Desplanques 1959; Gambi, 1973). By producing agricultural products, as well as preserving agrobiodiversity, “coltura promiscua” was – as we would say today – extremely multifunctional.
“Coltura promiscua” is nowadays no more practiced, besides the presence of some rare relicts, that the author recently mapped and classified in certain areas in North Eastern Italy. Starting from this research, this paper presents some insights about the role of pollards in Italian traditional landscapes, through historical sources and fieldwork evidence, and propose to learn some lessons for the future
Pauca numero et utilibus plurima: Maimonides’ Treatise on Poisons and its Graeco-Arabic Sources
No full textThis study presents the Treatise on Poisons and the Protection Against
Lethal Drugs written by Maimonides (Moses ben Maimon, 1138-1204).
The author is concerned with toxicology, pharmacology, and medicine
and relies not only on the knowledge of both Greek and Arabic medical
sources but also on his experience as a practicing doctor
Per la riscoperta di Luigi Scorzini, scultore milanese
No full textThe essay reconstructs the life and oeuvre of
Luigi Scorzini (1799-1839), a Milanese sculptor trained at
the Accademia di Belle Arti di Brera under Camillo
Pacetti, who has long remained marginalised in art-historical
scholarship. Heir to his father’s goldsmith workshop,
Scorzini translated into sculpture a language of pronounced
classical rigour and a philological sensitivity
chiefly shaped by the models of Canova and Thorvaldsen.
Active at the Fabbrica del Duomo di Milano,
where he produced numerous statues from 1828 onwards,
he also contributed to several significant religious and
civic commissions across the city – from the church of
San Sepolcro to the façade of San Giuseppe, culminating
in the Palazzo dei Giureconsulti, where his marble statue
of Saint Ambrose (1833) sparked lively controversy for its
unprecedented antiquarian reinterpretation.
An author of busts, reliefs, and mythological groups,
Scorzini was a steadfast exponent of Lombard classicism
and remained largely unreceptive to the emergent Romantic
idiom. The rediscovery of his career permits the
reinstatement of his prominent role within the panorama
of Milanese sculpture in the first half of the nineteenth
century
Arene-Ruthenium(II) curcuminoid complexes as photosensitizer agents for antineoplastic and antimicrobial photodynamic therapy: in vitro and in vivo insights
No full textLumache e altri animali d’artista: il ruolo dell’autore nell’opera di Joan Fontcuberta
No full textThe animal kingdom has been a constant presence throughout Joan Fontcuberta’s career. A strong interest in natural history museums and zoological gardens appeared in his first photographs in the 1970s, and then exploded starting from the following decade in series
such as Fauna and Safari, in which, between curious hybridizations and staging, the animals were often protagonists of his well-known mystifications to deceive the public, or as Frottograms, in which they were used to question the traditional idea of photographic index. Animals then found themselves actively collaborating with Fontcuberta in the most recent project Gastropoda, in which, by delegating the creative act to snails, the artist seemed to want to question the traditional notion of authorship. The article therefore reconstructs the multiform animal presence in all of Fontcuberta’s work, to then analyze through it – with constant reference to his bibliography - his positions regarding the role of the author in the contemporary post-photographic society, also opening up to a series of further interdisciplinary reflections in the fields of art, photography and visual culture
EVASIONI ALLO SPECCHIO: EVOLUZIONE E ASPETTI DELLA NARRATIVA DI ARTURO LORIA DAI PRIMI INEDITI A "LA SCUOLA DI BALLO"
No full textThe stories written by Arturo Loria (1902-1957) in the first half of the Twenties are mostly inedited and little studied. Through their analysis, therefore, I aim at presenting the first comprehensive research on the development of his narrative from his debut until the publication of his third and last volume, “La scuola di ballo”.
The first of the three periods in which I have divided his oeuvre comprises seventeen stories written between the end of 1920 and the middle of 1922. Displaying homogeneous characters and situations and a pervasive rhetoric of excess and delirium that connects Loria's work to the melodrama and the Gothic tales, these stories reveal in their succession a conscious design of the writer. Since the very beginning his art seems to be retreated into itself thus mirroring its condition in society.
Between 1922 and 1926, Loria develops his narrative in a coherent way. His stories are characterized by a growing process of desublimation that eventually leads to the picaresque tales of “Il cieco e la Bellona”. At the same time, he also experiments new solutions and different narrative genres.
The second chapter, divided into three parts, is dedicated to the analysis of the genesis and structure of the collections: “Il cieco e la Bellona” (1928), “Fannias Ventosca” (1929) and “La scuola di ballo” (1932). The study of archive material (edited and inedited) gives information on the volumes that is largely unknown. The analysis of the structure, for example, demonstrates that Loria aimed at creating a cohesive work: “books of stories”, and not simple anthologies. This hypothesis seems to find evidence in the transformation that the texts undergo in the passage from review to volume. Building up thick plots of connections among the different stories and giving importance to their disposition, Loria uses the structure of his work as a rhetoric device to direct the attention of the reader towards certain aspects of his narration. He also uses it to multiply and deepen the symbolic scope of his stories. Moreover, the study on the genesis of the publications leads to the identification of two distinct phases of the Lorian narrative in “Il cieco e la Bellona” and in “La scuola di ballo”, with “Fannias Ventosca” being the collection of transition.
The object of the third chapter is the in-depth analysis of the evolution of the narrative and of the poetics of the author. In it I consider the way in which similar situations and characters, in particular the meeting between the protagonist and an old lady, are repeated over and over again. The comparison of analogous elements in texts belonging to different phases highlights that this repetitive duress is referable only in part to an obsessive matrix. Indeed, the reiteration of elements often reveals the high degree of awareness with which Loria reflected on his stories and on himself through them. It is a stratagem to enshrine in his volumes both his autobiography and the “biography” of his writing technique. This incessant reflection is related ultimately to the modern conscience of the crisis of the subject and of reality: a crisis that in the first half of the Twenties manifests itself mainly in the refusal of it, while in the second phase it assumes the form of an unsolved dialectic between enchantment and disenchantment.
It is possible to find Utopian nostalgia and cruel observation of the evil especially in the ambiguous relationships that the narrators build with the grotesque characters and with the eccentric events that involve them. At a certain point, however, the adventurous plots of “Il cieco e la Bellona” disappear and the author focuses his attention on the sensations and the impressions of characters paralyzed by a castrating awareness of their own self.
In the fourth and last chapter I ponder some aspects of the evolution of his narrative mode to show how over the three volumes the voice of the narrator becomes less and less audible and how the diegesis shifts decisively into mimesis. Additionally, I underline how the modernity of contents is not mirrored in the forms of expression. Unable to conceive his own art if not in ways which Loria himself perceived as non-topical, with his stories the author seems to have constantly given life to metaphors of crisis
"io mi sarei potuto servire di Plinio e d'altri autori": Vasari e Plinio il Vecchio (e Paolo Giovio)
No full textThe importance of Pliny the Elder’s Naturalis Historia in Renaissance about art-historical treatises is widely acknowledged by scholars. In particular, Pliny the Elder represented a very important model in the Florentine context from Landino to Vasari. In a special way, the painter from Arezzo, author of the Vite, referred to the authority of Pliny the Elder in the Proemi, but he also recalled the role that the humanist Paolo Giovio played in the genesis of his great historiographical work. Giovio was from Como as Pliny and he built in his hometown a Musaeum of illustrious men that inspired Vasari in the arrangement of the portraits of the artists that were placed before the Vite. Vasari in particular drew from Pliny and Giovio certain elements that helped the Vite to become an indispensable model in subsequent art literature
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