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Showing 11 to 18 of 18 (0.044 seconds)Spelling suggestions: "subject:"mantuvo""
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Nobili a Mantova tra Antico Regime e Restaurazione: la famiglia dei conti Francesco Alberto d'Arco e Amalia Sanvitale / Nobles in Mantua between the Ancien Régime and the Congress of Vienna: the Family of count Francesco Alberto D'Arcy And his Countess Amalia SanvitaleAZZI, NICOLETTA 10 March 2008 (has links)
La ricerca ha messo a tema i diversi aspetti della vita privata e pubblica di una famiglia nobiliare a Mantova nel passaggio dall’Antico Regime alla Restaurazione, indagata in quanto rappresentativa del ceto nobiliare di appartenenza: la famiglia di Francesco Alberto d’Arco e Amalia Sanvitale. Di provincia ma non provinciale, la famiglia d’Arco è stata letta nelle sue varie scelte, come, ad esempio, l’educazione dei figli, i collegi frequentati, le strategie di carriera individuate per i figli maschi o l’assegnazione delle doti e la scelta delle alleanze per i matrimoni delle figlie femmine. Tale lettura è stata resa possibile dalla disponibilità dei carteggi conservati nell’archivio della Fondazione d’Arco, fonte che è stata messa a confronto con la coeva documentazione di tipo istituzionale. Dimensione privata e dimensione pubblica hanno trovato un punto di incontro nella lettura di questi carteggi, che con il loro carattere ibrido, a metà tra la “scrittura di sé” e la trascrizione di notizie, bene si prestano all’incrocio di fonti diverse e apparentemente lontane. / The aim of the research is to examine the diverse aspects of the public and private life of a noble family in Mantua in the transition from the Ancien Régime to the period after the Congress of Vienna. The d’Arco were chosen because they were representative of the noble class they belonged to and of the forms of aristocratic life style. From the province but by no means provincial, the d’Arco family has been studied in its various choices, as, for example, the education of its children and the colleges they attended, the strategies employed for the careers of its sons or the dowries and the choice of marriage alliances made for the daughters. Such study has been made possible by access to a privileged source - the family papers and correspondence preserved in the archives of the D’Arco Foundation. A source which was then critically compared with the contemporary institutional documentation. The private and public dimensions meet in the reading of these papers, which with their hybrid character, half way between “writing of oneself” and the transcription of news, lend themselves perfectly to a cross-match between sources that are diverse and apparently distant.
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CULTURA LETTERARIA INTORNO A FEDERICO GONZAGA, PRIMO DUCA DIMANTOVA / LITERARY CULTURE AROUND FEDERICO GONZAGA, FIRST DUKE OF MANTUA.BARBIERI, NICOLETTA ILARIA 15 April 2013 (has links)
Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comporre testi dal duca stesso. Molti di questi lavori sono registrati nell’inventario di Federico II, che ci dà alcune idee circa le sue preferenze, rivolte soprattutto alle opere astrologiche e ai testi cavallereschi, e circa le sue relazioni letterarie. Gli scrittori legati a Federico II hanno spesso cercato di procurare vantaggi tramite l’attività letteraria a se stessi e al loro mecenate. Si può ritenere che Federico II fosse inserito in una più ampia rete di relazioni letterarie sviluppatesi intorno alla corte di Mantova e che abbia impiegato la propria cultura letteraria e le opere letterarie come uno strumento di potere. / Between the 19th and the 20th century several studies were carried out with regard to the literary patronage of Isabella d’Este and in connection with the maecenatism practiced towards artists by her son Federico II Gonzaga, first Duke of Mantua. Nowadays, a new perspective of research induces to investigate the role of Federico II as literary client, separated from the Marchesana Isabella, as well as his literary interests. Various more or less famous authors have been found to have had some relationships with Federico II Gonzaga, either because they mentioned him in their works and dedicated them to him, or because they were requested to compose texts by the duke himself. Many of these works are registered in Federico II’s inventory, which gives us some ideas about his literary preferences, particularly directed to astrological works and chivalric texts, and his literary relationships. The writers linked to Federico II often tried to obtain some advantages for themselves and their patron through their literary activity. It can also be maintained that there was a wider network of literary relationship around the court of Mantua, and that Federico II used his literary culture and the literary works as a tool of power.
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Er-lesene Bilder Untersuchungen zum Text-Bild-Bezug zwischen Inger Christensens "Det malede vaerelse" und Andrea Mantegnas "Camera picta" /Rehm, Ortrun, January 2005 (has links)
Thesis (doctoral) - Ludwig-Maximilians-Universität München, 2003. / Includes bibliographical references.
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Louis XIV et le repos de l'Italie : French policy towards the duchies of Parma, Modena, and Mantua-Monferrato, 1659-1689Condren, John January 2016 (has links)
Between 1659 and 1689, northern Italy was generally at peace, having endured almost three decades of continuous war from the 1620s. The Peace of the Pyrenees of November 1659, between the French and Spanish crowns, seemed to offer the young Louis XIV an opportunity to gradually subvert Spanish influence over the small princely families of the Po valley. The Houses of Farnese, Este, and Gonzaga-Nevers, respective rulers of Parma, Modena, and Mantua-Monferrato, had all been allies of France at various points in the Franco-Spanish War (1635-1659), but had gained scant reward for their willingness to jeopardise their own relationships with the king of Spain and the Holy Roman Emperor, despite the promises of material and diplomatic support which Cardinals Richelieu and Mazarin had extended to them. As a consequence, they were reluctant to agree to again participate in alliances with France. This thesis examines how Louis XIV gradually came to lose the friendship of these three ruling families, through his arrogant disregard of their interests and their ambitions, and also by his contempt for their capabilities and usefulness. This disregard was frequently born out of the French monarch's unwillingness to jeopardise or to undermine his own interests in Italy – in particular, the permanent retention of the fortress of Pinerolo, in Piedmont, as a porte onto the Po plain. But although the principi padani comprehended the reasons for Louis's unwillingness to act as a benevolent patron, they resented his all-too-palpable distrust of them; his entrenched belief that they were unreliable; and his obvious love of war. The rulers and élites of the Italian states believed that Louis would undoubtedly seek, at some point in his reign, to attack Spain's possessions in Italy, and dwelt in perpetual dread of that day. This thesis provides the account of French policy towards the small Italian states after 1659 which is still absent from the historiography of Louis XIV's foreign policies.
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Il codice Mscr.Dresd.Ob.21: una possibile collocazione in area mantovanaDi Pietro, Marica 02 July 2020 (has links)
Il presente elaborato intende approfondire le ipotesi avanzate nel mio precedente lavoro di ricerca, Il Codice inedito di falconeria della Biblioteca di Dresda (Mscd.Dresd.Ob.21), stampato e catalogato presso la SLUB, sulla base delle argomentazioni dello studioso croato Grmek riguardo la tradizione letteraria del trattato di Iacobello Vitturi contenuto nel codice Ob.21. L’intento è quello di definire la collocazione spaziale del manoscritto e, al fine di raggiungere tale obbiettivo, la ricerca è stata incentrata sul raffronto linguistico del codice dresdense col manoscritto conservato presso la Biblioteca Universitaria di Bologna, ms. 1349. Le particolarità linguistiche rintracciate nel codice Ob.21 a seguito dell’analisi comparativa mi hanno permesso di chiudere la ricerca nella direzione intrapresa: le forme mantovane del lessico della lingua adoperata in tutto il codice Ob.21, insieme ad altre spie fonetiche e morfologiche, costituiscono un’ulteriore prova a favore della collocazione del manoscritto in area mantovana.
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Mechanisms Causing Ferric Staining in the Secondary Water System of Brigham City, UtahWallace, Robert Derring 26 May 2007 (has links)
Water from Mantua reservoir has, during some years, exhibited reddish-brown staining when used by Brigham City for irrigation. I propose that seasonal fluctuations in the reservoir chemistry create an environment conducive to dissolving iron from the iron-rich sediments, which subsequently precipitate during irrigation, resulting in a staining event. These conditions are produced by chemical and biological decomposition of organic matter, coupled with isolation of the hypolimnetic waters, which results in seasonal low concentrations of dissolved oxygen in these waters. Under these specific circumstances, anaerobic conditions develop creating a geochemical environment that causes iron and manganese reduction from Fe(III) to Fe(II) and Mn(IV) to Mn(II), respectively. These reducing conditions facilitate reduction-oxidation (redox) chemical reactions that convert insoluble forms of iron and manganese found in the reservoir sediments into more soluble forms. Consequently, relatively high amounts of dissolved iron and manganese are generated in the bottom waters immediately adjacent to the benthic sediments of the reservoir. Water withdrawn from a bottom intake pipe during these periods introduces iron-rich water into the distribution system. When this water is exposed to oxygen, reoxidation shifts redox equilibrium causing precipitation of soluble Fe(II) and Mn(III) back to highly insoluble Fe(III) and Mn(IV). The precipitant appears on contact surfaces as the aforementioned ferric stain. This research focuses specifically on the iron chemistry involved and evaluates this hypothesis using various measurements and models including field data collection, computer simulations, and bench-scale testing to validate the processes proposed.
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Okruh architektů Albrechta z Valdštejna a počátky raného baroka v Čechách / The Circle of Architects of Albrecht of Wallenstein in Early Baroque PeriodLíčeníková, Michaela January 2013 (has links)
The Circle of architects of Albrecht of Wallenstein in early Baroque period. The first rare indications of early Baroque productions/ creations are appearing already in second decade of 17th century, mainly in the work of imperial architect Giovanni Mario Filippi. We can consider his work as a first stage of the architectonical production which was implemented for the one of the most important personality of the Thirty Year War - the duke Albrecht of Walenstein. The circle of Walenstein architects was created by three distinctive representatives, those proved successfully individually but also as a team working above the joint projects. They were able to fulfill the Wallenstein magnificent intentions. These architects were Andrea Spezza, Giovanni Pieroni and Nicola Sebregondi. These three Italians architects and builders were leading figures of the mentioned circle of which part were also Vincenzo Bocacci, Baccio Bianco and Giovanni Marini. Their activities is possible to trace on our territory in the period 1621-1634 except Giovanni Pieroni, who was focused after the duke death to the projects of fortification systems, mainly in Bohemia. Studies showed that the origin of architects, including the places where they have been raised and received the first training, was always important and influenced their...
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Taken from lifeKornmeier, Uta 12 October 2006 (has links)
Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationsweise dieses Mediums wird am Beispiel von Madame Tussauds Wachsfigurenkabinett genauer untersucht. Dazu wurde, soweit möglich, die Reiseroute, der Aufbau und die “Besetzung” der Ausstellung rekonstruiert, sowie die soziale Herkunft der Besucher in der ersten Hälfte des 19. Jh.s ermittelt. Es wird deutlich, daß Marie Tussaud eine talentierte Portraitkünstlerin und ambitionierte Schaustellerin war, deren sorgfältig gestaltete Ausstellung vor allem Besucher der aufstrebenden Mittelschicht mit Interesse an Menschenkenntnis anzog. Das Wachsfigurenkabinett fiel damit in die Kategorie der “nützliche Unterhaltung”, die der Wissens- und Charakterbildung diente. Madame Tussaud ist vielleicht die bekannteste Betreiberin eines Wachsfigurenkabinetts – keinesfalls aber die erste. Die Geschichte der kommerziellen Ausstellung lebensgroßer Wachsfiguren reicht ins beginnende 17. Jh. zurück, wobei sich das Konzept der Kabinette im Laufe der Jahrhunderte stark gewandelt hat. In dieser Arbeit werden drei Ausstellungsformen unterschieden: a) das barocke Figurengruppen-Kabinett, das programmatische oder allegorische Geschichten erzählt, b) die aufklärerische Portraitgalerie (wie z.B. Madame Tussauds), in der Persönlichkeiten als charakteristische Individuen vorgestellt werden, c) das moderne Tableau-Kabinett, wo alltägliche oder außergewöhnliche Ereignisse auf bis dahin unübertroffen realistische Weise wiedergegeben werden. Als Nachrichtenkanal und als Medium für realistische Wirklichkeitswiedergabe sind Wachsfigurenkabinette seit den 1920er Jahren überholt. Als Spiel mit der menschlichen Sinneswahrnehmung bleiben sie jedoch vorerst aktuell. / Waxworks were not always the cheap sensation spinners as which we perceive them today. Before the invention and wide-spread use of photography and illustrated magazines they were an important medium for distributing visual information. No other form of communication could offer such immediate representations the protagonists of world history. Perhaps the greatest part in their success took the material wax which allowed the creation of deceptively lifelike and hitherto most realistic depictions of celebrated individuals. In this thesis, Madame Tussaud’s serves as a prime example for examining the mode of operation of a waxwork exhibition. As far as the sources allow, the itinerary, the ‘cast’ and display of the exhibition is reconstructed, as well as the number and the social background of its visitors during the first half of the 19th century. It emerges that Marie Tussaud was a talented portrait artist and a show woman of ambition whose carefully constructed exhibition attracted mainly middle-class visitors with an interest in human classification. Thus, the waxworks was a ‘rational entertainment’ that was thought to further the development of knowledge and character in its visitors. While Madame Tussaud’s was perhaps the most famous waxworks, it was not the first one. The history of commercial exhibition of life-sized wax figures goes back to the 17th century. Their concept, however, changed significantly over the centuries. Three forms of waxworks are differentiated here: a) the baroque waxworks of groups of figures narrating programmatic and allegorical stories, b) the enlightened portrait gallery – such as Madame Tussaud’s – where celebrities are presented as individual characters, c) the modern tableau waxworks, that represents extraordinary as well as everyday events in a realistic way that was hitherto unprecedented. As a channel for the distribution of news and as a medium for representing reality waxworks have become outdated. As a tickle for the senses, however, they will yet remain effective.
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