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Relevant bibliographies by topics / Rome (City) Colonna Trajana

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Academic literature on the topic 'Rome (City) Colonna Trajana'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Journal articles on the topic "Rome (City) Colonna Trajana"

1

Michelacci, Lara. "The Paradox of Shape: On the Representation of Women in the Sixteenth Century." Renaissance and Reformation 46, no. 3 (2024): 241–64. http://dx.doi.org/10.33137/rr.v46i3.42657.

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In the third part of his Dialogus de viris et foeminis aetate nostra florentibus, Paolo Giovio lists over one hundred illustrious women of his time and paints an unusual picture of Italian society. The catalogue is not a review of the virtues or superiority of women but rather an account of the political use of female representations. Women are associated with the political status of a city, and all references to the physicality of women illustrate the paradox of politics itself. The female body is used as a test case to examine the exercise of power and to demonstrate the reasons for differen

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2

Pieragostini, Renata. "UNEXPECTED CONTEXTS: VIEWS OF MUSIC IN A NARRATIVE OF THE GREAT SCHISM." Early Music History 25 (August 17, 2006): 169–207. http://dx.doi.org/10.1017/s0261127906000155.

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On 11 November 1417, the election at the Council of Constance (1414–18) of Oddo Colonna as Pope Martin V brought to an end a period of almost forty years of instability and crisis within the Church, which had begun with the outbreak of the Schism in 1378. After his consecration, the new pope set out to return to Rome, intending to re-establish there the Holy See, while the Council continued. Martin V entered Rome in September 1420, after travelling through Geneva, Pavia, Mantua, Milan and Florence. In the latter city he resided for almost two years, from 26 February 1419 to 9 September 1420. I

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Book chapters on the topic "Rome (City) Colonna Trajana"

1

De Lucca, Valeria. "“Dalle sponde del Tebro alle rive dell’Adria”." In The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0003.

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More than any of their contemporaries in Rome, Lorenzo Onofrio and Maria Mancini Colonna became involved with the activities of the commercial theaters of Venice during the 1660s. Maria found Venice a particularly congenial city for the freedom she could enjoy there, while Lorenzo Onofrio used the periods the couple spent there to raise his public political profile on an international stage. But what really kept bringing them back to Venice was the activity of the commercial opera theaters, which during these years saw an extraordinary number of operas dedicated to the Colonna. This chapter ex

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De Lucca, Valeria. "“All’uso di Venezia”." In The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0004.

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The first commercial theater in Rome, the Teatro Tordinona, opened in 1671, and during its short first phase of activity saw the massive import of Venetian operatic repertory for the first time in the history of the city. This chapter explores the contribution of the Colonna to the activities of this theater. More than any of their contemporaries, the Colonna knew the commercial theaters of Rome and contributed to importing not only repertory, but also the system of production of the Venetian models. The production system of the Teatro Tordinona also saw the consolidation of a new type of “col

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3

De Lucca, Valeria. "The Colonna, Aristocratic Culture, and the Display of Power in Seventeenth-Century Rome." In The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0002.

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Patronage of the arts and the sponsorship of events that attracted public attention were essential tools for the Roman elite to negotiate their position within the complex social and political structure of the city. This chapter introduces Lorenzo Onofrio Colonna, Maria Mancini, and their cultural milieu in Rome. Their palace in piazza Santi Apostoli became the stage for their support of conversazioni, music-making, and intellectual gatherings. The palace and its collections of paintings, antiquities, arts, and the cycle of frescoes that began to be executed during Lorenzo Onofrio’s life were

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