763 research outputs found
Tari Berthema"Nduk"
No full textTari Berthema"Nduk"
Karya: Endang Partini, Ujian penyajian Tari, Pendapa ISI Surakart
Francesco Partini da Rovereto (1500-1569), medico imperiale. La sua attività di cura e le sue reti professionali
No full textpeer reviewedThe article sheds light on both the medical activity of Francesco Partini from Rovereto (1501-1569), and his friendship- and professional networks. After taking a degree in Medicine at the ‘Collegio dei Medici’ of Venice, he was employed as city physician by the Government of Rovereto in 1531. Later on, in 1557, he was appointed personal physician for Ferdinand I’s son, Maximilian, King of Bohemia and future Emperor. Partini managed to land such a sought-after position thanks to his friendship with Giulio Alessandrini and Pietro Andrea Mattioli, who had already become court physicians in the early 1550s. Documental evidence kept in the Verwaltungsarchiv of the Österreichische Nationalbibliothek of Vienna shows that Partini was awarded the noble title by the Emperor, and perhaps he fulfilled diplomatic tasks on his behalf. Despite these commitments beyond the Alps, Partini maintained his connections with his homeland and continued to manage his family holdings after moving to Vienna, as documents retained in the Archivio Storico of the Civic Library “Girolamo Tartarotti” of Rovereto, testify to. The register of eighty medical consultations (‘consilia medica’), handwritten by Partini from 1536 at least until 1567, allows us to outline the features of his medical practice. Although not straying either from Galenic-Hippocratic tradition or from the humoral theory, Partini was able to belie ancient authors when disagreeing with them, and, as medical humanist, used to discuss passages of their works in a critical sense. Such a characteristic is for instance visible in a piece of advice addressed to Bernardino Count of Thun. The ‘consilia’ compiled by Partini distinguish themselves by a great attention to clinical signs, in the wake of the studies by Giovanni Battista Da Monte (d. 1551). Partini’s consultations contain an accurate description of (1) the symptoms complained of by the patients, (2) the physical aspect of the body (colour and texture of skin, hair, build, …), and (3) the outside appearance of its secretions (urines, feaces, catarrh, …). Such a thorough observation led the practitioner both to formulate diagnoses as precise as possible and to prescribe the relevant therapies. Partini’s collection of pieces of advice attests a close dialogue with his colleagues. Such a frequent exchange entailed his firm conviction that it was possible to improve one’s knowledge, and even to find more effective therapeutic methods through discussion. He consulted some of the most eminent physicians of his time, such as Giovanni Battista Da Monte, Giulio Alessandrini and others, in order to receive a confirmation of the diagnoses he made and/or the therapies he prescribed. The most of the subjects treated by Partini belonged to the imperial family or its entourage, such as the Madruzzo, the Truchsess von Waldburg, and the Oztrosich. Exactly the high socio-political rank of his patients could have represented another reason why Partini used to ask for his colleagues’ help. In fact, the constant search for confirmation to his diagnostic hypotheses and pharmaceutical prescriptions did not only betoken his professional reliability, but it could also imply his fear of disappointing his patients’ expectations. Contradicting one of them, who were also his ‘domini’, could affect his career and even compromise the privileges he had acquired. In conclusion, Partini had to integrate his scholarly erudition with a goal-oriented strategy aimed at preserving as well as conquering the trust both of his patients and of the Emperor
Sendratari Jayengsari
No full textSendratari Jayengsari ini merupakan garapan bersama I Gusti Agung Ayu Oka Partini dan Ida Bagus Karang Arnama sebagai penggarap tari. Garapan ini dimaksudkan untuk membangkitkan kembali popularitas cerita Panji, di samping itu untuk menyajikan nilai - nilai kepahlawanan, keluhuran budi, dan lain - lain yang diperlihatkan oleh tokoh Panji
Latar Sosial Budaya Pethilan Novel “ Ngulandara “ Anggitanipun Margana Djaja Atmaja Wonten Buku Antologi “Emas Sumawar Ing Buluarti“ Anggitanipun Partini B
Full text linkLatar Sosial Budaya Pethilan Novel “ Ngulandara “ Anggitanipun Margana Djaja Atmaja Wonten Buku Antologi “Emas Sumawar Ing Buluarti“ Anggitanipun Partini
Femininitas Gadjah Mada Plus Maskulinitas Prof. Partini
Full text linkKesetaraan gender merupakan norma baru bagi umumnya laki-laki, sehingga
narasi “gender” jauh lebih sulit diterima oleh kaum laki-laki karena langsung
mengancam terhadap kepentingan “dirinya” (dominasi laki-laki). Hal ini
berbeda jauh dengan narasi keadilan sosial, kelas sosial, dan sejenisnya yang digandrungi
oleh kaum laki-laki karena bersentuhan dengan kepetingan “umum”
(dominasi kelompok tertentu) yang harus mereka perjuangkan. Fenomena ini
meneguhkan argumen sosiologi pengetahuan, bahwa seseorang cenderung akan
memperjuangkan kepentingan dirinya dan menolak sesuatu yang akan mengancam
eksistensinya. Secara reflektif perlu direnungkan lebih mendalam, karena eksistensi seseorang
tidak semuanya berasal dari takdir, tetapi karena dibentuk oleh lingkungan
tempat mereka tumbuh. Beriringan dengan itu, sistem pengetahuan seringkali
hadir untuk mengukuhkan relasi kuasa dan memperkuat eksistensi kelompok
tertentu. Dalam ruang semacam itu, perspektif kesetaraan gender hadir untuk
memberi pemaknaan baru atas ketimpangan gender yang terlanjur dinggap
lumrah dan biasa. Di sinilah narasi dan praksis hidup Prof. Dr. Partini menemui
tantangannya
Giulio Rossi, Giuseppe Partini e il neomedievalismo nell'architettura civile senese del XIX secolo
No full textIl neomedievalismo ottocentesco incise in modo significativo sul tessuto edilizio del centro storico di Siena, instaurando un confronto contraddittorio ma non superficiale con l’architettura del passato. Il sacrificio delle stratificazioni postmedievali, dell’edilizia minore e talvolta delle stesse strutture che si intendeva recuperare e valorizzare, avvenne infatti nel quadro della restituzione di un’immagine della città volta ad un rigoroso recupero dei valori formali della tradizione gotica, spesso rivisitati alla luce di una nuova sensibilità e di un atteggiamento non strettamente imitativo. L’intervento ripercorre i caratteri salienti del complesso rapporto con l’architettura storica tramite l’analisi delle opere di due figure fondamentali: Giulio Rossi, primo esponente del neomedievalismo senese e artefice, fin dalla seconda metà degli anni Quaranta, di importanti interventi su edifici civili, e Giuseppe Partini, suo allievo e protagonista per oltre un trentennio della scena architettonica. Entrambi provenivano dalle file dell’Istituto di Belle Arti, asse portante della vita artistica della città e incunabolo dei principali orientamenti di cultura e di stile. A partire dal 1851 la direzione dell’istituto fu assunta da Luigi Mussini, le cui idee ‘puriste’, orientate verso un recupero critico delle testimonianze medievali e rinascimentali, trovarono, specie nelle opere di Partini, una piena e qualificata adesione.In the 19th century the Neo-medieval current in architecture had a significant impact on building in the historic center of Siena and created a contrast with the architecture of the past that was contradictory but not superficial. The elimination of the post-medieval layers, of minor buildings and sometimes even of the structures that they intended to restore and revive, occurred, in fact, as part of a program to revive the image of the city based on a rigorous recovery of the formal ideals of the Gothic tradition which was often interpreted according to a new sensitivity and an attitude that was not wholly based on imitation. This paper discusses the main characteristics of the complex relationship with historical architecture by analyzing the work of two of the fundamental protagonists: Giulio Rossi, the leading figure in Sienese neo-medievalism who, starting in the second half of the 1940s was the author of important work on some of the city buildings, and Giuseppe Partini, his pupil, who was for over thirty years one of the protagonists on the architectural scene. Both architects had studied at the Istituto di Belle Arti, the most important institution in the artistic life of the city and the birthplace of the main cultural and stylistic currents a. Starting in 1851, the institute was under the direction of Luigi Mussini, whose ‘purist’ ideas, directed towards the critical recovery of Medieval and Renaissance forms, were adhered to totally by many qualified architects, especially Partini
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