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Catalogo del Fondo disegni e stampe di Pio Panfili della Società Operaia
No full textIl volume raccoglie il catalogo completo del fondo di disegni e stampe del pittore e incisore Pio Panfili 1723-1812), raffinato artista nato a Porto San Giorgio - all'epoca Porto di Fermo - e morto a Bologna dopo un'intensa attività di decoratore e illustratore. Il fondo comprende 139 disegni e 103 incisioni di Panfili, che rappresentano una grande varietà di prodotti della sua creatività comprendente disegni di "ornato", il campo nel quale il maestro eccelse, fino a progetti per oreficerie, stemmi e targhe, arredi sia liturgici che per edifici privati, bozzetti di decorazioni di più vaste dimensioni di chiese e palazzi e disegni architettonici. Accanto ai disegni si collocano poi le incisioni, la pratica che Panfili praticò in prevalenza nella sua maturità come illustratore di testi a stampa, in collaborazione con l'editore dalla Volpe di Bologna, e produttore di indimenticabili immagini soprattutto della città di Bologna che ha trovato nello stesso Panfili l'indiscusso testimone del suo aspetto sette-ottocentesco.This volume collects the complete catalogue of the collection of drawings and prints of the painter and engraver Pio Panfili 1723-1812), a refined artist who was born in Porto San Giorgio - at the time Porto di Fermo - and died in Bologna after an intense activity as a decorator and illustrator. The collection includes 139 drawings and 103 engravings by Panfili, representing a great variety of products of his creativity, from ‘ornamentation’ drawings, the field in which the master excelled, to designs for jewellery, coats of arms and plaques, furnishings both liturgical and for private buildings, sketches for larger decorations of churches and palaces and architectural drawings. Next to the drawings are the engravings, the practice that Panfili mainly practised in his maturity as an illustrator of printed texts, in collaboration with the publisher dalla Volpe in Bologna, and producer of unforgettable images especially of the city of Bologna, which found in Panfili himself the undisputed witness of its 18th-19th century appearance
Sept, un progetto di sviluppo territoriale a partire dalla sorveglianza epidemiologica nelle popolazioni terremotate dell’Aquila.
No full textA Reusable Pseudo-Random Verification Environment for Complex Digital Designs: the SpaceWire Interface Case Study
No full textOn the use of disease staging for clinical management: analysis of ultimely admission in the Abruzzo region, Italy.
No full textNefrolitotomia percutanea tubeless versus standard: confronto fra le due tecniche nell’esperienza di un singolo operatore.
No full textVariations on the Author
No full text“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
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