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Journal articles on the topic 'Venezia Venezia Venedig'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Arvidsson, Kristoffer. "Manet. Ritorno a Venezia, Dogepalatset, Venedig." Konsthistorisk tidskrift/Journal of Art History 83, no. 1 (January 2, 2014): 53–58. http://dx.doi.org/10.1080/00233609.2013.856340.

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Lohrmann, Dietrich. "Der Ingenieur Konrad Gruter von Werden in Ferrara, Venedig, Lucca und Pietrasanta (ca. 1402–1424)." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 97, no. 1 (December 20, 2017): 135–58. http://dx.doi.org/10.1515/qfiab-2017-0009.

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Riassunto Il nome del chierico e ingegnere Konrad Gruter di Werden/Ruhr e emerso solo nel 2006 con la pubblicazione del suo trattato De machinis et rebus mechanicis compilato nel 1424 a Venezia e dedicato al re Erik VII di Danimarca, Norvegia e Svezia. Al contempo e stato possibile ricostruire le tappe della sua attivita, lunga piu di trent’anni, come sperimentatore e ingegnere consigliere presso una serie di corti principesche italiane. Una fonte d’informazione, pero, e rimasta finora in gran parte inesplorata, vale a dire il materiale assai istruttivo, benche molto sparso, conservato nell’Archivio di Stato di Lucca. Alla raccolta di queste notizie ha collaborato Dr. Geoffrey Nuttall, Courtauld Institute London.

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Lohrmann, Dietrich. "Der Ingenieur Konrad Gruter von Werden in Ferrara, Venedig, Lucca und Pietrasanta (ca. 1402–1424)." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 97, no. 1 (March 5, 2018): 135–58. http://dx.doi.org/10.1515/qufiab-2017-0009.

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Riassunto Il nome del chierico e ingegnere Konrad Gruter di Werden/Ruhr è emerso solo nel 2006 con la pubblicazione del suo trattato De machinis et rebus mechanicis compilato nel 1424 a Venezia e dedicato al re Erik VII di Danimarca, Norvegia e Svezia. Al contempo è stato possibile ricostruire le tappe della sua attività, lunga più di trent’anni, come sperimentatore e ingegnere consigliere presso una serie di corti principesche italiane. Una fonte d’informazione, però, è rimasta finora in gran parte inesplorata, vale a dire il materiale assai istruttivo, benché molto sparso, conservato nell’Archivio di Stato di Lucca. Alla raccolta di queste notizie ha collaborato Dr. Geoffrey Nuttall, Courtauld Institute London.

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4

Pertot, Gianfranco. "Memoria e memorie risorgimentali a Venezia dopo l'annessione all'Italia." STORIA URBANA, no. 132 (February 2012): 111–63. http://dx.doi.org/10.3280/su2011-132005.

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Il Risorgimento a Venezia ebbe il suo piů fulgido episodio nell'esperienza della Repubblica di San Marco del 1848-49, che ebbe come protagonisti Daniele Manin, Niccolň Tommaseo e altri personaggi di spicco della cultura veneziana. Dopo l'annessione all'Italia (1866) i veneziani vollero innanzitutto ricordare gli eroi e le vicende di quel periodo. Anche a Venezia si costruirono monumenti al Re e a Garibaldi, ma mancň quell'opera capillare, estesa e continua di celebrazione dei protagonisti del Risorgimento, con manifesto intento di alfabetizzazione politica, quale si manifestň in molte altre cittŕ italiane nei primi decenni dopo l'Unitŕ. Pochi furono i monumenti eretti (con molte polemiche, ritardi, contrasti fra istituzioni, comitati, rappresentanti delle élite della cittŕ) e pochi anche i cambiamenti nella toponomastica. Venezia dopo il 1866 era una cittŕ in profonda crisi economica, sociale e di identitŕ. I modi contradditori con cui affrontň la celebrazione risorgimentali sono sintomo della difficile contingenza e della problematica convivenza fra il nuovo ordine moderato imposto con l'Unitŕ (peraltro in sintonia con il patriziato, ancora saldamente rappresentato ai vertici del governo cittadino), il ricordo dell'eroica ma sfortunata esperienza rivoluzionaria del 1848-49 e quello, latente, dell'autonomia goduta fino al 1797.

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5

Calaon, Diego. "Ecologia della Venetia prima di Venezia: uomini, acqua e archeologia." Hortus Artium Medievalium 20, no. 2 (May 2014): 804–16. http://dx.doi.org/10.1484/j.ham.5.102695.

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6

Wolny, Ryszard W. "Travel and Disease in Thomas Mann’s Death in Venice." European Journal of Language and Literature 5, no. 2 (May 31, 2019): 13. http://dx.doi.org/10.26417/ejls-2019.v5i2-196.

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Thomas Mann’s novella, Death in Venice (Der Tod in Venedig, 1912), presents a story of an artist, Gustav von Aschenbach, suffering from the writer’s block who travels to Venice to look for inspiration and where he eventually finds his death. In the meantime, he suffers from depression strengthened by feats of febrile listlessness, pressure in the temples, heaviness of the eyelids that make discontent befall him. The putrid smell of the lagoon hastens his departure, but a strange coincidence makes him change his mind. He returns to the hotel drawn by the enthrallment for the young lad, Tadzio, he had spotted there. Wandering through the streets of Venice, he ignores the health notices in the city, only later learning that there is a serious cholera epidemic in Venice. But he does not escape, nor does he warn the boy’s family of the fatal danger. He dies in his beach chair, looking at the boy on the beach. The aim of this paper is, therefore, to explore the relationship between travel and disease as juxtaposed with a growing passion for a youth, unmistakably, a sign of life affirmation in a sickly body and burnt-out mind.Thomas Mann’s novella has been a subject of extensive commentaries and criticisms for over a century since it was published in Germany, first, in serial form in 1912 and 1913 and, then when it was translated into the French and English in the 1920s, thus introducing it to the rest of the world. The peak of critical interest in Mann’s oeuvre may be pinpointed to the 1970s when Luchino Visconti’s film, Morte a Venezia (1971), was released and Benjamin Britten’s opera composed and first staged (1973).

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TAŞKIRAN, Hasan. "VENEDİK BAYLOSU'NUN DEFTERLERİ (1589-1684), EDİZİONİ CA'FOSCARI-DIGITAL PUBLISHING, VENEZIA 2014." Journal of Academic Social Sciences 31, no. 31 (January 1, 2016): 458. http://dx.doi.org/10.16992/asos.1375.

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8

Galery, Maria Clara Versiani. "Na cidade historiada: justiça e outros conflitos em O Mercador de Veneza, de William Shakespeare." Diálogos 23, no. 2 (June 7, 2019): 19. http://dx.doi.org/10.4025/dialogos.v23i2.46170.

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RESUMO: Na época em que Shakespeare escolheu Veneza para cenário de Otelo e O Mercador de Veneza, a cidade-república correspondia aos ideais renascentistas de liberdade e estabilidade. Descobertas no âmbito da geografia e da astronomia exigiam uma reavaliação do lugar ocupado por mulheres e homens na nova concepção do universo. Este ensaio pretende refletir sobre a Veneza mítica do imaginário shakespeariano, uma paisagem simbólica, menos física e concreta que ideológica. Nesse sentido, o trabalho recorre ao conceito foucauldiano de heterotopia para ilustrar como, na representação da cidade, se projetavam os anseios de uma época. Aqui, a jurisprudência é de importância central. PALAVRAS-CHAVE: Shakespeare, Mercador de Veneza, Renascimento, Veneza, heterotopia, jurisprudência In the storied city: justice and other conflicts of The Merchant of Venice ABSTRACT: When Shakespeare chose Venice as the location for Othello and The Merchant of Venice, the republic corresponded to Renaissance ideals of freedom and stability. Discoveries in the realm of geography and astronomy required a re-evaluation of the place occupied by women and men in the new conception of the universe. This essay intends to discuss the mythical Venice of Shakespeare’s imagination, a symbolic landscape, less physical and concrete than ideological. In this sense, this paper turns to Foucault’s concept of heterotopia to illustrate how the anxieties of an epoch were projected in the representation of the city. Here, jurisprudence is of central importance. KEYWORDS: Shakespeare, The Merchant of Venice, Renaissance, Venice, heterotopia, jurisprudence En la ciudad historiada: justicia y otros conflictos del Mercader de Venecia RESUMEN: En la época en que Shakespeare escogió Venecia como escenario de Otelo y El Mercader de Venecia, la ciudad-república correspondía a los ideales renacentistas de libertad y estabilidad. Los descubrimientos en el ámbito de la geografía y de la astronomía exigían una reevaluación del lugar ocupado por mujeres y hombres en la nueva concepción del universo. Este ensayo pretende reflexionar sobre la Venecia mítica del imaginario shakespeariano, un paisaje simbólico, menos físico y concreto que ideológico. En este sentido, el trabajo recurre al concepto foucauldiano de heterotopía para ilustrar cómo, en la representación de la ciudad, se proyectaban los anhelos de una época. Aquí, la jurisprudencia es de central importancia. PALABRAS CLAVE: Shakespeare, Mercader de Venecia, Renacimiento, Venecia, heterotopía, jurisprudencia

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Morse, Victoria. "Venezia e la nuova oikoumene: Cartografia del Quattrocento / Venedig und die neue Oikoumene: Kartographie im 15. Jahrhundert. Ingrid Baumgärtner and Piero Falchetta, eds. Venetiani 17. Rome: Viella, 2016. 290 pp. €29." Renaissance Quarterly 70, no. 3 (2017): 1086–87. http://dx.doi.org/10.1086/695182.

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10

Giani, Marco. "Polemiche a distanza fra Firenze e Venezia. Sulla perduta «Risposta» di Paolo Paruta alla «Lettera XXX» dello pseudo-Dante a Guido da Polenta (secondo XVI sec.)." e-Scripta Romanica 7 (December 3, 2019): 60–78. http://dx.doi.org/10.18778/2392-0718.07.06.

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Il saggio presenta tutti i dati disponibili utili al ritrovamento di un testo per ora fantasma, quale la Risposta di Paolo Paruta (Venezia, 1540 - 1598) alla Lettera XXX dello pseudo-Dante, falso d’autore editando il quale nel 1547 il fiorentino Anton Francesco Doni scatenò una violenta polemica politica anti-veneziana. Nuove ricerche dimostrano come nella celebre biblioteca padovana di Gian Vincenzo Pinelli fosse conservata una copia della Risposta. Paruta e Pinelli, infatti, condividevano molti interessi e conoscenze negli ambienti della Padova e della Venezia del Secondo Cinquecento.

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11

Hall, Crystal. "Galileo, Poetry, and Patronage: Giulio Strozzi’s Venetia edificata and the Place of Galileo in Seventeenth-Century Italian Poetry*." Renaissance Quarterly 66, no. 4 (2013): 1296–331. http://dx.doi.org/10.1086/675093.

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AbstractThe Venetian poet and librettist Giulio Strozzi (1583–1652) spent much of his career glorifying the Serenissima through a series of theatrical pieces. His only epic poem, the Venetia edificata (1621, 1624), while ostensibly a celebration of the republic, shows a level of commitment to Galileo Galilei (1564–1643) and to Galileo’s science that is unique among poets of the time, Venetian or otherwise. It is the apex of Strozzi’s artistic project to incorporate Galileo’s discoveries and texts into poetic works. The Venetia edificata also represents the culmination of a fifteen-year effort to gain patronage from the Medici Grand Dukes in Florence. While the first, incomplete version is dedicated to the Venetian Doge, the second, finished version is dedicated to Grand Duke Ferdinando II de’ Medici of Florence. More than a decade after Galileo’s departure from the Veneto to Florence, Strozzi cites from Galileo’s early works, creates a character inspired by Galileo, incorporates the principles of Galileo’s science into the organizing structure of the poem, and answers one of Galileo’s loudest complaints about Torquato Tasso’s Jerusalem Delivered (1581). Strozzi’s strategies both in writing the Venetia edificata and in seeking patronage for it underscore the ambivalent response to Galileo in contemporary poetry.

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12

Baxa, Paul. "‘Il nostro Duce’:Mussolini's visit to Trieste in 1938 and the workings of the cult of the Duce1." Modern Italy 18, no. 2 (May 2013): 117–28. http://dx.doi.org/10.1080/13532944.2013.781836.

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On September 18, 1938, Benito Mussolini disembarked in the port city of Trieste to begin a seven-day visit of theTre Venezie. The tour was in keeping with Mussolini's policy ofandare verso il popolowhich involved periodic visits to Italy's regions. It was also an opportunity to impose the cult of the Duce on a frontier region which had, since the 1920s, been the site of harsh anti-Slav policies designed to Italianize the Venezia-Giulia region. This article examines the workings of the cult in Trieste where the regime was anxious to demonstrate that it was present in a city that had felt neglected by Rome. Often viewed as a top-down enterprise, this article will explore how the cult of the Duce relied significantly on local dynamics and spaces.

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13

Rech, Sandra Regina. "O poder narrativo da moda em cinco palavras." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, no. 32 (August 3, 2021): 304–14. http://dx.doi.org/10.26563/dobras.i32.1378.

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Entre os meses de fevereiro e setembro de 2020, a exposição Memos. A proposito della moda in questo millennio ocupou as salas do Museu Poldi Pezzoli, na cidade de Milão, na Itália, com curadoria de Maria Luisa Frisa, crítica, professora da Università Iuav di Venezia, em Veneza – onde coordena o curso de graduação em Design de Moda e Multimídia – e autora de diversos livros e artigos na área da Moda. [...]

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Dell'Antonio, Simonetta Pasqualis, Rita Auriemma, and Alessandro Giacomello. "The last Doge's groom: How the Villa Manin stable became a regional institute and library for Friuli-Venezia Giulia cultural heritage." Art Libraries Journal 43, no. 1 (December 8, 2017): 37–44. http://dx.doi.org/10.1017/alj.2017.46.

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The 1976 earthquake that devastated much of the Friuli region of Italy also marked the rebirth of the Villa Manin as a centre for cataloguing and restoration. This essay charts how this Venetian villa transformed into an important centre for restoring and conserving the cultural heritage of the Friuli-Venezia Giulia region.

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15

Morán, José Alberto Moráis. "El estilo neomedieval veneciano en la historia de la arquitectura chilena (1906-1916)." Estudos Ibero-Americanos 44, no. 3 (December 21, 2018): 563. http://dx.doi.org/10.15448/1980-864x.2018.3.29287.

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Este trabajo analiza la aplicación del término estilístico neomedieval veneciano a ciertos edificios construidos por los arquitectos Ettore Petri, Arnado Barison y Renato Schiavon, en Valparaíso y Viña del Mar (Chile), durante los años 1906 y 1916. Se valora el carácter ambiguo de este concepto asumido por la historiografía, defendiendo la imposibilidad de considerar sus construcciones como meras evocaciones positivistas de la arquitectura medieval de Venecia. Al contrario, se describe un fenómeno más complejo y rico, basado en el uso de modelos edilicios de finales del siglo XIX y principios del XX, contrayendo una visión idealizada de la Edad Media, a partir del conocimiento de los diseños y textos de John Ruskin y Camillo Boito y la inspiración en construcciones medievales fuertemente restauradas. *** O estilo veneziano neo-medieval na história da arquitetura chilena (1906-1916) ***Este artigo analisa a aplicação do termo estilístico neomedieval veneziano a certos edifícios construídos pelos arquitetos Ettore Petri, Arnado Barison e Renato Schiavon, em Valparaíso e Viña del Mar (Chile), nos anos de 1906 e 1916. O caráter ambíguo deste conceito, assumido pela historiografia, é investigado, defendendo a impossibilidade de considerar suas construções como meros evocações positivistas da arquitetura medieval de Veneza. Pelo contrário, é descrito um fenômeno mais complexo e rico, baseado no uso de modelos de construção do final do século XIX e início do século XX. Este fenômeno foi concebido numa visão idealizada da Idade Média, baseada no conhecimento dos desenhos e textos de John Ruskin e Camillo Boito e a inspiração em construções medievais fortemente restauradas.Palavras-chave: neomedieval; gótico veneziano; palácio; Petri; Barison; Schiavon.

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16

Pawlik, Angela, and Henrick Stahr. "Die produktive Rezeption von Thomas Mann im Roman Ana em Veneza von João Silvério Trevisan (1994)." Pandaemonium Germanicum, no. 3 (November 5, 1999): 85. http://dx.doi.org/10.11606/1982-8837.pg.1999.63902.

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O romance Ana em Veneza (1994), de João Silvério Trevisan, é construído como um jogo literário de referências intertextuais à obra de Thomas Mann. Serviram de modelo, sobretudo, os contos Enttäuschung (Desilusão) e Tod in Venedig (Morte em Veneza) e o romance Doktor Faustus (Doutor Fausto). Trevisan utiliza personagens, motivos e temas de Thomas Mann em vários níveis de sua própria criação literária e os toma como padrão de uma noção "européia" de arte, cuja essência é discutida através das personagens, em busca de uma identidade artística especificamente brasileira. O artigo faz uma análise crítica desta recepção produtiva de motivos mannianos, referindo-se às idéias básicas do romance.

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Hernández Hernández, María. "El plan de desarrollo del aeropuerto de Venecia: propuestas para una infraestructura suprarregional." Investigaciones Geográficas, no. 18 (December 15, 1997): 149. http://dx.doi.org/10.14198/ingeo1997.18.03.

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Las infraestructuras han jugado un papel relevante desde el punto de vista de la planificación territorial al ser un elemento clave en la estructuración del espacio y al actuar como principio que fomenta el desarrollo de unas regiones y el desenclave de otras. Aspectos potenciados por las instalaciones aeroportuarias dada su función suprarregional. Tendencia evidenciados por el análisis del aeropuerto de Venecia, cuya área de influencia tradicional (regiones del Véneto, Trentino-Alto Adige y Friuli-Venezia-Giulia) es uno de los espacios más dinámicos de la península itálica. No obstante, presenta una serie de disfuncionalidades, consecuencia de su rápido crecimiento, que tratan de ser paliadas tanto por las autoridades regionales, tal y como se recoge en el Piano Territoriale Regionale di Coordinamente (Plan Territorial Regional de Coordinación) como por el ente encargado de su gestión, que ha elaborado el Piano Aeroportuale Generale (Plan aeroportuario). Estudio que pretende ser una apuesta de futuro.

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Astorino, Claudia Maria. "Turismo na Serenissima entre ficção e realidade: de Morte em Veneza, de Luchino Visconti, à pós-pandemia." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 20. http://dx.doi.org/10.12957/italianouerj.2021.62064.

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RESUMO: Ao longo de sua história, Veneza vem atraindo um número considerável de turistas. Incrustrados em tão singular cenário geográfico, seus canais, gôndolas, pontes, campi, tesouros arquitetônicos e artísticos constituem um legado singular e, consequentemente, uma oferta turística inigualável, que tem seduzido o imaginário de turistas potencias das mais distintas procedências. O presente estudo objetivou analisar como a atividade turística em Veneza tem evoluído e de que modo vem sendo ilustrada nas artes, sobretudo, no cinema, na música e nas artes visuais. Nesse sentido, formou-se um corpus de estudo composto por filmes e videoclipes italianos e estrangeiros, além de obras de artes visuais, com a finalidade de confrontá-los com as etapas do turismo no percurso do tempo. Trata-se, portanto, de um estudo qualitativo, descritivo e comparativo. A metodologia constou de pesquisa bibliográfica em fontes secundárias, de forma a traçar a evolução do turismo em Veneza, seguida pela composição do referido corpus de estudo, análise das obras selecionadas para este corpus e, por fim, comparação entre ficção e realidade.Palavras-chave: Veneza. Turismo. Ficção x realidade. Filmes e videoclipes. Artes visuais. ABSTRACT: Nel corso della sua storia, Venezia ha atratto un numero considerevole di turisti. Incastonati in uno scenario unico, i suoi canalli, gondole, ponti, campi, tesori architettonici e artistici costituiscono un patrimonio singolare e di consegenza un’offerta turistica impareggiabile che da sempre ha popolato l’immaginario di potenziali turisti delle più svariate origini. Il presente studio si è proposto ad analizzare come si è evoluta l’attività turistica a Venezia e come à stata illustrata nel campo delle arti, in particolare nel cinema, nella musica e nelle arti visive. Si è dunque formato un corpus di studio, composto da film e da videoclip italiani e stranieri, oltre ad opere di arti visive, per confrontarli con le tappe dello svilupo del turismo nel tempo. Si tratta quindi di uno atudio qualitativo, descrittivo e comparativo. La metodologia è costituita da una ricerca bibliografica su fonti secondarie, al fine di tracciare l’evoluzione del turismo a Venezia, seguita dalla composizione di un corpus di studio, dall’analisi delle opere selezionate per questo corpus ed infine dal confronto tra finzione e realtà.Parole-chiave: Venezia. Turismo. Finzione x realtà. Film e videoclipe. Arti visive. ABSTRACT: Throughout its history, Venice has attracted a considerable number of tourists. Embedded in such a singular geographic setting, its canals, gondolas, campi, architectural and artistic treasures constitute a unique legacy and, consequently, an unparalleled tourist offer that has seduced the imagination of potential tourists from the most diverse origins. The present study aimed to analyze how the tourist activity in Venice has evolved and how it has been illustrated in the arts, especially in cinema, music and visual arts. In this sense, a corpus was formed, composed of Italian and foreign films and video clips, in addition to visual arts works, in order to confront them with the stages of tourism in the course of time. It is, therefore, a qualitative, descriptive and comparative study. The methodology consisted of bibliographic research in secondary sources, in order to trace the evolution of tourism in Venice, followed by the composition of a study corpus, analysis of the works selected for this corpus and, finally, comparison between fiction and reality.Keywords: Venice. Tourism. Fiction x reality. Films and video clips. Visual arts.

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Sacchetti, Clara, and Batia Stolar. "Dancing Italian Culture: Venezia et al." Congress on Research in Dance Conference Proceedings 2016 (2016): 337–43. http://dx.doi.org/10.1017/cor.2016.45.

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How does Le Stelle, an ethnic dance group in the multicultural city of Thunder Bay, Ontario, Canada, represent Italian culture? Our article broaches this question by analyzing Le Stelle's 2012 “Carnivale of Venezia” dance. While the number is meant to evoke the Italian Renaissance, it creatively uses kinetic movements from ballet, Irish step dancing, and the Italian tarantella. It is staged to a 1950s Mantovani song mixed with music from Assassin's Creed II; and it utilizes Italian peasant costuming and Venetian masks. Our paper examines Le Stelle's use of these hybridities in staging Italian culture.

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20

Peixoto, Elane. "As dimensões da Escola de Veneza." Paranoá: cadernos de arquitetura e urbanismo, no. 25 (March 14, 2020): 1–13. http://dx.doi.org/10.18830/issn.1679-0944.n25.2020.01.

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Este artigo oferece um quadro histórico para a intelecção da Escola de Veneza, problematizando sua unidade, as tensões entre os grupos nela constituídos e aponta seu possível legado. As fontes pesquisadas são os anuários do “Istituto Universitario di Architettura di Venezia”, entrevistas com professores e ex-professores dessa instituição e revisão bibliográfica de autores não publicados no Brasil. Buscou-se ampliar o entendimento dessa instituição para além do que se consagrou como suas vertentes de pesquisa, os estudos tipológicos/ morfológicos e os historiográficos, incluindo as contribuições na intervenção de edifícios históricos e o pioneirismo na formação específica de planejadores urbanos.

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Brandenburg, Irene. "Europäische Musiker in Venedig, Rom und Neapel (1650-1750)/Les Musiciens européens à Venise, Rome et Naples (1650-1750)/Musicisti europei a Venezia, Roma e Napoli (1650-1750). Edited by Anne-MadeleineGoulet and Gesa zurNieden. Kassel: Bärenreiter. 2015. A." Journal for Eighteenth-Century Studies 40, no. 2 (May 9, 2017): 309–11. http://dx.doi.org/10.1111/1754-0208.12441.

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22

Russell, Anthony. "Portia goes to Washington: Shakespeare and Judge Kavanaugh." Forum Italicum: A Journal of Italian Studies 53, no. 2 (February 27, 2019): 602–6. http://dx.doi.org/10.1177/0014585819831682.

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Ne Il mercante di Venezia, William Shakespeare invita il lettore/spettatore a percepire l'ipocrisia di una societá veneziana nella quale la moralitá e la legge servono a tutelare i privilegi ed a legittimare le azioni del gruppo dominante. Questa pièce- che si accentra con insistenza sulla dimensione etica dell'atto interpretativo-funge qui da lente attraverso la quale meglio intendere le clamorose e turbanti vicende che si sono concluse di recente con la conferma del giudice Brett Kavanaugh alla Corte Suprema degli Stati Uniti.

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Lettieri, Gaetano. "Maquiavelo en Venecia. Un agente secreto del papa, la alianza antiimperial y la conspiración “Morone”." De Medio Aevo 10, no. 2 (April 10, 2021): 443–75. http://dx.doi.org/10.5209/dmae.75187.

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En este artículo se aportan pruebas documentales que permiten reconocer a un Maquiavelo que, en calidad de embajador secreto del papa, fue enviado a Venecia para llevar a cabo solo formalmente, siguiendo las órdenes de los Consoli dell´Arte della Lana, una misión, que no sería, por tanto, más que una mera fachada: recuperar una siempre indeterminada cantidad de ducados de oro que tres comerciantes florentinos se habían visto obligados a pagar al ser víctimas de una extorsión. La verdadera misión de Maquiavelo, en realidad, consistía en ponerse en contacto directo y personal con el dogo Gritti, con el objetivo de terminar de definir las condiciones relativas a la creación de una Liga militar anti-imperial y, por otra parte, observar en el mismo terreno como iba evolucionando la conspiración de Ávalos, orquestada, precisamente, por el mismo papa y Giberti, y organizada por Morone y Domenico Sauli. Siguiendo, por tanto, los documentos aquí presentados es posible interpretar de un modo absolutamente diferente la carta de Filippo de´Nerli en la que se menciona, hecho por todos conocido y que despertara más de una suspicacia, que Maquiavelo había ganado la lotería en Venecia; lotería que, casualmente, era gestionada por Giovanni Manenti, quien sería el mismo inminente productor de la segunda representación de la Mandragola en la Serenissima, además de actuar de intermediario secreto entre Maquiavelo y el propio dogo. [1] Traducción castellana, realizada por Mar Barbuto Fraga y controlada por el autor, del texto publicado originalmente como: Gaetano Lettieri, “Machiavelli in gioco. Un agente segreto papale a Venezia (1525)”, Studi e materiali di storia delle religioni, 84 (2), (2018), pp. 688-729.

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Pace, Valentino. "Skulptura u grckom maniru na franackom Mediteranu - ikona Majke Bozije sa Detetom u manastiru Pohoda Marijinog u Trevizu." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 325–31. http://dx.doi.org/10.2298/zrvi0744325p.

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(italijanski) Il Monastero della Visitazione di Treviso conserva un?icona che vi e giunta da Venezia nel XVII secolo. Non si hanno informazioni sulla sua originaria provenienza o sul suo committente. Datata, da analisi al carboonio 14, effettuate durante il restauro, a un?eta assai alta, tra il 664 e l?886 essa e stata pubblicata di recente come opera bizantina di eta macedone venendo anche identificata con la Vergine 'Ikokyra' di Costantinopoli: In questo articolo si ritiene invece che l?icona sia un tipico prodotto della cultura 'franca' di area mediterranea: All?imitazione di normativi modelli bizantini si congiungono infatti espressioni formali originate in occidente e confrontabili con opere, fra le quali la pala di Santa Chiara ad Assisi tardoduecentesca, simile per l?impostazione spaziale della figura 'iconica' stretta fra le colonnette. Altri confronti di dettaglio confermano la plausibilita di una data duecentesca, comunque non ateriore al 1200 circa. Il suo luogo d?origine puo essere stato un centro mediterraneo di dominio 'franco' o veneziano, non potendosi tuttavia nemmeno escludere del tutto una sua esecuzione a Venezia stessa.

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KOCIĆ, MARIJA. "THE PROBLEM OF “ALBANIAN NATIONALISM” DURING THE REIGN OF KOCA MEHMED RAGIB PASHA (1757-1763) IN THE LIGHT OF THE VENETIAN REPORT." ИСТРАЖИВАЊА, no. 26 (January 6, 2016): 82–90. http://dx.doi.org/10.19090/i.2015.26.82-90.

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This paper examines the position and actions of the Albanian population in certain sanjaks on the basis of published material of Venetian provenance. From the perspective of his position in Constantinople, Francesco Foscari, the Venetian ambassador (1757-1762) in the Ottoman Empire, followed with great interest the developments in connection with the actions of Albanians for several years, especially because their actions threatened to disrupt the Ottoman-Venetian relations. His correspondence is one of the major neo-Ottoman sources regarding the interests of Albanians and their relationship with the Ottoman authorities. This contemporary watched the events from the perspective of a man whose education, beliefs and manners did not belong to the Islamic (Ottoman) cultural sphere, which added credibility to his reports. The reports of Francesco Foscari are kept at the State Archive in Venice (Archivio di Stato di Venezia) and were published in 2007 due to the efforts of the publishing house La Malcontenta and editor Filippo Maria Paladini.

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Gregotti, Vittorio. "Venezia difficile." TERRITORIO, no. 67 (January 2014): 93–96. http://dx.doi.org/10.3280/tr2013-067016.

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Hilje, Emil. "Matrikula bratovštine Gospe od Umiljenja i Sv. Ivana Krstitelja u Znanstvenoj knjižnici u Zadru." Ars Adriatica, no. 2 (January 1, 2012): 97. http://dx.doi.org/10.15291/ars.442.

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The Mariegola of Our Lady of Tenderness and St John the Baptist and St John the Baptist (Mariegola della B. V. d’Umiltà e di S. Giovanni Battista del Tempi in Venetia) was obtained at Venice in the mid-nineteenth century by Aleksandar Paravia. The Paravia Library was bequeathed to the Research Library at Zadar, where this work is kept today. It is a codex manuscript containing three painted miniatures and a large number of decorated initials. It is akin to similar mariegole of various Venetian confraternities from the second half of the fourteenth century. However, it happens that this codex has not received equal attention in the scholarly literature as those preserved at Venice itself or in well-known international collections, and, as a consequence, the artistic quality of the miniatures and their place in the framework of the heritage of Venetian Gothic illumination has been neglected. Most publications focusing on Venetian Gothic painting, even those addressing specific themes in Gothic illumination, mostly mention the Zadar codex only in passing, while others omit it completely. With regard to the dates recorded in the mariegola text, it is possible to accept the dating of the manuscript to the last quarter of the fourteenth century, a date which is in harmony with the miniatures’ pictorial features. They reflect, in essence, a characteristic milieu of Venetian painting after Paolo Veneziano, in particular the painting circle of Paolo’s most significant follower, Lorenzo Veneziano. In that context, one can observe points of contact with the oeuvre of the Venetian painter Meneghello di Giovanni de Canali, who spent most of his career at Zadar, and it can be suggested that the miniatures may be related to his activity at Venice before coming to Zadar.However, in the mariegola itself, the lists of confraternity members record the names of several painters (Antonio de Cristofalo, Antonio, Jachomo, Marcho de Lorenzo, Nicholo de Domenego, Piero) some of whom have remained completely unknown until now, while others might be tentatively linked to the previously known names. Nonetheless, the very fact that as many as six painters were among the members of the confraternity points to the possibility that the creator of the miniatures might be one of them. At the same time, the name of the painter Piero de S. Lion is particularly intriguing as he might be identified with Pietro di Nicolò, Lorenzo Veneziano’s brother, and the name of the painter Marco de Lorenzo is also interesting as he may have been a son of the well-known painter.

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Legnani Annichini, Alessia. "El Tractatus de proxenetis, et proxeneticis de Benvenuto Stracca (1509-1578)." REVISTA LEX MERCATORIA Doctrina, Praxis, Jurisprudencia y Legislación 3, no. 1 (June 13, 2017): 49. http://dx.doi.org/10.21134/lex.v3i1.1249.

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Dentro del rico panorama de la tratadística cinquecentesca se encuentra el De proxenetis, et proxeneticis del anconitano Benvenuto Stracca (1509-1578), publicado por primera vez en Venecia en 1558 y articulado en cuatro partes, de las cuales la última –la más extensa– reúne algunas quaestiones que, según el autor, tienen el valor de convertir el tratado «uberiorem et fertiliorem» Considerándolo casi una suerte de apéndice al famoso De mercatura, seu mercatore, la compilación, dedicada al Cardenal Rodolfo Pio da Carpi (1500-1564) legado de la Marca, tiene el indiscutible mérito de condensar en un solo texto y sistematizar la communis opinio en la materia, proporcionando un cuadro de los principales problemas inherentes al mediador y la mediación a finales de la primera edad moderna. NOTAS * La autora agradece de un modo especial la excelente disponibilidad del Dr. Gabriel Antonio García Escobar, colegial del Real Colegio de España en Bolonia, para la traducción y corrección del texto en su versión castellana. [i] Para una primera aproximación a este jurista véase L. Franchi, Benvenuto Stracca giureconsulto anconitano del secolo XVI, Roma 1888; L. Goldschmidt, Benvenuto Straccha Anconitanus und Petrus Santerna Lusitanus, in «Zeitschrift für das gesamte Handelsrecht», 38 (1891), pp. 1-9; A. Lattes, Lo Stracca giureconsulto, en «Rivista di diritto commerciale», 7 (1909), pp. 1-28; Benvenuto Stracca nel quarto centenario della sua morte. Convegno di studio (Ancona, 29 marzo 1980), Ancona 1981; D. Maffei, Il giureconsulto portoghese Pedro de Santarém autore del primo trattato sulle assicurazioni, in Diritto Comune Diritto Commerciale Diritto Veneziano, a cura di K. Nehlsen-von Stryk e D. Nörr, Venezia 1985 (Centro tedesco di studi veneziani, Quaderni - 31), pp. 54-60; C. Donahue jr., Benvenuto Stracca's De Mercatura: Was There a Lex mercatoria in Sixteenth-Century Italy?, en From lex mercatoria to commercial law, a cura di V. Piergiovanni, Berlin 1987, pp. 69-120; V. Piergiovanni, Considerazioni comparative tra Benvenuto Stracca e Gerard Malynes, in Relations between the Ius Commune and English Law, a cura di R.H. Helmolz e V. Piergiovanni, Soveria Mannelli 2009, pp. 185-196 y, por último, Id., Stracca, Benvenuto, in DBGI, II, Bologna 2013, pp. 1920-1922. [ii] Benvenuto Straccha, De proxenetis, et proxeneticis Tractatus, Venetiis, apud Ioannem Baptistam, et Melchiorem Sessam fratres, 1558. [iii] Ibidem, c. 35r. [iv] Benvenuto Straccha, Tractatus De Mercatura, seu Mercatore, Venetiis, apud Michaelem Bonellum, 1575. [v] Sin pretensiones de exhaustividad sobre este ilustre personaje, distinguido con importantes misiones diplomáticas y llamado a dirigir la Comisión encargada de reformar y actualizar las Constituciones Egidianas (1357), véanse los más recientes: C. Hoffmann, Kardinal Rodolfo Pio da Carpi und seine Reform der Aegidianischen Konstitutionen, Berlin 1989; Alberto e Rodolfo Pio da Carpi collezionisti e mecenati. Atti del Seminario internazionale di studi (Carpi, 22-23 novembre 2002), a cura di M. Rossi, Tavagnacco 2004, y la bibliografía en ambos citada.

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Favero, Giovanni. "Venezia dopo Venezia: economia e demografia urbana nel novecento." Laboratoire italien, no. 15 (December 31, 2014): 79–89. http://dx.doi.org/10.4000/laboratoireitalien.830.

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Dursteler, Eric. "Identity and Coexistence in the Eastern Mediterranean, ca. 1600." New Perspectives on Turkey 18 (1998): 113–30. http://dx.doi.org/10.1017/s0896634600002909.

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Of the many European states that interacted with the Ottoman Empire in the early modern era, few did so as extensively as the Most Serene Republic of Venice,La Serenissima. The two empires shared a lengthy border and a common historical trajectory for almost 500 years, during which time the political and economic fortunes of both were intimately intertwined. While occasionally interrupted by brief periods of open hostility, for the most part this relationship was characterized by peaceful coexistence. Venetian historiography at present, however, is unable to explain this reality. Rather, in painting the picture of Venice’s relations with the Ottoman Empire, scholars have relied on broad strokes that depict a series of rather simple, binary relationships—East/West, Muslim/Christian, Venetian/Turk. This dichotomy is readily apparent in the titles of important monographs on the topic:Islam and the West, Europe and the Turk, Venezia e i turchi.

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Wolff, Larry. "The Modern Reconception of the Early Modern Venetian Adriatic." Austrian History Yearbook 42 (April 2011): 52–55. http://dx.doi.org/10.1017/s006723781100004x.

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For Fernand Braudel, the early modern adriatic appeared, as it did on Venetian maps, as the Golfo di Venezia. Venice, ruling also over the Dalmatian coast and the Ionian Islands, controlled shipping on the Adriatic and made the Adriatic into the Venetian basis for commercial activity all over the eastern Mediterranean. Braudel also credited to Venice the establishment of an Italian cultural sphere of influence around the Adriatic: “The gulf was Venetian, of course, but in the sixteenth century it was more than this; it was the sphere of a triumphant Italian culture. The civilization of the peninsula wove a brilliant, concentrated web along the east coast of the sea.” Braudel, carrying out his research in the 1930s and publishing in 1949, might have been well aware that the Italian trans-Adriatic presence, even when triumphant—as in the case of Mussolini's occupation of Dalmatia—might not be something to celebrate as brilliant. Furthermore, reconsidering the early modern Adriatic, one might today wonder whether the term “Italian”—with its modern national meaning—should be used with caution in describing early modern cultural influence. Indeed, one might simply suggest that Venetian power on the Adriatic was the vehicle of Venetian culture—not Italian culture—on the Adriatic, an early modern imperial rather than a modern national idiom, and present even at Ragusa, which was independent of Venice.

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Kezich, Giovanni. ""Genti" a Venezia." La Ricerca Folklorica, no. 12 (October 1985): 137. http://dx.doi.org/10.2307/1479257.

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Sapio, Maria Del, and Sergio Perosa. "Hemingway e Venezia." Modern Language Review 87, no. 1 (January 1992): 186. http://dx.doi.org/10.2307/3732352.

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34

Gasparini, Roberto, Donatella Panatto, Bruna Dirodi, Rosa Prato, Gianni Amunni, Valter Turello, Luigi Sudano, Paolo Cristoforoni, Sara Boccalini, and Paolo Bonanni. "Friuli-Venezia Giulia." Farmeconomia. Health economics and therapeutic pathways 13, no. 2S (November 20, 2012): 34–36. http://dx.doi.org/10.7175/fe.v13i2s.456.

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In Friuli-Venezia Giulia region 86% of women (aged 24-64) are screened regularly, meaning every 3 years. The analysis on cross-protective activity exercised by bivalent and quadrivalent vaccines shows that the bivalent vaccine could prevent more pre-cancerous lesions and cases of cervicocarcinoma than quadrivalent, and that the latter could prevent genital warts that are not prevented by bivalent. The major number of cases avoided by the bivalent make it possible to fully offset the cost savings related to warts associated with the quadrivalent vaccine. Furthermore, a cost-effectiveness analysis shows that, considering regional tariffs, the multiple cohort (12-year-old + 25-year-old women) vaccination strategy with a 90% coverage could prevent 8 cases of cervicocarcinoma and 3 related deaths more than the vaccination of only 12-year-old girls, and thus proves to be cost-effective (11,960 €/QALY).

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Cavallo, Maria Caterina, Filippo Cipriani, Simone Gerzeli, Nadia Demarteau, Alessia Marocco, and Francesco Bamfi. "Friuli Venezia Giulia." Farmeconomia. Health economics and therapeutic pathways 9, no. 1S (September 15, 2008): 35–37. http://dx.doi.org/10.7175/fe.v9i1s.1005.

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In Friuli Venezia Giulia region 75,1% of women (aged 25-64) are screened regularly, meaning every 3 years. Considering regional tariffs and vaccine acquisition cost, the vaccination of 12-year-old girls with a 90% coverage could prevent 15 cases of cervicocarcinoma and 6 related deaths and thus results to be cost-effective (27.766 €/QALY). When the vaccination programme is extended to 16-year-old girls a further 14 cancer cases and 6 deaths could be prevented, with a very similar cost-effectiveness ratio. In Friuli Venezia Giulia region, the net cost for woman vaccinated is 167 € for the single cohort and 169 € for the multiple cohort.

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Soroka, Ellen. "Restauro in Venezia." Journal of Architectural Education 47, no. 4 (May 1994): 224–41. http://dx.doi.org/10.1080/10464883.1994.10734611.

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Soroka, Ellen. "Restauro in Venezia." Journal of Architectural Education (1984-) 47, no. 4 (May 1994): 224. http://dx.doi.org/10.2307/1425340.

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Pasolini, Pier Paolo. "L'accelerato Venezia-Udine." Italianist 5, no. 1 (June 1985): 150–58. http://dx.doi.org/10.1179/ita.1985.5.1.150.

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Laneri, Maria Teresa. "Sull'autore del commentario In Rhetorica Ciceronis ad Herennium (Venezia 1490): Girolamo Capiduro pseudonimo di Giorgio Valla?" Rhetorica 37, no. 3 (2019): 265–85. http://dx.doi.org/10.1525/rh.2019.37.3.265.

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Nel 1490 fu pubblicato a Venezia, sotto il nome di un ignoto Girolamo Capiduro, un In Rhetorica ad Herennium commentarium che godette di un notevole successo e di numerose ristampe. Attraverso l'analisi del testo, si intende dimostrare come esso sia in realtà il recupero di un commentario di Giorgio Valla, composto al tempo in cui questi insegnava Retorica a Pavia. Girolamo Capiduro è dunque uno pseudonimo che l'umanista Giorgio Valla, allora insegnante di Retorica presso la Scuola veneziana di San Marco, usò per la stampa della sua opera giovanile; opera con la quale egli tentò di rispondere a quella corrente di pensiero che proprio in quegli anni aveva iniziato a mettere in dubbio la paternità ciceroniana del trattato.

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Coletti, Fabien. "AUX ANTIPODES DE LA LITTÉRATURE ANTIPPUTANESCA VÉNITIENNE." Revista Internacional de Culturas y Literaturas, no. 15 (2014): 200–221. http://dx.doi.org/10.12795/ricl.2014.i15.17.

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Cet article est l´édition critique des Stanze in lode delle più famose cortigiane di Venegia par Marco Bandirini, publiés à Vénice à 1540, dont l´exemplaire est part de la collection de la British Library. Comme ses oeuvres montrent, l´auteur, partisan d´Ariosto, est plus intéressant pour comprendre les modes littéraires du temps que par son valeur poétique. En suivant le genre de las Stanze in lode di nobildonne, il loue ainsi les courtisanes plus célèbres de Vénice comme modéles de vertu et honnêteté, loin des canon de la poésie pornographique par Pietro Aretino ou Lorenzo Venier.

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Laven, David. "Law and order in Habsburg Venetia 1814–1835." Historical Journal 39, no. 2 (June 1996): 383–403. http://dx.doi.org/10.1017/s0018246x0002029x.

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ABSTRACTMuch recent historiography has adopted a revisionist approach to Habsburg policy in restoration Italy, jettisoning the ‘black legend’ which long surrounded Austrian rule of Lombardy-Venetia. Nevertheless the Habsburg police still tend to be portrayed as essentially repressive, constantly preoccupied with the threat of revolution. This case study of the police in the Venetian provinces during the reign of Francis I challenges such a view. It looks first at the problem of establishing forces of law and order in the aftermath of Napoleonic rule, demonstrating how under-funding conservatism and a desire for uniformity with the rest of the empire meant that the Venetian constabulary was often ill-suitedfor the prevention of crime. Then follows an examination of the part played by the police in the administrative machine. This emphasises a number of roles performed by higher-ranking police officials and the secret police, and suggests their major concerns were not merely with the threat of revolution, but with gathering information essential for efficient government, and with maintaining a watchful eye over other branches of the bureaucracy. These in turn contributed considerably to the efficiency of Habsburg rule and the remarkable political passivity of the Venetian provinces in this era.

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SCIANNA, NICOLANGELO. "INDAGINE SUI GRANDI GLOBI A STAMPA DI VINCENZO CORONELLI." Nuncius 15, no. 1 (2000): 235–57. http://dx.doi.org/10.1163/182539100x00498.

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Abstracttitle SUMMARY /title In the second part of this study of the 3 foot globes we analysed the celestial globes. We directly examined 31 globes, the answers to 9 questionnaires and the two editions of the Libro dei Globi. We found out that four cartouches, used as the means of comparison, present some variations according to the editions which proved to be five for the convex globe and two for the concave one. The research allowed us to discover a previously unknown type of celestial globe. We attributed it to the first Venetian edition. There are only two examples of this type: one at the Centro Studi Ricerche Ligabue in Venezia and the other at the Harry Humanities Research Center, University of Texas at Austin.

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ΚΩΝΣΤΑΝΤΙΝΙΔΟΥ, ΚΑΤΕΡΙΝΑ. "ΤΑ ΛΗΞΙΑΡΧΙΚΑ ΒΙΒΛΙΑ ΤΟΥ ΒΕΝΕΤΟΚΡΑΤΟΥΜΕΝΟΥ ΧΑΝΔΑΚΑ (1632-1642). ΣΤΕΓΑΝΑ ΚΑΙ ΔΙΚΤΥΑ ΕΠΙΚΟΙΝΩΝΙΑΣ ΜΕΤΑΞΥ ΤΩΝ ΑΝΩΤΕΡΩΝ ΚΟΙΝΩΝΙΚΩΝ ΣΤΡΩΜΑΤΩΝ." Eoa kai Esperia 7 (January 1, 2007): 173. http://dx.doi.org/10.12681/eoaesperia.87.

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Lo sviluppo di una base elettronica di dati per la registrazione di testimonianzed'archivio derivanti dai registri di matrimonio, nascita e battesimodei nobili veneti di Handaka durante il dominio veneziano, nel quadro dellostudio del funzionamento dei consigli comunali e della mobiità degli stratisociali superiori a Creta (XVI-XVII secolo), costituiscono la prima parte delpresente studio. La seconda parte si propone come obbiettivo l'indagine delleforti chiusure e delle reti di comunicazione fra i membri di questo stratosociale, tramite il materiale d'archivio schedato. Come periodo indicativodello studio si è scelto il decennio 1632-1642: gli ultimi anni pacifici per Cretaprima dell'inizio della guerra tra Venezia e Impero Ottomano e, parallelamente,periodo di cristallizzazione delle formazioni sociali. Nel quadro diqueste circostanze si esaminano i rapporti tra i nobili veneti e i nobili cretesidell'isola, compiendo un'indagine meticolosa su centoventotto atti di matrimonio,nascita e battesimo. In linea generale, si accerta che i nobili veneti e inobili cretesi, a prescindere dalle particolari differenze ο anche dagli scontri,agiscono come una casta sociale chiusa. Il clima dell'introversione sociale, inalcuni casi perfino dell'introversione all'interno del nucleo familiare, vienesostenuta dalla fitta rete di rapporti che si sviluppa sui fulcri dei matrimoni,delle nascite e dei battesimi. Più specificatamente, l'estrazione sociale dei dueconiugi, così come la scelta dei testimoni ο dei padrini, denota la tendenza alrafforzamento dei legami tra gli strati superiori di Creta, nell'ambito dei quali,intesi come unità, si manifestano forti chiusure.

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Simonetto, Michele. "Franco Venturi e Venezia." SOCIETÀ E STORIA, no. 153 (September 2016): 547–67. http://dx.doi.org/10.3280/ss2016-153008.

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Di Franco, Andrea. "Un progetto per Venezia." TERRITORIO, no. 67 (January 2014): 97–102. http://dx.doi.org/10.3280/tr2013-067017.

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Reinerman, Alan J., and Alvisi Zorzi. "Venezia Austriaca 1798-1866." American Historical Review 94, no. 1 (February 1989): 177. http://dx.doi.org/10.2307/1862183.

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Ioly Zorattini, Pier Cesare. "Domenico Gerosolimitano a Venezia." Sefarad 58, no. 1 (June 12, 2018): 107. http://dx.doi.org/10.3989/sefarad.1998.v58.i1.836.

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El artículo se ocupa de la identificación hebrea de Domenico Gerosolimitano, célebre censor de libros hebreos que trabajó en Italia entre fines del siglo XVI y los primeros veinte años del XVII. Gracias a haber descubierto en Venecia el acta de bautismo, el autor ha logrado identificar a Domenico Gerosolimitano con el rabino Samuel Vivas de Jerusalén y precisar la fecha exacta de su conversión al catolicismo (6 de agosto de 1593). El estudio arroja además nueva luz sobre la estancia en Venecia de Domenico y sobre sus inicios como censor de libros hebreos.

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Logan, William. "Gli Insetti di Venezia." Antioch Review 56, no. 2 (1998): 202. http://dx.doi.org/10.2307/4613662.

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Favaretto, Pierpaolo. "Piattaforma Logistica Venezia 2020." Méditerranée, no. 111 (June 1, 2008): 31–37. http://dx.doi.org/10.4000/mediterranee.2691.

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Cossaro, E. "Filariasi Genitalica a Venezia." Urologia Journal 57, no. 3 (June 1990): 342–44. http://dx.doi.org/10.1177/039156039005700317.

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