1,720,974 research outputs found
Conoscere, Interpretare, Diffondere: La circolazione nella cultura architettonica mediterranea tra XVII e XVIII secolo Knowledge, Interpretation and Dissemination: Circulations in Mediterranean Architectural Culture between XVII and XVIII centuries
No full textNel panorama globale l’area del Mediterraneo occupa una posizione nevralgica per la presenza di numerose culture e per l’intensità degli scambi tra esse avvenuti. Tale ambiente era contraddistinto da una maggiore frequenza e immediatezza dei rapporti, come conseguenza diretta di reti commerciali solide e dinamiche politiche particolarmente intense. Fin dal Medioevo, nonostante il continuo alternarsi di periodi di guerra e pace, una peculiarità degli scambi consisteva nel superamento delle barriere linguistiche e religiose. Le differenti culture del mondo cristiano e islamico che vi si affacciavano avevano la possibilità di conoscersi e confrontarsi in svariati ambiti, dall’agricoltura al commercio, dalla produzione artigianale a quella artistica. L’architettura fu uno dei principali campi in cui gli scambi mediterranei ebbero un ruolo fondamentale. Dai primi bagliori della cultura umanistica la posizione centrale dell’Italia in campo architettonico fu costantemente confermata e consolidata, giungendo all’apice con l’avvento del Barocco. Il Seicento italiano, caratterizzato da una capacità straordinaria di coinvolgere lo sguardo e i sensi del visitatore, ampliò la sua area di influenza, superando ben presto le frontiere nazionali. Le forme del Seicento italiano furono assorbite non soltanto dalle culture confinanti come quelle della Francia, della Croazia o dell’arcipelago maltese, ma raggiunsero anche contesti ben più lontani come la Spagna, il Portogallo, la Turchia e l’Egitto. Al di là di Roma, esse fecero apparire in pochi decenni una rete straordinaria di nuovi centri come Venezia, Milano, Torino, Napoli, Lecce, la Sicilia e così via. Ognuno di questi centri assunse fin da subito un carattere distintivo e peculiare. Così fu anche per la rete di nuovi centri che si venne a creare attorno al bacino mediterraneo, in costante contatto sia con le città italiane sia tra di loro. Nel Settecento la mappa del Mediterraneo presentava ormai numerosissimi poli con un fitto traffico di persone, idee, forme e tecniche. Il convegno si pone l’obiettivo di indagare la circolazione, la diffusione e l’assimilazione delle novità architettoniche dei secoli XVII e XVIII, ponendo al centro dell’attenzione i rapporti con l’Italia e ampliando lo sguardo su tutto il Mediterraneo. Tale convegno è frutto di un progetto di ricerca condotto da Alper Metin e Rossana Ravesi sulla presenza delle maestranze italiane nell’Impero ottomano e nella Spagna dei medesimi secoli. Il presupposto è la circolazione di tutte le componenti che configurano la cultura architettonica e ne determinano le dinamiche sociali
Il rinnovamento dell’architettura ottomana attraverso gli scambi culturali con l’Italia e la Francia nel XVIII secolo
No full textStarting from the return of the court to Istanbul in 1703, the Ottoman capital has witnessed an intense architectural and urban revitalization, comparable only to that undertaken by Mehmed II following the conquest of the city. However, if the latter prepared the culmination of the canons of the “Classical Ottoman architecture” which were already being formulated in the previous decades, what was peculiar about this new flourishing is the radical abandon of the traditional forms and schemes. This architectural and urban renovation took place in a moment which was characterized by an unprecedented intensity of cross-cultural interaction between the Ottomans and Western Europe, thanks to newly established diplomatic ties, growing commercial exchanges and most importantly, a wider mobility of professional figures and know-hows. These interactions led to a rather unique phenomenon of transculturation in the Early Modern history, breaking the religious borders of the Mediterranean and reaching the utmost evidence in the field of architecture. Like the European interest for turqueries, the architects of the Ottoman capital started merging their traditional architectural vocabulary with that coming from the West, mostly from France and Italy. Starting from the early 1740s, the so-called Ottoman Baroque was created, establishing its own distinctive language from the very first works.
This dissertation deals with the sources of the 18th-century renewal of the Ottoman architectural and urban culture with a new approach to the material. First and foremost, the primary tool of this research is the architecture itself, and therefore the material is substantially the built heritage. Thus, this work is a new attempt to “decode” the architectural culture of the period exploring the single novelties in their own contextuality. In opposition to the previous scholarship, which mostly followed a long-established deductive method or limited the area of interest to single case studies, the present dissertation searches a new analytical approach with the aim of reaching a more complex panorama of the period. In other words, if the “Ottoman Baroque” has always been understood starting from a broad historic perspective which never fully faced the problematic question of its possible origins and the extent of the familiarity of its creators with the West, this study follows the opposite path. The mythical and generic “Western Baroque /Rococo” origins of the new influences are thus questioned on both major and minor scales, starting from typological issues reaching to more ‘grammatical’ aspects of the single elements. After an introduction setting the scene, the architectural types which were newly invented or underwent a relevant
reconsideration constitute the main chore of the Part II. The equally important Part III deals with the single components of the architectural order as intended in the Western context, trying to understand the changing Ottoman approach to the matter.
Other than the methodological approach, two aspects distinguish this research. The first one is the reconsideration of the importance of the Italian cultural sphere on that of the Ottomans, both via direct contacts between the various Italian states and the Sublime Port and the indirect yet more relevant connections especially with Venice. In this panorama, the possible role of Crete and other Aegean islands is thoroughly discussed on every occasion. The in-depth architectural analysis of single novelties allows to demystify the ties with France, which so far seem to have been over-emphasized by the scholarship. As we shall discuss, till the last quarter of the century and the establishment of formal professional institutions; forms, schemes and know-hows originating from the Italian cultural area seem to have played a pivotal role in the formulation of the “new style”, at least as much as France did. The second point is the reexamination of the “problem” of diachrony between the two contexts. Referring to the architectural renewal of our period of interest as the “Ottoman Baroque/ Rococo” has misled the scholars to an illusion of synchronicity with the Western homeland of those artistic phenomena, while the chronological parallelisms are in fact quite limited and concern mostly the decorative aspects. What is particular about this period is a rather neglected feature: throughout this accelerated transculturation process, the contemporary European forms made their way alongside with some minor Medieval and Early Renaissance influences, in addition to a reconsideration of the local Late-Antique and Byzantine heritage with a brand-new set of references. Thus, as each paragraph of the dissertation will explore, the Ottoman “new” reveals much of the Western “old”; actually, an important part of the novel vocabulary is based on European elements which would have seemed rather archaizing in their homeland. This will also lead the reader to reconsider the importance of the provinces as well as the non-academical professional milieus in this turbulent process of self-refreshing.
The outcome of this research is a complex and multilayered panorama of the 18th-century Ottoman architecture both in the capital and in the major provincial ‘epicenters’. The radical change which we observe in the morphological and typological vocabulary, and the decorative and artistic repertoire is questioned from multiple perspectives and scales. Far from being a complete and exhaustive work, this dissertation tries to set a different methodological approach to the material and open a new window on a historical phenomenon which is extraordinarily complex and hard to decipher
Architectural History and Digital Humanities for the Knowledge and Conservation of the Built Heritage. An Italian Experience
No full textThis essay illustrates the ALOA project promoted by ICCD, whose aim is the reconfiguration of the ministerial records for the architectural heritage of Italy with the help of novel information technologies (ontology engineering, controlled vocabularies, interactive interface design, etc.). By explaining every step of the design of the new instrument, it explores both the backstage and the final output of the new records. A panorama on the national and international experiences on both ontology-based databanks and controlled vocabularies is also offered, to better understand the relevance of the project
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Repeating and replicating Sinan throughout the ages: continuity, nostalgia or aesthetic consensus?
No full textAfter his death in 1588, the architectural norms established during the time of Sinan largely persisted until the 1730s. The eighteenth century established its own aesthetic canons putting together local and Western forms. Throughout the nineteenth century, a long ‘interludium’ took place, while the Ottoman architects were experimenting with new forms deriving mostly from foreign (or intercultural) sources. With the emergence of a proto-nationalistic architectural Romanticism at the beginning of the twentieth century, the forms of the so-called Classical Age were included once again in the vocabulary of the late-Ottoman and early Republican architects. But it was only in 1945, more than two decades after the foundation of the Turkish Republic in 1923 that the references to the age of Sinan gained a new momentum, and more importantly, a more precise direction. Over the last seven decades, an almost massive production of replicas has transformed Sinan into into a sort of national territory marker all over the country, permeating even the most remote contexts where he never set foot. What was different, then, between these historical phases, and what has been happening from 1945 to our day? For how long was Sinan’s direct influence active, and how did it dissipate? Are the replicas of the last decades copies with their own historicity? This essay will try to explore the multiple afterlives of Sinan’s forms focusing on the mosque architecture
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