Le thème de l’Arcadie figure dans un grand nombre du jardins au XVIIIe siècle. Le tableau de Poussin Les Bergers d’Arcadie et la formule Et in Arcadia Ego sont indissociables, de nos jours, à la vision du locus Arcadie. Cependant, il n’y a aucune preuve que notre réception actuelle du tableau corresponde aux intentions de Poussin, ni à la vision du locus au XVIIIe siècle. Une appréciation de la réception du thème de l’Et in Arcadia Ego et de ses variantes au XVIIIe siècle s’avère utile, afin de comprendre la reprise de ce thème par les jardiniers de l’époque. Nous proposons d’examiner en détail l’évolution dans le temps de ce thème, dans la peinture, dans la poésie et dans les jardins. Nous mènerons un recensement des membres étrangers de l’Accademia degli Arcadi de Rome et de leurs jardins. Cette académie, à ses origines, était une association de poètes qui se réunissaient dans les jardins ou en plein air à la campagne afin décomposer et de réciter leurs œuvres, souvent liées aux thèmes de la nature. Nous sommes partis de l’hypothèse que cette académie serait l’un des vecteurs possibles de la diffusion du thème arcadien en Europe aux XVIIIe siècle. Les jardins que nous examinerons, tous au thème de l’Et in Arcadia Ego,appartiennent ou furent conçus, en dehors de l’Italie, par un Pastor ou Pastorella d’Arcadia (un membre de l’Accademia degli Arcadi). / The arcadian theme is prevalent in a large number of eighteenth-century gardens. Poussin’s painting TheArcadian Shepherds and the enigmatic ‘Et in Arcadia Ego’ are now indissociable from our vision of thelocus Arcadia. Nevertheless, there is no proof that our actual reception of the image corresponds to Poussin’s intentions, or to the vision of this locus in the eighteenth-century. An appreciation of thereception of the theme of Et in Arcadia Ego and it’s eighteenth-century variants is useful, in order tounderstand the adoption of the theme by the gardeners of the period. We propose to examine in detail it’sevolution over time, in painting, poetry and landscape. We will conduct an identification and census of theforeign (non-Italian) members of the Accademia degli Arcadia of Rome and their gardens. This academy, atit’s origin, was an association of poets who met in gardens and in the surrounding countryside in order tocompose and recite their work, which dealt frequently with themes from nature. We are working under thehypothesis that this academy was a possible vector for the propagation of the arcadian theme in theeighteenth century garden. The gardens which we examine in detail each deal specifically with the theme ofEt in Arcadia Ego and apart from two exceptions are either created by, or in collaboration with, a foreignArcadian Pastor or Pastorella.(designation of a member of the Accademia degli Arcadi).

La presente ricerca rappresenta la prima monografia complessiva sul teatro di Pomponio Torelli, conte di Montechiarugolo, con una lettura esaustiva delle cinque tragedie “Merope”, “Tancredi”, “Galatea”, “Vittoria” e “Polidoro”. Ampio spazio è dato alle fonti letterarie utilizzate, che danno ragione della vasta cultura del torelli (da Euripide a Dante, dal Tasso al Castiglione). / The goal of this dissertation is an introduction to Torelli's five tragedies (Merope, Tancredi, Galatea, Vittoria e Polidoro) and to his complex culture, engrained with ancient authors (Ovid, Euripides Vergil) and modern (Dante, Boccaccio, Tasso, Castiglione) .

The use of English words in Italian has been an active phenomenon for centuries. Opinions diverge whether this is a positive part of a natural linguistic evolution in a globalized world, or a linguistic breakdown to be avoided at all cost. In the present study, the history of anglicisms in Italian language will be examined, as well as modern day characteristics of Anglo-Saxon influence and adaptation on the Italian peninsula. The result is a colorful portrait of an Italian language in movement, with anglicisms being part of the linguistic field in both the written and spoken contemporary language. The view of the Accademia della Crusca, the Italian academy for linguistic preservation, is explored, as well as some potential social factors contributing to this form of linguistic innovation.

The special relationship of patrons, librettists, and composers, in the Accademia degli'Arcadia in Rome from 1700-1710 appears in Alessandro Scarlatti's settings of Antonio Ottoboni's cantata librettos in the anthology GB Lbm. Add. 34056. An examination of Arcadian cantatas and their texts reveals the nature of their audience, function, and their place within the historical development of the genre. The conversazione cantata did not exist outside of Rome and was popular for only a brief period in the early eighteenth century. Critical examination of primary sources, including minutes from the Arcadian Academy meetings as well as household documents regarding the Cardinals Ottoboni and Pamphili, Prince Ruspoli, and other noble families, sheds light on the culture of the Arcadian Academy and the cantata within it, broader study clarifies the individuality of the conversazione cantata within Rome, and closer study of the contribution of the greatest cantata composer 1700-1710, Alessandro Scarlatti.

"Architecture of Acupuncture" refers to one way an architect may begin a design project. This thesis was a one-year collaborative effort with my Masters Diploma Professors, Peter Zumthor and Miguel Kreisler, at the Academy of Architecture in Mendrisio, Switzerland, in 2001. To begin, a surgical study of a place just south of Pavia, Italy, was conducted and analyzed to determine the most appropriate program for that place, and again analyzed to determine the most appropriate image and material for that program. I located points in the immediate area of the site where 1.water, 2.road, 3.built mass, and 4.event, intersect on the site and called these "points of convergence." The points of convergence were used to map out a unique way in which the site can be read. These are the acupuncture points on the body of the place. The project is an Industrial Fish Farm. It is the largest fish farm in Europe and sells fish to all of Northern Italy, Switzerland, Germany, Austria and France, while also serving fresh fish daily to the small towns of Mezzana Corti, Tre Re, and Cascina della Colonne approximate to it. The Farm is one and a half kilometers of concrete water-filled fields inserted into an irregular shaped land-form between two 18 foot tall existing earth dams. The attitude of the Farm is a sensitive one in regard to the flat and quiet farming communities around it. The space the Fish Farm occupies cannot be seen unless from the roads which each run on top of the dams themselves. Two new structures are the only things that can be seen from outside the dams. One is a tower building. One is a line building. The line building is a restaurant, ninety meters long. The Restaurant enhances the industrial program by offering back to the people of the nearby towns an opportunity to actively interact with the new farm. The Restaurant is clamped to the South Dam Road, which is used for public traffic around perimeter of the site. The tower building is the Operations Building. It acts as an aircraft control tower does for an aircraft carrier, consolidating all built mass into one central structure. The Operations Building is a landmark at the midpoint of the concrete fields. It is clamped to the North Dam Road, dedicated to the daily functioning of the Farm. Both structures are shack-like and cheap; both made well of steel and corrugated metal. All built things inside the body of the Farm, including the two buildings, adopt in their appearances an "insect image" from the machines used to harvest the fish. They are raised up on long and thin steel legs so as to lightly touch the still water they stand in. / Master of Architecture

Orientador: Luiz Cesar Marques Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T19:25:44Z (GMT). No. of bitstreams: 1 Byington_ElisaLustosa_D.pdf: 11767756 bytes, checksum: cc888a875e1153c43477a94f879eb9be (MD5) Previous issue date: 2011 / Resumo: A primeira edição de "As Vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue aos nossos dias", escrita por Giorgio Vasari (1511-1574), arquiteto e pintor de Arezzo, é publicada em 1550. Ela é marcada pelas questões que animavam a Academia Florentina (1541) - a questão da historia, da língua vernácula e da sua difusão - e pela "disputa entre as artes", conforme proposta por Benedetto Varchi (1503-1565) nas célebres "Duas Lições". A segunda edição das "Vidas", publicada em 1568, será marcada por outra academia e por nova versão da "disputa"; i.é, pela Academia delle Arti del Disegno e o texto "Una Selva di Notizie", escrito por Dom Vincenzo Borghini(1515-1580), lugar-tenente da nova academia, rediscutindo a hierarquia entre as artes. Para a nova Academia, fundada em 1563, e para o texto "Una Selva di Notizie" (1564), a referência e modelo eram aqueles, institucional e intelectual, da década de "40. Tanto a academia dos artistas, fundada pelo próprio Vasari junto com o filólogo Borghini, seria inspirada na Academia Florentina, conforme declarado por eles, quanto a retomada da "disputa entre as artes" pelo lugar-tenente da Academia do Desenho, fazia referência à Lição de Varchi e às cartas escritas pelos artistas em resposta ao debate de quase vinte anos antes. Tais aspectos institucionais, e as distintas características do debate intelectual, influenciam respectivamente cada uma das edições com idéias que procuramos ressaltar e analisar no âmbito da política cultural do duque Cosimo I / Abstract: The first edition os the "Lives of the most excellent architetcts, painters and sculptors from Cimabue to ourdays" written by Giorgio Vasari (1511-1574), architect and painter of Arezzo, is published in 1550. It is marked by questions that directed the Florentine Academy (1541) - the question of history, of the vernacular ando its dissemination - and by the "dispute between the arts", as proposed by Benedetto Varchi (1503- 1565) in the famous "Due Lezzioni" (Two Lessons). The second edition of the "Lives", published in 1568, is marked by another Academy and by new version of the "dispute"; i.e. by the Academia delle Arti del Disegno and the text "Una Selva di Notizie", written by Don Vincenzo Borghini(1515-1580), lieutenant of the new Academy, rejudging the hierarchy between the arts. For the new Academy, founded in 1563, and the text "Una Selva di Notizie" (1564), the reference and model were those, institutional and intellectual, of the "40s. Both the academy of the artists, founded by Vasari himself along with the philologist Borghini, would be inspired by the Florentine Academy, as stated by them, as the resumption of the "dispute between the arts" by the Lieutenant of the Academy of drawing, made reference to the Lesson of Varchi and letters written by the artists in response to the debate of almost twenty years before. Such institutional aspects, and the distinct characteristics of the intellectual debate, influence respectively each of editions with ideas that emphasize and analyze the cultural policy of the Duke Cosimo / Doutorado / Historia da Arte / Doutor em História

This thesis explores changes in experimental reporting during the scientific revolution of the seventeenth century. In particular, I examine and compare some of the works of Count Lorenzo Magalotti, namely the Saggi di Naturali Esperienza or Essays on Natural Experiments and the Relazione d'Inghilterra. In 1667, as secretary of the Accademia del Cimento – the Tuscan experimental academy founded in 1657 – Magalotti (1637-1712) authored the Saggi, a collection of experimental reports. These reports included extensive written descriptions of experiments along with dozens of engravings depicting the instruments custom-made for the experiments. Magalotti also served as ambassador and agent of the Tuscan court and in the same year he traveled to England to offer a copy of the Saggi to King Charles II. While in England, Magalotti corresponded extensively with Prince Leopold and with the future grand duke, Cosimo III, reporting his observations of the English court: descriptions of political, military, and intellectual life at the court of Charles II. Magalotti’s account of his experience was compiled as Relazione d'Inghilterra in 1669. My work shows that the Saggi and the Relazione, although different in their content, emerged from the same historical context. I argue that the way information was conceived and organized, whether it originated from experimental practices (Saggi) or diplomatic actions (Relazione), changed over the course of the seventeenth century. Experimental reporting, like political reporting, became parceled into small, discrete units suited for high rates of information exchange.

Proefschrift--Letteren--Nijmeren, 1980. / Mention parallèle de titre ou de responsabilité : Spirit and flesh in faith and learning. Trad. de l'introd. et résumé en anglais. Bibliogr. p. 236-256. Index.

Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista. / This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.

Nuovi dati e considerazioni sulla biografia e gli scritti di Carlo Bianconi che emergono principalmente dallo spoglio di materiale archivistico inedito. Con questo studio viene ad essere chiarita la fase formativa di Bianconi cresciuto in una casa di bibliofili e collezionisti d’arte. Aggiornato sulle elaborazioni teoriche di Winckelmann e Mengs entrambi conosciuti personalmente, lo vedono progressivamente avvicinarsi e aderire ai modi del classicismo, mediato anche dal rapporto instaurato con Francesco Algarotti, a cui viene in questa sede ridato valore. Uno spiraglio viene aperto sul biennio trascorso a Roma, la frequentazione del cardinale Albani e sul viaggio a Napoli con importanti risvolti per la sua maturazione intellettuale. Seguono i motivi della scelta di Bianconi a segretario dell’Accademia di Brera, le sue iniziative a livello didattico e il rapporto con Carlo di Firmian. Vengono, di volta in volta ricordati i suoi numerosi corrispondenti, la sua produzione figurativa e soprattutto commentati i suoi scritti editi (guide di Bologna e Milano) e inediti (Vitruvio, scritti teorici sull’origine dell’architettura e dell’incisione, orazioni) e riconsiderata la collaborazione all’Enciclopedia Metodica di Pietro Zani. Artista, collezionista, scrittore d’arte e insegnante, immerso in una temperie di matrice razionalista è precoce assertore dei dettami del nuovo gusto per il classico. / New information and analysis about Carlo Bianconi’s biography and writings mainly appear from unpublished archival material bare. This work allows to clarify the education of Bianconi, who grew up in a family of bibliophiles and art collectors. He kept abreast of theoretical development of Winckelmann and Mengs, who personally knew and he gradually moved closer and accepted the models of the classicism that was also mediated by the relationship established with Francesco Algarotti, who is here reevaluate. Regarding his two-year period spent in Rome, the relationship with the Cardinal Albani and moreover his trip to Naples, a glimmer is opened, with important implications for his intellectual maturity. Furthermore, there are: the reason regarding the choice of Bianconi as Secretary of the Academy of Brera, his educational initiatives and the relationship with Carlo di Firmian. From time to time, his many correspondents, his figurative works of art and especially his published writings were commented (for example the guide of Bologna and Milan) and his unpublished writings (such as Vitruvius, theoretical writings on the origin of architecture and engraving, orations) are remembered and also the collaboration with the Enciclopedia Metodica of Pietro Zani is reconsidered. Artist, collector, art writer and teacher, immersed in a climate of a Rationalism, he is a early supporter of the new taste for the classic.