692 research outputs found
Cristo, la Veronica e il Diavolo. Cripto-citazioni da Arturo Graf nell’«Umorismo» e nel «Fu Mattia Pascal»
No full textL'articolo segnala le citazioni da Arturo Graf, non dichiarate, che Pirandello inserisce in due punti-chiave della propria opera: la pagina finale dell'«Umorismo» e il celebre dialogo del «Fu Mattia Pascal» intorno alla bruttezza di Cristo, udito il quale il protagonista decide di cambiare nome in Adriano Meis.The article highlights the undeclared quotations from Arturo Graf that Pirandello inserts in two key points of his work: the final page of «L'umorismo» and the famous dialogue of «Il Fu Mattia Pascal» around the ugliness of Christ, heard which the protagonist decides to change his name to Adriano Meis
Cristo, la Veronica e il Diavolo. Cripto-citazioni da Arturo Graf nell’«Umorismo» e nel «Fu Mattia Pascal»
No full textL'articolo segnala le citazioni da Arturo Graf, non dichiarate, che Pirandello inserisce in due punti-chiave della propria opera: la pagina finale dell'«Umorismo» e il celebre dialogo del «Fu Mattia Pascal» intorno alla bruttezza di Cristo, udito il quale il protagonista decide di cambiare nome in Adriano Meis
Katalog der alexandrinischen Münzen der Sammlung Dr. Christian Friedrich August Schledehaus im Kulturgeschichtlichen MuseumOsnabrück,III,Die Münzen des 3. Jahrhunderts (Septimius Severus-Domitius Domitianus)
No full textCOMPOSER-LEGISLATORS IN FASCIST ITALY: DISTINGUISHING THE PERSONAL AND LEGISLATIVE VOICES OF ADRIANO LUALDI
No full textIn addition to a list of Lualdi's written works, appendices include a facing English translation of Alceo Toni, et al., “Travagli spirituali del nostro tempo: un manifesto di musicisti italiani per la tradizione dell’arte romantica dell’800,” La stampa, December 17, 1932, 3.During Italy’s fascist period, the government appointed Adriano Lualdi to the
Chamber of Deputies. The once prominent composer, author, and music critic
represented the Fascist Union of Musicians in the chamber and had roles in the
administration of government-subsidized festivals. Although little is written about the
composer-legislator, what is available depicts him as opportunistic and self-serving.
Previous scholarship claims that he used his position in the fascist bureaucracy to his own
advantage by pushing his aesthetic philosophy through legislation. These claims are
substantiated by Lualdi’s private communications and published works which detail his
opinions on musical aesthetics. Comparing Lualdi’s political records to his publications
shows that his personal opinions on aesthetics did not interfere with legislation to the
degree that past scholarship suggests. I argue that previous scholarship conflates Lualdi’s
legislative voice with his personal voice, offering a distorted, and therefore incomplete
version of Adriano Lualdi as a historical figure
Un viaje desde Oriente al Occidente: el "Pileus", del gorro de los Dióscuros al símbolo de la Libertad
No full textThe origins of this communication lie in the fundamental conclusions to which Adriano Savio arrived in an article with the title of «Il berretto frigio sulla moneta: un viaggio da est a ovest» (The Phrygian Cap on Coins; a Journey from East to West), published in the 2002 Rivista Italiana di Numismatica. To wit:a) It is highly probable that the Dioscuri inherited the use of the cap from the Cabiros, extremely powerful oriental divinities already wearing them in the Archaic Era as portrayed on the coins of Samothrace, the venue of an important Cabirion in whose archaeological area the famous Nikè was found, now in the Louvre.b) The assimilation of Cabiros and Dioscuri probably came about in the iii and iv Centuries B. C. on the island of Samothrace, spreading all round the Greek world with the «diaspora of Samothrace» that took place between the years 260 and 100 B. C.c) Certain signs allow conjecture that the pilos were used in the initiation ceremonies to the Cabiric mysteries by the laying of hands on the heads of novices, in the same manner as took place in the Late Roman Empire during initiation to the Mithraic mysteries when the pater removed the pileus from the neophyte’s head.d) As a matter of conjecture, something on these lines may have taken place later at manumission ceremonies in Rome. The word Pileus or pileum means a cap of wool, felt, animal hide or shaved leather. Over time, there were different designs. In Rome they were also the insignia of some priestly colleges.Esta comunicación tiene sus orígenes en las conclusiones fundamentales a las cuales ha llegado Adriano Savio en un artículo titulado «El gorro frigio sobre la moneda; un viaje de Oriente a Occidente», publicado en la Revista italiana de Numismática del 2002. A saber: a) Es muy probable que los Dióscuros hayan heredado el uso del gorro de los Cabiros, poderosísimas divinidades orientales que lo usaban ya desde la época arcaica, tal como aparece en las monedas de Samotracia,1 sede de un importante Cabirion, en cuya área arqueológica fue encontrada la celebérrima Nikè, hoy en el Louvre.b) La asimilación entre Cabiros y Dióscuros se habría concretado entre los siglos iii y ii a. C. en la isla de Samotracia, difundiéndose en todo el mundo griego con la «diáspora de Samotracia» verificada entre el 260 y el 100 a. C.;c) Algunos indicios permiten conjeturar que el pilos haya sido utilizado en las ceremonias de iniciación a los misterios cabíricos, mediante imposición o deposición sobre o desde la cabeza de los novicios, de la misma manera que habría sucedido en el Imperio Tardío durante la iniciación a los misterios mitríacos cuando el pater le quitaba al neófito el pileus de la cabeza (Clair, 2001: 17).d) Algo similar, en plano de conjetura, de lo que más tarde se verificaría en las ceremonias de manumisión en Roma.La palabra Pileus o pileum significaba gorro de lana o fieltro, pieles de animales o cuero rasurado. A lo largo del tiempopresentó diversos diseños. En Roma también fueron insignias de algunos colegios sacerdotales
Giovanni Dattari. Un numismatico italiano al Cairo
No full textAn exhaustive study of the life and work of the Italian numismatist Giovanni Dattari, who lived in Cairo between the last years of the 19th century and 1923, points out that he has been not only a collector of coins and antiquities, but also an expert scholar.
He put together the most extensive collection of Alexandrian coins and almost monopolized the trade in ancient coins in Egypt during two decades, but also produced a number of high quality works on numismatics. His biggest achievement was without any doubt the catalogue Numi Augg. Alexandrini, published in Cairo in 1901, that remains a standard reference notwithstanding its defects, but he wrote also many articles on Ptolemaic, Alexandrian and Roman coinage.
He partly abandoned his numismatic researches in later life to dedicate himself to cataloguing the celebrated collection of Egyptian scarab of King Fouad that seems never to have been published
Nota su Roman Provincial Coinage III, Parte I : da Cirene al Regno del Bosforo (RPC III, 1-959)
No full textLa “fortuna” del Corpus Nummorum Italicorum nella letteratura numismatica italiana ed europea
No full textENGLISH: The contribution illustrates the success of the
Corpus Nummorum Italicorum, mostly through the analysis of the reviews which followed the issues of the various vo-
lumes. These reviews seem to be free and fairly critical only in regard to the earliest volumes (published 1910-1917), while they tend to became merely rhetorical and
hagiographic after 1922. This was probably the consequence of the growing role of the Fascist movement in Italy, which made more and more difficult to openly criticizes the authorities, among which the Italian king was the highest. A side effect of this attitude was that the amateurs and even the scholars tended to see the classifications and the dating suggested by the Corpus almost as a "revealed truth", what greatly hampered the Medieval numismatic studies in Italy for a long period
Adriano Savio, Alexandrinische Münzen. Monete alessandrine. Katalog der alexandrinischen Münzen der Sammlung Dr. Christian F. A. Schledehaus im Kulturgeschichtlichen Museum Osnabrück /Catalogo delle monete alessandrine della collezione dott. Christian F. A. Schledehaus nel Kulturgeschichtlichen Museum Osnabrück. Band 3. Die Münzen des 3. Jahrhunderts (Septimius Severus-Domitius Domitianus) / vol. III. Monete del III secolo (Septimius Severus-Domitius Domitianus).
No full textBakhoum Soheir. Adriano Savio, Alexandrinische Münzen. Monete alessandrine. Katalog der alexandrinischen Münzen der Sammlung Dr. Christian F. A. Schledehaus im Kulturgeschichtlichen Museum Osnabrück /Catalogo delle monete alessandrine della collezione dott. Christian F. A. Schledehaus nel Kulturgeschichtlichen Museum Osnabrück. Band 3. Die Münzen des 3. Jahrhunderts (Septimius Severus-Domitius Domitianus) / vol. III. Monete del III secolo (Septimius Severus-Domitius Domitianus).. In: Revue numismatique, 6e série - Tome 153, année 1998 pp. 401-403
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