Thesis--Munich. / Bibliography: p. 173-174.

Thesis--Munich. / Bibliography: p. 173-174.

Keywords: Emanuele Severino, Neo-Parmenidism, original structure, Being, Nothingness, death. The aim of this work is to put into circulation the thought of the Italian philosopher Emanuele Severino. The Neo-Parmenidism, of which Severino is the most important representative, is an interesting voice in the Italian and European philosophical panorama nowadays and it can open a new field for philosophical research, especially in the theme of death. A definition of Neo-Parmenidism will be given and the context from which and in which it was born and developed in the XXᵉ century will be outlined. The 'original structure' will then be explained. It is the logical-conceptual knot which, according to Severino, is the true foundation, since it allows the Being to be shown in its full authenticity, that is, without contamination by nothingness. The second half of Severino's writings will also be discussed. The path to the affirmation of authentic Being through the "sunset" of being-that-is-not will be shown. Finally, we will expose how Severino manages to give a new meaning to the phenomenon of death, which no longer has to do with nothingness but only with Being, as an approach to the Glory.

La tesi considera la varietà di formule espressive e di destinazioni funzionali della fotografia in rapporto alla costruzione di spazi e architetture nella Milano del primo cinquantennio dell’unità d’Italia. Strumento di lavoro per architetti e ingegneri, la fotografia delle principali operazioni edilizie eseguite nella città lombarda a partire dagli anni sessanta dell’Ottocento rappresenta per la nuova classe dirigente un fondamentale strumento di legittimazione del proprio operato amministrativo e di illustrazione dei progressi compiuti dalla città sulla via della modernizzazione. Attraverso un itinerario storico della ‘fotografia di cantiere’, costruito anche grazie al confronto con casi italiani e internazionali, lo studio presenta una puntuale analisi del fenomeno in ambito milanese. Tra i progetti affrontati, il piano di riforma del centro cittadino (1865-1878) di Giuseppe Mengoni e i restauri del Castello Sforzesco (1893-1907) di Luca Beltrami, oltre a una serie di interventi minori, documentati da alcuni dei principali fotografi attivi in città e dai redattori della pubblicistica illustrata, tipologia editoriale che tra Otto e Novecento si serve con sempre maggiore consapevolezza del mezzo fotografico. L’evoluzione del linguaggio fotografico viene dunque indagata nel suo contributo alla costruzione di un’iconografia nazionale della modernità, fenomeno che vede la città di Milano porsi in prima fila nel contesto italiano. / The study investigates the variety of expressive formulas and functional destinations of the photography production concerning the architectural renovation occurred in the city of Milan between 1861 and 1911. Design tool for architects and engineers, construction photography reveals itself as a fundamental tool of political legitimation for the new ruling class and illustrates the progress made by the city in terms of modernization. Through a historical reconstruction of the genre of construction photography, which also considers Italian and international cases, the study presents a detailed analysis of the Milanese phenomenon. Among the projects, the reform plan of the city center (1865-1878) developed by Giuseppe Mengoni and the restoration of the Sforza Castle (1893-1907) led by Luca Beltrami , as well as a number of minor operations. The inquiry considers the production by some of the main photographers working in the city and the iconographic apparatus of the most important illustrated press of the period, which during the late nineteenth century uses with increasing awareness the narrative qualities of the photographic medium. The evolution of the photographic language is therefore inquired with regard to his contribution to the construction of a national iconography of modernity , a phenomenon that sees the city of Milan in the front line.

Domenico Lalli (eigentlich: Sebastiano Biancardi, 1679-1741) wird hauptsächlich als venezianischer Librettist wahrgenommen. Sicherlich liegt dies auch an seiner gelegentlichen Zusammenarbeit mit Antonio Vivaldi. Allenfalls ist noch von seiner Tätigkeit in Neapel die Rede. Tatsächlich finden sich in Beständen verschiedener früherer Hofbibliotheken eigenhändige Textbücher von Domenico Lalli, so beispielsweise in Dresden (Mscr.Dresd.Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga) und in München. Ausgehend von solchen Textfunden werden Lallis Beziehungen zu Höfen im Heiligen Römischen Reich Deutscher Nation in den Blick genommen.

Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.