1,168 research outputs found
The pictorial wit of Domenico Tiepolo
No full textThis thesis takes a new approach to Domenico Tiepolo’s (1727-1804), Divertimento Per li Regazzi (c.1795-1804), it is arguably the artists most enigmatic graphic work, which features the commedia dell’arte character Pulcinella. The drawings have hitherto been subject to rigorous connoisseurial analysis. Indeed, in his introduction to ten of the drawings in a catalogue of Italian Eighteenth-Century Drawings in The Robert Lehman Collection at the Metropolitan Museum of Art, New York, James Byam Shaw states that this particular series of drawings has now become so famous ‘that it is hardly necessary to add to the literature of the series.’1 In my opinion it would be a great pity if future generations of scholars were discouraged by this remark, for I believe the drawings still have much to ‘tell’ the contemporary art historian and would further benefit from increasingly interpretative readings. Previously, scholars have regarded Domenico Tiepolo as an imitator of his father, Giambattista Tiepolo (1696-1770), and interpreted the re-appropriation of motifs in the Divertimento as signs of old age and fatigue. I suggest, on the contrary, that in this series of drawings in particular, Domenico was an innovator.
This project carves out new territories within the study of the series in that it focuses on the playful nature of the drawings, and how the suite can be understood in relation to contemporary theory concerning games and play, and ludic musical/improvisatory forms. Additionally, the drawings are discussed as a case history in a now popular emerging dialectic on the late works of aged artists: here I consider how these drawings, often funny, poignant, sensitive and delicate reveal how the elderly painter reconciles himself not only to the passing of his own life and the extinction of his family line but to an entire political, cultural and visual tradition
Retinoblastoma as an Epigentic Disease: A Proposal
No full textThe aim of the present review is to give new insights into the pathogenesis of retinoblastoma, by applying the principles of Epigenetics to the analysis of clinical, epidemiological, and biological data concerning the disease. As an emerging new scientific approach linking the genome to the environment, Epigenetics, as applied to the interpretation of clinical, epidemiological and biological data in retinoblastoma, can not only explain the inconsistencies of the mutational (“two hit”) model, but also opens new outstanding scenarios in the fields of diagnosis, treatment and prevention of this eye tumour. This review is both a collection of literature data arguing against the role of the mutational (“two hit”) model in the genesis of retinoblastoma, and a documented evaluation of how the Epigenetic, rather than the genetic model fit the variegated phenotypic expression of the disease. The epigenetic model in the genesis of retinoblastoma, proposed herein, emphasizes the role of environment and the interaction of the environment with the genome, in generating reti-noblastoma in young children. Environmental toxicants, including radiations, wrong diets, and infectious diseases, among others, all play a major role in conditioning the degree of DNA methylation in embryos and foetuses during pregnancy, thus leading to stable, functional alterations of the genome, which, on the other hand, can be also transmit-ted from generation to generation, thus mimicking a hereditary disease. An accurate analysis of the currently available literature on both retinoblastoma and Epigenetics, coupled with the knowledge of the variegated phenotypic expression of the disease, can easily lead to the conclusion that retinoblastoma is an epigenetic, rather than a genetic disease
The Epigenetic Origin of Retinoblastoma
No full textThe aim of the present review is to give new insights into the pathogenesis of retinoblastoma, by applying the principles of epigenetics
to the study of clinical, epidemiological and biological data concerning the disease. As an emerging new scientific approach linking the
genome to the environment, epigenetics, can not only explain the inconsistencies of the mutational (‘two hit’) model in the genesis of
retinoblastoma, but also open new outstanding scenarios in the fields of diagnosis, treatment and prevention of this eye tumour and
cancer in general. After more than four decades of predominance of the ‘genetic’ theory, this review represents, to the authors’
knowledge, the first attempt to look at retinoblastoma from the point of view of epigenetics. The epigenetic model in the genesis of
retinoblastoma, proposed herein, emphasises the role of environment and its interactions with the genome, in generating retinoblastoma
in young children. Environmental toxicants, including, among others, radiations, wrong diets and infectious diseases, all play a major
role in conditioning the degree of DNA methylation (one of the leading mechanisms of epigenetic gene regulation) in embryos and
foetuses during pregnancy, thus leading to stable, functional alterations of the genome, which can be transmitted from one generation
to the next, thus mimicking a hereditary disease. An accurate analysis of the currently available literature on both retinoblastoma and
epigenetics, coupled with the knowledge of the variegated phenotypic expression of the disease, can easily lead to the conclusion that
retinoblastoma is an epigenetic, rather than a genetic disease
Transcending Giambologna: Domenico Pieratti and his experiments
No full textThe author maps out the career of Domenico Pieratti (Florence, 1600 - Rome, 1656), sheding light on this remarkable brilliant and highly original sculptor at the service of the Medici and Barberini
IP119. Early and Long-Term Results of Viabahn Endograft for Treatment of Supra-Aortic Trunk Aneurysm∗
No full textDomenico Venier's Poetics and Petrarchism in Sixteenth-Century Veneto
No full textreservedIl presente elaborato si propone di indagare il fenomeno del petrarchismo cinquecentesco in area veneta, concentrandosi in particolare sulla figura di Domenico Venier, tra i più rappresentativi interpreti della lirica petrarchesca nel contesto veneziano del XVI secolo. Attraverso un’analisi delle principali istanze tematiche e stilistiche rintracciabili nella sua produzione poetica, la tesi intende delineare un profilo letterario dell’autore che tenga conto non solo della tradizione petrarchesca, ma anche delle caratteristiche culturali e sociali del contesto lagunare. Particolare attenzione è riservata al cenacolo venieriano, luogo privilegiato di scambio intellettuale e di sperimentazione poetica, che svolse un ruolo significativo nella diffusione e nella rielaborazione del canone lirico stabilito da Pietro Bembo nella prima metà del Cinquecento. La tesi prende inoltre in esame la ricezione critica della poesia di Venier, con l’obiettivo di ricostruire le diverse prospettive interpretative che hanno contribuito a delineare l’immagine letteraria del poeta nel corso dei secoli.This thesis aims to investigate the phenomenon of sixteenth-century Petrarchism in the Veneto region of Northern Italy, with a particular focus on the figure of Domenico Venier, one of the most prominent exponents of Petrarchan lyric poetry of the time. Through an analysis of the main thematic and stylistic features that characterize his poetic production, the study seeks to outline a literary profile of the author, considering not only the Petrarchan tradition but also the cultural and social characteristics of the Venetian context. Special attention is given to Venier’s social circle, a privileged space for intellectual exchange and poetic experimentation, which played a significant role in the dissemination and reworking of the lyric canon established by Pietro Bembo in the first half of the sixteenth century. The thesis also examines the critical reception of Venier’s poetry, aiming to reconstruct the various interpretative perspectives that have contributed to shaping the poet’s literary image throughout the centuries
Domenico Gerosolimitano a Venezia
No full textIn this article, the author provides the Hebrew name of Domenico Gerosolimitano, a famous ecclesiastical censor of Hebrew books who lived in Italy from the end of the sixteenth through the second decade of the seventeenth centuries. Based on the discovery of his baptismal act, recorded in Venice, Domenico Gerosolimitano's Hebrew name was Rabbi Samuel Vivas, of Jerusalem. The aforementioned act determines the exact date of his conversion to Catholicism, as 6 August, 1593. The author presents new information concerning Domenico´s life in Venice as well as his activities as censor of Hebrew books.El artículo se ocupa de la identificación hebrea de Domenico Gerosolimitano, célebre censor de libros hebreos que trabajó en Italia entre fines del siglo XVI y los primeros veinte años del XVII. Gracias a haber descubierto en Venecia el acta de bautismo, el autor ha logrado identificar a Domenico Gerosolimitano con el rabino Samuel Vivas de Jerusalén y precisar la fecha exacta de su conversión al catolicismo (6 de agosto de 1593). El estudio arroja además nueva luz sobre la estancia en Venecia de Domenico y sobre sus inicios como censor de libros hebreos
Per un catalogo delle opere di Sgambati
No full textIn this essay there is an attempt to answer those questions deemed fundamental in order to scientifically set up a thematic catalogue of Sgambati’s compositions. When the author was still living, why had several of his works doubled in numbering? Which of them belong to the official corpus? How many compositions did he actually write and how can we order them?
To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized.
All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervoll- ständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works.
The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works
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