Former collaborators Close group. She worked as post-doc member 1 April - 9 February Curator of exhibitions Salerno. Fernando Loffredo Fernando Loffredo is an art historian. He worked as post-doc member 1 April - 26 January In he obtained his Ph. During his doctoral studies he spent several long research periods in Spain, France, Germany and the U. Fulvio Lenzo Fulvio Lenzo is an architectural historian. He worked as post-doc member 1 April - 18 December His research area is the architecture of the late sixteenth-century in Naples and the architecture of the early eighteenth-century in Italy.
Le colonne del tempio dei Dioscuri e la chiesa di San Paolo Maggiore". Pierluigi Terenzi download complete curriculum Pierluigi Terenzi is a medievalist. Terenzi has also conducted research, collaborated or presented projects with the universities of Florence, Bergamo, Lyon, Avignon and the Institut Franco-Allemand de Sciences Historiques et Sociales of Frankfurt a. The main research field is political and social history of late medieval towns, with a focus on towns-Crown relations in the Kingdom of Naples. Recently he extended his research to the rest of Italy and to Europe in a comparative perspective.
He worked as post-doc member 1 June - 31 May In he has obtained his Ph. His research interests and his publications are mainly focused on the history and documentary sources of medieval hospitals and on the cities and the archives of Campania. During the last years, moreover, he has worked on a project between Italy and Spain to publish records of the Chancery of king Alfonso the Magnanimous, concerning the Kingdom of Naples and preserved in the Archive of the Crown of Aragon in Barcelona.
Veronica Mele download complete curriculum Veronica Mele is a Medieval historian. She worked as post-doc member 1 September - 31 August The subject of the research relates to the historical memory, the social identity and the methods of self-representation of the cities in the Kingdom of Naples, between the Medieval and Early Modern Period.
Her academic education has been developing by working in archives, studying unpublished primary sources from the Middle Ages and Early Modern period. Hosting Institution Partners. Close group. Bianca de Divitiis.
Francesco Aceto. Francesco Aceto was born in SS. Francesco Caglioti. Francesco Senatore. Antonio Milone. Antonio Milone is an art historian. Lorenzo Miletti. Lorenzo Miletti is a classical philologist. Michela Tarallo. Paola Coniglio. Paola Coniglio is an art historian. Stefania Tuccinardi.
Organizer: Konrad Eisenbichler University of Toronto. Opus postumum nunc primum in lucem editum. Bellin's map is a perfect copy of a chart made by Fr. To answer this question, I provide an overview of tactics used both by Islamic religious organisations and by individuals for controlling media messages. Lettere recentemente pubblicate sui pesci fossili veronesi : con annotazioni inedite agli estratti delle medesime. Icongrafia dell' avifauna Italica, ovvero, Tavole illustranti le specie di uccelli che travansi in Italia : con brevi descrizioni e note.
Andrea Mattiello. Carlos Plaza. Federico Lattanzio. Ida Mauro. Ida Mauro 17 October has pursued her studies in both Spain and Italy, focusing on the circulation of works of art, artists and cultural practices between the two countries during the 16th and 17th century. Luigi Tufano. Francesca Buccheri. The administrator oversees and registers the expenses, assists members of the team with the paper-work needed to organize and arrange the research and surveys. Arnold Nesselrath.
Discorsi sulle scienze e sulle arti (Italian Edition) - Kindle edition by Jean- Jacques Rousseau. Download it once and read it on your Kindle device, PC, phones. Il Discorso sulle scienze.. fu l'opera che rese celebre Rousseau. Sull'origine della disuguaglianza fra gli uomini (Italian) Perfect Paperback – 12 Mar
Carlo Gasparri. University of Naples Federico II. Caroline Elam. Christa Gardner. University of Warwick. David Abulafia. Course in the academic year of lessons on the fossil kingdom. In his third course, Spallanzani addressed mineralogy in broader terms, revisiting subjects he had covered in his Dissertazione of He had dropped the term oryctology, but still used 'fossil' in the sense of an excavated object, and 'petrification' for something more like what we today understand as a fossil, as one can see from the following passage: "Here we begin the Treatise on Mineralogy per se.
We give the name of mineral kingdom to fossil substances that are encountered in the earth, which have no organic structure, or which have lost it, such as petrifications" Spallanzani, a, p. One important novelty in this course is the addition of knowledge from the field of chemical mineralogy which was being developed at the time. This also reflects Spallanzani's new interest, in the s, in physiological research related to Lavoisier's new chemistry, amongst which his investigation into the respiration of animals and plants is highlighted Prestes, , p.
In this course, Spallanzani also indicated the mineralogy system by Swede Axel Fredrik Cronstedt , which was entirely founded on chemical characteristics and "approved throughout Europe" Spallanzani, a, p. He was undoubtedly referring to Cronstedt's book from , translated into English under the title of An essay toward a system of mineralogy. The adoption by morphological mineralogy of these methods of studying chemical constituents triggered a change in the way Spallanzani characterized 'petrifications' in this third version of the course, as can be seen in the following passage: "It is concluded, from Bergman, that we have established the classes, genera and species of the mineral world based on the internal composition and characteristics, and [we have established] the varieties based on their outer form.
Thus, we bring together the advantages of both methods" Spallanzani, a, p. By this time, Spallanzani had already made a large number of empirical observations of fossils on his travels, as we have seen. He added his own observations to citations of different fossil samples and the places they were found in Italy and other countries by other naturalists. This mass of data caused him to alter the way he discussed the topics compared with the previous courses he had given and his Dissertazione of Then, he had speculated on the transformations of the surface of the globe to explain the origin, constitution and distribution of fossils.
In this course, they were taken as evidence of the occurrence of those transformations, characterizing the "advantages that naturalists derive from petrifications" thus listed by the naturalist:. First, they enable one to understand the revolutions of the globe, in relation to the land and the sea. Such are the testacea and crustaceans in the mountains; stronger proof that the sea has been at these places: and for this reason the world was higher than it is today.
These sea shells exist at great depths: so the earth went through a sudden and great change; this also gave rise to whole mountains. So the sea was not just there, but it was there for many centuries. Bones of elephants and rhinoceroses in Siberia that exist in large numbers and prove that once that place was inhabited by these animals: and consequently that the earth underwent great transformations Spallanzani, a, p. Another change Spallanzani introduced to this course in was about the fossils of creatures that could not be found living in the same region where the fossils were encountered.
The first example mentioned is that of fishes from Mount Bolca, in Veronese. Another example he mentioned was that of marine fossils encountered on Mount Etna, which had been calculated to be over 3, years old.
In this case, Spallanzani made direct mention of 'extinguished' species: "Through these marine petrifications we are introduced to animals from the past: and we find that many of the current animals existed at that time; but many exist no more : from which one may infer either that the races have been lost or that they only exist in the depths of the seas" Spallanzani, a, p. In a different passage, we see that at least from a logical viewpoint, Spallanzani also seemed to cogitate the appearance of new species: "Many of these animals are not native to our seas, but exotic, be they testacea or fish.
Such as those from Mount Bolca, near Verona. Thus, either these animals existed or they did not exist, or they were transported: which proves the great revolution of the seas" Spallanzani, a, p. The last topic covered was that of human fossils. Several examples on this topic had been recorded, especially inside mines - although Spallanzani said that one could be sure of the origin of very few of them. He returned to the example of Scheuchzer's Homo diluvii testis , this time stating that it was known not to be the skeleton of a man, but the "upper part of a seal" Spallanzani, a, p.
This fossil was finally identified by Georges Cuvier as being a giant pre-historic salamander Faria, , p. Meanwhile, he mentioned finds of "some, albeit few, human bones turned to stone, mostly not transformed or but slightly hardened and still calcified" or as human bones found by Abbot Alberto Fortis on Cherso island, and his own observations at Cerigo, and the specimens from Libya, "where whole caravans are sometimes buried in the sand, and one finds men who, if not turned to stone, are at least dissected, and embalmed like mummies" Spallanzani, a, p. Combined in a broader approach in the third course, these facts also confirmed, according to Spallanzani, the revolutions of the globe and the changes undergone by the Earth, concepts present in the geological discussions of different authors from the period and expressed by him in Dissertazione in As announced in the beginning of the course, at the end Spallanzani again mentions a "Treatise on Mineralogy".
Although this was never published, the notes compiled from these lessons and the records of the sources that guided him seem to leave no doubt that this was in the Italian naturalist's plans: "And the Treatise on Mineralogy reaches an end, covering salts, earth, rocks, bitumens, metals and petrifications. The author by whom I was guided was the illustrious Bergman, who, being restricted, I took care to comment on, develop, expand and exemplify at length, adding observations by others and my own concerning that part of Natural History" Spallanzani, a, p.
The different, ongoing observations made by Spallanzani on his travels seem to us to be clearly indicative of his real interest in fossils, and not just the fulfillment of the duty of collecting samples for the university museum or giving lessons in mineralogy. His large personal collection and his constant recourse to the topic whenever he was able to make empirical observations leave no doubt as to the nature of his research, which we would today call multidisciplinary, covering as it did studies into the three kingdoms of nature, in keeping with the prevailing trends in the eighteenth century.
Part of a strong natural history tradition in the 's which gave precedence to observations of the natural environment, Spallanzani helped boost the importance of field studies in the earth sciences and therefore in the study of fossils. Towards the end of the century, such studies started to be pursued by scholars themselves, and not just by collectors, who were mostly students or assistants of these scholars. According to Martin Rudwick , p. This science included the study of fossils, which also benefited from these scholars' excursions to the sites where they were encountered, as there they ended up detecting different properties of the fossils which enabled them to be better understood.
Interest in the origin and constitution of fossils, above and beyond their characterization into different kinds animal and vegetable demonstrates the epistemological commitment so often reiterated by Spallanzani. It can be seen in this passage from an essay sent to Malaspina, in which he refers to Buffon's method of making a "good portrayal" of the objects of nature as "what characterizes the philosopher naturalist and sets him apart from the simple name-giver, who is happy to trace the lines without caring to color it in" Spallanzani, , p. Maria Elice Brzezinski Prestes wishes to thank Fapesp for the support provided for the research.
It was later translated and published in France and Germany and It is a living genus that emerged in the Eocene 54 to 33 million year ago; Foucault, Raoult, , p. This was published almost simultaneously, between and , in six volumes, by Imprimerie des Sciences et Arts, in Paris. Spallanzani referred to fragments of coral reefs formed of these organisms. Malaspina was preparing for voyages on the Atlantic and the Pacific with the Spanish royal navy, making geographical and natural history explorations, between and Spallanzani wrote him an "essay on the two kingdoms, animal and mineral, which may contribute to the furtherment of natural history" Spallanzani, , p.
These fossils, described in by Andrea Mattioli in Discorsi sopra Dioscoride , were discussed by different eighteenth century authors: Scheuchzer , Herbarium diluviannum collectum ; Antonio Valisneri , De' corpi Marini su' monti si trovano ; Gian Jacopo Zannichelli , Enumeratio rerum naturalium quae in Museo Zannichelliano asservantur ; Anton Lazzaro Moro , De' crostacei e degli altri Marini corpi che si truovano su' monti ; Domenico Testa , Lettera su i pesci fossili del Monte Bolca al Signor Abate D.
Considering potential religious constraints on Spallanzani's publishing a more clearly enunciated opinion on the topic, we checked his correspondence using the index that accompanies the 12 th volume of the letters published in Edizione nazionale delle opere di Lazzaro Spallanzani. We found no mention of human fossils, just of fossils of different animal and plant species. Magdaleine de Saint-Agy. Paris: Fortin, Masson.
Paris: Deterville. Lezione di paleontologia. In: Spallanzani, Lazzaro. Edizione nazionale delle opere di Lazzaro Spallanzani. Parte seconda: Lezione. Modena: Mucchi. Lazzaro Spallanzani. Modena: Aedes Muratoriana. Paris: Dunod. A biologia experimental de Lazzaro Spallanzani Bursting the limits of time : the reconstruction of geohistory in the age of revolution.
Chicago: The Chicago University Press. Parte quarta: Opere edite direttamente dall'autore. Lettera seconda relativa a diversi oggetti fossili e montani. Al Sig. Carlo Bonnet. Terzo supplemento: Carteggi. Supplementi alle lezioni del regno fossili, e lezioni nuove del medesimo.
Regno lapideo. Elementi di orittologia. Lettere a Antonio Malaspina. Parte prima: Carteggi. Lettere a Luigi Bossi Visconti. Voyages dans les Deux Siciles et dans quelques parties des Appenins. Berna: Emanuel Haller. Received for publication in October Approved for publication in February Proposals for individual papers words should be sent no later than January 15, to both Stefano Nicosia adm. In your proposal please include your name, academic affiliation, telephone numbers, e-mail address, and a brief bio-biliographical profile maximum half a page.
Abusi dei diritti umani sulle donne nel teatro e nel cinema. Mandare proposte di parole a: annacafaro hotmail. This panel seeks to investigate the plurality of discourses aesthetic, ethical, linguistic, political and religious among the most prominent adopted in Italian sixteenth century comedies and in burlesque verse and prose, in order to assert the cultural synergy between - and the intellectual strength of - these two 'minor' genres of Early Modern Italian.
Please send word abstracts and a short bio to Stefano Iossa Stefano. Jossa rhul. Drawing on the notion of emplotment as it was proposed by Hayden White, the panel will seek to explore the unstable, ineffable relationship between facts and their re presentation in narrative form. Our aim is to look at how diverse disciplines historiography, creative literature, cinematography depict reality by coming to terms with their respective expressive means.
Is the claim to objectiveness possible? What is lost and what is gained in the process? How are the voices of the protagonists filtered? Are we entitled to fill in the gaps? We shall welcome papers dealing with all periods in Italian history. Please send abstracts of about words to Erika Mazzer emazzer gc. La session intende affrontare il tema della cosiddetta 'questione meridionale' alla luce degli spunti suggeriti dal pensare l'utopia. Sono ben accetti interventi in : - Filosofia Teoretica - Letteratura comparata - Letteratura italiana del Rinascimento - Letteratura italiana contemporanea - Sociologia - Storia della Filosofia Possibili autori da trattare, ma non solo : - Giordano Bruno - Tommaso Campanella - Torquato Tasso - Gaetano Salvemini - Luigi Pirandello - Leonardo Sciascia - Raffaele La Capria - Erri De Luca Si prega di inviare una proposta di intervento di massimo parole e una breve biografia all'indirizzo email: marco.
Narrative Theater Organizers: Cristina Perissinotto University of Ottawa and Juliet Guzzetta Michigan State University We invite papers that analyze Narrative Theatre, a technique that stems from the politically and ethically committed theatre of the s and s. Papers may be presented in English, French or Italian. The deadline for submissions is January 5th, Organizer: Cristina Perissinotto University of Ottawa.
Papers are sought that address the topic of intentional and utopian communities past and present in Italian geography, culture and literature. These spaces can be physical, mental, linguistic, political, cultural, spiritual, virtual and literary. Possible topics might include:. If you need audiovisual equipment, please indicate your requirements in your submission.
Please submit a word abstract for a minute paper, plus a one-page CV. Submissions will only be accepted if pasted in the body of an email message to cperissi uottawa. Submissions expected no later than January 5th, Travel in Italy and Italians Traveling Abroad. Papers are sought that address the discourse of travel, identity and the individual in Italian culture. We seek papers about travel in Italy, as well as about Italian travelers abroad. Italian Philosophy.
From Vico to Vattimo, from Aquinas to Agamben, this panel seeks to address some of the major issues in the Italian philosophical landscape past and present. This would ideally include the way Italian philosophy is affecting international political and philosophical thought. Si prega di inviare un abstract di circa parole e una breve biografia a Christopher Nissen cnissen niu.
This panel invites papers that address the relationship between architecture and narrative and explore its potential application to classroom practices in teaching architecture and literature courses. If, as some of my urbanist friends say, my book touches on various aspects of the problems in their field, it did not happen by chance because we share the common ground. Ecocritical approaches to Italian literature and cinema.
Papers can focus on any historical period, though preference is given to 20th and 21st century Italian literature. This panel intends to explore the function and value of landscape, nature, animals, the relationship between human and non-human, through the lenses of environmental ethic, and current notions of sustainability and civic engagement. Therefore some of the possible topics to be discussed in this session are the human debt to the natural and the animal world, the porosity between environment and culture, ontological hierarchies, earth ethic and ecological activism.
Papers are accepted both in Italian and in English. Please send a short abstract words to the organizers Anna Chiafele azc auburn. Marginali, trasgressive, militanti, devianti, irriverenti: i femminismi e le scrittrici italiane da fine Ottocento a oggi. Organizer: Michela Prevedello University of Bristol. Rifletteremo sulle questioni di genere individuate dal post-femminismo italiano, e sulle relazioni tra post-femminismo e letteratura. Sono attesi papers di approccio interdisciplinare, che si confrontino con teorie femministe, post-femministe, gender studies, e queer theory, in lingua italiana o inglese.
Organizer: Mark Nicholls University of Melbourne. This panel invites papers for an interdisciplinary session on the topic of Foreign Artists in Italy This panel seeks to consider the creative practice of these artists while in Italy, their motivations for being there and the critical significance of their Italian work within the broader contexts of their output. The contribution of these artists to local Italian creative practice and discourse will be considered. The extent to which these artists collaborated, both with Italian and other foreign colleagues, will also be examined.
Papers on Campania-based foreign artists are welcome but not required. Please send an abstract of words to organiser, Mark Nicholls markdn unimelb. Inviare un abstract di parole insieme ad un breve CV di circa parole a wanselmi ualberta. A city is many things. However, Venice is more than most in its claim to artistic and cultural uniqueness. The patina of time is imprinted on its marbled facades, rising waterlines, and stone bridges whose foot surfaces are polished by the constant motion of its pedestrians. The erosion of stone and the movement of the sea at its footings is evidence of nature's power within this precinct of a floating apparition bounded by architectural jewels, artistic and literary fame.
The patterned pink hew of the Doge's palace, the striated arches of the arcades surrounding San Marco and the sound of the klaxon on every bell tower, each betray something of the spirit and age of the city. Whether the blue azure of a Tintoretto sky, or the watery silhouetted form of Turner's San Giorgio, the city has been made visible by the aesthetic turn and the desire to capture the poetic in the material shapes of domes, arches and buttresses.
These are the hundred churches consecrated to a worldly reverie; their interiors awash in light and spiritual foment. The San Zaccaria altarpiece has few rivals in the dominion of the divine and yet its mix of mysticism and naturalism is timeless, breathtaking, and even for those who hurry onto the Giardini, the site of the Biennial, resonant in its aesthetic authority.
Although the conventions have changed and the global art market today drives the imperatives, Venice continues to conjure from its rich palimpsest of art and culture something of a unique spectacle. This session asks what are the hidden or symbolic values of Venice the city, how does it continue to fuel the creative imagination, and what influence does its historical memory hold in light of its present incarnation as the city of the Biennale?
Si accettano contributi in italiano o in inglese. More specifically, it seeks to explore how autobiographical sources such as memoirs, diaries, blogs and letters reflect upon the experience of war.