Journal articles: 'Arte povera'

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DuPlessis, Rachel Blau. "Draft 111: Arte Povera." Feminist Studies 38, no. 3 (2012): 681–88. http://dx.doi.org/10.1353/fem.2012.0050.

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Bouyeure, Claude. "Arte povera, aperto libro." Ligeia N°25-28, no. 1 (1998): 69. http://dx.doi.org/10.3917/lige.025.0069.

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Formato, Giuseppe. "Eco-justice Pedagogy All’Italiana: Radical Italian Art in the Italian-language Classroom." Theory and Practice in Language Studies 10, no. 12 (December 1, 2020): 1501. http://dx.doi.org/10.17507/tpls.1012.01.

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The climate crisis threatens our very existence in a myriad of urgent ways and thus merits imperative focus in pedagogic practices in general. This focus is achievable in Italian-language classrooms, where issues of global warming and climate crises are seldom mentioned, through artistic themes from Italy’s rich cultural heritage of the arts. The radical art movement of Arte Povera has the potential to bring ecological concerns to the forefront through a critical cultural lens of the country. By drawing upon images of the Arte Povera movement, concepts of eco-justice and eco-pedagogy can occur through paradigms of art-based education to not only discuss the impact of the climate crisis in Italy, but also achieve Italian-language acquisition critically.

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Hellandsjø, Karin. "Arte povera i Museet for samtidskunst." Kunst og Kultur 98, no. 02 (May 18, 2015): 71–82. http://dx.doi.org/10.18261/issn1504-3029-2015-02-02.

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Ivanova, Eva-Maria. "Carol Rama and the Pleasure of Image." Sledva : Journal for University Culture, no. 41 (August 20, 2020): 90–99. http://dx.doi.org/10.33919/sledva.20.41.13.

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Carol Rama is one of the most provocative artists of the XX and XXI centuries. Although in different periods her work has been associated with some of the significant artistic movements of the XX century, such as surrealism, art brut, arte povera, she does not join any of the leading trends and artistic groups. This makes her work a challenge to the history of contemporary art.

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Martínez Aguirre, Guillermo. "Fundamentos estéticos en el poema de José Ángel Valente “El arte pobre”." Ogigia. Revista Electrónica de Estudios Hispánicos, no. 16 (December 29, 2020): 17–31. http://dx.doi.org/10.24197/ogigia.16.2014.17-31.

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Como parte de una búsqueda estética infatigable, José Ángel Valente se va a acercar al ámbito de la traducción poética a través de la obra de una serie de autores próximos a su modo de pensar. La cercanía a la materia, así como un sentir próximo a la mística, denotarán una afinidad espiritual entre Eugenio Montale y Valente que este último sabrá reconocer trasladando al castellano algunos de los versos más logrados del italiano. En el poema “El arte pobre” apreciaremos un intento de acercamiento entre la estética del gallego y la defendida por el llamado Arte Povera.

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Martins, Bárbara Souto, Márcia Viana da Silva, and Caique Braga da Silva. "Aplicação do projeto de extensão lixo é arte: transformando rejeitos em Arte Povera na Praia do Bessa, em João Pessoa-PB." Revista Práxis: saberes da extensão 7, no. 15 (July 29, 2019): 13. http://dx.doi.org/10.18265/2318-23692019v7n15p13-19.

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<p class="paragraph">Este artigo descreve, como relato de experiência, as atividades desenvolvidas pelo projeto Lixo é arte. O mesmo foi executado em João Pessoa – PB, no ano de 2018, através do Instituto Federal de Educação Ciência e Tecnologia da Paraíba (IFPB) - campus João Pessoa, na praia do Bessa, em um trecho denominado Caribessa. O projeto possui caráter socioambiental e educacional, busca aproximar as pessoas à natureza utilizando técnicas do movimento artístico Povera, com lixo sendo material base. Com oficinas no Instituto e na praia, foi concretizado um Caminho Sustentável que recuperou a vegetação nativa da área, utilizando madeira e pneus, ambos reutilizados; além das conquistas físicas, ocorreram mudanças comportamentais positivas, em relação ao meio ambiente, nos voluntários do projeto.</p>

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Bryan-Wilson, Julia. "Simone Forti Goes to the Zoo." October 152 (May 2015): 26–52. http://dx.doi.org/10.1162/octo_a_00215.

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In 1968, choreographer and dancer Simone Forti moved from the United States back to Italy. During her brief stay in Rome, she spent time observing animals in the zoo, as well as working and performing among Arte Povera sculptures. This article investigates how Forti's encounters in Italy with new methods of movement and materiality, including models of collaboration between animate subjects and inanimate objects, became pivotal to her procedures of constructing dance.

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Formato, Giuseppe. "Arte Povera as a Tool in Critical Italian-Language Pedagogy." International Journal of Linguistics 12, no. 4 (August 24, 2020): 233. http://dx.doi.org/10.5296/ijl.v12i4.17423.

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Visual arts are culturally and historically significant to Italy and a reason why many people study the Italian language. This significance is visible in Italian-language classes, from mentions of high art in beginner-level textbooks to entire courses taught in advanced-level Italian devoted to these arts and their respective movements. The importance of these works to art history and to humanity at large cannot be denied relative to learning about Italian culture in the classroom. However, as presented in this literature review, it may be useful to reevaluate how these more traditional teaching subjects can be considered neutral, with a heavy emphasis on instruction as well as a subconscious perpetuation of racist, sexist, and capitalist ideals. By instead drawing upon the contemporary Italian Arte Povera movement a tool of critical pedagogy from beginner to advanced Italian-language courses, Italian art culture and language can be taught by using a more political, multidimensional approach focused on the learners’ contexts and histories. Thus, students may better understand themselves through Italian language and foster critical thinking, in addition to ultimately acquiring the language.

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Allios, Dominique. "Arte Povera et archéologies, l’éternel retour aux sources." Les nouvelles de l'archéologie, no. 134 (December 30, 2013): 33–39. http://dx.doi.org/10.4000/nda.2255.

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박홍필. "A Study on the spirits of Arte Povera." Korean Journal of Art and Media 13, no. 1 (February 2014): 7–32. http://dx.doi.org/10.36726/cammp.2014.13.1.7.

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Pinkus, Karen. "Dematerialization: From Arte Povera to Cybermoney through Italian Thought." diacritics 39, no. 3 (2009): 63–75. http://dx.doi.org/10.1353/dia.2009.0025.

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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.

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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.

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Marín Torres, Juan Manuel. "Dionisos en la serranía. Los espacios expositivos de Fernando Buenache." Diferents. Revista de museus, no. 5 (December 2, 2020): 94–109. http://dx.doi.org/10.6035/diferents.2020.5.6.

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En el presente artículo presentamos y analizamos la obra de Fernando Buenache a través de un recorrido por los tres sorprendentes espacios expositivos que el artista ha creado en su pueblo natal, Buenache de la Sierra: el Museo de Zoolitos, el Museo Etnobotánico; y el Parque de los Troncosaurios. Desde una perspectiva teórica, en las creaciones de Fernando Buenache se podrían descubrir muchos elementos del land art, los materiales y técnicas del arte povera y la fantasía del mundo surreal; incluso, en algunos momentos, el atrevimiento dadaísta. Sin embargo, por encima de todo ello, destaca la honestidad y la espontánea originalidad con las que este artista autodidacta realiza sus creaciones.

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Cullinan, Nicholas. "From Vietnam to Fiat-nam: The Politics of Arte Povera." October 124 (May 2008): 8–30. http://dx.doi.org/10.1162/octo.2008.124.1.8.

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Esteruelas Teixidó, Albert, and Xavier Laudo Castillo. "Del «arte povera» a la pedagogía póvera: El arte de trasmudar lo efímero en intensidad." Historia y Memoria de la Educación, no. 5 (October 6, 2016): 191. http://dx.doi.org/10.5944/hme.5.2017.16710.

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Dayrell, Marina Andrade Câmara. "A estética primeva na obra de Giuseppe Penone." Cadernos Benjaminianos, no. 9 (October 28, 2015): 65. http://dx.doi.org/10.17851/2179-8478.0.9.65-79.

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Busca-se no presente artigo, por meio dos conceitos bejaminianos de estética e política – principalmente em seus desenvolvimentos em Jaques Rancière e Susan Buck-Morss –, aparatos teóricos capazes de problematizar os procedimentos escultóricos trabalhados por Giuseppe Penone em um amplo apanhado de suas obras. Partindo do contexto italiano em que surge a Arte Povera, grupo do qual Penone fazia parte no início de seu percurso artístico, ponderamos em que sentido o escultor italiano se identifica com as demais produções do grupo para apontarmos aquelas noções privilegiadas por seu trabalho. Delineando os conceitos norteadores de sua produção, verificamos a pertinência de voltar-nos à etimologia da palavra estética, explorada por Walter Benjamin e seus estudiosos, a fim de compreender as implicações políticas da obra de Penone.

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An, Eun Sun. "Research on The Expression Form of Arte Povera -focused on fiber materials-." Journal of Basic Design & Art 23, no. 1 (February 28, 2022): 229–43. http://dx.doi.org/10.47294/ksbda.23.1.17.

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Maconie, Robin. "DIVINE COMEDY: STOCKHAUSEN'S ‘MITTWOCH’ IN BIRMINGHAM." Tempo 67, no. 263 (January 2013): 2–18. http://dx.doi.org/10.1017/s0040298212001027.

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AbstractChildhood play, leadership, suspense, thoughts of mediation and conciliation, Hamlet-like reflections on being and not-being, facing and conquering fears, and a hunger for stability and security in personal relationships, together with a full panoply of riffs on the colour yellow in European popular culture – many of them frankly unpleasant – are among the challenging ingredients of Stockhausen's Mittwoch aus LICHT, the last segment of the seven-opera LICHT jigsaw to be put in place. Stockhausen's operas are intricate literary puzzles or charades, every detail of which can be assigned a number of coded meanings. Despite bravura performances by an exceptional team of musicians, Graham Vick skated over much of the composer's uneasy symbolism in a brusque and simplistic arte povera production which, along with a battery of unsolved sound projection issues inherent in the score, placed altogether too much emphasis on the composer's dark side.

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UZUN AYDIN, Derya. "MODERNİZMİN BENZER AKIMLARI İÇİNDE KENDİNE YER BULMAYA ÇALIŞAN BİR SANAT ÜSLUBU: ARTE POVERA." Diyalektolog - Ulusal Hakemlin Sosyal Arastirmalar Dergisi 2018/19, no. 19 (January 1, 2018): 217–33. http://dx.doi.org/10.22464/diyalektolog.216.

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Lageira, Jacinto. "L’Objet du matériau : Arte Povera et Minimal Art, deux logiques de l’art contemporain." Ligeia N°25-28, no. 1 (1998): 185. http://dx.doi.org/10.3917/lige.025.0185.

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Martins, Sérgio B. "Ideas of Reality: Antonio Dias between Rio de Janeiro, Paris, and Milan." ARTMargins 7, no. 2 (June 2018): 72–99. http://dx.doi.org/10.1162/artm_a_00209.

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Despite the fact that the growing reception of Antonio Dias (b. 1944) in the English-speaking world is happening under the sign of global art history, the trajectory of the Brazilian artist in the 1960s and 1970s actually suggests both a counter-genealogy and a counter-geography of the global. This essay explores this situation by recontextualizing Dias's emergence vis-à-vis the critical debate on realism and underdevelopment that marked the Rio de Janeiro avant-gardist scene of the mid- to late-1960s and involved writers such as Ferreira Gullar, Hélio Oiticica, Mário Pedrosa, Pierre Restany, and Frederico Morais. It subsequently argues that such critical terms simultaneously both change and remain crucial as Dias moves away from Brazil, first to Paris, late in 1966, and then to Milan, in 1968, inflecting the artist's recourse to the English language and his turn to painting as his preferred medium even as he began to circulate amongst artists associated with Arte Povera and Conceptualism in Europe.

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Cullinan, Nicholas. "Rome Scholarships: Arte Povera: the politics of history and memory in Italy 1960–80." Papers of the British School at Rome 74 (November 2006): 378–79. http://dx.doi.org/10.1017/s006824620000338x.

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Minnucci, Roberta. "Heaps of Rags and Double Visions: The Interpretation of the Classical Venus in Arte Povera." IKON 13 (January 2020): 361–72. http://dx.doi.org/10.1484/j.ikon.5.121586.

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Defrančeski, Jan. "Environmental Aesthetics and Land Art." Pannoniana 6, no. 1 (December 12, 2022): 9–34. http://dx.doi.org/10.32903/p.6.1.1.

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In this paper, the author reflects on the relationship between environmental aesthetics and land art. By considering their historical development, the author first addresses the terminology problem which prompted him to understand land art as a hypernym – i.e. a term that semantically encompasses other art practices (e.g. “Earth art”, “Earthworks”, “Site art”, “Arte Povera”, “Environment(al) art”, and “Ecological art”). Moreover, by considering certain features of land art (e.g. integration, interruption, involvement, implementation, and imagining), the author proposes a thesis according to which land art represents not only a contemporary art movement but also a new form of the aesthetic experience of nature. In the further development of this thesis, the author focuses on two aesthetic principles of land art – participation and entropy – which in the history of aesthetic theory have been almost non-existent, pushed to the margins, or completely neglected. Finally, by finding solid theoretical foundations for this thesis in Ronald W. Hepburn’s ground-breaking essay “Contemporary Aesthetics and the Neglect of Natural Beauty” (1984), as well as some land art projects (e.g. Robert Smithson, Spiral Jetty, 1970), the author emphasises the strong theoretical connection between environmental aesthetics and land art.

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Daniel, Ladislav. "Flauto dolce in the Post-War Context of Art Synesthesia." Paedagogia Musica 5 (2023): 31–44. http://dx.doi.org/10.24132/zcu.musica.2023.05.31-44.

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The postwar situation changed the social atmosphere in the whole world. After World War I, the Dadaist movement and surrealism appeared, like after World War II, Arte povera, or Informel. Artists began to deal with new approaches to art. Interest now was taken in its various branches and among the people a desire for artistic creation increased. The period of general postwar euphoria brought new hope, a resolution to create a new society in the best sense of the word, and bring new ideas into education. In this context, Ladislav Daniel entered and introduced his concept of education. After Orff’s and Kodály’s model, Ladislav Daniel also endeavored to improve music education. Zoltán Kodály himself never wrote a complex method of music education but it should be based on his principles. These were adopted by teachers in many countries, including Ladislav Daniel. Ladislav Daniel‘s revolutionary challenge was writing the school for the soprano recorder and later for the alto recorder (flauto dolce). Another foundation of Daniel’s reform of music education was intonation training by method of tonal method of singing, developed from the work of Guido of Arezzo, a remarkable composer and theoretician of music of the Middle Ages.

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Gerogianni, Irene. "The Politics of Seeing Double: Klaus Michael Grüber’s Die Bakchen and the Visual Arts." Arts 11, no. 6 (November 24, 2022): 119. http://dx.doi.org/10.3390/arts11060119.

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Euripides’ The Bacchae is a Greek tragedy that relies on its capacity to give double vision, by confusing and dismembering the senses. This idea of doubling is taken to the extreme in the Berlin Schaubühne production Die Bakchen, directed by Klaus Michael Grüber in 1974, which formed part of the Antikenprojekt, realized along with Peter Stein. For theatre historians, Grüber’s Die Bakchen delivered a completely new concept of theatre—a theatre of images—capable to bewitch and fascinate the spectators, but distant from a hermeneutic approach with reference to the dramatic text. What is often missed here, however, is the specificity of the visual aspect of the production, which features references to historical works of classical and Renaissance art, as well as to modern sculpture, Arte Povera and conceptual, as well as performance, art pieces. In fact, the idea of doubling seems to be translated by Grüber into an intertextual, intermedial play between the text, the performance on stage, and the visual arts. As a result, the different aspects of the production look familiar and unfamiliar at the same time, not merely by the uneasy separation of theatre and text, but also by the double’s interplay between vision and knowledge.

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Maria Iozzia, Anna. "Documenti dell'Archivio di Stato di Catania per la storia dell'ars aromataria nella Sicilia orientale tra Quattrocento e Ottocento: speziali, farmaci, «burniame» e ceramisti." ARCHIVIO STORICO PER LA SICILIA ORIENTALE, no. 1 (May 2021): 107–19. http://dx.doi.org/10.3280/asso2020-001012.

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Nel contributo sono esaminati alcuni documenti dell'Archivio di Stato di Catania riguardanti diversi aspetti della storia dell'ars aromataria siciliana tra la fine del Quattrocento e gli inizi dell'Ottocento. Questi documenti, infatti, mettono in luce il funzionamento di un'aromateria di Randazzo del XV secolo, permessi rilasciati dai Protomedici per esercitare la suddetta arte dal XVI al XVIII secolo, i farmaci presenti in due aromaterie di Biscari (oggi Acate) nel XVIII secolo, il vasellame commissionato nel XVIII secolo da speziali e commercianti del calatino a ceramisti di Caltagirone per riporvi i farmaci e le ricette prescritte per i poveri a Biscari nel XIX secolo.

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Sánchez Caro, José Manuel. "Pedro Poveda, el arte de leer la escritura." Salmanticensis 60, no. 3 (January 1, 2013): 411–52. http://dx.doi.org/10.36576/summa.32515.

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Consonni, Giancarlo. "La risposta al problema della casa a Milano negli anni della Ricostruzione (1945-53)." TERRITORIO, no. 102 (August 2023): 7–13. http://dx.doi.org/10.3280/tr2022-102001.

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All'indomani della seconda guerra mondiale la condizione abitativa a Milano è drammatica. Le stime del patrimonio abitativo perduto a causa delle distruzioni belliche lo quanti?cano tra il 15 e il 25% di quello preesistente. Il primo periodo della ricostruzione, tra il 1945 e il 1953, si caratterizza per la lentezza e soprattutto per l'esiguità di risposta al problema della casa per la componente più povera della popolazione. Il saggio propone un quadro dettagliato di questo primo periodo, per poi concludersi col riferimento a un diverso principio su cui si sarebbe potuta impostare la ricostruzione, concretato dall'esperienza del QT8 e del Monte Stella come ‘sogno' perseguito da Piero Bottoni - per ‘una casa per tutti'.

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Henke, Robert. "REPRESENTATIONS OF POVERTY IN THE COMMEDIA DELL' ARTE." Theatre Survey 48, no. 2 (October 22, 2007): 229–46. http://dx.doi.org/10.1017/s004055740700066x.

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This essay explores the socioeconomic resonance of Italian professional theatre in the early modern period by considering a few records of performance by indigent entertainers, and by exploring the persistent theatrical and textual presence of poverty and hunger in texts both central and adjacent to the professional actors. Whether or not a given troupe or actor directly experienced or even cared about poverty, famine, destitution, or other social issues, by the time of the commedia's “golden age” these themes had by dint of theatrical tradition and performance sedimentation become part of the actors' repertoire, much more central to their performance tradition than they were in English and Spanish early modern theatres. Partly because of the medieval legacy of the itinerant mendicant orders in Italy, the commedia dell'arte inherited a culture in which poverty, begging, itinerancy, and a certain disposition to perform degradation were in the air, and this was absorbed into the grammar of their performance. Not only were tropes and gags of hunger and destitution continually deployed in the commedia, but some of the actors assumed, for their own rhetorical purposes, the histrionic pose of destitution. In other words, whatever their professional fortunes, they “played” poverty both onstage and in their offstage personae.

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Oliva, Giorgia, Gaetano Romigi, and Innocenzo Bertoldi. "Aggressione da caustici sul volto delle donne: il contributo infermieristico per migliorare la qualitÃ delle cure." Scenario® - Il Nursing nella sopravvivenza 35, no. 1 (May 10, 2018): 31–32. http://dx.doi.org/10.4081/scenario.2018.131.

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Per aggressioni da caustici sâ€™intende una violenza premeditata mirata non a causare la morte della vittima ma a deturparla tramite unâ€™ustione chimica (1). Queste rappresentanoÂ uno dei problemi di salute molto importanti che causano un ricovero prolungato e quindi un aumento delle spese per i pazienti, le loro famiglie e la societÃ (2). Le ustioni sono piÃ¹ comuni nei paesi in via di sviluppo, specialmente nelle aree socioeconomiche e rurali povere (3), tra il 2,4% fino Il 10,7% delle ustioni in tutto il mondo sono dovute all'esposizione chimica (4), negli ultimi anni, Ã¨ stato rilevato un aumento nell'uso di agenti chimici nelle aggressioni che coinvolgono la violenza domestica, in particolare sulle donne, schizzandole sul viso e sul corpo (5). Gran parte delle le ferite da ustioni chimiche sono dovute ad aggressione o ad eventi accidentali (6).............

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Garavaglia, Valentina. "Tra utopia e riformismo, il teatro pubblico di Paolo Grassi e Giorgio Strehler." Forum Italicum: A Journal of Italian Studies 54, no. 1 (March 10, 2020): 439–58. http://dx.doi.org/10.1177/0014585820910088.

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L’incontro tra Paolo Grassi e Giorgio Strehler avvenuto nella Milano del dopoguerra, segna l’inizio di un sodalizio, artistico e umano, che ha concorso a scrivere importanti pagine della storia del teatro non solo italiano, ma soprattutto ha contribuito ad arricchire la storia della cultura di ispirazione socialista nel nostro paese. Il legame tra il Piccolo Teatro di Milano, nei suoi primi 25 anni di vita, e la storia del socialismo riformista si racconta attraverso drammaturgie di impegno politico, scelte di regia e di politica culturale nelle quali si intrecciano le biografie del regista e dell’ideologo, uniti nell’impegno per la realizzazione di un teatro d’arte per tutti a partire dall’eredità della Resistenza. Attraverso l’analisi degli appunti di regia, della corrispondenza privata, della critica e degli allestimenti, l’articolo si propone di ripercorrere gli anni dalla fondazione del Piccolo Teatro, nel 1947, fino al 1972, anno in cui Paolo Grassi passerà alla direzione del Teatro alla Scala. A partire dal primo allestimento di Giorgio Strehler, L’albergo dei poveri di Gor’kij, le scelte drammaturgiche e stilistiche del primo teatro stabile pubblico italiano si rivelano emblematiche della continua tensione ideale tra arte e politica, tra attenzione rivolta all’uomo e riflessione sulla collettività.

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M. Clark, David. "Riuscire a ottenere un beneficio di massa tramite l'offerta di terapie psicologiche: l'esperienza del programma inglese." PSICOTERAPIA E SCIENZE UMANE, no. 1 (February 2023): 93–106. http://dx.doi.org/10.3280/pu2023-001011.

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Viene pubblicata la trascrizione della relazione tenuta al Convegno "Le terapie psicologiche per l'ansia e la depressione: nuove forme di integrazione clinica e organizzativa" (Isola di San Servolo, Venezia, 26 ottobre 2022). Dopo la descrizione delle principali caratteristiche del programma inglese Improving Access to Psychological Therapies (IAPT), viene sottolineata l'importanza di alcuni aspetti tra cui i seguenti: l'affidabilità delle linee-guida; un programma nazionale di training in cui si valuta accuratamente anche la competenza raggiunta dai terapeuti; la raccolta di tutti i risultati e la loro pubblicazione, che ha permesso di capire molti problemi (come ridurre le differenze nei risultati di gruppi etnici diversi, come migliorare i Servizi in aree povere, etc.); il benessere e la motivazione degli operatori (circa 10.000 terapeuti), che devono avere figure di leadership innovative che non danno solo importanza al risultato ma che sanno anche creare un ambiente di lavoro stimolante in cui si lavora volentieri e col piacere di apprendere sempre nuove cose.

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Winkler, Andreas. "On the demotic-hieratic horoscopes from Athribis." Journal for the History of Astronomy 53, no. 3 (August 2022): 328–37. http://dx.doi.org/10.1177/00218286221109257.

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In a previous issue of this journal (53/1), M. Escolano-Poveda published four elaborate demotic-hieratic horoscopes from Athribis. Three of the texts are new (O.Athribis 17-36-5/1741), and the fourth is reedited (ANAsh.Mus.D.O. 633). The present paper engages with two features of these texts. The first concerns the synchronization of the lunar and civil calendars. The editor of the horoscopes claims that the year count as it appears in the Greek P.Ryl. IV 589 is the basis for the correlation between the two calendars in these texts, but this paper shows that the Athribis horoscopes follow the cycle according to the scheme found in P.Carlsberg 9. The second issue is the nature of eight entities listed after the four cardinal points. Escolano-Poveda interprets them as an idiosyncratic system of arranging the places (in Greek, typically τόποι) in the Dodecatropos. Several of the readings for the names of these eight entities, however, must be revised, which leads in turn to a reconsideration of the identification as places. They are better understood as astrological lots (in Greek, typically κλῆροι), and the system partially overlaps with the one known from the canonical Hellenistic astrologers.

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Bortolotti, Lando. "L'Arno come asse dello sviluppo toscano. Una funzione che si esaurisce." STORIA URBANA, no. 125 (April 2010): 11–33. http://dx.doi.org/10.3280/su2009-125002.

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L'argomento del saggio č il sistema di trasporto delle merci per vie d'acqua interne, fiumi canali e laghi, che faceva capo all'Arno, nel Granducato di Toscana e nel piccolo Stato di Lucca, fra il 1737 e il 1859 cioč nell'epoca dei granduchi Asburgo Lorena. Sono presi in esame l'organizzazione politico-amministrativa, e aspetti geografici e tecnici: l'Arno come confine e/o elemento di unitŕ, le infrastrutture della navigazione, le imbarcazioni; ed anche le politiche condotte dai Lorena, in base ai valori diffusi dall'illuminismo L'importanza del trasporto per via d'acqua cala, anche durante il regno del principe riformatore Pietro Leopoldo. Mancano riforme organiche, gli interventi sono pochi, piů per conservare che per riformare. In realtŕ la preminenza č data alle strade, conformemente alle teorie degli illuministi e agli esempi stranieri. Il cambiamento dei valori, l'eliminazione dei privilegi, dei vincoli e dell'assistenza ai poveri con i prezzi "politici" delle "grasce" porta trasformare il lago di Bientina, e vari decenni dopo quello di Fucecchio, in aree coltivate, a favore del ceto fondiario toscano.

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Filandri, Marianna, Enrica Morlicchio, and Emanuela Struffolino. "Povertà, lavoro e famiglia: una riflessione introduttiva." SOCIOLOGIA DEL LAVORO, no. 161 (December 2021): 27–33. http://dx.doi.org/10.3280/sl2021-161002.

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La povertà nonostante il lavoro rimane un problema rilevante e anzi in crescita. Ciò non è dovuto solo alle conseguenze economiche e sociali della pandemia, dal momento che tale tendenza era già chiaramente manifesta a partire dalla crisi del 2008. Da decenni milioni di famiglie in Europa (ma possiamo generalizzare ad altre aree geografiche) vivono in condizioni di povertà sebbene uno o più componenti siano di fatto parte del sistema occupazionale. Bisogna allora subito chiarire se parliamo di lavoro povero o di povertà delle famiglie di lavoratori. Questi concetti non sono solo analiticamente differenti, ma richiamano fenomeni non completamente sovrapponibili. Inoltre, essi hanno diverse implicazioni di policy. Nel saggio di introduzione alla Special Issue è analizzata la questione definitoria e sostanziale dei due lati del problema. Viene infatti argomentato come per un piano di intervento organico per contrastare la povertà da lavoro sono necessarie analisi approfondite che riconoscano la complessità del fenomeno guardando sia a bassi salari e limitata partecipazione al mercato del lavoro sia al nucleo famigliare, agli alti carichi familiari e al livello insufficiente di trasferimenti

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Cozza, Cassandra. "Architetture che cambiano la vita." TERRITORIO, no. 100 (November 2022): 42–56. http://dx.doi.org/10.3280/tr2022-100005.

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Il saggio illustra l'impegno umanitario di Yasmeen Lari, a partire da quando, in seguito al terremoto del Kashmir, iniziò a dedicare la sua vita alle persone più indigenti, dimostrando un impegno costante per la costruzione di una giustizia sociale ed ecologica. Un impegno sul campo con due obiettivi principali: il miglioramento delle condizioni di vita delle popolazioni più povere e vulnerabili e la sostenibilità ambientale. Un lavoro complesso, di ampio interesse internazionale e attento ai materiali, alla storia e alle tradizioni locali. L'architettura come processo finalizzato all'indipendenza e all'empowerment dei suoi ‘clienti scalzi' - soprattutto donne - attraverso un impegno costante nella formazione degli architetti più giovani e degli autocostruttori, nonché nel fronteggiare l'emergenza pandemica causata da Covid-19.

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Simone, Sara. "Paola Lombroso e Zia Mariù: l’ispirazione socialista negli scritti sull’infanzia e per l’infanzia." Forum Italicum: A Journal of Italian Studies 54, no. 1 (March 2, 2020): 331–53. http://dx.doi.org/10.1177/0014585820908693.

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Paola Lombroso, psicologa, pedagogista, antropologa e scrittrice, dedicò la sua creatività letteraria, la sua riflessione scientifica e il suo impegno politico ai più indifesi, per età e per condizioni materiali. Cresciuta alla scuola scientifica del padre criminologo e antropologo Cesare Lombroso, affascinata dalle idee socialiste e solidaristiche che apprendeva anche dagli amici di famiglia, fra i quali Filippo Turati e Anna Kuliscioff, si impegnò per realizzare opere di sostegno ai bambini delle classi popolari, alla diffusione della lettura e della cultura nelle aree più disagiate e povere dell’Italia. Con i suoi saggi scientifici analizzò la psicologia dell’infanzia e la formazione della personalità nel processo di crescita, affrontando anche la questione dell’emancipazione femminile attraverso l’istruzione delle bambine. L’attività letteraria spaziò dalla novellistica alla raccolta di bozzetti descrittivi, alle fiabe per ragazzi; collaborò a numerose riviste letterarie, politiche, per l’infanzia. Da una sua idea nacque il Corriere dei Piccoli e, sulle pagine di questo, la rubrica di corrispondenza sotto lo pseudonimo di Zia Mariù. Fu promotrice anche della nascita e diffusione delle “Bibliotechine”, per sostenere l’acculturazione dei bambini delle classi popolari e rurali attraverso la lettura.

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Mattioli, Cristiana, Cristina Renzoni, and Paola Savoldi. "Scuole e territori fragili. Il modello lungimirante del Contrat École a Br." TERRITORIO, no. 97 (February 2022): 67–76. http://dx.doi.org/10.3280/tr2021-097-supplementooa12929.

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L'emergenza pandemica e la chiusura delle scuole hanno inasprito disuguaglianze territoriali ed educative, riportandole al centro del dibattito pubblico. Ne è emersa la conferma del ruolo della scuola e dei suoi spazi quali luoghi centrali per innescare cambiamenti, tanto più nei territori fragili, dove si sommano disagio economico, carenza di servizi, povertà educativa.La crisi in atto rappresenta un'occasione importante per innovare la scuola, aprendola al contesto cui appartiene, anche grazie alle alleanze con la comunità educante.Il programma Contrat École promosso dalla Regione di Bruxelles-Capitale è uno dei riferimenti più evoluti nella sperimentazione di azioni integrate, anche per riflettere su possibili politiche per il contesto italiano, nella fase post-pandemica.

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Getashvili, Nina V. "«Eternal Images» of Antiquity: Functional Analysis in the Scope of the Late 20th – Early 21st Centuries Visual Culture." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 09–22. http://dx.doi.org/10.17516/1997-1370-0873.

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Traced the desire of star artists from France, Italy, Spain, Great Britain, Russia, different generations and with fundamentally different worldview foundations of creativity, in recent decades to include antique motifs in their imaginative programs; moreover, making them the translators of individual artistic expressions reflecting socio-cultural reception. The portrayal of ancient images, on different aesthetic and worldview bases, are present in the experimental works of the modernism, in the postmodernism (which became a reflection of the collapse of the whole picture of the world observed in modern psychology, philosophy, history), are a means of actualization gender issues, the problems of the LDF community, a reflection of glamorous aesthetics, arise in examples of street art and arte-pover, elite and mass culture, etc. For the first time in many centuries, «antique» sculptures appear at city crossroads and squares, bearing signs of the formal vocabulary of new trends. Over the past more than half a century, the individual statements of artists, in an attempt to remain in the field of polemical discourse, in an effort to expand the boundaries of the norm, including the recently approved ones, took place within the framework of large-scale (it is important to be aware) conceptual projects, thematically completely based on the interpretation of the images of Antiquity, which takes place for the first time in the history of exhibition practice. Moreover, these projects sometimes seem to be milestones in the development of contemporary art

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Reddy, Mahendra M., Kalaiselvi Selvaraj, and Sonali Sarkar. "Poverty Measurement: Time To Look Beyond Poverty Line – Do We Know How Poor Really The Poor Are?" JOURNAL OF CLINICAL AND BIOMEDICAL SCIENCES 08, no. 1 (March 15, 2018): 5–9. http://dx.doi.org/10.58739/jcbs/v08i1.8.

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Poverty leading to ill-health and ill-health pushing people to poverty is a vicious cycle. Measure-ment of poverty is important in any country as a large share of finance allocation is dependent on the number of poor people living in that respective state or region. In most of the countries poverty is expressed only in terms of proportion which says how many of them are poor with respect to the poverty line. Not much effort is actually made to express or derive further important measures which could help in giving the exact picture of poor people in the country. There are different measures which are deduced based on absolute poverty line starting from the simple measures such as poverty headcount ratio to robust measures such as Watt’s index. This article mainly emphasizes on the practical issues to be considered before measuring the poverty line and also it critically appraises the available common measures of poverty. Keywords: Poverty, Poverty line, Poverty gap

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Andrews, Richard. "Finding a Voice: the Community Dramas of Monticchiello." New Theatre Quarterly 7, no. 25 (February 1991): 77–96. http://dx.doi.org/10.1017/s0266464x00005200.

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The regular community drama activity of the village of Monticchiello in Italy has been pursued for nearly a quarter of a century, but is still little known abroad. A full study of the phenomenon is as much a study of the community, past and present, as it is a piece of theatrical analysis, in the area where there is a complete interlock between social history and the theatrical activity which a society produces. Since the work and history of the Teatro Povero have too many ramifications for everything to be summarized or even alluded to in one article, Richard Andrews here sets out to introduce the subject to students of theatre ‘by example’ – aiming to dig a single trench into the strata, in order to convey the outlines of the subject, hopefully without damage to the evidence needed for a more complete survey. Richard Andrews is Professor of Italian at Leeds University, having previously taught at Swansea and Kent. For the past fifteen years his research interests have been mainly concentrated on theatrical material, and he is currently preparing a study of sixteenth-century Italian comedy for Cambridge University Press. His regular contact with Monticchiello dates from 1983, and has been supported by a systematic analysis of all the texts produced there since 1967.

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Yelin, Edward, Laura Trupin, and Jinoos Yazdany. "A Prospective Study of the Impact of Current Poverty, History of Poverty, and Exiting Poverty on Accumulation of Disease Damage in Systemic Lupus Erythematosus." Arthritis & Rheumatology 69, no. 8 (July 5, 2017): 1612–22. http://dx.doi.org/10.1002/art.40134.

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Galimberti, Jacopo. "A Third-worldist Art? Germano Celant's Invention ofArte Povera." Art History 36, no. 2 (February 4, 2013): 418–41. http://dx.doi.org/10.1111/j.1467-8365.12006.x.

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VLAŠKI, STANKO. "FILOZOFSKO-POVESNA MISAO NOVALISA I FRIDRIHA ŠLEGELA." ARHE 11, no. 21 (November 26, 2015): 149. http://dx.doi.org/10.19090/arhe.2014.21.149-167.

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Način pristupanja fragmentima o povesti i istoriji predstavnika ranog nemačkog romantizma nameće se kao presudni činilac u recepciji romantizma kao relativno zaokruživog duhovnog strujanja. Autor romantičarskoj fragmentarnosti pristupa posredstvom dela Novalisa i Fridriha Šlegela, a na tragu teze o imanenciji unikatnog pojma vremena i povesti u fragmentu romantičara propituje se priroda romantičarskih poetskih i diskurzivnih opažaja o smislu epizoda iz prošlosti ljudskog roda, kao i o odlikama sadašnjice i karakteru svrha ka kojima teži ljudska budućnost. Romantizovano vreme i povest se pritom opiru aršinima linearno shvaćenog vremena i povesti. Dijalog romantičara sa transcendentalnim filozofskim nasleđem se pokušava tumačiti u svetlu romantičarskog preuzimanja teškog zadatka istorizacije transcendentalnog idealizma, pri čemu do izražaja dolaze i principijelna ograničenja romantičarskog fragmentiranja ljudske povesti.

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Berdajs, Tina. "Zbirateljstvo vzhodnoazijske keramike na Slovenskem v 19. stoletju." Ars & Humanitas 14, no. 2 (December 29, 2020): 29–43. http://dx.doi.org/10.4312/ars.14.2.29-43.

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Prispevek predstavlja pregled znanih lastnikov vzhodnoazijske keramike, posebno porcelana, v Sloveniji v 19. stoletju – natančneje od odprtja Regionalnega muzeja za Kranjsko (kasneje Narodnega muzeja Slovenije) leta 1821 do velikega potresa v Ljubljani leta 1895. Slovenski lastniki porcelana, ali 'navdušenci', ki so predstavljeni v raziskavi, so osebe slovenskih korenin, za katere lahko na podlagi zanesljivih virov potrdimo, da so v svoji lasti imeli keramične ali porcelanaste predmete vzhodnoazijskega izvora ter jih kasneje darovali Deželnem muzeju za Kranjsko. Z vključitvijo analize zbirke Narodnega muzeja in analizo primarnih virov, kot so publikacije, inventarji in slikovno gradivo, raziskujem, kaj nam posamezni predmeti povedo o lastnikih in kako nam lahko pomagajo pri rekonstrukciji zbirateljstva keramike in porcelana vzhodnoazijskega izvora v slovenski zgodovini.

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Fauzan, Iwan Fathi, Muhammad Firdaus, and Sahara Sahara. "Regional financial inclusion and poverty: Evidence from Indonesia." Economic Journal of Emerging Markets 12, no. 1 (April 1, 2020): 25–38. http://dx.doi.org/10.20885/ejem.vol12.iss1.art3.

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Phomtavong, Sombounmy. "The Impact of Rural Road Investment on Poverty Reduction in the Lao PDR." Journal of Rural Problems 46, no. 3 (2010): 325–33. http://dx.doi.org/10.7310/arfe.46.325.

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Dross, Fritz. "„Der Kranke allein ist arm“ – Die Diskussion über den Zusammenhang von Krankheit und Armut um 1800." Vierteljahrschrift für Sozial- und Wirtschaftsgeschichte 92, no. 1 (2005): 1–15. http://dx.doi.org/10.25162/vswg-2005-0001.

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Journal articles on the topic 'Arte povera'

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