Littérature scientifique sur le sujet « Faenza (Italie) »
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Articles de revues sur le sujet "Faenza (Italie)"
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Robinson, Richard. « The Faenza Codex ». Journal of Musicology 34, no 4 (2017) : 610–46. http://dx.doi.org/10.1525/jm.2017.34.4.610.
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Owing to gaps in the documentary evidence, the study of medieval instrumental music remains beset with uncertainties. Yet once a context can be established for a given manuscript, it is often possible to establish where the manuscript was probably used, what function it performed, and for which instrument or instruments it was most likely intended. No example highlights this point more clearly than the Faenza Codex (FaenBC 117; henceforth Faenza), an Italian manuscript containing the largest surviving collection of instrumental music from before 1450. This article re-examines the repertorial context of Faenza, challenging in particular the widely held view that the manuscript contains distinct “secular” and “sacred” repertoire. When combined with the results of a comprehensive investigation of voice-crossings in the manuscript, it is possible to demonstrate beyond all doubt that the Faenza intabulations were intended for solo organ.
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Colonna Dahlman, Roberta. « Narrazione dell’abbandono tra letteratura e cinema ». Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 51, no 1 (18 juillet 2016) : 125–46. http://dx.doi.org/10.1075/rro.51.1.05dah.
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This paper aims at offering a comparative analysis of the narrator in the novel I giorni dell’abbandono (2002) by the Italian writer Elena Ferrante, and the narrator in the cinematographic version of the same work I giorni dell’abbandono (2005), directed by Roberto Faenza. The paper focuses on some narrative properties that emerge in Elena Ferrante’s novel and compares the literary narrator to the cinematographic narrator in Roberto Faenza’s movie. Furthermore, the paper discusses different narrative strategies as used in these two different media, literary text and cinematographic work.
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Atti, A. R., A. Modenese, M. Bellini, F. Moretti, S. Cesano, V. Bernabei, B. Ferrari, E. Dalmonte et D. De Ronchi. « Suicidal Ideation in Italian Elderly. Preliminar data from the “Faenza Project” ». European Psychiatry 24, S1 (janvier 2009) : 1. http://dx.doi.org/10.1016/s0924-9338(09)71321-5.
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Aims:To evaluate prevalence rate of suicidal ideation among Italian elderly and to investigate possible socio-demographic and psychopathological features of suicide attempters in a population-based study.Methods:461 subjects (mean age 85 years; 52.9% women; 49.2% widow) were interviewed using the Revised Cambridge Examination for Mental Disorders in the Elderly. the presence of suicidal ideation was assessed by the Scale for Suicide Ideation. the association between suicidal ideation and its correlates was analysed by Logistic Regression Model estimating Odds Ratios and 95% Confidence Intervals (OR, 95%CI).Results:Eighteen (3,8%) persons refused to answer to questions concerning suicide thoughts. Only one participant declared to have attempted suicide (a 92 years-old men, widow, living on his own and complaining about depressive feelings). Overall suicidal ideation prevalence was 7.3%: wish to die (3.8%) and not worth living (13%). Gender, age, education, marital and socio-economic status were similar in subjects with and without suicidal ideation. Subjects with suicidal ideation had fewer family contacts, were less satisfied of their general health status and had a higher number of depressive and anxiety symptoms. However, when all these conditions were tested in the same model, only depressive symptoms were still significantly associated with suicidal ideation (OR, 95%CI=9.6, 3.3-27.9).Conclusion:The worldwide aging of the population deserves attention to psycho-geriatric medicine. Study on suicide in late-life are of interest to detect elderly at risk and to emphasize this increasing phenomenon.
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Cesano, S., A. R. Atti, F. Moretti, V. Bernabei, V. Morini, A. Modenese, E. Dalmonte et D. de Ronchi. « Anxiety Syndrome and Somatic Morbidity in an Italian Elderly Population ». European Psychiatry 24, S1 (janvier 2009) : 1. http://dx.doi.org/10.1016/s0924-9338(09)70750-3.
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Aims:To evaluate anxiety syndrome prevalence and to investigate the association between anxiety and somatic morbidity in a population-based study of elderly: the “Faenza Project” (De Ronchi, 2005).Methods:6987 cognitively intact subjects living in the Faenza area (mean age 71,88 years; 59,2% women) underwent semi-structured interviews and were clinically assessed in order to evaluate somatic and mental health status (ICD-10 criteria). Multi-morbidity was defined as the presence of two or more somatic diseases (hypertension, diabetes, dyslipidemia, cardiovascular, gastro-intestinal, endocrine diseases, psychiatric disorders, osteoporosis, Parkinson's disease (PD) and stroke). The association between anxiety and somatic morbidity was calculated by Logistic regression analysis estimating Odds Ratios and 95% Confidence Intervals (OR, 95%CI), adjusting for age, education, gender, marital status, socio-economic status, smoking habits and alcohol consumption.Results:The prevalence of anxiety syndrome was 11,1% (8,6% women vs 2,5% men, p< 0.001). Taking into account possible confounders, anxiety syndrome was associated with depressive syndrome (OR,95%CI=4.55,3.73-5.54), osteoporosis (OR, 95%CI=1.37,1.13-1.65), Parkinson's disease (OR,95%CI=4.18,2.55-6.85) and multi-morbitidy (OR,95%CI=1.75,1.46-2.10). When all these conditions were included simultaneously in the logistic model, however, only depressive syndrome and PD were still significantly associated with anxiety: OR,95%CI=4.10,3.22-5.23 and OR, 95%CI=3.02,1.73-5.28 respectively.Conclusions:The well known association between depression and anxiety is confirmed in our elderly population independently of other medical factors. Furthermore, a strong association between PD and anxiety resulted independently of co-occurrence of depression.
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Nati, Anna Maria. « Il Museo Internazionale delle Ceramiche in Faenza : il sistema delle misurazioni ». MANAGEMENT CONTROL, no 2 (septembre 2012) : 93–116. http://dx.doi.org/10.3280/maco2012-002005.
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Taking into account information derived from several written documents, website sources and interviews as well as proposals from both italian and foreign doctrine, the author examines the most significant measurements of the Museo Internazionale delle Ceramiche in Faenza. The three aims of this survey are: - to verify to what extent the budget meets the standards indicated by academic scholars in Business Administration; - to ascertain how problems originated by the cost accounting practice have been resolved and which the connected aims are; - to illustrate the performance indicators utilized, including their specific aims.
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Pagliaro, Annamaria. « De Roberto and Faenza : Ideological Shifts in I Viceré ». Quaderni d'italianistica 34, no 1 (22 juillet 2013) : 241–66. http://dx.doi.org/10.33137/q.i..v34i1.19881.
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This article examines the relationship between De Roberto’s I Viceré and Faenza’s film adaptation focusing on the two texts’ different ideological positions and narrative strategies. Both texts depict the mechanisms employed by a ruling caste to remain in power through a period of acute social change. The novel, through a multifocal narration, gives agency to individuals for shaping their environment and presents them in their alienating subjective deformation of reality, casting the historymaking process and any interpretation of it in an ambivalent light. The film focuses on the family saga and on the ongoing trasformismo of the Italian political system bringing to the fore its resonance with the present. The characters, particularly Consalvo as the principal voice, are represented as victims of a larger socio-political mechanism.
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Moretti, F., A. R. Atti, S. Cesano, V. Morini, C. Forlani, V. Bernabei, A. Modenese, E. Dalmonte et D. De Ronchi. « The use of MMSE to Identify Mild Cognitive Impairment (MCI). A Population-Based Study ». European Psychiatry 24, S1 (janvier 2009) : 1. http://dx.doi.org/10.1016/s0924-9338(09)71086-7.
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Aims:To evaluate the prevalence of MCI and its subtypes in the Faenza Project, using the Mini-Mental State Examination (MMSE).Methods:Subjects living in the municipality of Faenza were clinically assessed. The diagnosis of MCI was achieved according to international criteria using a double-step procedure: first, we excluded subjects with dementia, functional impairment and MMSE< 24, leaving 6,745 persons. Then, the performance in different cognitive domains was considered and scores less than 1.5 standard deviations below the age- and education-adjusted norms on MMSE were settled as cut-offs. Four subtypes were identified: amnestic MCI, single non-memory MCI, multidomains non-amnestic, multidomains amnestic MCI.Results:2,720 (40.3%) participants met MCI criteria. Prevalence were 4% (amnestic MCI), 26.5% (single non-memory MCI), 4.4% (multidomains amnestic MCI), and 5.4% (multidomains non-amnestic MCI).Conclusions:MCI is common among Italian elderly. In our study prevalence are higher than reported in other population-based studies. The use of MMSE with different operational criteria, diverse sampling and assessment procedure might explain such discrepancy. The role of MMSE to identify persons with mild cognitive deficits deserves concerns. However, MMSE is largely used in both clinical practice and research and has been suggested as a useful screening tool for assessing the degree of cognitive impairment in the guidelines for the Report of the Quality Standards Subcommittee of the American Academy of Neurology.
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Byungsun Bang. « Study on the Chinoiserie Style of Italian Faenza Ceramics in the 17th-18th Century ». Journal of Korean Studies ll, no 69 (juin 2019) : 135–60. http://dx.doi.org/10.17790/kors.2019..69.135.
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Virágh, Ágnes. « A nápolyi hadjáratok ismeretlen epizódja ». Belvedere Meridionale 32, no 2 (2020) : 119–32. http://dx.doi.org/10.14232/belv.2020.2.6.
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Humanist authors regarded mercenaries with contempt, and in their works they gladly referred to those ancient writers who also condemned the utilization of mercenary armies. Mercenaries are mentioned in the Italian chronicles of the 14th century as well, and the author of the Cronaca senese recorded the brutal attack of John Hawkwood’s company on Faenza. The notary of Apulia, Domenico da Gravina frequently reproved in his chronicle the German mercenaries on account of their excesses. In this paper I examine the passage that presents the mercenary revolt of Aversa, in which the Voivode of Transylvania, István Lackfi conducted a dialogue with the rebelling mercenary captains in order to reach an agreement with them.
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Ruíz Solórzano, Jaime. « Objetos Rituales ». Paideia Surcolombiana, no 12 (1 novembre 2006) : 9. http://dx.doi.org/10.25054/01240307.1049.
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El presente artículo es un texto crítico sobre la obra de Martha Eugenia Pachón Rodríguez, egresada del programa de Artes Visuales de la Universidad Surcolombiana, quien actualmente reside y desarrolla su trabajo creativo en Italia. Este texto inicialmente fue publicado en Faenza con traducción al italiano y al inglés por Emma Suñol y Romana Malbasa, respectivamente.1 Se incluye aquí con el fin de explicar las imágenes contenidas en esta edición de la revista Paidea Surcolombiana y, simultáneamente, divulgar la obra de esta artista de nuestra Región.El texto aborda en orden secuencial: una breve memoria de sus actividades y características personales como estudiante; la aproximación al trasfondo cultural de sus obras; un rastreo de las tradiciones artísticas que ha influenciado su lenguaje creativo; la síntesis del proceso de creación; la interpretación de imágenes metafóricas a partir del análisis de las forma y el contenido.
Thèses sur le sujet "Faenza (Italie)"
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Bagattoni, Emanuela. « Dal neoclassicismo al purismo : Pietro Tomba e l'archietettura a Faenza in et a' rivoluzionaria e napoleonica ». Paris 8, 2010. http://www.theses.fr/2010PA084138.
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Après son inclusion dans la légation pontificale de la Romagne, au début du XVIe siècle, la ville de Faenza connaît deux siècles de relative stagnation culturelle. A l’écart des grands courants artistiques qui traversent l’Italie et l’Europe, elle retrouve, au fil des années, un grand élan idéologique et culturel : au cours du XVIIIe siècle, cet essor entraîne un développement exceptionnel de l’architecture et du décor, censé caractériser la ville pendant toute la période révolutionnaire et napoléonienne et la transformer dans l’une des capitales du Néoclassicisme. Grâce à l’action éclairée de quelques maîtres d’ouvrage locaux érudits et très bien renseignés sur les nouveautés internationales, tels que les Comtes Laderchi et Milzetti, les architectes G. Pistocchi, G. A. Antolini, P. Tomba, et le peintre F. Giani, ont la possibilité de réaménager la ville et de lui conférer son aspect néoclassique actuel. L’esprit novateur de Pistocchi, de Antolini et de Tomba, ne se limite cependant pas aux édifices : de nombreux projets nous montrent tout leur talent, leur grande culture et l’interaction entre leur style et les poétiques architecturales les plus avancées d’Europe. Pietro Tomba, en particulier, est négligé – à tort – par les chercheurs et les critiques tout au long du XXe siècle, malgré son rôle primordial dans le développement de l’architecture de la Romagne et dans la promotion de son évolution stylistique du Néoclassicisme au Purisme. En dépit de la similitude avec l’architecture visionnaire française de ses premières œuvres, dont la plupart sont restées à l’état de projet, les travaux réalisés par l’architecte vers la fin du Premier Empire et le début de la Restauration, s’inscrivent dans la continuité classique : caractérisés par une tendance à la sobriété et au « retour à l’ordre », ils semblent témoigner d’une parfaite compréhension des changements idéologiques, politiques et sociaux, qui affermissent les principes conservateurs de l’époqueAfter being included in the Pontifical Legation of Romagna, at the beginning of the 16th century, Faenza went through two centuries of cultural stagnation. Apart from the major Italian and European art movements, the town experienced important ideological and cultural changes. During the 18th century, these changes led to an exceptional architectural and decorative development that marked the local Revolutionary and Napoleonic era and transformed the town into one of the capitals of Neoclassicism. Cultured and modern enlightened customers, such as Count Laderchi and Count Milzetti, allowed the architects G. Pistocchi, G. A. Antolini, and P. Tomba and the painter F. Giani, to modernise the town and to contribute towards its present neoclassical style. But the new buildings are not the only innovation introduced by Pistocchi, Antolini and Tomba: besides being a clear demonstration of how brilliant and learned they were, their projects are an interesting example of interaction with the later European architectural and artistic poetics. During the 20th century, researchers and critics did not pay the due attention to these artists, especially to Pietro Tomba, a key figure in local architecture. Actually, he was one of the most important promoters of the stylistic evolution from Neoclassicism to Purism in the Romagna region. His youthful works – mainly projects dating from the Jacobin era – have many characteristics, which are typical of the French visionary architecture. The works dating from the end of the First Empire and the beginning of the Restoration period still subscribe to Classicism, but show a greater sobriety and sense of order. This tendency has to be seen as a perfect understanding of the ideological, political and social changes that were strengthening the conservative principles underpinning society during those years
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Del, Castello Antonio. « La tradizione del Liber de virtutibus et vitiis di Servasanto da Faenza : edizione critica delle distinctiones I-IV ». Tesi di dottorato, Paris, ENC, 2013. http://www.theses.fr/2013ENCP0001.
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On propose ici l’édition critique des quatre premières distinctiones du Liber de virtutibus et vitiis de Servasanto de Faenza, prédicateur franciscain qui vécut très probablement à Florence, au couvent Santa Croce, dans la deuxième moitié du XIIIe siècle. La première distinctio porte sur la grâce et la culpabilité en général ; les autres, respectivement, sur la foi, l’espérance et la charité. Partiel, le texte est établi pour autant sur la base de la recension complète des quatre manuscrits subsistants et, le cas échéant, par le recours prudent au texte de la célèbre Summa de virtutibus et vitiis de Guillaume Péraut (Lyon, 1571), massivement remanié par Servasanto. Bien que le titre remontant à l’archétype soit Tractatus de virtutibus et vitiis, on garde l’intitulation Liber de virtutibus et vitiis témoignée par une partie de la tradition, car elle est la seule utilisée dans la bibliographie moderne sur notre auteur depuis un article fondamental du père Livario Oliger publié en 1924The dissertation presents the critical edition of the first four distinctions from Liber de virtutibus et vitiis by Servasanto da Faenza, a Franciscan preacher living at the Santa Croce monastery in Florence in the second half of the XIIIth century. The first distinctio deals with grace and guilt in general terms, while the following ones, respectively, concern the treatment of faith, hope and charity. Even though the edition is not complete, the text was established on the basis of the whole recensio of the four surviving manuscripts, and in some occasions, appealing to the well-known Summa de virtutibus et vitiis by Guglielmo Peraldo, a work that Servasanto widely reshapes and reuses in his own text. The title of the archetype is supposed to be Tractatus de virtutibus et vitiis, but the title Liber de virtutibus et vitiis is here preserved as it is common in the critical bibliography since Livario Oliger's pivotal article published in 1924
Il lavoro consiste nell’edizione critica delle prime quattro distinctiones del Liber de virtutibus et vitiis di Servasanto da Faenza, predicatore francescano vissuto probabilmente a Firenze, presso il convento di Santa Croce, nella seconda metà del XIII secolo. La prima distinctio è dedicata alla trattazione della grazia e della colpa in generale; le altre, rispettivamente, a quella della fede, della speranza e della carità. Benché l’edizione dell’opera sia parziale, il testo è stabilito sulla base della recensio completa dei quattro testimoni superstiti e, in qualche caso, con il ricorso prudente al testo della celebre Summa de virtutibus et vitiis di Guglielmo Peraldo, riutilizzato largamente da Servasanto. Il titolo che presumibilmente risale all’archetipo è Tractatus de virtutibus et vitiis, tuttavia si conserva l’intitolazione Liber de virtutibus et vitiis perché invalsa nella bibliografia critica a partire da un articolo fondamentale di padre Livario Oliger del 1924
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Feile, Tomes Maya Caterina. « Neo-Latin America : the poetics of the "New World" in early modern epic : studies in José Manuel Peramás's 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza 1777) ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273742.
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This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.
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« The Italian Organ Mass : Bridging the Gap between Faenza Codex (c.1430) and Fiori musicali (1635) ». Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36465.
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abstract: This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.Dissertation/Thesis
Doctoral Dissertation Music 2015
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Tylová, Kateřina. « Toskánské cisterciácké kláštery : filiace San Galgana vzniklé ve 13. století ». Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404658.
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The topic of the diploma thesis is the activity of the Cistercian monastic order in the area of Tuscany. During the main wave of founding the Cistercian monasteries in Italy, the area of Tuscany, whose medieval boundaries roughly correspond to its current ones, was under major political influence of Florence, Siena, Pisa and Lucca. Most monasteries in the region were founded in the vicinity of these cities. This work aims to contribute to the discoveries about the influence of these cities and their elites on the establishing of foundation of the white monks in Tuscany. The goal of this work is an analysis of circumstances and causes of the arrival of the Cistercians in the Tuscany region, where they arrived relatively late, compared to other Italian regions. The work focuses on the specificities of the Cistercian movement of the foundation of monasteries. The fist Cistercian foundation in Tuscany was the monastery San Galgano. Most of the Cistercian abbeys in the region predominantly from the 13th century was affiliated with San Galgano. The diploma thesis aims to describe the development of the Cistercian order and its monasteries in the area by exploring specific Cistercian foundations in Tuscany. Possibly the most important monastery in the region was San Galgano, which served as the maternal monastery...
Livres sur le sujet "Faenza (Italie)"
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Guidotti, Carmen Ravanelli. "Bianchi" di Faenza : Faenza-faïence. [Ferrara] : Belriguardo, 1996.
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Guidotti, Carmen Ravanelli. "Bianchi" di Faenza : Faenza-faïence. [Ferrara] : Belriguardo, 1996.
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Guidotti, Carmen Ravanelli. Thesaurus : Di opere della tradizione di Faenza nelle raccolte del Museo internazionale delle ceramiche di Faenza. Faenza (RA) : Agenzia polo ceramico, 1998.
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Bojani, Gian Carlo. Per una storia della ceramica di Faenza : Materiali dalle mura del Portello. Faenza (Ra) : Edit Faenza, 1997.
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Biancini, Angelo. Angelo Biancini tra Faenza e Laveno : Ceramiche 1937-1940. Firenze : Centro Di, 1993.
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Guidotti, Carmen Ravanelli. La Fabbrica Ferniani : Ceramiche faentine dal barocco all'eclettismo. Cinisello Balsamo, Milano : Silvana, 2009.
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Pasolini-Zanelli, G. Il teatro di Faenza dal 1788 al 1888. Sala Bolognese : A. Forni, 1986.
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Cortesi, Santa. La pittura su maiolica a Faenza nel secondo Ottocento. [Faenza, Italy] : S. Casanova, 2002.
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Dirani, Stefano. Fabbriche di maioliche a Faenza dal 1900 al 1945. 2e éd. [Faenza, Italy] : Edit Faenza, 2002.
Trouver le texte intégralChapitres de livres sur le sujet "Faenza (Italie)"
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Botarelli, Lucia. « The Pottery held at the Museo Internazionale delle Ceramiche in Faenza ». Dans The 1927–1938 Italian Archaeological Expedition to Transjordan in Renato Bartoccini’s Archives, 209–14. Archaeopress Publishing Ltd, 2015. http://dx.doi.org/10.2307/j.ctvr43k25.22.
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