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Journal articles on the topic 'Giovanni'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Duba, William. "Dante, Paris, and the Benefactor of Saint-Jacques." Vivarium 58, no. 1-2 (December 18, 2019): 65–88. http://dx.doi.org/10.1163/15685349-12341370.

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AbstractBased on the comments of Giovanni Boccaccio and Giovanni Villani, a theory holds that Dante Alighieri may have studied philosophy and theology at Paris in 1309-1310. That same academic year, the Dominican bachelor of the Sentences at Paris, Giovanni Regina di Napoli (John of Naples), delivered a speech thanking a ‘Benefactor’. This Benefactor, neither a Dominican nor a theologian, gave the sole benefit of honoring Giovanni, the convent of Saint-Jacques, and the Dominican Order with his presence, attending Giovanni’s lectures on theology. This paper explores the likelihood that the Benefactor was Dante. An edition and an English translation of Giovanni’s speech are included in appendices.

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2

Salonia, Matteo. "The first voyage of Giovanni da Empoli to India: Mercantile culture, Christian faith, and the early production of knowledge about Portuguese Asia." International Journal of Maritime History 31, no. 1 (February 2019): 3–18. http://dx.doi.org/10.1177/0843871418822446.

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Giovanni da Empoli, a Florentine agent and merchant, was among the first Europeans to travel by an exclusively maritime route to India. This article focuses on Giovanni’s first voyage to the East (1503–1504), during which he visited several ports along the Malabar coast. By examining Giovanni’s letter to his father, this contribution explores his (re)emerging identities, and in particular his mercantile outlook and his Christian faith, which suggest a diversity of value systems and agendas among ‘the Portuguese’. The experience of Giovanni is significant also because it represents an instance of production and transfer of knowledge about ‘the Indies’ in early Cinquecento Europe. As suggested by other contemporary sources concerning Giovanni, this circulation of knowledge did not take place only in writing, but also orally, in formal and informal conversations that Giovanni had with a variety of interested interlocutors both in Florence and elsewhere.

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3

Romanň, Franco. "Brigatismo e realtŕ operaia. Walter Alasia: una storia sestese." COSTRUZIONI PSICOANALITICHE, no. 22 (December 2011): 63–75. http://dx.doi.org/10.3280/cost2011-022006.

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La cittŕ di Sesto San Giovanni č stata considerata un bastione del Partito Comunista e poi della sinistra italiana. Fin dall"inizio del secolo scorso la sua classe operaia ha una tradizione di lotte sindacali, di resistenza al regime fascista fino alle lotte dell"autunno caldo nel 1969. Il saggio ricostruisce il contesto di quelle lotte e come una minoranza del movimento agli inizi degli anni 70 scelse la lotta armata. Walter Alasia, un giovane studente sestese di famiglia operaia, fu un protagonista del movimento armato. La sua vita la sua morte possono essere considerate anche una metafora delle ragioni per cui una minoranza di giovani lavoratori e studenti, scelse quella strada suicida.

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4

PERL, BENJAMIN. "Mozart in Turkey." Cambridge Opera Journal 12, no. 3 (November 2000): 219–35. http://dx.doi.org/10.1017/s0954586700002196.

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The essay analyses the Turkish mode in Mozart's output, discovering some unexpected examples, particularly Don Giovanni's aria ‘Fin ch'han dal vino’, whose uncommon sonority, obsessive rhythm and harmonic poverty evoke this topos. Don Giovanni may present Turkish features because his character coincides with eighteenth-century Western European views of the Turks as a threat to the established order and inclined to reckless sensuality. The romantic view of Don Giovanni as an ideal figure may also be connected with eighteenth-century thinking about ‘orientals’ as the representatives of utopia.

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5

Freeman-Attwood, Jonathan. "Don Giovanni." Musical Times 131, no. 1769 (July 1990): 375. http://dx.doi.org/10.2307/965767.

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6

Olszewski, Edward J., and Rona Goffen. "Giovanni Bellini." Sixteenth Century Journal 22, no. 1 (1991): 133. http://dx.doi.org/10.2307/2542034.

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7

Vallet-Collot, Catherine. "Don Giovanni." Revue de la BNF 54, no. 1 (2017): 108. http://dx.doi.org/10.3917/rbnf.054.0108.

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8

Mazza, Luigi. "Giovanni Astengo." Town Planning Review 62, no. 1 (January 1991): 107. http://dx.doi.org/10.3828/tpr.62.1.b70q313l77171066.

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9

Lombardo, Maria. "Giovanni Sollima." La pensée de midi N° 8, no. 2 (August 1, 2002): 88–91. http://dx.doi.org/10.3917/lpm.008.0088.

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10

Martin, Noélie. "Giovanni Martedì." La Revue Documentaires N° 31, no. 1 (July 1, 2021): 151–61. http://dx.doi.org/10.3917/docu.031.0151.

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11

Longelin, Franck. "Cher Giovanni." Ligeia N° 105-108, no. 1 (2011): 71. http://dx.doi.org/10.3917/lige.105.0071.

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12

Flórez Restrepo, Jorge Alejandro. "GIOVANNI REALE." Praxis Filosófica, no. 24 (December 13, 2011): 207–11. http://dx.doi.org/10.25100/pfilosofica.v0i24.3141.

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13

Beck, James, and Rona Goffen. "Giovanni Bellini." American Historical Review 96, no. 3 (June 1991): 904. http://dx.doi.org/10.2307/2162544.

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14

McKee, David. "Don Giovanni." Opera Quarterly 7, no. 2 (1990): 188–89. http://dx.doi.org/10.1093/oq/7.2.188.

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15

Karl, John. "Giovanni Balderi." Sculpture Review 67, no. 3 (September 2018): 32–37. http://dx.doi.org/10.1177/074752841806700304.

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16

Iurato, Salvatore. "Giovanni Rossi." Audiology and Neurotology 5, no. 5 (2000): 300. http://dx.doi.org/10.1159/000013894.

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17

Hojer, Ernst. "Giovanni Gentile." Perspektiven der Philosophie 11 (1985): 391–408. http://dx.doi.org/10.5840/pdp19851116.

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18

Jones, Mark. "Don Giovanni." Psychiatric Bulletin 14, no. 7 (July 1990): 417–21. http://dx.doi.org/10.1192/pb.14.7.417.

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In the second of this occasional series, Mark Jones looks at Mozart and his 1788 masterpiece, Don Giovanni, and interviews Tom Sutcliffe, opera critic of The Guardian, about his views on this problematical work and its portrayal on the stage.

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19

Sheard, Wendy Stedman, and Rona Goffen. "Giovanni Bellini." Zeitschrift für Kunstgeschichte 57, no. 1 (1994): 141. http://dx.doi.org/10.2307/1482697.

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20

Caminada, Emanuele, and Michela Summa. "Giovanni Piana." Phenomenological Reviews s1 (2020): —3. http://dx.doi.org/10.19079/pr.s1.1.

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21

Zancani, Diego. "Giovanni Aquilecchia." Italian Studies 57, no. 1 (January 2002): 1–4. http://dx.doi.org/10.1179/its.2002.57.1.1.

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22

Chakraborty, Arup K., T. W. Fraser Russell, and Arthur B. Metzner. "Giovanni Astarita." Physics Today 50, no. 11 (November 1997): 84–85. http://dx.doi.org/10.1063/1.882014.

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23

Cohen, M. Michael. "Giovanni Neri." American Journal of Medical Genetics Part A 161, no. 11 (October 3, 2013): 2704–5. http://dx.doi.org/10.1002/ajmg.a.36262.

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24

MESCHIARI, ALBERTO. "CORRISPONDENZA DI GIOVANNI BATTISTA AMICI CON GIOVANNI PLANA1." Nuncius 15, no. 1 (2000): 259–323. http://dx.doi.org/10.1163/182539100x00506.

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Abstracttitle SUMMARY /title The correspondence between Giovanni Battista Amici and the Astronomer Royal of Turin Giovanni Plana belonging to the Estense Library in Modena (Fondo Amici and Autografoteca Campori), consists of 36 letters altogether. Undoubtedly it represents a document of a great interest for the history of science, especially where it discusses the application of probabilities to astronomical observations, and the new wave-theory of light of Young and Fresnel.

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25

Carvajal Córdoba, Edwin. "Reflexiones sobre la poesía de Giovanni Quessep." Estudios de Literatura Colombiana, no. 9 (November 2, 2011): 66–77. http://dx.doi.org/10.17533/udea.elc.10484.

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Resumen: El trabajo analiza la relación entre música y muerte en un poema del ciclo Madrigales de vida y muerte del autor colombiano Giovanni Quessep. Descriptores: Quessep, Giovanni; Poesía colombiana. Abstract: The contribution analyzes the relationship between music and death in a poem of the cycle Madrigales de vida y muerte by the Colombian author Giovanni Quessep. Key words: Quessep, Giovanni; Colombian poetry.

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26

Ryan, Herbert J. "Omelia sul prologo di Giovanni. Giovanni Scoto , Marta Cristiani." Speculum 64, no. 4 (October 1989): 952. http://dx.doi.org/10.2307/2852891.

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27

Saunders, Steven. "Giovanni Priuli'sMissa sine nomineand the legacy of Giovanni Gabrieli." Journal of Musicological Research 14, no. 2 (January 1995): 169–91. http://dx.doi.org/10.1080/01411899508574704.

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28

Saunders, Steven. "Giovanni Priuli'sMissa sine nomineand the Legacy of Giovanni Gabrieli." Journal of Musicological Research 14, no. 3-4 (January 1995): 169–91. http://dx.doi.org/10.1080/01411899509407983.

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29

Vilar, Mariano, Mariano Vilar, Mariana Sverlij, and Mariana Sverlij. "El Aegidius de Giovanni Pontano." Circe, de clásicos y moderno 26, no. 1 (May 1, 2022): 149–89. http://dx.doi.org/10.19137/circe-2022-260107.

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30

Sánchez, Marcelo. "How Literal is the 1972 Translation Into English of J.L. Borges' Historia Universal de la Infamia?" International Journal of Translation, Interpretation, and Applied Linguistics 5, no. 1 (June 1, 2023): 1–13. http://dx.doi.org/10.4018/ijtial.323801.

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This article analyzes A Universal History of Infamy, the 1972 translation into English of Historia Universal de la Infamia (hereinafter, HUI). While assessing this translation's degree of literality, the authors also characterize how the translation project at stake evolved. Initially, J.L. Borges would have planned to rewrite the book in English (in 1968, with the help of his translator Norman di Giovanni). He later, in 1971, contented himself with attenuating the baroque style of the original prose and ultimately gave up all collaboration. The bulk of the translation was then left to di Giovanni. Textual analysis, combined with data on the translation/publication context of some HUI compositions, allow the authors to explore the hypothesis that the higher fidelity of certain translations is linked to a possible Borges collaboration. While sticking to his overall goal of making the prose of the original flow, di Giovanni's translation often recomposed sentences and incurred interpretation errors.

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31

Farneti, Fauzia. "Il quadraturismo in Pallazzo Pitti da Cosimo II a Cosimo III de' Medici." Varia Historia 24, no. 40 (December 2008): 369–86. http://dx.doi.org/10.1590/s0104-87752008000200002.

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Nei primi decenni del Seicento la pittura decorativa a Firenze risulta ancora legata all'ornamentazione tradizionale tardomanierista attuata nei modi di Alessandro Allori o di Bernardino Barbatelli detto il Poccetti. L'interesse per le novità e per l'aggiornamento dell'ambiente artistico fiorentino portarono il granduca Ferdinando II a chiamare a Firenze tra il 1636 ed il 1637 Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. I due bolognesi completarono il ciclo pittorico celebrativo del governo di Ferdinando cui aveva dato inizio Giovanni da San Giovanni, con la decorazione delle tre sale di rappresentanza del quartiere estivo di palazzo Pitti realizzata tra il 1637 ed il 1641. L'intervento, condotto secondo il più moderno linguaggio barocco che vede la perfetta integrazione dell'illusionismo architettonico, che supera i limiti dello spazio reale, con le scene figurative, verrà a costituire nell'ambiente fiorentino un ineludibile modello di riferimento nella decorazione d'interni, soluzioni di grande modernità su cui si formerà Jacopo Chiavistelli e i giovani della sua scuola. Anche Giovan Carlo, fratello del granduca, nel 1637 diede inizio ad una serie di trasformazioni che si protrassero per oltre un ventennio, trasformando gli ambienti a lui assegnati in Pitti in veri e propri luoghi di delizie, decorati dagli artisti più significativi del momento quali ad esempio Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Fu quest'ultimo frescante che con i suoi 'scolari', fin dagli anni Cinquanta fu attivo in palazzo Pitti, decorando a quadratura gli ambienti dei quartieri dei membri della famiglia granducale, ambienti che in gran parte sono andati perduti in quanto interessati dalle ristrutturazioni lorenesi e sabaude. Con i lavori commissionati dal gran principe Ferdinando si chiude in palazzo Pitti la grande stagione del quadraturismo barocco fiorentino.

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32

Beaud, Paul. "San Giovanni Battista." Réseaux 148-149, no. 2 (2008): 263. http://dx.doi.org/10.3917/res.148.0263.

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33

Pope-Hennessy, John. "Giovanni di Paolo." Metropolitan Museum of Art Bulletin 46, no. 2 (1988): 5. http://dx.doi.org/10.2307/3258862.

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34

Silva, Renán. "Giovanni Levi. Microhistorias." Anuario Colombiano de Historia Social y de la Cultura 48, no. 2 (June 11, 2021): 474–79. http://dx.doi.org/10.15446/achsc.v48n2.95672.

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La publicación de la obra del destacado historiador italiano es un verdadero acierto editorial, entre otras razones porque Giovanni Levi ha sido ante todo un escritor de artículos de revista, siempre producto de investigaciones apoyadas en una cuidadosa consulta de archivo, pero no autor de libros, género del que solo se le conocen dos: Centro e periferia di uno stato assoluto. Tre saggi su Piemonte e Liguria in età moderna, de 1985, que nunca circuló en castellano, y La herencia inmaterial. La historia de un exorcista piamontés del siglo xvii, también de 1985, traducido pronto a muchas lenguas, entre ellas al español en 1990. La publicación de esta colección de ensayos también es la ocasión para el lector de tener una perspectiva más equilibrada de la riqueza analítica de la llamada microstoria italiana, casi siempre reducida entre nosotros a una obra: El queso y los gusanos, el gran best-seller de Carlo Ginzburg de 1976, lo que significó una cierta distorsión en el conocimiento de esta importante corriente historiográfica, al reducirla a una de sus líneas, al tiempo que se empobreció la propia obra de Ginzburg, cuyos demás títulos permanecen más o menos ignorados.

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35

Beaud, Paul. "San Giovanni Battista." Réseaux 26, no. 148-149 (June 30, 2008): 263–70. http://dx.doi.org/10.3166/rseaux.148-149.263-270.

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36

Redazione, de Il Ruolo Terapeutico. "L'intervista: Giovanni Liotti." RUOLO TERAPEUTICO (IL), no. 126 (May 2014): 9–17. http://dx.doi.org/10.3280/rt2014-126002.

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37

Bellini, Paolo. "Giovanni Francesco Grimaldi." Nouvelles de l'estampe, no. 238 (March 1, 2012): 4–19. http://dx.doi.org/10.4000/estampe.1052.

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38

Brouwers, Toon. "Don Playboy Giovanni." Documenta 25, no. 3-4 (March 28, 2019): 279–84. http://dx.doi.org/10.21825/doc.v25i3-4.10450.

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39

Ivashchenko, Ivan. "Giovanni Gentile’s Actualism." Sententiae 30, no. 1 (June 16, 2014): 80–93. http://dx.doi.org/10.22240/sent30.01.080.

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40

Zampetti, P., and M. A. Riva. "Giovanni of Arcoli." British Dental Journal 228, no. 4 (February 2020): 227. http://dx.doi.org/10.1038/s41415-020-1322-3.

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41

Fisch, Max H. "“Giovanni Battista Vico.”." New Vico Studies 3 (1985): 181–82. http://dx.doi.org/10.5840/newvico1985322.

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42

McLeod, Kenneth. "Don Giovanni (review)." Notes 62, no. 3 (2006): 781–82. http://dx.doi.org/10.1353/not.2006.0031.

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43

Doḡu, Hikmet. "LIRE. Giovanni Anselmo." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 4 (December 1990): 213–14. http://dx.doi.org/10.1086/adx.9.4.27948293.

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44

Zegna, Michela. "Giovanni Calendoli Collection." Journal of Italian Cinema & Media Studies 8, no. 3 (June 1, 2020): 405–8. http://dx.doi.org/10.1386/jicms_00030_7.

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45

Rossi, Gian Paolo, and Giuseppina Mazzocchi. "Gastone Giovanni Nussdorfer." Hypertension 51, no. 3 (March 2008): 586–87. http://dx.doi.org/10.1161/hypertensionaha.107.108498.

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46

DuVal, John. "Giovanni Boccaccio,Decameron." Translation Review 80, no. 1 (September 2010): 76–82. http://dx.doi.org/10.1080/07374836.2010.10524156.

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47

Eörsi, Anna. "Giovanni Arnolfini's Impalmamento." Oud Holland - Quarterly for Dutch Art History 110, no. 3-4 (1996): 113–16. http://dx.doi.org/10.1163/187501796x00367.

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48

Daturi, Davide E. "Introducción Giovanni Piana." Eikasía Revista de Filosofía, no. 96 (July 14, 2022): 9–11. http://dx.doi.org/10.57027/eikasia.96.206.

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49

Dall Acqua, Francesco. "Profile: Giovanni Rodighiero." Journal of Photochemistry and Photobiology B: Biology 14, no. 1-2 (June 1992): 1–2. http://dx.doi.org/10.1016/1011-1344(92)85079-a.

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50

Fye, W. Bruce. "Giovanni Alfonso Borelli." Clinical Cardiology 19, no. 7 (July 1996): 599–600. http://dx.doi.org/10.1002/clc.4960190716.

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