Comunità e denaro: oltre la moneta? (Communitas Vol. 59) (Italian Edition)

Servus Medus ostium aperit.

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Pueri, qui ante ostium stant, a servo Medo interrogantur: Hora iam undecima est! Medicus Florus hodie valde fessus est et in cubiculo suo quiescit. Cur ad dominum meum pervenitis? Amicus noster valde aegrotat. Vos discipuli magistri Evagrii estis? Magister Evagrius enim amicus est medici Flori. Intrate et in atrio exspectate! Horatius ab amicis suis in atrium portatur. Ibi multae sellae sunt et unus lectus. Horatius in lecto ponitur. Interea Medus ad cubiculum Flori per scalas ascendit, medicum e somno excitat eique de discipulo Evagrii aegro narrat.

Florus statim surgit et imperat servo: Deinde de cubiculo suo procedit et descendit in atrium, ubi pueri eum exspectant. Horatius super lectum iacet. Medicus Horatium super lectum iacere videt. Marcus et Felix exeunt, sed Felix prope ostium consistit et colloquium inter medicum et Horatium audit. Horatius linguam, quae rubra est, ostendit. Medicus caput Horatii aspicit et collum eius palpat. Medicamentum tibi do et domi manere debes, multum bibere, non tamen vinum, et in lecto iacere!

Pueri apud medicum 89 Amici Horatii a Medo servo in atrium vocantur. Pueri, perterriti, servum interrogant: Cur perterriti sunt pueri? Perterriti sunt, quia Horatium mortuum esse putant, sed servus eum vivere dicit. Marcus et Felix amicum vivere gaudent. Medicus, qui pueros gaudere videt, servum interrogat: Medicus pueros dimittit et eos abire iubet: Et amicum domum portate! Tres pueri gratias medico agunt: Horatius ab amicis suis domum portatur. Ibi mater eius pueros recipit et eos ad cubiculum Horatii ducit.

Necesse est Horatium aegrum quiescere. Pueri apud medicum 91 2. Medicus dicit linguam rubram esse. Medicus videt Horatium pallidum esse. Felix audit medicum Horatium interrogare. Pueri Horatium mortuum esse putant. Marcus et Felix gaudent Horatium vivere. Accusativus cum infinitivo habetur post verba temporalia: Medicus viros et feminas curat. Pueri medicum in atrio exspectant. Nos aegrum discipulum ad medicum portamus. Femina viro osculum dat.

Hodie missa ab episcopo celebratur. Deus a populo laudatur. Vir aeger ab apostolis sanatur. Puero praemium a magistro datur. Medicus Florus a servo Medo vestitur. Quis per vias oppidi Aquileae ad domum contendit? A quo ostium aperitur? Quis Floro in atrio osculum dat? Cur Florus statim in cubiculum suum ascendit?

Quid agit in cubiculo suo medicus Florus? Cur Horatius post ludum velociter ad medicum portatur? A quo Horatius ad medicum portatur? Florus multa medicamenta domi habet. Medicus viros et feminas et pueros et puellas bene curat. Pueri apud medicum 95 exercitivm 2 Da pronomen relativum! Quid vident pueri in atrio? Quis medicum Florum e somno excitat? Num medicus in cubiculo suo manet? Nonne medicus Florus statim surgit? A quo ei dantur calceamenta? Aspicit-ne Florus bene Horatium. Quis audit colloquium inter Florum et Horatium? Quid debet agere Horatius?

Quid dat medicus Horatio? Num potest Horatius pila ludere? Quo pueri ducuntur a matre Horatii? Benedictio post mensam Agimus tibi gratias, omnipotens Deus, pro universis beneficiis tuis, qui vivis et regnas in saecula saeculorum. Pleni sunt caeli et terra gloria tua. Benedictus qui venit in nomine Domini. Sed omnes coeperunt se excusare. Servus nuntiavit domino suo: Iratus dominus fuit et imperavit rursus servo suo: Invita et caecos et claudos ad cenam, quam iam paravi! Et multi caeci et claudi venerunt ad cenam.

Servus domino suo dixit: Dominus servo suo rursus iussit: Iube eos venire ad me! Intrat autem dominus et spectat invitatos viros et feminas. Non habes pulchrum vestimentum? Tunc dixit dominus ministris suis: Tunc Pharisaei ab Iesu abierunt. Hodie discipuli in scholam eunt.

Cur ad me venis? Dominus cenam bonam facit. Laudamus Dominum in ecclesia. Narratis nobis parabolam de magna cena. Quia heri uxorem duxit. Magna cena exercitivm 4 Responde! Quis dixit parabolam de cena magna? Quando dominus misit servum suum? Quibus verbis excusat se vir primus? Quibus verbis excusat se vir alter? Quis invitatur ad cenam? Ubi servus domini invitat ad cenam? Nonne ad cenam caeci et claudi venerunt?

Quem invenit dominus in triclinio? Ubi mittitur vir sine pulchro vestimento? Maritus habet feminam suam. Dominus quidam fecit parvam cenam. Multi viri et multae feminae ad cenam vocantur. Primus vir, quem servus invitavit, villam emit et eam videre voluit. Alter vir non venire vult ad cenam, quia uxorem duxit et cum ea esse vult. Dominus laetus est, quia nemo ad cenam venire voluit. Multi caeci et claudi venerunt ad cenam. In triclinio dominus virum sine pulchro vestimento aspexit. Servi virum sine pulchro vestimento in hortum miserunt.

Pharisaei abeunt ab Iesu. Dominus bonus cenam paravit. Multi viri regnum Dei intrare volunt. Dominus misit servum hora cenae. Caeci et claudi ad cenam venire possunt. Vir sine pulchro vestimento in tenebras mittitur. Multi viri et feminae ad magnam cenam veniunt. Ostium a servo Medo aperitur. Liberi non possunt venire! Servi, parate bonam cenam! Qui vult esse beatus, colit virtutes, vitia fugit.

Qui scribit, bis legit. Quod non fecerunt Barbari, Barberini fecerunt. Et diviserunt sibi vestimenta mea. In principio creavit Deus caelum et terram. Qui resurrexit a mortuis. Qui in caelum ascendit. Qui Spiritum Sanctum misit. Qui te in caelis coronavit. Magna cena [Hoc modo recitatur: Laudari omnes vultis, nemo vestrum vult vituperari. Augustinus, De Trinitate, Vocabula nova Redemptor, oris M - Redentore mater, matris F - madre pervius 3 - accessibile mare, maris N - mare Schola VIII maneo 2 mansi - rimango succurro 3 succurri - soccorrere, aiutare gigno 3 genui - generare, partorire genitor, oris M - genitore prius adv.

Hic portus etiam pulcher est. Romani in maribus fluviisque imperium suum custodiverunt, quia ibi non solum hostes, sed etiam piratae insidias parabant. Multa maria igitur in imperio Romano erant ut: Hoc mare a Romanis Mare Nostrum appellabatur. Haec nomina ita flectuntur: Mare nostrum Vocabula nova baculum, i N - bastone saccus, i M - sacco malum, i N - mela pirum, i N - pera anulus, i M - anello ornamentum, i N - ornamento gemma, ae F - gioiello exercitivm 5 Responde!

Ubi situm est oppidum Aquileia? Quis parat insidias in mari? Quae maria sunt in imperio Romano? Quod mare est inter Italiam et Dalmatiam? Quod nomen est mari, quod prope Hispaniam situm est? Num mare Agaeum inter Brittaniam et Hispaniam iacet? Quomodo vocatur mare, quod situm est inter Asiam, Africam et Europam? Varia dicta et scripta a. Maria montesque polliceri coepit. Hoc unum scio, me nihil scire.

Hic Rhodus, hic salta! Haec oportuit facere et illa non omittere. Fiat firmamentum in medio aquarum et dividat aquas ab aquis. Et fecit Deus firmamentum, divisitque aquas, quae erant sub firmamento ab his, quae erant super firmamentum. Et factum est ita. Vocavitque Deus firmamentum caelum. Et introibo ad altare Dei, qui laetificat iuventutem meam. Rorate caeli Rorate caeli desuper, et nubes pluant Iustum! Vocabula nova roro 1 —avi, -atum — stillare rugiada desuper adv. Numerus navium Romanarum magnus erat. Ora maris non procul ab oppido Aquileia est.

Si sol lucet, multi viri cum feminis in oram perveniunt et ibi ambulant. Ii primum in mari natant, deinde in umbra sedent vel iacent. Mare hodie quietum est. Si mare quietum est, natare possum et multos pisces in fundo maris aspicere. Mihi vero placet mare non quietum! Libenter specto altas undas, quibus mare navesque turbantur. Ego commemoro Ionam, de quo in Sacris Scripturis narratur. Sed Ionas Domino non oboedivit et fugit. In Iopppe navem onerariam invenit et in eam ascendit. Dominus autem misit ventum magnum in mari et ibi Ionas facta est procella periculosa.

Nautae perterriti erant et clamaverunt omnes viri ad deum suum. Ionas autem descendit in navem et in lecto oculos clausit. Et accessit ad eum gubernator et dixit ei: Postea nautae tulerunt Ionam et miserunt in mare. Et Dominus praeparavit magnum piscem, qui degluttivit Ionam. Quamdiu remansit Ionas in stomacho piscis? Is remansit in stomacho piscis tres dies et tres noctes. Et oravit Iona ad Dominum Deum suum de stomacho piscis. Et quid postea factum est? Eh… Dominus exaudivit Ionam et eum servavit e periculo. Denique Ionas in Niniven iit et ibi prophetavit adversus Niniven. Propositio condicionalis vel enuntiatum condicionale.

Ionas Enuntiatum condicionale constat ex duabus propositionibus, inter se arte coniunctis: Si hoc dicis, erras. Si Deus pro nobis, quis contra nos? Parvi sunt foris arma, nisi est consilium domi. Si quis spirat, vivit, si non spirat, mortuus est. Lingua Horatii rubra est. Eos in bibliothecam fero. In scholam eo, quia sanus sum. Horatius abest, quia aegrotat.

Multi viri prope oram maritimam ambulant, quia sol lucet. Omnes in portu exspectant, quia ventus adversus est. Novos libros emitis, quia pecuniam habetis. Caeci et claudi ad cenam veniunt, quia dominus invitat eos. Ad cenam venimus, quia pulchra vestimenta habemus. Discipuli laeti sunt, quia magister abest. Nautae perterriti sunt, quia procella incipit. Sed Iona non clamavit. Postea nautae eum in mare miserunt. Cur Horatius in ora maritima non est? Est-ne hodie mare quietum? Quid Felix agere vult, si mare quietum est? Quid Marco spectare placet, dum mare inquietum est?

De quo viro narrat Rufinus? Quo Dominus misit Ionam? Quid Dominus misit in mare? Quis excitavit e somno Ionam? Quo miserunt nautae Ionam? Nonne Deus exaudivit servavitque Ionam? De pastore et ovibus exercitivm 1 Da aptas formas! Pastor est vir, qui multa animalia domestica pascit, ut oves, vaccas, capras. Neque is solus erat. Quot sunt oves albae? Ita pastor, si fessus est, oculos claudere potest et dormire in umbra. Vocabula nova pastor, oris M — pastore habebat campus, i M — campo herba, ae F — erba edo, edere, edi — mangiare rivus, i M — rivo, fiume panis, is M — pane piscis, is M — pesce lupus, i M — lupo latro 1 latravi — abbaiare, latrare dens, dentis M — dente umbra, ae F — ombra exercitivm 2 Responde!

Quae sunt animalia domestica? Quot oves habet pastor? Num omnes oves albae sunt? Quot sunt oves nigrae? Quot canes habet pastor? Quo ducit pastor oves et canes? Quid pastor ovibus et canibus dat? Nonne pastor et oves lupum timent? Num canes lupum timent? Quid agunt canes, si lupum aspiciunt? Quid agere potest pastor, si fessus est? Habes-ne oves vel canem vel piscem domi? Franciscus Assiensis Adoramus te, sanctissime Domine Iesu Christe, hic et ad omnes ecclesias tuas, quae sunt in toto mundo, et benedicimus tibi, quia per sanctam Crucem tuam redemisti mundum.

Vocabula nova sanctus 3 — santo totus 3 — tutto intero mundus, i M — mondo benedico, is, ere 3 benedixi — benedico crux, crucis F — croce redimo, is, ere 3 redemi — ricomprare; redimere, riscattare, liberare 2. Ecce lignum Crucis Ecce lignum Crucis, in quo salus mundi pependit. Rufinus amicis suis prophetam Ionam narravit.

Undae maris sunt sicut vita nostra! Cor enim nostrum saepe inquietum est! Paule, es-ne tu Christianus? Saepe te ecclesiam intrare video. Credo in Iesum Christum. Homo non potest, sed Deus potest. Iesus Christus enim filius Dei est, ut credimus Christiani. Vis audire historiam ex Evangelio? Narra mihi, narra nobis! Iesus in ora maris Galilaeae praedicans regnum caelorum turbae dixit: Galilaea regio Palaestinae est. Ibi iacet magnus lacus, qui ab incolis mare vocatur. Paule, perge, narra de procella!

Iesus videns multas turbas circum se, iussit discipulos ire trans mare Galileae. Is primum dimisit turbam, deinde in navem cum Procella discipulis suis ascendit. Discipuli perterriti ad Iesum dormientem accedunt et eum e somno excitantes dicunt ei: Iesus autem iis dicit: Et continuo surrexit imperavitque vento marique: Mox tranquillitas magna in mari facta est.

Petrus alium discipulum interrogat: Nam et ventus et mare ei oboediunt! Nostros immortales colere malo. Nisi credis in Iesum Christum, incredibile tibi videtur. Si vero credis, verum est! Felix et Paulus de Iesu Christo et de immortalibus disputare pergunt usque ad vesperum. Rufinus Marcusque vero in mari natantes valde delectantur. Participium praesens exit in casu nominativo singulari in - e ns, in casu genetivo in - e ntis. Participia temporis praesentis hoc modo flectuntur: Imperativus habet tantum nolo: Ubi quattuor discipuli magistri Evagrii sunt? Cui Rufinus prophetam Ionam narravit?

Estne cor tuum saepe inquietum? Suntne Rufinus et Paulus Christiani? Num Felix procellam sedare potest? Quis procellam sedare potest? Ubi praedicavit Iesus regnum caelorum? Quid Iesus circum se vidit? Quo Iesus discipulos ire iussit? Quo Iesus cum discipulis suis ascendit? Cur discipuli perterriti sunt? Ad quem discipuli in nave accedunt?

Cui ventus et mare oboediunt? Num Felix narratiunculae Pauli credit? Qui usque ad vesperum disputant, qui autem delectantur? Archimedes viro cuidam iussit: Episcopus bonus Qui nobiscum si non portat, succumbimus; si nos non portat, succumbimus. Ubi me terret, quod vobis sum, ibi me consolatur, quod vobiscum sum. Vobis enim sum episcopus, vobiscum sum Christianus. Pastor bonus Ego sum pastor bonus.

Bonus pastor animam suam dat pro ovibus suis. Qui est pastor bonus? Cur mercenarius pastor bonus non est? Nonne cognoscit bonus pastor oves suas? Quid ponit pastor bonus pro ovibus suis? CIC, Canon Consilia evangelica in Christi Magistri doctrina et exemplis fundata, donum sunt divinum, quod Ecclesia a Domino accepit Eiusque gratia semper conservat. Stabat Mater dolorosa Stabat Mater dolorosa iuxta crucem lacrimosa, dum pendebat Filius. O quam tristis et afflicta fuit illa benedicta Mater unigeniti. Pater Horatii est Lucilius. Is enim nitet, quia dominus Lucilius de mensa sua ei ossa et panem dat.

Sic sine labore venter canis impletur. Sed cani libertas dulcis non est: Ita apud limen die quiescit et nocte vigilat. Lupus est bestia fera, qui in silva, quae haud procul a villa sita est, vivit. Corpus eius tenue est, quod in silva vitam asperam agit. Is enim saepe famem fert et patitur nives imbresque. Contra canes catenarii, qui sub tecto Canis et lupus vivunt et largo cibo satiantur, famem non ferunt, neque nives imbresque patiuntur.

Lupi saepe famem ferunt, quia iis nemo panem, carnem et ossa dat. Lupi dentibus capiunt pastores, oves, aves et alia animalia. Itaque lupus est animal periculosum! Cum luna plena lucet, is ululat: Omnes in villa dormientes, perterriti sunt neque inde exeunt. Vocabula nova Paragraphus I: Canis et lupus nom. Nomina imparisyllabica in casu genetivo plurali exeunt in -ium, cum duae consonae praecedunt desinentiam genetivi singularis: Cum Horatius sanus est, ambulat cum cane suo in ora maritima. Cum sol lucet, viri feminaeque ad oram maritimam iter faciunt.

Homo est animal rationale. Canis et lupus Genetivus: Vocabula nova tempus, oris N - tempo cor, cordis N - cuore gens, gentis F - gente tempto 1 -avi - tentare pecco 1 -avi - peccare pater, patris M - padre mulier, mulieris F - donna pes, pedis M - piede dens, dentis M - dente timidus 3 - timido mordeo 2 - momordi - mordere sero adv. Quod nomen est patri Horatii? Quem canem habet Lucilius? Quod nomen est cani? Quod est officium canis Lucilii?

Cum quo ambulat Horatius, cum sanus est? Corpus lupi tenue, non crassum est. Horatius cotidie cum cane, qui latrat, ambulat. Horatius cum cane latrante ambulat. Lupus, qui vitam asperam agit, famem fert. Homines, qui in villa dormiunt, perterriti sunt, cum lupus ululat. Fur audit canem, qui latrat, et fugit. Lupus, qui in silva nives imbresque patitur, vitam asperam agit. Canis, qui de mensa domini panem et ossa accipit, crassus est.

Ubi vitam agit lupus? Cur corpus lupi tenue est? Quid fert et quid patitur lupus in silva? Cur canes famem non ferunt? Cur lupi dentibus capiunt pastores, oves et alia animalia? Quid lupi capiunt dentibus? Canis et lupus 7. Nonne lupus animal periculosum est? Before presenting the individual artifacts, Chapter I provides twin historical contexts: Early in the book, maps indicate locations of the cities of Etruria, of pre-Roman ethnic groups, and types of burial practices. A comparative chart shows the names of major divinities in Greek, Etruscan, and Latin.

Central chapters are arranged by stylistic periods, beginning with Proto-Etruscan and Italic Art ca. The museum was fortunate to acquire artifacts from three major tomb groups of different stylistic and chronological periods, upon which the arrangement of Chapters IV, V and VI is based.

The Orientalizing and Archaic Periods are well represented by finds in the Monteleone di Spoleto tomb group, which includes a magnificent bronze chariot. Examples from this era were excavated at Falerii, modern-day Civita Castellana. The Faliscans were another ethnic group, which by this time was mostly assimilated by the Etruscans.

Because of the historical context, the author has logically included armor and weaponry here, although these examples span more centuries. The Etrusco-Hellenistic Period ca. The chronological survey is followed by Chapter VII, dedicated to luxury items on an intimate scale: Italian Bookshelf Cataloguing is a thankless task requiring vast expertise that ranges from dry statistics to insightful interpretation, all of which must be managed with discretion to provide the reader with salient details.

For the specialist, each entry is furnished with its own apparatus: Full citations are found in the up-to-date Bibliography. Technical terms and Etruscan words inscribed on the pieces are regularly glossed.

Product description

The catalogue functions on various levels: The entries are written in fluid prose; concise endnotes furnish additional comments. The well-produced index also allows the interested reader to locate similar words, images, or artifacts. Digital photography and book production details are of the highest quality. Difficult to read objects have accompanying sketches to reveal their secrets. It should be noted: Stanford University Press, Italiani non regnicoli, Non-Italian Immigrants and Notions of Alienhood esamina gli altri, con questo intendendo due tipi di immigranti stranieri, ovvero gli italiani non regnicoli e gli stranieri non italiani.

Attraverso la lente coloniale si leggono anche le popolazioni eritree, somale, libiche e dodecanesine, che vissero sotto il dominio italiano. Italian Bookshelf John Florio. A Worlde of Wordes. I dizionari bilingui nacquero per rispondere ad un bisogno pratico e prevalentemente commerciale: Haller raccoglie il poco che si sa di John Florio. Florio rimase in questa posizione per un decennio e nel frattempo pubblico il suo dizionario , diede alla luce la traduzione in inglese degli Essais di Montaigne e varie altre opere.

Italian Bookshelf Einaudi, , altro testo usato da Florio. Comunque, gli interventi in un tale senso, come anche quelli relativi alla correzione dei refusi, sono elencati a conclusione del saggio introduttivo. Il curatore merita ogni elogio e ringraziamento. This co-authored volume provides a succinct but compelling account of the construction of the racial identity of Italians in public and popular discourses from Unification to the present.

The introduction concludes with a thematically organized bibliography on concepts ranging from race, colonialism and empire to racism and migration. The remainder of the volume is organized in two large sections authored by Giuliani and Lombardi-Diop respectively and a co-authored conclusion. Among the corpus of works that the author examines are juridical and scientific texts, including writings by Lombroso, Niceforo, Sergi, and Pende, and literary and mass-cultural artifacts e.

In this chapter, Giuliani also illustrates how racial ideology was progressively inscribed in the Italian female body. Italian Bookshelf was reached with Aryanism, exemplified, among other, by the Manifesto degli scienziati razzisti As a result, racial ideology continued to structure the definition of a white Italian-ness. La bianchezza degli italiani dal Fascismo al boom economico. These documents range from manuals of hygiene written during the colonial period to the artifacts produced by mass and consumer culture during the post-World War II era.

In it, Chiurco lists all the ill-effects that not only miscegenation but also close contact with African domestic workers and laborers would cause to the presumed purity of the Italian racial stock. The conclusion summarizes in broad terms the previous two sections but also provides some discussion of the manifestations of racial ideologies from the s to the present in three case-studies: In reality, however, racial ideology endures.

As Lombardi-Diop explains, in the contemporary period inter-racial and inter-ethnic images are accepted only if perceived to be unthreatening to the national order as well as functional to the logic of late capitalist globalization. While some topics might have deserved a lengthier and more in-depth discussion to be thoroughly convincing, this introductory volume is likely to open future paths of inquiries and makes a valuable addition to 19th- and 20th-century Italian and Cultural Studies. Linguaggio del corpo e forma del desiderio in Dante, Pasolini e Morante. A partire dal titolo, che prende a prestito il verso con cui la Commedia si conclude, Amor che move si presenta come un libro elegantemente concepito, articolato attraverso inaspettati slittamenti poetici che forniscono importanti avvicinamenti ai concetti di corpo e desiderio.

Haraway, riconduce costantemente questo metodo critico alla sua originale metafora corporea. Italian Bookshelf pensiero critico, entrando in contatto, di capitolo in capitolo, con i testi e i corpi dei tre autori, produce costanti e stimolanti increspature prospettiche: In particolare, con riferimenti alle teorie di John L. Austin e Judith Butler, Gragnolati legge il testo dantesco come una riscrittura intesa nei termini di una performance autoriale.

Proprio il concetto di performance, per la sua butleriana declinazione gender, viene impiegata nei capitoli successivi per discutere autori dalla collocazione eccentrica come Morante e Pasolini. In Morante il tempo lineare e progressivo che governa il mondo dantesco inverte il suo corso.

Per la scrittrice resuscitare significa, infatti, riattivare una memoria del corpo che attraverso una splendida analisi di alcune pagine del romanzo guidata dal pensiero femminista di Kristeva e Cixous, Gragnolati riconduce al tema della suzione del bambino. Silvio Lanaro e l'Italia contemporanea, edited by Mario Isnenghi with a preface by Carlotta Sorba, rethinks the notion of nationhood in light of Nazione e lavoro, the seminal work by historian Silvio Lanaro, published forty years ago A charged concept in post—World War Two Italy, the category of nationhood received new attention thanks to Nazione e lavoro Nazione e lavoro.

Saggio sulla cultura borghese in Italia, , Venezia: Marsilio, , a text that helped contemporary historiography overcome the impasse that Italian fascism had posed on the term and to re-insert it into the Italian sociopolitical discourse. Over the last three decades, the importance of supranational organizations and institutions has overshadowed the political and economic power of single nation states, bringing historians and political scientists to rethink the importance of this notion.

The rise of both nationalistic movements and that challenge the existence of supranational institutions throughout Europe has, however, demonstrated the necessity of re- contextualizing the notion of nationhood into a new and more complex political scenario. In the s, Lanaro himself had recognized this necessity and discussed, once again, the concept of patria homeland in his Patria.

Pensare la nazione continues this effort of providing new insights into this concept from a wide variety of analytical perspectives. In Pensare la nazione, some of the leading historians of modern Italy reflect on the very idea of nationhood, highlighting new challenges and answering new questions. The th anniversary of Italian unification in contributed to vast reflection on this issue, generating a discussion that is far from being exhausted and has brought about a wide range of responses.

Among those who prompted this discussion on a national level is historian Mario Isnenghi, the editor of the collection. Italian Bookshelf Pensare la nazione also engages a wide variety of disciplinary perspectives. Film historian Gian Piero Brunetta deals with the cultural transformations ignited by the North American film industry in Italy in the s and s. The essay suggests that the rising lobby of American film and distribution agencies created an encompassing system of values and emotions to be exported throughout the globe through cinema.

In particular, Brunetta examines how the hegemonic model of American popular culture shaped and continues to shape Italian culture through the implementation of global models of entertainment. Through a nuanced analysis, Brunetta shows how the marketing strategies elaborated by North American agencies such as Metro-Goldwin-Mayer were able to influence and, to a certain extent, provide an alternative educational model to that of the fascist regime. In analyzing this phenomenon, he argues that there was a parallel implementation of two systems of values: Two kinds of divas were conquering the Italian imagination: Hollywood stars and Benito Mussolini.

The scholar also calls for an understanding of the marketing strategies that allowed for the penetration of these foreign cultural products in Italy and in other European nations, an analysis that deconstructs the creation of a cinematic brand and its impact in foreign cultures. In this testimony of the aftermath of the War, Italian prisoners are asked their impressions of the regime.

In particular, Salvati demonstrates how the advent of fascism was not necessarily perceived as a significant threshold by the Italian masses, which often lacked political awareness. As an homage to Lanaro, Pensare la nazione advances the dialogue on the notion of nationhood, using the oeuvre of an influential historian who has contributed immensely to the construction of this category of analysis, with works by writers that are now essential for the study of modern Italian history. Una significativa conferma della coerente linea editoriale che caratterizza questa rivista accademica, fondata e diretta da Peter Vassallo, giunge dal dodicesimo volume, a cura di Gloria Lauri-Lucente.

Sarebbe piuttosto arduo passare in rassegna i diciassette articoli che compongono il fascicolo. Questo articolo, prendendo le mosse dagli studi compiuti da Gregory Lucente sui processi di narrativizzazione delle figure storiche, approfondisce due interpretazioni filmiche del bandito Giuliano: Many of the historical references either do not work at all, or work only partially, and any genuine historical complexity is simplified or even completely distorted.

Citando brevemente gli altri articoli, va ricordato che Sue Brown approfondisce il rapporto tra Asolo e Robert Browning, mentre David Farley- Hills mostra un Anthony Trollope che in He Knew He Was Right utilizza materiale italiano di cui, immaginativamente, si era appropriato durante un soggiorno a Firenze con la madre Frances Trollope. Nel complesso, si tratta di un fascicolo che, pur in uno spazio cronologico ampio e culturalmente multilivellare, riesce a fare il punto sugli studi anglo-italiani senza omettere di offrire interessanti stimoli per ulteriori lavori di ricerca.

Dante e la lingua italiana. A cura di Mirko Tavoni. Infine, attraverso il ricorso a una terzina della Commedia Par.

Italian Contemporary Poetry in the USA | Gandolfo Cascio - theranchhands.com

Il saggio finale di Gioachino Chiarini, Quattro cerchi, tre croci. Tempi e silenzi della Divina Commedia, prende le mosse da due quesiti specifici: Tramonto e resistenza della critica. Il volume raccoglie venti saggi tra editi e inediti, divisi in due sezioni a loro volta bipartite. Italian Bookshelf principali riferimenti delle argomentazioni teoriche generali. Dunque, come in Gomorra o in La strada, un paesaggio che appare apocalittico, devastato.

Autori ed opere sono presi nel loro contesto storico come i portatori di una esigenza morale in mutazione, giusta la metafora della soglia, usata nel e per il saggio su piani differenti. Non ci confrontiamo con autori e opere, con culture, documenti e codici, scomparsi da secoli o da decenni, che la selezione del canone e il ri-uso operato dalla tradizione hanno salvato, seppure in modo mai definitivo, da una perdita irreparabile? Italian Bookshelf Mario Marti.

Scavi linguistico-letterari italiani fra Due e Seicento. A cura di Marco Leone. Mario Congedo Editore, Una vita per la letteratura. Colleghi ed amici per i suoi cento anni. A cura di Mario Spedicato e Marco Leone. E avvertiamo anche che si faranno solo i nomi che meglio si attagliano allo schema di questa recensione. Nelle recensioni non meno che nei saggi, gli addetti ai lavori ritroveranno preziose acquisizioni per es. Italian Bookshelf rese perfette, specie, per esempio, nella poesia fidenziana, giocando magari sullo scarto tra fonia e grafia. Tutti poi, oggi che possiamo misurare i danni dei vari -ismi formalismo, strutturalismo, e non ultimo certo specialismo , in particolare quello di aver emarginato la letteratura dalla vita sociale, rendendola inessenziale, e di aver allontanato i giovani dalle humanae litterae; tutti, dicevo, si lasceranno contagiare dal sentimento della storia e degli alti ed eterni valori umani parole sue che a queste pagine, anche quando squisitamente tecniche o addirittura polemiche, danno respiro e da esse si trasmette.

E che intere generazioni di allievi si siano lasciate contagiare da quello stesso sentimento lo attestano ad abundantiam le tante testimonianze che si leggono nel secondo dei volumi qui in epigrafe. E gli amici, quelli di una vita, confermano. Camerino , i rapporti, 44 anni! Altri infine hanno festeggiato con saggi su temi della sua bibliografia, o almeno non lontani, secondo le tre grandi direttrici di essa: Marti maestro, Marti studioso, e Marti uomo?

Italian Bookshelf rapa [ Sul valore sentimentale attribuibile alle scelte del critico. Storia di un burattino. To propose another version of Le avventure di Pinocchio is a bold endeavor. The text is a classic, and its adaptions are countless. Storia di un burattino, Paola Nastri and Francesca Cadel, successfully manage to make a fresh imprint on the book and, at the same time, convey to the reader the impression of a useful and novel edition. The activity of reading in installments is skillfully intertwined with a progressive grammar review, and accompanied by stimulating linguistic and cultural insights.

In conjunction with these exercises, there is a variety of relevant post-reading activities, aimed at ascertaining the micro- and macro-comprehension of the text with true or false exercises, open-ended questions, and written and oral tasks , at reinforcing acquired skills through textual re-elaborations and active or creative writing , and at promoting cultural comparisons, through imaginative situations and research suggestions. While engaging students in an active reading of Pinocchio — through their comprehension questions, and their stimulating insights e.

Italian Bookshelf Two strengths make this textbook valuable in the panorama of Italian language education. It demonstrates its capacity to transform an enjoyable reading experience into meaningful oral practice in the target language, not restricted to the written text per se, and to its literary aspects, but open to the development of conversational skills, improvised situations, and structured research. In addition, it is positioned at the crossroads of language training lightly conceived in the form of a practical review , literature thanks to the capacity of the original edition for revealing the darker sides of Pinocchio, such as the grinding poverty of a Tuscan village, softened by numerous cinematographic adaptations , and cultural studies in the broader sense.

This textbook thus responds to a twofold need: From Dante to Dan Brown. Inferno Revealed can be divided into two parts. In order to reach a wide audience that may not have been exposed to literary studies or to the history of the Italian Middle Ages, the authors establish connections, resonances, and parallels to high and popular culture of different ages and traditions.

Francesca da Rimini, Ciacco, and Filippo Argenti are the main episodes analyzed in this chapter. Moreover, his views on the separation of Church and State may resonate with some readers even today. The Italian cities where Dante resided during his exile as well as Arles, the Mediterranean Sea, mythical and biblical cities, and of course Tuscany and Florence, all contribute to design the sense of place of the Commedia. Strangers in a Strange Land: The book consists of a series of essays , a catalog , and an extensive annotated bibliography It offers a review of Italian-language publishing history in newspapers and books with the intent to help the reader understand the place of Italians in American cultural history.

When we think about that particular period of time for Italian immigrants we think about illiterate settlers who were so eager to assimilate that they neglected their Italian language and heritage in favor of all things American. The literary works produced during this time were quite varied: They were read by not only the well-educated but also the average reader. They were often serialized in newspapers just as the works of English writers such as Dickens were at the time.

They were published in journals and newspapers not only in major American cities such as New York and San Francisco but also in smaller towns such as Scranton, Pennsylvania and Bridgeport, Connecticut. They were published by high-quality publishers many of which employed Italian speakers. Even those Italians who were illiterate upon entering the US my own grandfather as a case in point made use of these books in libraries more extensively than any other immigrant group, in order to learn to read and write in Italian and English.

One half of this book consisted of essays that reflected the progress of Italians in America while the other half provided a directory of important Italian-American businessman of the time. Viscusi places this work against the backdrop of the Milan Exposition of and demonstrates that the milanesi regarded Italian society in America as merely an income-producing colony of Italy.

The catalog is not only annotated but it also provides great pictures of many of the works. The primary work section covers poetry, fiction, history and biography, political life; the secondary work section includes Italian- American life lived in the time, general history of Italians in America, learning the language, imaginative literature, political literature, and works about key authors and subjects including Ciambelli, Cordiferro, Galleani, Giovannitti, the Sacco and Vanzetti affair, and Tresca.

It is an effective starting point for Italian professors and scholars to explore and ideally translate into English a fascinating literary legacy. This book should be in every university library, and be read by many Italian-American students and professors. Maria Ann Roglieri, St. Italian Bookshelf Portia Prebys, ed. Caratteristiche, Impatto e Prospettive. Characteristics, Impact and Prospects.

The Rapporto Educating in Paradise offers a dual-language detailed analysis of both the nature of North Amercan Programs in Italy and of the students studying in Italy, the economic impact of their presence as well as the educational and socio-psychological benefits to the students themselves as they are immersed in a culture whose beliefs, practices and social realities are distinct from their own. The IRPET report for , based on only twenty-three American programs, indicated that the programs spent directly between forty and forty-two billion liras.

The monies spent indirectly by students and their visitors, parents and friends brought the total economic impact to approximately eighty billion liras. There were twenty-nine academic entries for Rome with 3, students and twenty-five academic entries for Florence with 4, students. The total economic impact of direct and indirect expenditures amounted to ,, euros. AACUPI proposes to improve the situation given the different kinds of academic institutions now involved consortia, study centers, post-graduate programs, etc. The Borio study concludes with references to the property taxes paid by the programs IRES and IMU and the various indirect taxes and the numerous acts and documents that are an inseparable reality for the management of all academic and cultural activities.

The Borio report also takes exception to the fiscal limits placed on donations and contributions to the programs from sponsors who derive little tax benefits from their contribution. The study is divided into four segments complemented by charts offering precise, concrete information as follows: Included are the spring and summer terms of academic year as well as the fall term This amounts to about million euros and 10, jobs with the concentration being in Tuscany and Latium. The last part of this section focuses on the continued attractiveness of study in Italy, the complications arising from the present economic crisis, and the competitiveness of institutions of higher learning with lower costs, exacerbated further by the tax burdens and the complexities regarding administrative problems and the treatment of faculty members under the terms of the Fornero Law.

Italian Bookshelf faculty, and staff members, given the rise of petty crime and violence associated with drugs and alcohol; the bureaucratic inconveniences regarding entrance and visa procedures and barriers that impel program organizers toward venues elsewhere, and that put Italy at a disadvantage. Scott Haine, and Jeffrey H. For scholars struggling with a manuscript in progress, students tackling a paper, or creative writers sweating over a novel or script, a few hours at Starbucks in front of a laptop and a tall paper cup brimming with a coffee-based drink with a fancy name are a popular alternative to the solitary seclusion of a home office or the monastic silence of a library.

The fruitful relationship between intellectual activity and the coffee shop has created an emblematic public dimension even beyond actual space. Italian Bookshelf The contributors examine the topic through a variety of methodological approaches. Italian Bookshelf individualistic counterdiscourse to the democratic, open relationships promoted by the coffee house.

The concluding section of the article is dedicated to the presence of South African literature in Italy. Her conclusion is that African literature is still marginalized in Italy, and that the relevant scholarship tends to be highly specialized, while the research funds that would support large-scale exchanges with African universities and libraries are lacking.

The attention of publishers and booksellers is focused on works that are already best-sellers in the international book market. Those publishers that in the past cultivated a more serious and systematic approach to African literatures, publishing works that had been carefully edited and annotated by specialists, have either discontinued their efforts, or are publishing without a vision of a coherent cultural project. Criticism dedicated to African literature, on the other hand, is still hostage to the genre divisions valid in Europe, and fails to cultivate a synesthetic, and therefore more authentic, approach to African art.

The European inability to interpret what seems like a fusion of genres oral literature, music, etc. The serious decline in the study of African languages at Italian universities only contributes to this less than encouraging situation. The problems of identity and agency relate here not only to the individual, but to the entire Somali nation and the issues of power within it, traditional and postcolonial. Hybridity in the novel is not only an assertion of individuality, but also a productive response to the pressures exerted, first by the Italian colonial power, and later by the Somali dictatorial regime.

The first narrative stream is that of the narrator as the collector of personal stories. The result of such cultural barriers is not an integrated, but a fragmented identity. A writer and activist born in Rome and raised in South Africa, Mmaka proposes a mutable and dynamic concept of identity as a process of transformation, for which literature, in its interpretive multiplicity, is a perfect vehicle, and the ideal site for the meeting of stories which could then produce new, authentic narratives of being: Between Private and Public Spheres. A cura di Katharine Mitchell and Helena Sanson.

Naturalmente, come osserva Joan Kelly J. Women, History, and Theory: The Essays of Joan Kelly. Almeno a livello teorico, dunque, le donne si trovano ad avere un rapporto privilegiato con la lingua italiana — una lingua dalla cui fruizione, a causa della loro scarsa istruzione, le donne erano state escluse per secoli. Lucy Hosker, per esempio, esamina la rappresentazione della zitella in alcuni racconti di Serao e Neera.

Infine, Marjan Schwegman propone uno studio interessante sulle brigantesse, modelli ante litteram di autonomia e ribellione alla condizione di soggezione atavica delle donne meridionali. Ammirevoli, soprattutto, sono i suggerimenti delle studiose che invitano il lettore ad aprire percorsi alternativi di studio.

Concludendo, il volume offre un contributo utile e originale per la conoscenza del contributo femminile alla storia e cultura nazionale e un valido spunto per ulteriori ricerche. A Local Habitation and a Name: Imagining Histories in the Italian Renaissance. Fordham University Press, In questo importante volume che ripropone, organizzandoli in una forma coerente, nove saggi composti tra il e il , Ascoli si prefigge un duplice obiettivo. Scegliendo la Familiares 4. Guardando quindi a come testi specifici come Decameron 7. Barnes and Michelangelo Zaccarello, eds.

Language and Style in Dante. Four Courts Press, Nel primo caso abbiamo a che fare con saggi come quello di Antonella Braida, Dante and Translation: Jeremy Tambling Illusion and Identity: I contributi che incorniciano la miscellanea non si trovano poi casualmente ai margini del volume: La scrittura poetica femminile nel Cinquecento veneto. Gaspara Stampa e Veronica Franco. Accademia della Crusca, La studiosa pubblica un volume di grande interesse a prescindere dalla proposta di attribuzione: Italian Bookshelf supporto cartaceo e, sebbene non datato con sicurezza, tradizionalmente assegnato agli anni con una parte risalente a un periodo precedente.

Certo, non pare di trovare somiglianze, ad esempio, con la c. Si tengano poi presenti due elementi ricordati da C. Marazzini La lingua italiana, , p. A un primo esame i principali fenomeni fonetici e morfosintattici individuati da A. Castellani Grammatica storica, , p. La drammaturgia del sacro, originale sintagma e ipotesi critica specificamente adottata, ha permesso a Cicali di mantenere una visione stereoscopica studiando simultaneamente i temi, le occasioni, gli obblighi, le tradizioni del potere sacro e profano senza mai perdere di vista la natura drammaturgica dei testi.

Le ipotesi critiche scelte hanno portato utili aggiornamenti alle conoscenze in materia di sacre rappresentazioni fiorentine: Italian Bookshelf ricerche in grado di espandere e approfondire il legame tra scritture drammaturgiche, rappresentazioni sceniche e cultura visuale. George Corbett, however, challenges this assumption and argues that, in fact, Dante agreed with the main principles of Epicurean ethics, and openly condemned just its doctrine of mortalism, namely, that of the mortality of the human soul.

From then on, he resolved to condemn Epicurean philosophy. Italian Bookshelf The book is organized into three parts of two chapters each. Corbett considers the ill-fated dialogue between Dante and Cavalcante as the center of the canto. Corbett establishes that, conventionally, Dante represents heresy as a type of intellectual stubbornness in pursuing erroneous interpretation.

On the one hand, he believed in the necessity of pursuing a virtuous and ethical life in order to achieve earthly happiness. On the other, he believed in the capacity of faith as sufficient for achieving salvation, as is made clear in the encounters with Buonconte and Manfred. Nonetheless, my concern is whether reading the Commedia in light of the Monarchia is methodologically pertinent, given that such an approach likely downplays the complexity of the poem. Lyric Poetry by Women of the Italian Renaissance. Johns Hopkins University Press, Through this extraordinary volume, Virginia Cox brings back to life the lyric poetry of a multitude of female authors of the Italian Renaissance.

She revives and resuscitates works that had been overlooked or forgotten, or that were simply inaccessible due to the fragility of their manuscript state, except to the occasional scholar who stumbled upon a madrigal here, a sonnet there. She then integrates these newly rescued treasures into a body of poetry upon whose authors the fates and centuries have smiled, often by the purest chance. Cox acknowledges that this enterprise was long in unfolding, and given the breadth and depth of the finished product, one can well understand why.

The final organizational design features a solid introduction in which Cox situates the tradition of female writing from the fifteenth to the beginning of the seventeenth century within its greater literary, historical and cultural context. Italian Bookshelf literary production that forms the body of the current volume. Indeed, although the collection focuses on lyric poetry, the authors represented, with a few notable exceptions, reflect the most important female writers of all genres because although better known for narrative or drama, most female writers also composed lyric works of substance that warrant inclusion in an anthology of this nature.

As her introduction unfolds, Cox engages her reader with discussions of the female writer and her context in particular geographic locations and at a variety of court settings, her interaction with her male counterparts, and sometimes her frustration at being praised simply for being female rather than for a critical appraisal of her work. By highlighting the changing light in which females were viewed as the decades progressed, Cox challenges her readers to incorporate contemporary social critiques regarding the role and place of women into their reading of the lyrics.

In a relatively short and succinct narrative, Cox succeeds in setting the stage for her audience to experience a multi-faceted appreciation for each author and her literary production, now keenly aware of the forces that shaped the female writer and her work. Before giving us access to the collection itself, Cox carefully lays out the criteria she used in selecting the works to be included, noting that the breadth and depth of the verse available to her permitted her to be highly selective while still maintaining flexibility to include verse that was not structurally perfect but was spontaneous or rang with emotional truth.

The poems, whose original languages include Latin, Greek, literary Tuscan and the pavan dialect, are divided thematically: They are then compiled chronologically within each theme. One of the defining features of the volume is the mixture of well-known and unknown authors within the same rubric. Each poem offers a treasure trove of tidbits about everyday life, male- female relationships, and societal dynamics that broaden our understanding of life during these centuries in addition to adding important elements to the verse. We also note a pre-Reformation comment that going to mass was irrelevant as well as a poignant lament on the problems of old age that include no longer being able to chew meat.

In addition to the contents of the poems, it is fascinating to see verse written in the pavan Paduan dialect by women. Cox points out that while they seem not to have taken on the character of a rustic, as was common with men, they still did not write as themselves, taking on an uneducated character. Scarampa cannot see it, she must close her eyes to avoid the pain. Gems await on each page, and the orchestration of the volume with its contexts, translations and copious accompanying material makes it a must-own resource for anyone working in the Italian Renaissance.

Moreover, it offers a useable, approachable, friendly classroom text for an undergraduate course as well as being one of the necessary sources for graduate students and scholars alike. This anthology has opened up the world of lyric poetry by women of the Italian Renaissance to a new audience. Northwestern University Press, Frisardi keeps most of the Latin phrases that Dante employed, including the Latin title Vita nova rather than the more common Italian title Vita nuova.

In dividing the prosimetrum poetry combined with prose into chapters, he follows the lead of Guglielmo Gorni, whose system dates from and was followed by Luca Carlo Rossi and Stefano Carrai in and respectively. While clearly in American English, the translation as a whole is fairly free of jargon or slang. It is a pleasure to read not only the prose but also the rhymed poems. For purists who might object to liberties taken with word choice or syntax, Frisardi provides in an appendix pages the Italian texts of all the poems with literal prose translations.

In the case of the above sonnet, he helpfully proffers this literal version of the opening quatrain: The notes, as alluded to earlier, comprise a veritable treasure trove of scholarship and deserve repeated consultation. They also lack individual end note numbers. These editorial decisions make it tiring when one must flip back and forth from translation to notes and challenging to identify quickly a particular glossed passage. University of Toronto Press, Not only does Di Maria place his work within the field of Renaissance theater, he also enters into dialogue with a larger community of scholarship on the notions of imitation and innovation.

Renaissance playwrights, in establishing a theater that was their own, adapted old sources to fit the realities of their times, including morals, aesthetics, politics, and sexual mores. Throughout his study, Di Maria presents analysis of seven Renaissance works for the stage: The first chapter gives an excellent account of theories of imitation from the Humanist study of classical authors to the development of diverse imitation and adaptation practices in the Renaissance.

Di Maria provides an overview of important theories of imitation from Greek and Roman authors such as Aristotle, Cicero, Horace, Quintilian, and Seneca, who influenced Humanist and Renaissance writers to a great degree. He also lays out a historical account of the development of Italian theater from stage performances of Latin classics to translation and adaptation, highlighting the debate among Renaissance writers over the questions of imitation and originality. Di Maria establishes his critical approach as one that considers carefully source material to distinguish the modifications made by playwrights for the Renaissance stage.

The importance of these changes should not be underestimated, as he states: Italian Bookshelf to distinguish the adaptation from its original source, establish its own originality, and proclaim its relevance to the audience. Most of the early photographs are by Charles Thurston Thompson, who had assisted Henry Cole in organising the Great Exhibition of and eventually became the official photographer of the South Kensington Museum. Thompson also provided the photographs that were used for the reproductive prints in John C.

Wilhelm Bode played an important role in collecting and commissioning photographs, working most closely with the photographer Adolphe Braun in Dornach. An accession list from the late s, preserved at the Zentralarchiv 34 South Kensington Museum , facing p. I am most grateful to Christopher Marsden for his help in tracing these photographs. See also Kunsthistorisches Institut, Florence, Fototeca, grande.

For the Cupid from the Gigli-Campana collection, then attributed to Michelangelo, for example, see Hamber , p. In , the Fratelli Alinari referred Bode to their catalogue and its appendix, which was the first to list photographs of the statues at Orsanmichele. On the making, collecting and display of plaster casts, see for example Frederiksen and Marchand and Pointon The inventory values the plaster cast of the Lamentation at 6 shillings. Prices of photographs vary between 2 and 4 shillings.

In , he proposed to the board of the University of Basel to read lectures on the history of art, specifically underlining the importance of acquiring the photographic material necessary for comparative analysis. Over the next twenty years, Burckhardt assembled a notable collection of photographs of works of art. All boutiques were closed today, due to the Feast of the Assumption, but from tomorrow I will start the bargaining for photographs, which now seems a part of my fate …. See also Struchholz , p. I thank Ueli Dill and Anna Ditsche for their invaluable help.

The photographs most widely distributed were those by Alinari and Brogi. Alinari photographed the group twice. The first photograph Alinari was the one advertised in the appendix to the Catalogo generale Fig. I, has been added by hand on the negative next to the base of the pilaster to the right. The glass plate negative of Alinari is preserved at the archives of the Fratelli Alinari, Florence. Naturally lit from the left, all photographs were taken in the late morning, probably to avoid the harsh shadows cast by the direct midday sun.

Only one detail allows us to establish the chronological sequence of these five photographs. In Jacquier , dating from c. I thank Giovanna Damiani and Susi Piovanelli for their help in retrieving the glass plate. The Gabinetto acquired the Jacquier archive in July The archive consists of over seven thousand glass plate negatives by Giuseppe and Vittorio Jacquier.

See Tamassia , pp. See also Florence In , his son Vittorio propagated the sale of photographs, postcards and guidebooks in Florentine museums. See Damiani and Tamassia , in particular pp. See also Tamassia This convention can be traced back to the fifteenth century. Already a presentation drawing by Lorenzo Ghiberti and his workshop for the Saint Stephen at Orsanmichele showed the statue from a similar point view Fig.

Biblioteca Nazionale Centrale, Florence, Banco rari , fol. I thank Peta Motture for her help. At Orsanmichele, he recorded twelve of the fourteen exterior sculptures, moving clockwise around the building: For the Doubting Thomas, Cavalcaselle turned his sketchbook, using the full width of the page to record the group at greater scale. It was probably placed in the niche of the Medici e Speziali by In , it temporarily returned to its original location in the niche of the Corrazzai e Spadai. In , due to conservational concerns, the sculpture was once again moved to the niche of the Medici e Speziali.

It was eventually moved to the Bargello in and replaced by a bronze replica in See Nannelli , pp. See Crowe and Cavalcaselle See Orsanmichele , vol. Also recorded are some of the architectural details, including one column of the tabernacle as well as the wreath, one putto and the head to the far right of the predella. The new medium of photography made reproductions of works of art easily accessible. As we have seen in the case of Verrocchio, the number of works available in reproduction increased dramatically towards the end of the nineteenth century.

This development must be seen in close relation to the rise of art history as a discipline, and the systematic collecting of photographs made it possible for art historians to compare individual works of art side by side. The much-anticipated truthfulness of photography, however, was an illusion. I thank the studio of Thomas Struth for the permission to reproduce the photograph. See also Johnson and Johnson Regarding the question of the main view, he reiterated: All sculpture in the round should be seen from various sides, otherwise it will have failed its calling.

Only between one view and another view are there differences: For Alinari , see Alinari , p.

evagrius-magister-1LATIM.pdf

One can then also vary the other views, but in all of them the main view will continue to resonate like a base tone. One comes back to it again and again, and it is a particular pleasure precisely when the incoherent and misaligned suddenly regains coherence and harmony. Allein zwischen Ansicht und Ansicht gibt es Unterschiede: Man kann dann die anderen Ansichten auch abwandeln, aber in allen wird die Hauptansicht als Grundton fortklingen. This photograph served as the model for the print in Semper , p.

The same print appears in Scott , part II, p. To obtain the effect intended by Verrocchio it should be viewed from the right, so that the face be completely full-front. The photograph here reproduced is taken nearly, though not quite, from the correct point of view, but from a position directly in front no just idea of its beauty can be obtained.

He paid close attention to formal compositional aspects, such as outlines, and the way they change as one moves around a work. During a fellowship in Athens in the early s, Kennedy became interested in the photographic documentation of ancient monuments. The purpose of the series was defined in its subtitle: It presented a large corpus of original photographs, including close-ups of each individual figure and numerous details Fig. Kennedy also provided a detailed account of his photographic campaign: See also Middeldorf , Swenson and Bergstein , in particular pp.

His archive, including his own photographs and papers as well as his collection of photographs from other sources, is preserved at the Fine Arts Library of Harvard. All photographs are original gelatin silver prints. The edition contains thirty-two photographs; only ten copies were issued with fifty-eight photographs. See also Jochem, ed. Many of the effects, indeed, we did not ourselves see in their completeness until the film was developed and the print was made, for they are a composite of passages of light and shadow traced by a moving pencil of light so directed as to bring into relief the forms whose existence previous study had revealed.

Throughout such an exposure the lens, stopped down to the smallest aperture to insure exact definition, remained open, registering upon the sensitized emulsion the succession of impressions which, if properly balanced, produced the result for which we were searching. As art historical documents, however, they must be considered with extreme care. As he pointed out, they reveal details of the work that are not visible when one stands in front of it.

Though his photographs remain the most complete photographic documentation of the Forteguerri Monument, they distort the way the work appears in situ. Ward apparently positioned his camera on the steps of the church San Carlo dei Lombardi, which explains why the tabernacle is seen slightly from the left. Their accidental lighting draws attention to the fact that the light is not consistent but changes with the seasons and the times of the day.

The strong light in both of these early photographs casts long and pronounced shadows. In contrast, the photographs usually published avoid extreme light: I thank Andrea Gibbs for her invaluable help. Another little-known photograph is Manelli , similarly dating from the s. The original glass plate negatives of all three photographs are preserved at the Archivi Alinari, Florence. The title of his book, published in , cited the motto of E. That was the whole of her sermon. Only connect the prose and the passion and both will be exalted, and human love will be seen at its height.

See New York , p. It was not until that the entire street was remodelled. With his right foot curled around the column, Thomas draws the viewer into the composition. As one walks further north, the figure of Christ slowly enters the field of vision, his right hand pulling open the cut in his mantle to reveal the wound in his side. See also Gombrich See Butterfield , pp.

However, seen from street level, di sotto in su, the right leg of Thomas is more prominent, adding a strong dynamic to the composition. As one walks past the tabernacle and looks back at the group, the narrative takes yet another dramatic turn Fig. Shearman argued that the Doubting Thomas included the spectator in its design. He must have known the fresco of the Doubting Thomas at the Palazzo della Signoria, which was not demolished until after , five years after he had started working on the statues for Orsanmichele.

It was mentioned not only by Luca Landucci in his diary but also Pomponio Gaurico in his treatise De sculptura and Benvenuto Cellini in his memoirs. However, it was Giorgio Vasari who discussed the group in most detail. One of the most important aspects in the development of the new discipline of art history was the encounter of different methodological approaches. The question of attribution, not only in the case of Verrocchio, was particularly relevant.

In , Wilhelm Bode had published a detailed article on Verrocchio, proposing a number of new attributions made on stylistic grounds. The resulting controversy between Bode and Cruttwell was symbolic not only for the differences of German and English scholarship but for the methodology of a discipline still in the process of defining itself. Many of these questions are still relevant today. By the end of the nineteenth century, both the core works mentioned by Vasari and those attributed to Verrocchio in the nineteenth century were available in reproduction, making it possible to compare them side by side.

What I have attempted to lay bare is the relevance of the layers of history involved in encountering a work made over five hundred years ago. Scala Archives, Florence Fig. See also Vasari, ed. Bettarini and See also Vasari, ed. Lo edifitio antiquo era conserva di frumento pub. Credi, et de altri moderni. See also Vasari ed. Bettarini and Barocchi , vol III, pp. Luca Evangelista di mano di Gio: See also Cicognara , vol. Tommaso che tocca il costato al Salvatore egualmente in bronzo scolpito da Andrea Verrocchio.

Schon wurde ihm eine Zahlung geleistet, und war der Lohn im Ganzen auf Fiorini larghi bestimmt. Zu Ende des Jahres war die Gruppe aufgestellt. So theilweise in der Bronzegruppe des Christus mit S. He seems, indeed, to have abandoned the pure and noble manner of Donatello and his earlier fellow-countrymen, for a rather capricious and artificial style, which has some analogy with that of the north of Italy; a certain fullness and angularity in the draperies, which are full of abruptly broken folds, cannot fail to be remarked in all his authentic work.

This peculiar mannerism, indeed, to be indirectly based on German art, which at this time, in various ways, made its influence in Italy. As in German art also, this peculiarity in the works of Verrocchio is combined with a characteristic of a very opposite nature, viz. Thomas, which he had begun nearly twenty years before, for a niche outside of Or San Michele. It consists of the two figures of our Lord and St. The faces of both are expressive, the composition of the group is good though somewhat too pyramidal, but the draperies are heavy and tasteless, and their folds so angular in line that they have suggested the idea that Verrocchio was in the habit of pressing out the folds of his draperies in wet cotton — a process which effectually precluded all happy flow of line and all chance of accidental grace.

Thomas at Orsanmichele gives occasion for a fuller development of flesh parts. Thomas, in motion and probing the wound, is youthful and plump, but the fullness exaggerated by Lorenzo di Credi is already marked. The figure, however, is surprising for the advance in art which it proclaims, and the motion it renders. The redeemer raises his right arm and uncovers his side. The figure has some of the rigidity of bronze. The type is somewhat aged and pinched in the features, the flesh sparingly covering the skeleton of bone in the frame; but this is a peculiarity of Verrocchio in painting as in bronze, apparent in the Baptism of the Academy of Arts at Florence, and in Leonardo.

Some coarseness and puffiness in the extremeties are also to be noticed, but the group in its totality is a fine and beautifully polished bronze. The most remarkable point in the work is the involved nature of the drapery. It is no longer broken like that of the Pollaiuoli; but betrays the effort to obtain round and sweeping lines, combined with a method of closing the puff of the cloth above the eye of the fold. Searching detail sacrifices the plain of the flesh.

The stuffs have the appearance of being lined, or double like those of Lorenzo di Credi; and the drapery gains a material form similar to that which characterises the Umbrians, Fiorenzo di Lorenzo, Perugino and even Pinturicchio. The reader must pardon this minuteness of criticism. This magistry became very important, and, as Captain Napier relates, was instituted by the guilds themselves. The major and minor arts nominated a certain number of eligible citizens, six of whom were drawn every four months, and selected as officers of the Mercanzia, and in any case of extraordinary difficulty eleven more were added to this number.

The tribunal appears to have enjoyed a European reputation. Donatello was employed by the officers of the Mercanzia to construct the niche as well as to make the group within; but some disagreement arising about terms, as in the case of the Hosiers, they hesitated between Ghiberti and Donatello, and the work was ultimately assigned to Andrea Verocchio. The subject chosen was Our Lord and St.

Andrea was a pupil of Donatello. The drapery is somewhat confused from the multiplicity of folds, and the work is rather that of a painter than sculptor; but the group is executed with great skill. Vasari describes it as so perfect that Verrocchio, convinced he could never again make one equal to it, abandoned sculpture for painting, as later he forsook painting, because compelled to yield the palm to his pupil Leonardo da Vinci.

As a faithful portrait of the Florentine prentice who came to hand, this statue might have merit but for the awkward cuirass and kilt that partly drape the figure. Thomas, begun many years before, to fill a niche outside of Or San Michele. John the Baptist; and in he head begun the bronze group of St Thomas feeling the wounds of Christ, which was placed in a tabernacle made by Donatello on the front of the church of Or San Michele. It was originally intended that Donatello should sculpture the group for this niche; but there had been a division of opinion among the consuls of the Guild of the Merchants, who gave the order; some wishing Ghiberti to have the commission, others Donatello.

The dispute remained undecided during the lifetime of the two artists, and was afterwards given to Verrocchio. The group is a fair specimen of his style, being crude and hard, and yet not devoid of expression. It was not finished till , when he was paid large florins for it. Thomas touch the wound in his side. Donatello commenced to decorate this niche, but died before finishing it; the task was continued by Verrocchio, and finished in after many years of work.

This group is executed with great skill, although, from the multiplicity of folds causing the drapery to appear somewhat confused, the work seems to be rather that of a painter than of a sculptor. It was executed by order of the tribunale della Mercanzia the legal body authorized to settle any differences which might arise in commercial transactions. I have been engaged for some time in a work on Luca and Andrea della Robbia on the commission of Mess.

I have written to Frau Vieweg to ask her kindly to allow me permission to reproduce it and to tell me where it is possible to obtain a photograph, but I can get no reply from her at all. A word from you would, I am sure, persuade Frau Vieweg to allow me to publish it, and though I am very diffident about troubling you, being quite unknown to you, yet I cannot help hoping that you will perhaps do me this great favour since the completeness of the book depends so much upon it, and it is for the benefit of the English public that the fine work should be known.

I cannot say how grateful I should be. But I cannot ask this favour of you without letting you know that you might if my book ever has the honour to come under your notice object to several attributions I have felt bound to give to some of the works. It seems only honourable to add this, though I cannot think that it will make any difference, and that if you had time, and without too much trouble, would help me to get the photograph and permission, my opinions would not weigh at all.

I have done my best with the work, I give as just and true an idea as my capabilities allow and without any partisanship whatever. Perhaps I may add as a reference that may help me to your considerations of my petition, that I am known, though slightly, to Herr Adolf von Beckerath and Dr Lippmann, who were very kind to me when I was studying in Berlin last year. I thank you also for telling me of your recent publication. I have read all you have hitherto written on the Della Robbia and have learned more from your writing than from any other source.

I am trying to get a good photograph of the Frescobaldi Madonna to reproduce and so far have not succeeded. It is such a fine work and needs a good reproduction. It seems like imposing on your kindness to trouble you afresh, yet if you could let me know where I could get a good clear photograph I would be very grateful. I am so dissatisfied with the only one I have at the present. Believe me, sehr geehrter Herr With much gratitude for your kindness Yours very faithfully Maud Cruttwell 5. The photographs have arrived and I am delighted with them.

The head of a youth came out especially well, so much better than the photograph I already had and which is so bad I had not intended to reproduce it. I thank you very much also for your kind offer to help me further. At present I have all the photographs I need as I am limited to about illustrations and I want to give all by Luca, with details, and as many of Andrea as I can.

I should like to do myself the honour of sending you the book when it is published, in the hope that you might find time to look it through. I am deeply grateful for all your kindness and help. You were so kind in helping me when I was preparing my book on the Della Robbias that I venture once more to trouble you with a request, and I shall be very grateful to you if you will help me once more.

I am studying the sculptures of Laurana and I want if possible to get a complete collection of photographs of all the works by him and attributed to him. I am going to Avignon and Palermo and Noto and all the places where any works by him exist and I am learning photography in order to photograph all things that are not already done. And also I am very anxious to have a photograph of the Mask in your Museum and Amsler and Rudhardt tell me they have not got it.

Would you also let me have this? I will wait till I hear for it is most probable that you have it already. I want very much to compare it with the Berlin mask, for as far as I remember, they are almost exactly the same. Will you give me again this help? I want only one copy for study and, if you will permit, possibly for reproduction, but that I will ask you later. I know the photographs of M. If my photographs are at all good it will be a pleasure to me if you will allow me to send you the whole series later. I have permission also from M. Goldschmidt to photograph his mask.

I am sending by this post the photographs of the Chambery mask which is very badly done as you will see. With much gratitude for your kindness and help, believe me Yours very sincerely Maud Cruttwell 5. I wrote to you last summer asking your help in a work I was preparing on Francesco Laurana but I had to put it by, being unable for the present to go to Sicily. I saw however all the masks in France and tried to photograph some of them, but as I am only a beginner and my Kodak is not good for photographing sculpture I succeeded very badly.

Still I want to send you those I did take, bad as they are and I enclose them. I have been unable to obtain photographs of two most important works, the Giuliano dei Medici in the collection of M. Dreyfus and the beautiful bust of a lady in that of M. Dreyfus has given me photographs of his other works but had none remaining of this, and M. Foulc has given me only a very poor photograph which would give no idea of the value of this bust. Will you add to the courtesy and kindness you have already shown me by doing me this great favour?

I want also to ask you whether you have a photograph of the marble figure of Faith once in the possession of the late Mr George Cavendish Bentinck cited by you in the Bildwerke as by Verrocchio. I am very anxious to see a photograph of it at least, and I would be very grateful, if you have one, if you would send it to me. I would take the greatest care of it and return it at once. But perhaps you know who bought the statuette?

If so would you tell me. Do relive my mind about this if only with a postcard. I am so interested in the book! Verrocchio and Pollaiuolo are practically untrodden ground and already I am sur la piste on what might turn out discoveries. I am working harder than I ever have before. I am disgusted with myself for being so bored at coming back to Florence, but I am. The people — all the old maids etc.

The profiles have come again to a temporary stand still. So I wait thankfully and meantime pursue my real work. St Xtopher — Pollaiuolo, Piero 3. Hercules and Nessus — Pollaiuolo, Ant. I will refund what you pay when I see you if you will be kind enough to get these for me and I shall be so grateful. I forget whether I told you in my last letter of my dramatic troubles — that Ida had left me to be married and that directly her back was turned I had bills sent in of debts she had left in my name. I shall look out next summer for something in Paris and migrate there if I can find something not too dear and not in the Quartier Latin.

I was so surprised to hear first from Flora Priestly and then from Molly1 herself, of her engagement to Erskine Childers2 — she writes ecstatically and I think they will get on. I think as far as I know, he has much the best of it. It seems the hospital is already built, despite the opposition and that the inheritor of the Vincigliata property has retaliated by fencing in the whole of the woods so that one cannot move an inch from the road anywhere. I do miss you so.

I wonder if you will be back in February or when? Do write a line to tell me, if you have a minute to spare and if — as I pray all the gods may not be the case — you are not vexed with me about the book. You know when they proposed it first and suggested Correggio I refused absolutely and it was only when they suggested a man I really cared for and very good pay with it that I accepted.

How morbid and absurd after all. Such weather we are having — floods, deluges of rain every day and all day long — generally a bitter wind in addition. People who know about art here are all raving about a discovery made at S. Miniato by the Kunsthistorische Gesellschaft, who have photographed two angels on either side of the high alter in the Portuguese chapel and so brought to light that is too dark in the chapel to see work of Ant.

There is no doubt of it, legs, faces, anatomy, everything points to it. Partly the weather, partly the people, partly the cheating, partly the reaction after my delightful tour in France. I long to be on the piste of Laurana. I shall keep on this place till April Very well, then I contradict myself. Therefore it must be right. And any information as to Verrocchios or Pollaiuolos in America thankfully and gratefully received. I feel like a small donor kneeling before the Padre Eterno and the upright Madonna. Will you accept me in that attitude? If I threw that up I should throw up all my interest in my work altogether.

Doubtless he will write and tell you in reply that he wanted to publish it in the Jan.

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And it will be perfectly true. Only you will not know without my telling you the complications and reasons.

You know I have had articles waiting ever since July of this year and he has put me off every month, promising with every delay to put it in the next number. Well, in November I wrote to tell him that Allan Marquand10 was preparing an article on the same subject of the Pistoia Frieze and that there was real necessity to get it out first, with the result of an absolute promise that it should appear in the Dec. Would he or would he not promise to publish in Jan.

I waited for days and at last got his answer. Well, it seemed to me only another quibbling way of putting me off again indefinitely and I answered at once. You have promised to publish my article in the Jan. I have heard nothing more so I presume he is tired of my insistence and will publish with this importunate widow and now you tell it is really true, that it was to give way to yours, which I never believed.

I have done a stupid thing in insisting. I have already got beyond that Robbia article of mine, and it will resurrect like an old corpse. And I am so afraid you will again have reason to be vexed with me. Anyhow, dear Mary, do believe me and not obvious evidence against me. The profiles are done!

I shall send off the Mss. I do so dread this matter of Kunstforschung, which seems, whether one will or no, to lead one into ambiguous positions, losing my real friends — you and Mr Berenson. I would rather give it all up and retire into private life than that you should doubt me, as you have doubted Roger Fry12 and others, or at least that that your doubts should result in any estrangement. I am as freelance as my temperament insists on my being, and that I should remain always being. If I swore a blind devotion to anyone it would be to Mr Berenson, because I think him the most worthy of blind devotion by reason of his genius and learning.

Only at the same time I do want to get on — I began so late, and I must try and publish, for that I must accept the good offers that come. I did love your letter so and all its human touches. My Ida, whom I had trusted and had a real affection for. I found her out in petty thieving and let her know it, and keep her in order by severity. Oh dear how I feel hugely changed and how much I dislike it, but as one lives one learns, one must either be the trowel or the grass and I prefer to be the trowel.

Then too I have more and more decided ideas to uproot entirely and go to Paris — after the Spring of — so I look on my household arrangements as temporary only. The Hamiltons have proven so impossible that I have had to give up going there. They have developed all the views of provincialism at its most restricted — say a Scottish House — they talk of servants and babies and that is all.

Vernon is radiant under the spell of a new friendship — a Mdme Butteau of journalistic reputation and fame though I have never heard of her — who owns an automobile. A young man, quite charming, a friend of Ephrussi, M. In fact he is at her feet. She has her other Swiss secretary back. I get to love Flora for her intensely amusing faculty, as well as for other deeper qualities I find in her. How I am writing on and you, who has so little time for reading, will never get through. Or is it asking too much when you are so busy? And of the Met. Pollaiuolo I would be so very grateful.

A Romance in Five Acts. I shall make use of your permission with much gratitude later. I miss you more than I can say. Goodbye, dear Mary, and best wishes for the New Year. I think it will be a happy marriage as they think alike about life and are equally optimistic — happy they! III, no page or plate number. Fino al secolo di Canova, 7 vols. Alinari Fratelli Alinari, Catalogo generale delle fotografie, Florence Florence Fratelli Alinari, Catalogo generale delle fotografie, Florence Alinari Fratelli Alinari, Catalogo generale delle riproduzioni fotografiche, Florence Alinari Fratelli Alinari, Appendice al Catalogo generale delle riproduzioni fotografiche, Florence Alinari Fratelli Alinari, Seconda appendice al Catalogo generale delle riproduzioni fotografiche, Alinari Alinari Fratelli Alinari, Terza appendice al Catalogo generale delle riproduzioni fotografiche, Alinari Firenze e contorni, Florence Alinari Fratelli Alinari, Catalogo No.

Roma, dintorni e provincia, Florence Venezia e il Veneto, Florence Vues, monuments, sculptures, etc. Pitture, vedute, sculture, ecc. Il potere dei grandi mercanti, Florence La nuova sede nei Palazzi della Condotta e della Mercanzia, Florence Bambach Carmen C. Flandrus pictor et inventor, Milan Problemi di metodo ed esperienze di lavoro, Rome , pp. Studio su Franco Sacchetti e le fabbriche di Firenze, Rome Baxandall Michael Baxandall, Patterns of Intention: Rosalia Manno Tolu, Maria A.

Morelli Timpanaro and Paolo Viti, Florence , pp. Berenson Bernard Berenson, Sunset and Twilight: From the Diaries of , New York Berlin and Rome Caravaggio in Preussen: Silvia Danesi Squarzina, exh. From Donatello to Bellini, ed. Keith Christiansen and Stefan Weppelmann, exh. Bernocchi Mario Bernocchi, Le monete della Repubblica fiorentina, 5 vols. Niccolo Bettoni, 2 vols. Emilio Bigi, Turin Cornelius von Fabriczy, Archivio Storico Italiano 7 , pp.

Carl Frey, Berlin Benedettucci Il libro di Antonio Billi, ed. Giovanni Cinelli, Florence A Guidebook of , trans. Thomas Frangenberg, London Museen zu Berlin, Berlin Cruttwell Wilhelm Bode, rev. Cruttwell , Burlington Magazine for Connoisseurs 11 , pp. Ein Werk des Leonardo da Vinci? Bode Wilhelm von Bode, Mein Leben, ed. Gaehtgens and Barbara Paul, 2 vols. Rosci Raffaello Borghini, Il riposo: Saggio biobibliografico e indice analitico, ed.

Mario Rosci, Milan Brown David A. Brown, Leonardo da Vinci: Origins of a Genius, New Haven and London