Relevant bibliographies by topics / Archivio di Stato di Parma (Italy)

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Academic literature on the topic 'Archivio di Stato di Parma (Italy)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Archivio di Stato di Parma (Italy)"

1

Perani, Mauro. "Un frammento della Mišnâ (Kĕṯubbôṯ) nell' Archivio di Stato di Modena." Sefarad 54, no. 2 (December 30, 1994): 363. http://dx.doi.org/10.3989/sefarad.1994.v54.i2.924.

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En este artículo se publica el texto hebreo de un fragmento de un manuscrito sefardí del siglo XII, que contiene dos páginas del tratado Kĕṯubbôṯ de la Mišnâ. Se trata de un bifolio de pergamino reutilizado en 1561 como cubierta de un volumen conservado en el archivo estatal de Módena. El texto misnaico es de tipo palestinense. De la colación de las variantes de los mss. Kaufmann (K) y Parma (P, De Rossi 138), se desprende una homogeneidad sustancial del fragmento con ambos testimonios. Sin embargo, una variante del texto del fragmento de Módena, confirmada por el consonántico de K, parece aportar una lectura correcta y más antigua que la que presenta P: se trata de la forma yaḥalôqû, imperfecto qal (cfr. 1 Sam 30,24) con scriptio plena de la «ô», en lugar de la correspondiente forma pi‛el del texto transmi­tido, que podría ser una evolución tardía.
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2

Blat Mir, María Antonia. "Cartas de Margarita de Parma (1578-1581) en la edición de Charles Piot." Quaderns de Filologia - Estudis Literaris 22 (January 7, 2018): 27. http://dx.doi.org/10.7203/qdfed.22.11193.

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Estudio sobre la edición llevada a cabo a mediados del siglo xix sobre la correspondencia de Margarita de Parma. La collatio de los documentos impresos con los originales de la correspondencia entre Margarita de Parma, hija natural de Carlos V, y el cardenal Granvela, secretario en este momento (1578-1581) del rey Felipe II, con los volúmenes editados por Charles Piot y conservados en la Bibliothèque Municipale de Besançon, y en el Archivio di Stato di Napoli, arrojan luz sobre la metodología usada en la edición de las cartas y hace necesaria una revisión del epistolario.
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3

Ault, C. Thomas. "Baroque Stage Machines for Venus and Mars from the Archivio Di Stato, Parma." Theatre Survey 28, no. 2 (November 1987): 27–39. http://dx.doi.org/10.1017/s0040557400000478.

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The seven drawings shown below are designs for baroque stage machines identified as machines “for Venus and Mars” and are reproduced from MS Majie, V, 4, 1–38, The Archivio di Stato, Parma. These designs are particularly interesting since they are at the same time characteristic of baroque stage machines which performed similar functions, found in other sources, and yet unique for their simplicity, rendering them easy to interpret and understand. Although several of these designs have been published individually in various places, the group of seven is published here in its entirety for the first time. Together, these designs illustrate the use of sliding winches in the grid to produce spectacular effects on the stage as well as the “Mars machines.”
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4

Banfi, Enrico, and Agnese Visconti. "The history of the Botanic Garden of Brera during the Restoration of the Austrian Empire and the early years of the Kingdom of Italy." Natural History Sciences 1, no. 2 (November 24, 2014): 81. http://dx.doi.org/10.4081/nhs.2014.203.

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Here, we reconstruct the history of the Botanic Garden of Brera of Milan from the Restoration of the Austrian Empire up to the early years of the Kingdom of Italy, when in 1863 the garden passed hands from the Liceo di Sant’Alessandro to the Istituto Tecnico Superiore of Milan. The reconstruction is based mostly on unpublished documentation preserved at the Archivio di Stato of Milan, the Biblioteca Braidense of Milan, the libraries of the Museo di Storia Naturale of Milan and the Archivio di Stato of Milan, the Archivio del Liceo Classico Statale Cesare Beccaria of Milan, the historical archives of the Politecnico of Milan, the Biblioteca di Biologia Vegetale, Dipartimento di Scienze della Vita e Biologia dei Sistemi, University of Turin, the Autografoteca Botanica of the Botanical Garden of the University of Modena, and the library of the Botanical Garden of the University of Padova. Overall, the period was one of slow decline for the Botanic Garden of Brera, against which successive directors – namely, Antonio Bodei, Francesco Enrico Acerbi, Giuseppe Balsamo Crivelli, Vincenzo Masserotti and Giustino Arpesani – combatted in vain. In particular, Balsamo Crivelli fought with great passion for many years to keep the level of the Botanic Garden of Brera at a satisfactory level, but he did not achieve the desired aim. However, he complied a partial list of the garden’s plants, of which an updated version is presented here.
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5

BUTLER, MARGARET R. "PRODUCING THE OPERATIC CHORUS AT PARMA’S TEATRO DUCALE, 1759–1769." Eighteenth Century Music 3, no. 2 (September 2006): 231–51. http://dx.doi.org/10.1017/s1478570606000595.

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Italian opera is increasingly receiving well deserved attention. Yet the process by which the chorus in opera seria was created remains largely unexplored. Between 1759 and 1769 Tommaso Traetta and Christoph Gluck composed path-breaking, reform-inspired opere serie for Parma’s Teatro Ducale which integrated chorus, dance and stage spectacle in the French manner. In an era when operatic choruses usually comprised amateurs and chapel singers, evidence from printed librettos and documents from Parma’s Archivio di Stato reveal that many of the Teatro Ducale’s choristers were professional singers hired from neighbouring Bologna. Perhaps in response to logistical and financial difficulties in engaging skilled personnel for Traetta’s choruses, Parma established a singing school to provide choristers for theatre. Gluck’s choruses employed a combination of students from this school and professionals. The evidence from Parma shows that the wide-ranging circuit within which Italy’s opera theatres functioned embraced not only leading soloists and other personnel, but choral singers as well. It demonstrates the impact of practical circumstances surrounding the production of Parma’s operatic choruses on the success of operatic reform in Parma.
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6

Matsen, Herbert S. "Students‘ “Arts” Disputations at Bologna around 1500*." Renaissance Quarterly 47, no. 3 (1994): 533–55. http://dx.doi.org/10.2307/2863020.

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In a Paper Published in 1977 I introduced a carton of documents called Dispute di Scolari (1462-1527), preserved in the Archivio di Stato in Bologna, Italy. These documents constitute the most important surviving witness to student disputations held in the Bolognese Studio (in our terms, university), which enabled poor, young, foreign senior degree-candidates upon successful completion to be eligible for one-year lectureships in their respective subjects. After explaining the nature, structure, and legal requirements of the disputation notices and their relevance to student academic performance, the primary purpose of the paper was to illustrate them by examining a few notices in which Alessandro Achillini (1463-1512), professor of philosophy and medicine appeared, either as a disputing master or as a respondent.
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7

Beretta, Andrea. "Nuove ricerche sull’Attila Flagellum Dei di Nicolò da Càsola." Zeitschrift für romanische Philologie 137, no. 1 (March 1, 2021): 252–86. http://dx.doi.org/10.1515/zrp-2021-0008.

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Abstract My article focuses on the Franco-Italian poem Attila Flagellum Dei, composed by Nicolò da Càsola, an Italian notary, in the second half of the XIV century for the Estensi in Ferrara, in order to celebrate the heroic origins of the family: actually, it is the first encomiastic poem dedicated to them, before the major works by Boiardo and Ariosto. The poem is witnessed by a single manuscript (divided into two tomes), supposedly in the hand of the author himself. My study provides a new biographic profile of Nicolò and his family, also through an overview of some archival documents from the Archivio di Stato in Bologna. The article also presents a brief summary of the narration, and outlines the principal characters, the positive ones (Forest and Gilius in particular) as well as the negative ones (Attila), seen as prototypes alluding to other fictional or historical figures (Forest = Hector of Troy; Attila = the entire Visconti’s family). At last, my paper offers a sample (the proem) of the critical and commented edition I am working at. The text is preceded by an analysis that illustrates its peculiar linguistic features, with a particular regard on the rhymes: indeed, far from being representative of the generic class of Franco-italian works composed by Italo-Romance authors, the poem Attila Flagellum Dei shows a combination of hypercharacterized French and Italo-Romance dialects of Northern Italy.
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8

Harris, Jonathan. "A Worthless Prince? Andreas Palaiologos in Rome 1464–1502: The Renewed Version." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (December 2022): 368–83. http://dx.doi.org/10.15688/jvolsu4.2022.6.24.

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Andreas Palaiologos (1453–1502), the nephew of Emperor Constantine XI and claimant to the Byzantine imperial title from exile in Rome, has been dismissed by historians as an insignificant person who spent most of his life in poverty thanks to his own improvidence. This article exploits documentation from the Archivio Segreto Vaticano, the Archivio di Stato di Venezia and other archive collections to demonstrate that many of the charges made against him by contemporaries cannot be substantiated. There were other reasons behind his financial difficulties, such as the constant curtailment of his pension and his need to support other émigré Byzantines who formed his household. In view of that, his activities need to be reassessed. Looked at dispassionately, they can be seen as a continuation of a policy pursued by Byzantine emperors and their advisers since the second half of the fourteenth century. They had consistently sought to enrol the assistance of Russia and the Christian West against the Ottoman Turks. Three of them, John V, Manuel II and John VIII had travelled to Italy and beyond to negotiate this assistance in person and their envoys had ranged much further afield. Their appeals did give rise to two crusades against the Ottomans in 1395 and 1443 but they were unable to save Constantinople in 1453. Nevertheless, Andreas’ travels to Western courts and to Russia should be seen in the light of those made by his forebears. Similarly, his attempts to organise armed incursions into Ottoman territory and his adoption of the imperial title were not the products of delusion or mere affectation but a claim to leadership among Balkan exiles in the West.
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9

Rath, R. John. "Three Score and Fifteen Years of Habsburg and Austrian Historiography and a Quarter-Century of Editing the Austrian History Yearbook." Austrian History Yearbook 22 (January 1991): 1–20. http://dx.doi.org/10.1017/s0067237800019846.

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Certain events sometimes exert a decisive influence on the future direction of a person's life. In my case one of the more determinative occurred during a brief week spent in Vienna in early February 1957 For one thing, I discovered in the Haus-, Hof- und Staatsarchiv highly significant documents in some cartons that had just been returned to Austria from Italy, by mistake as it turned out. The director of the Austrian archives, Gebhard Rath, put these records at my disposal. These papers, together with material of lesser import in the Archivio di Stato in Milan, provided the documentation for an article showing how Austrian officials had thwarted the efforts of an Italian scoundrel to extort money from them. More important than this discovery were my conversations with Professor Hugo Hantsch, of the University of Vienna, during the course of which I promised to supply as complete a list as possible of United States and Canadian writings on the history of the Habsburg monarchy, take the initiative in founding some kind of association for American scholars interested in Habsburg and Austrian history, and endeavor to help the Austrian professor obtain a grant from the Ford Foundation for a large international project on the history of the Habsburg monarchy from 1848 to 1918.
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10

GALLAGHER, SEAN. "The Berlin Chansonnier and French Song in Florence, 1450––1490: A New Dating and Its Implications." Journal of Musicology 24, no. 3 (2007): 339–64. http://dx.doi.org/10.1525/jm.2007.24.3.339.

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Owing to the loss of most 15th-century music manuscripts from France and Burgundy, chansonniers of Italian origin are of special significance for our knowledge of the French song repertory and its dissemination during the second half of the century. Florence appears to have been a particularly important center of collecting, judging from a group of nine chansonniers copied there between the 1440s and the early 1490s. In recent decades the Berlin Chansonnier (Berlin, Staatliche Museen der Stiftung Preussischer Kulturbesitz, Kupferstichkabinett, MS 78.C.28) has held a special place among these Florentine sources, partly because it is the only one from before the 1490s for which there is external evidence that seemed to provide a precise dating, and partly because that evidence indicated that it was our only surviving Florentine music manuscript from the 1460s. More than 30 years ago Peter Reidemeister identified the two Florentine families whose impaled arms decorate the first chanson in the collection. These arms led him to propose that the manuscript was made in connection with a wedding involving these two families, which he claimed took place in 1465 or 1466, a dating that has been accepted as a terminus ad quem in subsequent scholarship. The manuscript thus appeared to pre-date by 15 or more years the next earliest sources in the Florentine group, and the significant repertorial differences between the Berlin manuscript and those of the early 1480s seemed to reflect this time gap. Documents in the Archivio di Stato in Florence change this picture considerably. New evidence calls for a series of crucial adjustments to the theories proposed by Reidermeister that together force a reassessment of the dating of the Berlin Chansonnier. This reassessment affects in turn its relation to several other manuscripts, both from Florence and elsewhere in Italy, and provides new insight into the repertory of songs (in particular those of Busnoys) that was circulating in Florence between the 1460s and the early 1480s.
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Books on the topic "Archivio di Stato di Parma (Italy)"

1

Marzio, Dall'Acqua, ed. L' ossessione della memoria: Parma settecentesca nei disegni del conte Alessandro Sanseverini. Parma: Fondazione Cassa di risparmio di Parma e Monte di credito su pegno di Busseto, 1997.

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2

Archivio di Stato di Parma (Italy). Ennemond Alexandre Petitot: La pratique de la bâtisse : inventario del corpus dei disegni d'architettura conservati nell'Archivio di Stato di Parma. Parma: Battei, 1989.

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3

editor, Dell'Acqua Marzio, and Archivio di Stato di Parma (Italy), eds. Il Congresso di Vienna: Progettare l'Europa. Parma: MUP, 2016.

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4

Rinoldi, Paolo. Frammenti di codici romanzi nell' Archivio di stato di Parma. Parma: [Archivio di Stato di Parma?], 1998.

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5

Archivio di Stato di Ragusa e Sezione di Modica. Rome, Italy]: Ministero per i beni e le attività culturali, Direzione generale per gli archivi, 2008.

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Archivio di Stato di Siena: Museo delle Biccherne. Viterbo: BetaGamma, 2008.

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7

1949-, Vigliani Ferdinanda, ed. Donne di carta: Tracce di donne nell'Archivio di Stato di Novara. [Turin, Italy]: SEB 27, 2010.

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8

Giornata di studio "I centocinquant'anni dell'Archivio di stato di Siena, direttori e ordinamenti" (2008 Siena, Italy). I centocinquant'anni dell'Archivio di stato di Siena: Direttori e ordinamenti : atti della Giornata di studio, Archivio di stato di Siena, 28 febbraio 2008. Roma: Ministero per i beni e le attività culturali, Direzione generale per gli archivi, 2011.

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9

Ferrante, Carla. Il Museo del Risorgimento dell'Archivio di Stato di Cagliari. Cagliari: Arkadia, 2012.

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10

Riccardo, Francovich, ed. Cartografie e riforme: Ferdinando Morozzi e i documenti dell'Archivio di Stato di Siena. Borgo San Lorenzo (FI) [i.e. Florence, Italy]: All'insegna del giglio, 2008.

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Book chapters on the topic "Archivio di Stato di Parma (Italy)"

1

Petracca, Luciana. "L’Archivio del principe di Taranto Giovanni Antonio Orsini del Balzo." In La signoria rurale nell’Italia del tardo medioevo. 2 Archivi e poteri feudali nel Mezzogiorno (secoli XIV-XVI), 381–420. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-301-7.09.

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In recent years, historiographical reflection has devoted more and more attention to the rela- tionship between the exercise of power and the processes of production/management of doc- uments, understood as real instruments of government, capable of guaranteeing the correct functioning of the administrative apparatus of kingdoms, principalities, republics and lord- ships, more or less extensive. The essay investigates one of the most important noble archives of the fifteenth-century Southern Italy, the archive of the Prince of Taranto, Giovanni Antonio Orsini del Balzo, which over time has been invested by a vast process of dispersion. The fundamental objective is to take stock of the most consistent core of documents, coming from the principality of Taranto, and merged into the fond of the Regia Camera della Sommaria of the Archivio di Stato of Naples.
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