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Relevant bibliographies by topics / Rome (City). Palazzo di Propaganda

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Academic literature on the topic 'Rome (City). Palazzo di Propaganda'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Rome (City). Palazzo di Propaganda"

1

Gargiulo, Marco, and Antonio Catolfi. "Lingua e spazio urbano a Roma nel racconto di Ettore Scola. Il caso di Una giornata particolare (1977)." Bergen Language and Linguistics Studies 10, no. 1 (2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1561.

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This article aims to focus on two main aspects of Rome urban space vision and representation through Ettore Scola’s filmography: on the one hand, we try to decode the interconnections between languages and cinematic architectural space and, on the other hand, we intend to disclose how Scola meant to create a connection between his personal cinematic narrative and the tangled urban space in the city of Rome. Our investigation is mainly focused on the so called “urban village” Palazzo Federici, a town within the city, which is the A Special Day and The Story of a Poor Young Man’s main loca

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2

Ranalli, Ingrid. "The Rassegna di Arti Figurative di Roma e del Lazio: the purchases by the City of Rome and the Capitoline cultural policy in the 1960s." La Diana, no. 5 (November 21, 2023): 12–41. http://dx.doi.org/10.36253/ladiana-2379.

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Despite numerous and continuous criticism for the overabundance of exhibited works and the lack of curatorial logic, six editions of the Rassegna di Arti Figurative di Roma e del Lazio were organised between 1958 and 1968 at the Palazzo delle Esposizioni in Rome. There are many areas that should be investigated, such as the process of selecting artists and the reasons why some of them withdrew, the reconstruction of the various set-ups and, also, the conflicting coexistence of experimental spaces in the city and outdated institutional exhibitions. This article aims to analyze, for the time bei

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3

Alberzoni, Maria Pia. "Nascita dei Comuni e memoria di Roma: un legame da riscoprire." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 102, no. 1 (2022): 159–89. http://dx.doi.org/10.1515/qufiab-2022-0011.

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Abstract The historiography on the Italian Communes has investigated the motives behind the new city governments. Jean-Claude Maire Vigueur and Chris Wickham have stressed different rationales in the actions of the communal elites. However, we should avoid underestimating the cultural power of a model still very much present in the Middle Ages: imperial Rome. In the crisis linked to the struggle for investiture, city elites were inspired by the Roman institutional model, albeit following different ‚models‘ (classical, Byzantine, Carolingian and Saxon). The communal world interpreted this legac

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4

Haxen, Ulf G. "Rom – den hebraiske bogs vugge." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 79. http://dx.doi.org/10.7146/fof.v56i0.118929.

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Ulf G. Haxen: Rome – Cradle of the Hebrew Book The Royal Library in Copenhagen has, throughout the twentieth century, received two substantial collections of Hebraica and Judaica. In 1933 the library acquired the private library of chief rabbi and professor David Simonsen, which amounted to an impressive 40,000 manuscripts, books and correspondence of scholarly importance. Dr. Lazarus Goldschmidt escaped Nazi Germany in 1938 and managed to bring his 2,500 volumes of Hebraica and Judaica, including 43 immaculate and well preserved incunables, safely to London. His entire collection of rar

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5

Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.

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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractu

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6

Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.

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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this pr

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7

Gozzano, Natalia. "Scaramuccia nel teatro di strada. Una proposta di ‘attribuzionismo teatrale’." Drammaturgia, December 22, 2023, 213–34. http://dx.doi.org/10.36253/dramma-15001.

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In the Museo di Roma at Palazzo Braschi there is a painting attributed to an anonymous Flemish painter of the 17th century depicting a theatre scene in Piazza Pasquino, whose iconography differs from the usual depiction of this subject spread by bamboozling painters in the 17th century. Instead of being crowded at the foot of a raised stage – as was typical in works depicting charlatans accompanied by the comedians of the Commedia dell’arte – the spectators are arranged in a circle around them. And, above all, the character in the centre of the scene has the physiognomy and costume typic

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8

Lomartire, Saverio. "IL GRUPPO EQUESTRE DI OLDRADO DA TRESSENO NEL BROLETTO DI MILANO." Istituto Lombardo - Accademia di Scienze e Lettere • Rendiconti di Lettere, July 4, 2023. http://dx.doi.org/10.4081/lettere.2022.817.

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equestrian statue depicting Oldrado da Tresseno (1233), ostentatiously placed in a niche in the centre of the southern façade of the 13th-century Palazzo della Ragione in the Broletto in Milan, represents one of the first large equestrian monuments of the mediaeval age and an early inspiration to those of Antiquity. Described and commented on, as early as the 14th century (Galvano Fiamma), as a self-celebratory portrait by a podestà, the relief, as widely acknowledged by critics, especially in the 20th century, undoubtedly presents stylistic features ascribable to the Antelami workshop and ind

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9

Hayward, Mark. "Two Ways of Being Italian on Global Television." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.25.

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“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the natio

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10

Hayward, Mark. "Two Ways of Being Italian on Global Television." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2718.

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   “We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the f

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Books on the topic "Rome (City). Palazzo di Propaganda"

1

Annie, Gilet, Musée des beaux-arts de Tours., and Palazzo Farnese (Rome Italy), eds. Giovanni Volpato: Les Loges de Raphaël et la Galerie du Palais Farnèse. Silvana, 2007.

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2

Il Palazzo di Propaganda. De Luca, 2005.

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3

Il Campidoglio: Storia di un monumento civile nella Roma papale. Electa, 2008.

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4

Gli eredi di Costantino: Il papato, il Laterano e la propaganda visiva nel XII secolo. Viella, 2000.

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5

Giovanni Volpato: Les Loges de Raphaël et la Galerie du Palais Farnèse. Silvana, 2007.

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