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Relevant bibliographies by topics / Italy Loreto

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Academic literature on the topic 'Italy Loreto'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Italy Loreto"

1

Zivkovic, Valentina. "The vow of Ivan Crnojevic to the Virgin Mary in Loreto under the shadow of the ottoman conquest." Balcanica, no. 48 (2017): 19–32. http://dx.doi.org/10.2298/balc1748019z.

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This paper looks at the circumstances in which Ivan Crnojevic, a fifteenth-century ruler of Zeta (historic region in present-day Montenegro), made a vow to the Virgin in a famous pilgrimage shrine, the Santa Casa in Loreto (Italy), where he was in exile fleeing another Ottoman offensive. The focus of the paper is on a few issues which need to be re-examined in order to understand Ivan?s vow against a broader background. His act is analyzed in the context of the symbolic role that the Virgin of Loreto played as a powerful antiturca protectress. On the other hand, much attention is paid to the institutional organization of Slavs (Schiavoni) who found refuge in Loreto and nearby towns, which may serve as a basis for a more comprehensive understanding of the process of religious and social adjustment of Orthodox Slav refugees to their new Catholic environment.

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Tanoni, Italo. "Le culte marial de la Sainte Maison de Lorette et son évolution." Social Compass 33, no. 1 (February 1986): 107–39. http://dx.doi.org/10.1177/003776868603300108.

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Loreto (Italy) is one of the most famous Marian sanctuaries in the world. It is a place of worship devoted to the Holy Family of Nazareth. It was in the eighteenth century that, according to tradition, the "Holy House" was transported from the Holy Land to the Hill of Laurels by the "ministry of Angels".

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Maggi, Roberto, and Mark Pearce. "Mid fourth-millennium copper mining in Liguria, north-west Italy: the earliest known copper mines in Western Europe." Antiquity 79, no. 303 (March 2005): 66–77. http://dx.doi.org/10.1017/s0003598x00113705.

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This paper presents twelve new radiocarbon dates from copper mines at Monte Loreto in Liguria, northwest Italy, which indicate that extraction began around 3500 cal BC, making these the earliest copper mines to be discovered in Western Europe so far. The dates are placed in their regional context, with a discussion of results from Libiola and other sites associated with early copper mining.

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Suárez Trejo, Javier. "From Romana Gens to cumbiatella: propaganda, migration and identity in Italo-Peruvian mobilities." Modern Italy 24, no. 1 (October 8, 2018): 21–44. http://dx.doi.org/10.1017/mit.2018.28.

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Branding promotes and sells products and services through the creation of an identity – the brand. What happens when the promoter of a brand is a government? What transformations does a national identity experience when it becomes a brand to export? Is national branding a contemporary form of promoting national identities? To explore these questions, the article focuses on two artefacts that show the propaganda/branding strategies of Italians in Peru and Peruvians in Italy during the twentieth century: the magazine Romana- Gens ne la Terra de ‘Los Incas’ (1934–1941) and the ad-documentary Marca Perú in Loreto, Italy (2012). The analysis of these artefacts shows three dimensions of Italo-Peruvian mobilities. First, the complex negotiations of foreign populations that seek to integrate into their adoptive countries (and/or desired market). Second, the reversal of the direction of migration: Latin America was a point of arrival for the Italian immigrants from the nineteenth century until the 1970s, but during the last decades of the twentieth century, it became a point of departure to Italy, which was seen as a place of economic progress. Finally, the specific politics of affects in the relationship of Italian and Peruvian immigrants with national identities built during the nineteenth and twentieth centuries.

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Bezhuk, O. M. "Religious relics of Italy." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 91 (November 16, 2018): 111–15. http://dx.doi.org/10.32718/nvlvet9123.

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Religions have always played a significant role in the formation of the statehood and development of such powerful states as the Byzantine Empire, the Holy Roman Empire, the Kievan Rus, or the Empire of Charlemagne. Peculiarities of the national culture are dictated by its faith. This is due to the fact that folk traditions, mentality, political structure, peculiarities of the historical trajectory of each nation including the religious development, have a tremendous influence on the religious aspects of nations and states. Religious attitudes, religious morality, practice of ceremonies, and church institutions deeply penetrate into everyday lives of people and countries in particular, largely determine their local originality as well as national and cultural identity. In general, the influence of religious-confessional factors is felt at all levels of organization of society’s life. The diversity of its manifestations is unlimited, and basically, it is not the impact on the life, but the life itself. This thesis should always be remembered either when illuminating the tourist resources of the country or the conditions of organization of the tourism business. The article is referred to the religious tourism in Italy – the country on the territory of which Christianity (Holy Roman Empire) arose. The article concideres such religious objects of Rome as Vatican, the Basilica of St. Peter, the area around the Capitol, religious practices of the city of Loreto called the Holy House, as well as the worship of sacred Turin Shroud.

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Takács, László. "II. Rákóczi Ferenc itáliai (zarándok)útja." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 205–14. http://dx.doi.org/10.14232/antikren.2018.2.205-214.

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Young Ferenc Rákóczi traveled to Italy in 1693. His trip started in Vienna and then he visited Venice and other famous cities in Northern Italy, like Bologna, Florence, Pisa, etc. During his tour he spent four months in Florence, then he left for Torino, Milano, and in August he arrived in Loreto. Between September and January that year he was living in Rome. Later he traveled to Napoli and its neighbourhood. In February he had to return to Vienna. This journey was described by Rákóczi in his work named Confessio Peccatoris, which was composed in France more than twenty years later. Living in Paris and in the monastery of Grosbois Rákóczi was influenced by the contemporary Catholic theological movement called Jansenism. In this paper I will try to elucidate, how his Italian travel experiences were recomposed and reevaluated by Rákóczi two decades later under the influence in the framework of Jansenism.

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Forti, Steven. "Partito, rivoluzione e guerra. Il linguaggio politico di un transfuga: Nicola Bombacci (1879-1945)." MEMORIA E RICERCA, no. 31 (September 2009): 155–75. http://dx.doi.org/10.3280/mer2009-031010.

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- Nicola Bombacci was an important PSI's leader during the First World War and the biennio rosso (1919-1920). After his expulsion from the PCd'I, of which was one of the founders, he approached fascism and became one of the last supporters of it since he had been shooted by partisans and died in Como Lake, and had been exposed in Loreto Square beside to Mussolini. After a short historical mention of the Bombacci's political life, these pages will analyse deeper the question of the passage from the left to fascism in interwar Italy, through the analyse of his political language. The method executed in order to analyse the question foresees the use of a biography by dates and the identification of the political interpretation's categories, which permit to carry out a comparison between the social-communist and fascist period. In conclusions, the article proposes a thesis of interpretation: the political passion.Parole chiave: Fascismo, Nazione, Rivoluzione, Classe, Guerra, Passione politica Fascism, Nation, Revolution, Class, War, Political passion

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Lefèvre, David, Jean-Paul Raynal, Gérard Vernet, Guy Kieffer, and Marcello Piperno. "Tephro-stratigraphy and the age of ancient Southern Italian Acheulean settlements: The sites of Loreto and Notarchirico (Venosa, Basilicata, Italy)." Quaternary International 223-224 (September 2010): 360–68. http://dx.doi.org/10.1016/j.quaint.2010.02.020.

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De Ascaniis, Silvia, Marc-Marie Mutangala, and Lorenzo Cantoni. "ICTs in the tourism experience at religious heritage sites: a review of the literature and an investigation of pilgrims’ experiences at the sanctuary of Loreto (Italy)." Church, Communication and Culture 3, no. 3 (September 2, 2018): 310–34. http://dx.doi.org/10.1080/23753234.2018.1544835.

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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.

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Dissertations / Theses on the topic "Italy Loreto"

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Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.

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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.

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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

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Emery, Beth A. "Lorenzo Monaco's Man of sorrows." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33283.

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This thesis examines Lorenzo Monaco's altarpiece the Man of Sorrows with the Virgin, St. John the Evangelist, with the Emblems and Episodes of the Passion, (c. 1404) under historical, religious, political, and liturgical rubrics. While comparing various depictions of the Man of Sorrows, this project places Lorenzo Monaco's unique interpretation within the context of events surrounding the painting's conception and realization. With particular attention to Lorenzo's distinctive composition, techniques and juxtaposition of imagery, this study shows that his Man of Sorrows in fact conveys a complex message about Florentine society in Late Gothic times.

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Kelly, Kevin. "Bernini's S. Andrea al Quirinale : the triumph of martyrdom." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22440.

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S. Andrea al Quirinale, by Gian Lorenzo Bernini, is undoubtedly one of the great achievements of the Italian Baroque. No less spectacular is its message, though art historians have generally regarded it as simply a Jesuit church housing the glorious scene of the martyrdom and apotheosis of St. Andrew. This view, however, is clearly misleading since a closer examination of the building and its contents shows that the devout and learned Bernini intended to suggest a number of other important related themes.
This thesis focuses on the concept of martyrdom through a thorough analysis of not only the dominant religious event above the high altar area, but the entire iconographic scheme of the church, which is reinforced by the architectural setting. This Jesuit building is further examined in the light of several artistic influences. The most obvious, yet most overlooked of these is the literary source of the Spiritual Exercises by St. Ignatius of Loyola. S. Andrea al Quirinale is also considered in terms of the architectural heritage of early Christian churches and martyria. (Abstract shortened by UMI.)

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Feudo, Lorena [Verfasser], and Edgar [Akademischer Betreuer] Radtke. "La grammaticalizzazione dei costrutti (bi)nominali del tipo SN1 di SN2 in alcune varietà italo-romanze / Lorena Feudo ; Betreuer: Edgar Radtke." Heidelberg : Universitätsbibliothek Heidelberg, 2017. http://d-nb.info/117768991X/34.

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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.

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Currie, Morgan. "Signifying the supernatural : ineffable presence in Bernini's Altieri chapel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50507.pdf.

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Robison, Elwin Clark. "Guarino Guarini's Church of San Lorenzo in Turin." 1985. http://catalog.hathitrust.org/api/volumes/oclc/20234034.html.

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Maratsos, Jessica. "The Devotional Imagination of Jacopo Pontormo." Thesis, 2014. https://doi.org/10.7916/D8CN722C.

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In Italy the first half of the Cinquecento was marked by both flourishing artistic innovation and deep-seated religious uncertainty, the latter revealing itself most clearly in a widespread impetus towards reform. The relationship between these two cultural spheres--long a fraught problem in art historical scholarship--is made visually manifest in the religious works produced by the Florentine painter Jacopo da Pontormo. By re-examining Pontormo's three monumental religious commissions--the Certosa del Galluzzo (1522-27), the Capponi Chapel (1525-28), and the choir of San Lorenzo (1545-1557)--this dissertation maps the complex dialogue between artistic and devotional practice that characterized this era. Further, in highlighting the active role of the painter in this dynamic I propose a not only a new understanding of Pontormo, but also enrich our current notions of artistic agency in the Renaissance period. The foundation of these arguments derives from a re-evaluation of the specific historical context on the one hand, and the implementation of a broader framework of visual culture on the other. Taking its cue from Giorgio Vasari's 1568 edition of The Lives of the Artists, modern scholarship has tended to view much of the art from the early sixteenth century through a post-Tridentine lens; paintings are labeled controversial or heretical, when in fact such notions would not have been relevant in these earlier decades. Published five years after the conclusion of the Council of Trent, Vasari's Lives is predominantly characterized by the author's own attempts to codify artistic pedagogy and style in the service of the Medici Duchy, whose newly consolidated ties with the papacy were of primary importance. A further difficulty presented by following Vasari's example is the relatively narrow view of the artistic environment that his account affords. Aimed as it was towards the social elevation of the individual Renaissance artist, Vasari's narrative undervalues the importance of other genres and media--such as prints, Mystery plays, terracotta sculptures, and sacri monti--to the work of well-established painters like Pontormo. Each chapter examines a single, monumental project, delineating the artist's responsiveness to, and engagement with, the unique devotional and artistic challenges inherent to the individual commission. Chapter One resituates Pontormo's use of the maniera tedesca within the broader contexts of northern devotional practices and the parallels they form with affective strategies employed by other genres including sacre rappresentazioni and sacri monti. Chapter Two focuses on the painter's decision to portray himself the guise of Nicodemus, and the ways in which this identification evoked an entire web of historical associations--linked to hagiographic tradition and local legend--that would have been accessible to contemporary viewers. Finally, in Chapter Three I investigate Pontormo's pictorial approach, which combined an overarching diagrammatic simplicity with a complex, allusive figural language, as a means of communicating to the different levels of Florentine society that would have been his audience in this important parish church.

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Books on the topic "Italy Loreto"

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Museo nazionale di Castel Sant'Angelo, ed. Lorenzo Lotto e i tesori artistici di Loreto. Roma: Artifex, 2014.

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Loreto e la Santa Casa. Villanova di Castenaso (Bologna): F. M. Ricci, 2005.

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Grimaldi, Floriano. Annali tipografici di Loreto e Recanati, 1801-1950. Loreto (Ancona) [etc.]: [s. n., 2008.

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Giuseppe, Santarelli, ed. L'altare degli apostoli nella Santa Casa di Loreto. Loreto [Ancona]: Edizioni lauretane Santa Casa Loreto, 2005.

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Santarelli, Giuseppe. I graffiti nella Santa Casa di Loreto. 2nd ed. Loreto: Congregazione universale della Santa Casa, 1998.

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Grimaldi, Floriano. Pellegrini e pellegrinaggi a Loreto nei secoli XIV-XVIII. Foligno, Italy: s.n., 2001.

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Grimaldi, Floriano. La Santa Casa di Loreto e le sue istituzioni. Foligno (Perugia): Accademia fulginia di lettere scienze e arti, 2006.

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Grimaldi, Floriano. L' ornamento marmoreo della Santa Cappella di Loreto. [Italy]: Carilo, Cassa di risparmio di Loreto, Fondazione Cassa di risparmio di Loreto, 1999.

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Grimaldi, Floriano. Il libro lauretano: Secoli XV-XVIII. [Macerata]: Diocesi di Macerata Tolentino Recanati Cingoli Treia, 1994.

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Santarelli, Giuseppe. La Santa Casa di Loreto: Tradizione e ipotesi. Loreto: [s.n.], 1988.

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Book chapters on the topic "Italy Loreto"

1

Navas Saurin, Almudena A. "Promoting Social and Political Change Through Pedagogy: Lorenzo Milani and the Barbiana School (Italy 1954–1967)." In Pedagogies and Curriculums to (Re)imagine Public Education, 113–26. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-490-0_8.

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Cast, David. "Poge the Florentyn: A Sketch of the Life of Poggio Bracciolini." In Atti, 163–72. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.12.

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Thanks to his part in the rediscovery of Lucretius in the Renaissance Poggio Bracciolini has been much in academic news recently. But he was always there as a part of the histories of that moment, in all its twists and turns, as an example of what it was to be a Renaissance humanist in the earlier part of the XVth century. He was born in 1380 and educated first in Arezzo. But he soon moved to Florence to become a notary and from his intellectual contacts there a little after 1403 he became a member of the entourage of Pope Benedict IX to remain all his life a member of the Papal court. But, in true humanist fashion, he was busy always with his writings, taking on a range of general subjects, nobility, the vicissitudes of Fortune and many others. Also, again in true humanist fashion, he was often involved in dispute with other scholars, most notably Lorenzo Valla. Yet, amidst all this activity, he had time to travel throughout Europe, scouring libraries to uncover, as with Lucretius, long neglected texts. But perhaps his most notable achievement was the design of a new script, moving away from the less legible texts of medieval copyists to provide one, far easier to read, that was to become the model in Italy for the first printed books – as it is a model still for publishers. Few scholars of that moment can claim to have had so profound and persistent an influence on the spread of culture in Europe and beyond.

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Celati, Marta. "Angelo Poliziano’s Coniurationis commentarium." In Conspiracy Literature in Early Renaissance Italy, 157–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863625.003.0005.

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The fourth chapter focuses on Poliziano’s Coniurationis commentarium, the literary account of the Pazzi conspiracy against the Medici brothers, Lorenzo and Giuliano (1478). The critical analysis reconstructs the circumstances of composition of the text, its publication in two printed editions, and its circulation in the manuscript tradition, revealing that the work enjoyed widespread diffusion as the central pillar of pro-Medici propaganda. The investigation into the text shows that it totally adheres to the guidelines of Lorenzo de’ Medici’s cultural politics in the aftermath of the plot. The thorough examination of the changes made by Poliziano in the second version of the text confirms that its political perspective also mirrored the evolution of the political situation in Florence and in Italy in 1480. Despite being a highly propagandistic work, Poliziano’s Commentarium is also a sophisticated piece of literature produced by the eclectic combination of manifold sources drawn from the classical tradition: a conflation that reflects the humanist’s principle of docta varietas. The main prototype of Sallust is combined it with multiple references to a variety of models: other classical historians (Suetonius, Caesar, and Livy), poetry, comic authors (most of all Terence), and even technical literature (Celsus, Pliny the Elder, etc.). In particular, the extensive use of Suetonius, especially his biography of Caesar, conveys particular political overtones. One of the crucial ideological elements in the text is the representation of Lorenzo de’ Medici as an actual heroic prince, who is loved by his people and embodies the idea of the whole state.

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Idel, Moshe. "Jewish Mystical Thought in Lorenzo IL Magnifico's Florence." In Kabbalah in Italy, 1280-1510, 192–201. Yale University Press, 2011. http://dx.doi.org/10.12987/yale/9780300126266.003.0016.

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"Prato and Lorenzo de’ Medici." In Communes and Despots in Medieval and Renaissance Italy, 213–28. Routledge, 2016. http://dx.doi.org/10.4324/9781315259871-27.

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"Perambulating Italy, 1494–1497." In Piero di Lorenzo de' Medici and the Crisis of Renaissance Italy, 231–53. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108783798.021.

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Idel, Moshe. "Ecstatic Kabbalah as an Experiential Lore." In Kabbalah in Italy, 1280-1510, 52–63. Yale University Press, 2011. http://dx.doi.org/10.12987/yale/9780300126266.003.0005.

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"Balancing Power in Italy, 1493." In Piero di Lorenzo de' Medici and the Crisis of Renaissance Italy, 168–79. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108783798.015.

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Firpo, Massimo. "Lorenzo Lotto and the Reformation in Venice." In Heresy, Culture, and Religion in Early Modern Italy, 21–36. Pennsylvania State University Press, 2006. http://dx.doi.org/10.5325/j.ctv1c9hp2w.7.

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Firpo, Massimo. "Lorenzo Lotto and the Reformation in Venice." In Heresy, Culture, and Religion in Early Modern Italy, 21–36. Penn State University Press, 2006. http://dx.doi.org/10.1515/9780271090795-004.

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Conference papers on the topic "Italy Loreto"

1

Dolker, E. M., R. Schmidt, K. Weise, B. Petkovic, M. Ziolkowski, H. Brauer, and J. Haueisen. "Lorentz force evaluation with an extended area approach." In 2017 International Applied Computational Electromagnetics Society Symposium - Italy (ACES). IEEE, 2017. http://dx.doi.org/10.23919/ropaces.2017.7916353.

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Resagk, C., A. Wegfrass, C. Diethold, M. Werner, F. Hilbrunner, B. Halbedel, and A. Thess. "A novel contactless flow rate measurement device for poorly conducting fluids using Lorentz force velocimetry." In THMT-12. Proceedings of the Seventh International Symposium On Turbulence, Heat and Mass Transfer Palermo, Italy, 24-27 September, 2012. Connecticut: Begellhouse, 2012. http://dx.doi.org/10.1615/ichmt.2012.procsevintsympturbheattransfpal.2090.

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