40 research outputs found
Lo spirito di fronte al male. L'ultima filosofia di Giovanni Gentile
No full textThe essay retraces Giovanni Gentile’s philosophical production
from 1943 until his death in 1944, 15 April. Focusing
on Genesi e struttura della società, the author investigates the
most signifi cant theoretical differences between this last book
(published in 1946, after Gentile’s death) and the philosophical
works written twenty years before, Fondamenti di Filosofi a
del diritto and Teoria generale dello spirito come atto puro. The
author points out concepts such as evil and death in these
books and studies their different elaboration in Gentile’s last
book, considering a possible link between these changes and
the anxiety or moral suffering that the philosopher might have
felt facing the Nazi Fascist crimes
Francesco Del Nero. The Art of Multiplication
No full textThe paper deals with the oddities and peculiarities of critical history of a bronze bust representing Francesco del Nero (1487−1563), papal treasurer in the pontificate of Clement VII de Medici. Formerly in the Kaiser-Friedrich-Museum, Berlin, and long considered
lost in the fire of Friedrichshain bunker in May 1945, it has recently been officially rediscovered in the Pushkin Museum, Moscow, in custody there since 1946. The bronze effigy of Francesco del Nero repeats a marble image of the same sitter on his tomb in Santa
Maria Minerva, Rome, thus raising the question of a copy and of the original. Also, several plaster casts and even bronze copies are known to exist. The dramatic history of the bust, acquired in 1895 for Berlin Museums by Wilhelm von Bode himself, is examined in detail, along with that of a plaster cast of the aforementioned work also in Moscow, acquired around
1899 in Berlin by the founder of the Moscow museum Ivan Tsvetaev, and produced at the Berlin Gipsformerei. New material available at hand and a critical analysis of the sources allows the author to effectively challenge the attribution of the bronze bust to Giulio
Mazzoni from Piacenza (1525–1618), together with the long-held assumption of the bust being the original after which a marble effigy in the roman church of Santa Maria Minerva was made, thus raising important concerns about the work’s provenance and authenticity.
An examination of written sources related to the bust reveals several key inconsistencies in the account of its purchase for the Berlin Museums, while a recent (2017) rediscovery of yet another plaster cast of the bust in the legacy of a prominent Florentine dealer of antiques leads to a reconstruction of an intricate chain of fabricated copies, probably not devoid
of a certain fraudulent intent
Emilio Ghione and the Mask of Za La Mort
No full textThis study aims to examine the cultural impact of Emilio Ghione's Za La Mort films (1914-1924) on Italian culture. These films constitute a significant Italian combination of several early cinema genres and sub-genres, such as the apache film, the traces of which have almost entirely disappeared. More broadly, the changing interpretations of Za La Mort figure allow us to understand wider shifts in Italian and European popular culture.
The first chapter of the study considers the wealth of influences from European popular culture that Emilio Ghione merged into the apache films, such as the apache sub-culture in Paris. The second chapter of the study then reconstructs the Za La Mort filmography, most of which has now been lost, from film viewings and archival documents. The third chapter considers Emilio Ghione's Za La Mort novels and theatrical productions in the years 1922-1930, and Ghione's attempts to make Za La Mort a more Fascist and nationalistic figure. The fourth chapter considers the enduring figure of Za La Mort in Italian popular culture, especially in Raffaele Matarazzo's Fumeria D'Oppio and a 1940's fumetti series. The fifth chapter considers the audience reception of the Za La Mort films from the limited remaining evidence and, positioning the series between the Cinema of Attractions of the 1900s and the Classical Cinema of the mid-1920's, analyses how the Za La Mort films were constructed to please a predominantly working class audience that valued spectacular thrills and great acting performances over narrative consistency and stable characterisation.
This research re-establishes the importance of one of Italian cinema's most important film-makers of the silent period, and his enduring importance as a popular cultural figure in Italy
Austin also must be remembered. The Augustinian legacy in Milton's work
No full textWhen I started working on this project, with a limited knowledge of Augustine, but determined to spot his presence in Miltonâs poetry, I was little aware of the intricacy of the relationship between the two authors. At this stage of my research, I do subscribe to Savoyeâs opinion, that this relationship is pervasive. However, one could safely add, it is as pervasive as it is hidden, primarily because of changed cultural paradigms, so that Miltonâs references are no longer familiar to the reader.
As I have pointed out in my presentation of the state of the art, these articulations are hardly made explicit in Miltonâs Oeuvre and also in critical literature they are hardly brought to the surface. My objective has been to make them a little more visible.
I have started my own process of discovery from the works where Milton more openly (but not completely) acknowledges his Augustinian sources, although arguably mediated. As concerns Samson Agonistes, I have presented a reading through Augustinian lenses. I am by no means claiming that mine is the best of all possible readings, but through those lenses I have been able to see a coherence, in Miltonâs dramatic poem, that is not generally recognized.
On the other hand, I thoroughly agree that âone cannot simply take any English poet and turn the post-structuralist critical machine loose on him or her in good faithâ. In particular, I am aware that I have read Miltonâs works against the current critical grain which, with a powerful turn impressed by Empsonâs Miltonâs God, is continually surfacing Miltonâs idiosyncrasies in order to cancel the received picture of a Christian author. Rather, I agree with Cirillo that Miltonâs perspective is that of âa professed Christian poet whose Christian consciousness, no matter how heterodox, colored virtually everything he wrote.â.We may ask, echoing Febvre on Rabelais, âMais de quel christianisme? In accordance with very traditional, even traditionalist Milton Criticism, I think it can safely be stated that Milton is a post-Reformation religious author, and one whose endeavour to âjustify the ways of God to menâ had to come to terms with the difficult task to find signs of providential history in the aftermath of a civil war and in the adverse context of the Restoration. His last published poems deal with this problem in different terms. As readers, we can come to different conclusions as to the texts. Behind them there is the man, âest abyssus humanae conscientiae,â in front of which, after Augustine, I can only say: "nescio"
Maternal and professional identity change during the transition to motherhood
No full textBecoming a mother derails many women’s chances for career progression. One reason for this is that women leave organisations when they become mothers, or reduce their working hours. Another reason is that people within the organisation start to view them as less career-orientated as a result of being mothers. At the core of this issue is that who a woman is – her identity – is being redefined in the transition to motherhood, by herself and by those around her. But, little is known about how her professional identity develops during the transition to motherhood, or whether its development is related to her growing maternal identity. This paper, therefore, presents a systematic review of the literature concerning changes in maternal and professional identities, as well as the relationship between them. Based on the evidence, this review concludes that although the development of maternal identity has been well documented in the literature, little is known about how a woman’s professional identity develops, as she becomes a mother. Suggestions for further research and practice are discussed
Rate of telomere shortening and cardiovascular damage: a longitudinal study in the 1946 British Birth Cohort.
No full textCross-sectional studies reported associations between short leucocyte telomere length (LTL) and measures of vascular and cardiac damage. However, the contribution of LTL dynamics to the age-related process of cardiovascular (CV) remodelling remains unknown. In this study, we explored whether the rate of LTL shortening can predict CV phenotypes over 10-year follow-up and the influence of established CV risk factors on this relationship
Do pensamento á ficção no exílio de Francisco Ayala
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Do pensamento à ficção quer expressar um trânsito na obra de Francisco Ayala, que começa com o exílio na América em 1939 e se estende ao exercício intelectual do escritor espanhol nesse período. Representante de um pensamento liberal que se fundamenta no conhecimento racional e historicista, desenvolvido no campo da sociologia e da política, ele atua no meio argentino e latino-americano em geral através de artigos publicados em revistas e jornais, livros teóricos e traduções. Seu trabalho busca refletir sobre os acontecimentos históricos da primeira metade do século XX e do pós-guerra no contexto mundial de crise da modernidade, com o objetivo de compreender as mudanças sociais e situar o papel da elite letrada frente às urgências da sociedade de massas, observando como o estado das letras se viu sitiado pelo avanço das imagens dos meios de comunicação. O exílio coloca Ayala frente a uma realidade emergente e descentrada nos países por onde andou. Isso alimenta um desvio gradual da atividade sociológica para uma dedicação literária predominante. Ao final do exílio, na década de 70, e das viagens que esse período proporcionou, ele acaba por incorporar as imagens às letras e, mesmo mantendo a consciência do seu eu, experimenta as possibilidades de ser outros através da narrativa ficcional. Esse processo caracteriza um avanço sobre os limites do pensamento modernista, envolvendo Francisco Ayala numa situação tardo-moderna por experimentar, nas décadas de 50 e 60, elementos hoje atribuídos ao pós-modernismo. From thought to fiction it wishes to express a transit in the work of Francisco Ayala, which starts with the exile in America in 1939 and continues towards the intellectual exercise of the Spanish author in this period. Representative of a liberal thought which bases itself in the rational and historicist knowledge, developed in the field of Sociology and of the politics, he acts in the Argentinian and Latin-american as a general rule environment through articles published in magazines and newspapers, theoretical books and translations. His works aims to reflect upon the historical events of the first half of the XXth century and of the pos-war period in the world context of the crisis of modernity, with the objective of understanding the social changes and to situate the role of the educated elite as far as the urgencies of the mass society are concerned, noticing how the state of the education has found itself besieged due to the advances of the images of the communication media. The exile puts Ayala facing an emergent reality and decentred from the countries where he had traveled to. This provokes a gradual deviation from the sociological activity to a predominant literary dedication. At the end of the exile, during the 70#s, and of the trips, which this period had offered him, he finally incorporates the images into the texts and, even keeping the awareness of his self, the author experiences the possibilities of being others through the fictional narrative. This process characterizes an advance over the limits of the modernist thought, engaging Francisco Ayala into a late-modern situation for experimenting, during the 50#s and the 60#s, elements credited to the post-modernism
