Journal articles: 'San giovanni'

1

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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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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Calvino, Italo. "The Road to San Giovanni." Grand Street, no. 46 (1993): 10. http://dx.doi.org/10.2307/25007667.

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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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Toker, Franklin. "Il Battistero di San Giovanni a Firenze/The Baptistery of San Giovanni, Florence Antonio Paolucci." Journal of the Society of Architectural Historians 55, no. 3 (September 1996): 346–47. http://dx.doi.org/10.2307/991163.

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Pasquato, Ottorino. "Giovanni Crisostomo, Panegirici su San Paolo." Augustinianum 30, no. 1 (1990): 198. http://dx.doi.org/10.5840/agstm199030115.

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7

Ravasi, Thea, Paolo Liverani, Ian Haynes, and Stephen Kay. "SAN GIOVANNI IN LATERANO 2 PROJECT (SGL2)." Papers of the British School at Rome 88 (September 21, 2020): 350–54. http://dx.doi.org/10.1017/s0068246220000082.

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Tułodziecki, Tomasz. ""L'ira dell’Agnello" nell'Apocalisse di san Giovanni (6,16–17)." Biblica et Patristica Thoruniensia 6 (February 4, 2014): 207. http://dx.doi.org/10.12775/bpth.2013.012.

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Barletta, Marco. "Il corpo del testo. Elementi di traduzione transfemminista queer." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 18 (January 17, 2020): 174. http://dx.doi.org/10.7203/eutopias.18.16851.

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Dybski, Henryk. "Monastycyzm w Palestynie i Syrii w świetle źródeł patrystycznych IV i V wieku." Vox Patrum 42 (January 15, 2003): 411–36. http://dx.doi.org/10.31743/vp.7169.

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II monachesimo in Siria pure inizió all'inizio del IV secolo, e si espresse nella forma di vita anacoreta. Afrate ii Siro, Sant'Efrem e San Giovanni Crisostomo furono i propagatori della vita anacoreta in Siria. I monaci che vivevano in questo paese erano caratterizzati da una vita molto dura e da inusuali pratiche ascetiche. Secondo lo storico Sozomeno, il primo monaco eremita fu Aones. San Gerolamo sostiene peró che il primo eremita fu sant'Ilarione. Famoso stilita fu Simeone il maggiore. Elemento caratteristico del monachesimo siro era il fatto che gli anacoreti in una certa fase della propria vita entravano in monastero, e viceversa. In Siria esistevano anche monasteri femminili. In questo paese c'erano inoltre donne che conducevano vita eremitica. Le piu famose fra loro furono Marana, Syra e Domnina. Occorre sottolineare come San Girolamo visse da eremita in Siria. Durante un breve periodo della sua vita fu ad Antiochia Paola romana. In questa citta visse la famosa asceta diaconessa Sabiniana, zia di san Giovanni Crisostomo.

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Degórski, Bazyli. "Biskupi Rzymu w "Pratum spirituale" Jana Moschosa." Vox Patrum 46 (July 15, 2004): 371–89. http://dx.doi.org/10.31743/vp.6838.

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Giovanni Mosco, nel "Pratum spirituale", menziona direttamente i tre vescovi di Roma: san Pietro Apostolo, san Leone Magno e san Gregorio Magno. San Pietro, peró, viene menzionato soltanto occasionalmente e mai direttamente. Nel presente articolo, perció, egli non viene trattato separatamente, ma solo quando e menzionato nei capitoli che presentano san Leone Magno o san Gregorio Magno. Conformemente alla nomenclatura che si e sviluppata nel primo periodo patristico, la parola „papa" non era riservata soltanto al vescovo di Roma, ma veniva utilizzata anche da altri vescovi, ad esempio: da que!li di Alessandria.

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Turek, Waldemar. "„Kto pokłada w nim tę nadzieję” (1J 3,3) w interpretacji niektórych pisarzy łacińskich okresu patrystycznego (Augustyn, pseudo-Hilary z Arles, Beda Czcigodny)." Vox Patrum 49 (June 15, 2006): 683–92. http://dx.doi.org/10.31743/vp.8245.

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Agostino, Pseudo-Ilario di Arles e Beda il Venerabile hanno commentato nei loro scritti il versetto della Prima Lettera di san Giovanni Apostolo: „Chiunque ha questa speranza in lui, purifica se stesso, come egli e puro” (1Gv 3, 3). II Vescovo d’Ippona, polemizzando con la dottrina proposta da Pelagio e i suoi seguaci, interpretava la frase di Giovanni nel contesto del suo insegnamento sulla liberta e la grazia.

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Pellegrino Confessore, Ornella. "Padre Pio e il santuario di San Giovanni Rotondo." Mélanges de l’École française de Rome. Italie et Méditerranée 117, no. 2 (2005): 713–26. http://dx.doi.org/10.3406/mefr.2005.10459.

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14

Zincone, Sergio. "Il valore teologico della predicazione di san Giovanni Crisostomo." Augustinianum 49, no. 2 (2009): 407–20. http://dx.doi.org/10.5840/agstm20094925.

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15

Dawson, Terence. "Giovanni Bellini, the San Giobbe Altarpiece, and theimitatio Christi." Jung Journal 8, no. 3 (July 3, 2014): 24–36. http://dx.doi.org/10.1080/19342039.2014.929613.

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Martínez González, Emilio J. "Pregare: dal gemito al ricordo. San Giovanni della Croce." Teresianum 70, no. 2 (June 2019): 459–505. http://dx.doi.org/10.1484/j.ter.5.119238.

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LOMBARDO, Dino. "L’illuminazione della basilica di San Giovanni Evangelista a Ravenna." Hortus Artium Medievalium 26 (May 2020): 18–26. http://dx.doi.org/10.1484/j.ham.5.121686.

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Bianco, Alessia, and Vincenza Triolo. "Architectural Conservation and Cultural Inclusion - The Applicative Case of Motta San Giovanni (Reggio Calabria-Italy) and its Romanian Community." Advanced Engineering Forum 11 (June 2014): 447–51. http://dx.doi.org/10.4028/www.scientific.net/aef.11.447.

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The paper describes a proposal for restoration and reuse of the Praci neighborhood in Motta San Giovanni, an inland town of the Reggio Calabria Province, aimed to accommodate and facilitate the integration of its migrant Romanian community. The project proposes a plan of self-constructive restoration, to be used as the residence of Romanian migrants, that for the Municipality could be a tool to make the whole community responsible for management and conservation of now abandoned a vernacular building heritage and for the migrant community could constitute not only an opportunity for improving its living, as well as social, condition, but also for taking advantage of a educative experience, considering that a significant part of Romanian migrants in Motta San Giovanni is employed in construction.

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Kuznetsova, Nataliya S. "THE IMAGE OF THE ALTAR OF ST. PETER'S BASILICA IN THE ROMAN CHURCHES OF THE 12-13TH CENT." Articult, no. 3 (2020): 56–64. http://dx.doi.org/10.28995/2227-6165-2020-3-56-64.

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The Main purpose of the study is an analysis of influence of the image of St. Peter's Basilica on the Roman church architecture of the 12th-13th centuries. It is possible to search the special type of the presbytery, characterized by uniting of the altar on the pedestal and the reliquary “confession” in the general vertical composition. The congregation of these churches had opportunities to see the process of worship and approach the saint relicts. The altar stood so that the Priest served the mass facing the worshippers, as it was in San Pietro. So, this important monument of Rome could be a model for the other churches of the Middle Ages. Among the churches of this period, such features have the altar space of San Giovanni in Laterano, as well as the basilicas of San Giorgio in Velabro, Santa Maria Assunta in Anagni and Santi Giovanni e Paolo in Ferentino. All these buildings was connected with the Power of Papa.

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Rovira, Mercè, Juan Francisco Hermoso, and Agustí J. Romero. "Performance of Hazelnut Cultivars from Oregon, Italy, and Spain, in Northeastern Spain." HortTechnology 27, no. 5 (October 2017): 631–38. http://dx.doi.org/10.21273/horttech03705-17.

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Eleven hazelnut (Corylus avellana) cultivars, four Spanish (Clon La Masó, Negret N-9, Negret Primerenc, and Pauetet), four Italian (San Giovanni, Tonda Italiana, Tonda di Giffoni, and Tonda Romana), and three cultivars from Oregon State University’s (OSU) breeding program (Clark, Lewis, and Willamette), were evaluated in northeastern Spain over a period of 15 years (2001–14). The trial was planted at the Institute of Agriculture and Food Research and Technology (IRTA)-Mas de Bover Station (Constantí, Spain) in 2001, using own-rooted material, in single-trunk, 6 × 3.5-m spacing, and fitted with drip irrigation. Tree vigor, sucker production, early bearing, and total crop were recorded during the first 9 years. Nut traits were studied over 7 years and nutritional composition analyzed in 3 years. The best agronomic performance was observed in ‘San Giovanni’, ‘Pauetet’, ‘Clon La Masó’, and ‘Tonda Italiana’ that scored the highest total crop and canopy volume, but ‘San Giovanni’ and ‘Clon La Masó’ produced a high number of suckers. The best industrial value of the kernel was given by ‘Tonda di Giffoni’, ‘Negret N-9’, ‘Willamette’, and ‘Clark’ with high roasting aptitude and high fat content, although ‘Negret N-9’ was a little poor in monounsaturated fatty acids. The three cultivars from the Oregon breeding program had good agronomic behavior and industrial potential, but were not an improvement on the traditional Mediterranean cultivars.

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21

Lupieri, Edmondo. "Viva San Juan: Il culto di San Giovanni Battista in area mesoamericana. Alcuni esempi." Numen 35, no. 1 (July 1988): 79. http://dx.doi.org/10.2307/3270142.

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22

Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

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Infussi, Francesco. "Giovanni Hanninen: "Continuità e frammentazione. Spazi aperti a San Donato"." TERRITORIO, no. 78 (September 2016): 186–97. http://dx.doi.org/10.3280/tr2016-078022.

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25

Rosenberg, Jesse, and Aubrey S. Garlington. "Confraternity and Carnevale at San Giovanni Evangelista, Florence, 1820-1924." Notes 51, no. 1 (September 1994): 141. http://dx.doi.org/10.2307/899203.

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26

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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Garruccio, Roberta. "Visualising Deindustrial Ruins in an Oral History Project: Sesto San Giovanni (Milan)." (Post-)Industrial Memories. Oral History and Structural Change 31, no. 2-2018 (October 6, 2020): 80–101. http://dx.doi.org/10.3224/bios.v31i2.07.

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My contribution focuses on a photo collection dedicated to Sesto San Giovanni, a medium-sized city north of Milan that became the fifth largest industrial district in Italy after WWII. Built around the beginning of the 20th century, its heavy industries were dismantled before that century drew to its close. Closely connected to a campaign of interviews conducted by historians and social anthropologists, the images under consideration aim to relate the photographic representation of former industrial spaces in Sesto as they are today to the oral testimonies and memories gathered between 2013 and 2015. The article elaborates on several points: it briefly sketches the reasons why Sesto San Giovanni is a relevant place to study structural change and deindustrialisation; defines the nature of the visual documentation we gathered during our oral history project; describes the context where this evidence has been conceived and collected; and attempts some suggestions to understand where the fascination that emanates from these images lies, and what contemporary viewers can perceive from them as part of a large deindustrial ruin imagery, something becoming a “global genre”.

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O'Regan, Noel, and Giancarlo Rostirolla. "Il Codice 59 dell'Archivio Musicale della Basilica di San Giovanni in Laterano: autografo di Giovanni Pierluigi da Palestrina." Notes 56, no. 1 (September 1999): 233. http://dx.doi.org/10.2307/900522.

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Cesaretti, Enrico. "Preoccnpazione devozionale nellaRappresentazione di San Giovanni e Paolodi Lorenzo de' Medici." Italianist 15, no. 1 (June 1995): 67–82. http://dx.doi.org/10.1179/ita.1995.15.1.67.

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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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Beghi, E., ML Monticelli, L. Amoruso, and MM Zarrelli. "Prevalence, Characteristics, and Patterns of Health Care Use for Chronic Headache in Two Areas of Italy. Results of A Questionnaire Interview in General Practice." Cephalalgia 23, no. 3 (April 2003): 175–82. http://dx.doi.org/10.1046/j.1468-2982.2003.00523.x.

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We set out to define the prevalence, clinical features and severity of chronic headache among the affiliates of two groups of general practitioners (GPs) and to illustrate the diagnostic and therapeutic modalities employed. A semistructured questionnaire was completed for 2291 children and adults, seen at office or home consultations over a 6-month period by 44 GPs in two areas of Northern Italy (Varese and Sondrio) and Southern Italy (San Giovanni Rotondo), to assess the presence and the clinical features of chronic headache, the severity of the disease (i.e. the degree of interference with work and daily living activities), the diagnostic work-up, and the main treatment modalities. GPs attempted the classification of headache according to the International Headache Society (IHS) criteria. The sample comprised 910 men and 1381 women aged 2-92 years; 39% of cases reported chronic headache (Varese/Sondrio 40%; San Giovanni Rotondo 38%; men 28%; women 47%). Headache was mostly present for >10 years, with one to three attacks/month lasting 4-24 h. Headache was mild in 18% of cases, moderate in 29%, severe in 24%, and very severe in 29%. Diagnostic assessment and treatment varied in the study areas. Diagnostic work-up, hospital admissions, referral to headache centres, and treatment modalities tended to be correlated with headache severity. The GPs could not classify headache using the IHS categories in 27% of cases (Varese/Sondrio 11%; San Giovanni Rotondo 78%). An inverse correlation was found between case classification and use of subsidiary diagnostic and therapeutic aids. Chronic headache is common among individuals seen in general practice. The patterns of health care use tend to be correlated to its severity. A better knowledge of the IHS criteria may be directly related to lower management costs.

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OKADA, Satoshi. "GIOVANNI BATTISTA PIRANESI : ARCHITETTOFOR SAN GIOVANNI IN LATERANO (I) : Piranesi's "colonnato" and Tuvarra's project for il Duomo di Torino." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 432 (1992): 149–53. http://dx.doi.org/10.3130/aijax.432.0_149.

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Villa, Angelo. "La trappola della memoria." COSTRUZIONI PSICOANALITICHE, no. 22 (December 2011): 97–109. http://dx.doi.org/10.3280/cost2011-022009.

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L'autore racconta la sua cittŕ, Sesto San Giovanni, con uno sguardo "prossimo alla memoria e alle sue inestinguibili ambiguitŕ, alle sue irrimediabili manipolazioni..." in una tensione costruttiva del senso dell'identitŕ, sia individuale che sociale. Di fronte all'omologazione che la logica di mercato l'autore suggerisce il ricorso alla memoria, alle sue elaborazioni, come spinta ad accettare la sfida che il futuro impone.

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YOSHIKAWA, Itsuji. "On the Dates of the Mosaic of San Giovanni Baptistery of Florence." Nippon Gakushiin kiyo 45, no. 3 (1991): 113–42. http://dx.doi.org/10.2183/tja1948.45.113.

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Joost-Gaugier, Christiane L., and Heidi L. Chretien. "The Festival of San Giovanni: Imagery and Political Power in Renaissance Florence." Sixteenth Century Journal 27, no. 2 (1996): 559. http://dx.doi.org/10.2307/2544197.

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Shepherd, Rupert. "Francesca Venusta, the Battle of San Ruffillo and Giovanni Sabadino degli Arienti." Renaissance Studies 10, no. 2 (June 1996): 156–70. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00354.x.

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Civico, Riccardo, Anna Maria Blumetti, Edi Chiarini, Francesca Romana Cinti, Elena La Posta, Felicia Papasodaro, Vincenzo Sapia, Marco Baldo, Giorgio Lollino, and Daniela Pantosti. "Traces of the active Capitignano and San Giovanni faults (Abruzzi Apennines, Italy)." Journal of Maps 12, sup1 (October 15, 2016): 453–59. http://dx.doi.org/10.1080/17445647.2016.1239229.

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Santo, AP, E. Pecchioni, and CA Garzonio. "The San Giovanni Baptistery in Florence (Italy): characterisation of the serpentinite floor." IOP Conference Series: Materials Science and Engineering 364 (June 2018): 012069. http://dx.doi.org/10.1088/1757-899x/364/1/012069.

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Shepherd, Rupert. "Francesca Venusta, the Battle of San Ruffillo and Giovanni Sabadino Degli Arienti." Renaissance Studies 10, no. 2 (June 1996): 156–70. http://dx.doi.org/10.1111/1477-4658.00202.

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Sudati, Laura Francesca. "Immigrazione, grande fabbrica, integrazione. Sesto San Giovanni nei primi cinqualt'anni del Novecento." SOCIETÀ E STORIA, no. 127 (July 2010): 117–25. http://dx.doi.org/10.3280/ss2010-127007.

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García Gainza, María Concepción. "Sobre tres tablas pintadas del siglo XVI." Boletín de Arte, no. 34 (November 18, 2017): 125–34. http://dx.doi.org/10.24310/bolarte.2013.v0i34.3446.

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Se dan a conocer tres tablas inéditas de pintura del siglo XVI que pertenecieron al museo del Colegio Capuchinos de Lecároz (Navarra). Representan la Lapidación de San Esteban, San Julián y Santa Basilisa haciendo la limosna y santo obispo bendiciendo los campos. Sus dimensiones aproximadamente iguales hacen pensar que las tres tablas formaron parte de un retablo. Tanto por su iconografía como por su colorido manierista pueden considerarse como pinturas propias de la Contrarreforma de hacia 1590, lo que se hace evidente en la Lapidación de San Esteban que copia una estampa grabada de Ecclesiae Militantes Triunphi (Roma, 1585) que recoge la iconografía jesuítica de la Contrarreforma dedicada a los primeros mártires del cristianismo a los que se relaciona con la doctrina teológica del Concilio de Trento. El grabado se debe a Giovanni Battista Cavallieri.

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Davies, Paul. "Saving the Soul of Giovanni di Bicci de’ Medici: Function and Design in the Old Sacristy of San Lorenzo." Architectural History 62 (2019): 1–37. http://dx.doi.org/10.1017/arh.2019.1.

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AbstractUsing Giovanni di Bicci de’ Medici's mausoleum in San Lorenzo in Florence as a case study, this article asks why high-ranking members of Florentine society increasingly opted for burial in a sacristy in the years after c. 1350. Countering the argument that the attraction for patrons was primarily one of size, it argues that sacristies were seen as ideal burial places in which to convey the souls of the departed through purgatory, since they were both repositories for collections of saints’ relics that might intercede on the deceased's behalf and the busiest spaces in a church, where priests would have had innumerable opportunities to offer prayers for them. In discussing this choice, the article considers Giovanni di Bicci de’ Medici's anxiety for the health of his soul and why he took the highly unconventional step of establishing two chapels in San Lorenzo to care for it; and it goes on to consider how the design of the so-called Old Sacristy was conceived to assist. In doing so, it offers a range of new documentary evidence regarding the early usage of the space, and it concludes with observations about the strategies employed by patrons in the siting of their tombs so as to maximise the care for their souls.

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D'Angelo, Lorenzo, and Pietro Zanirato. "Come una cittŕ si ricorda e immagina il suo futuro." COSTRUZIONI PSICOANALITICHE, no. 22 (December 2011): 133–42. http://dx.doi.org/10.3280/cost2011-022011.

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L'obiettivo dell'articolo č di proporre una elaborazione delle nozioni di "abitare" e di "memoria" nell'ambito dell'antropologia urbana. Attraverso la prospettiva di Heidegger sull'abitare (bauen) e la rilettura di Ingold sulla "prospettiva dell'abitare" (dwelling perspective), questo articolo analizza come una cittŕ elabora la memoria del suo passato e immagina il suo futuro. Il caso di Sesto San Giovanni mostra come i siti industriali del passato possano diventare parte di un immaginario materiale collettivo.

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Greene, Kevin, Alastair M. Small, Robert J. Buck, and C. J. Simpson. "The Excavations of San Giovanni di Ruoti 1: The Villas and Their Environment." American Journal of Archaeology 103, no. 3 (July 1999): 577. http://dx.doi.org/10.2307/507010.

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Kertzer, David I., and Donald Howard Bell. "Sesto San Giovanni: Workers, Culture, and Politics in an Italian Town, 1880-1922." Journal of Interdisciplinary History 18, no. 3 (1988): 523. http://dx.doi.org/10.2307/203918.

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Joseph L. Tropea and Janet S. Salvati. "Following Paesani Trails and Intimacies: San Giovanni and the Fairmont Coalfield." Journal of Appalachian Studies 23, no. 1 (2017): 72. http://dx.doi.org/10.5406/jappastud.23.1.0072.

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Roberts, David D., and Donald Howard Bell. "Sesto San Giovanni: Workers, Culture, and Politics in an Italian Town, 1880-1922." American Historical Review 93, no. 2 (April 1988): 454. http://dx.doi.org/10.2307/1860010.

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Passerini, Luisa, and Donald Howard Bell. "Sesto San Giovanni: Workers, Culture, and Politics in an Italian Town, 1880-1922." Labour / Le Travail 23 (1989): 374. http://dx.doi.org/10.2307/25143200.

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Pedley, John Griffiths, Alastair M. Small, and Robert J. Buck. "The Excavations of San Giovanni di Ruoti 1: The Villas and Their Environment." Phoenix 50, no. 1 (1996): 88. http://dx.doi.org/10.2307/1192691.

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Lavin, Marilyn. "The Joy of St. Francis: Giovanni Bellini’s Panel of San Francesco del Deserto." L’annuaire du Collège de France, no. 109 (March 1, 2010): 1050–51. http://dx.doi.org/10.4000/annuaire-cdf.401.

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Journal articles on the topic 'San giovanni'

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