Articles de revues : « Galleria nazionale delle Marche »

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Vacirca, Silvia. « The Poetry of Simplicity : Fashion and Design According to Monica Bolzoni/Bianca e Blu, Monica Bolzoni, Curated by Anna Di Cesare ». Studies in Costume & ; Performance 7, n^o 2 (1 décembre 2022) : 273–77. http://dx.doi.org/10.1386/scp_00081_5.

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Mercier, Franck. « Salvation in Perspective : A New Interpretation of Piero Della Francesca’s Flagellation of Christ ». Annales. Histoire, Sciences Sociales 72, n^o 3 (septembre 2017) : 489–523. http://dx.doi.org/10.1017/ahsse.2020.2.

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An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Continuing in a rich and varied hermeneutic tradition, this article proposes a new interpretation of this famous painting, diverging both from a political reading (based on the supposed links with the Byzantine Empire) and from the other traditional solution which argues for the ordinary nature of Piero’s iconography. The analysis of the geometrical pictorial space and its potential theological significance leads to a reconsideration of the painting as a visual meditation on temporality inspired by Saint Augustine, as well as a singular spiritual exercise.

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Mercier, Franck. « Le salut en perspective : Un essai d'interprétation de la Flagellation du Christ de Piero della Francesca ». Annales. Histoire, Sciences Sociales 72, n^o 3 (septembre 2017) : 737–71. http://dx.doi.org/10.1017/s0395264917001226.

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RésuméChef-d’œuvre absolu de la perspective linéaire, véritable icône de la Renaissance, la Flagellation du Christ de Piero della Francesca (conservé à la Galleria Nazionale delle Marche, à Urbino) constitue l'une des grandes énigmes picturales du Quattrocento italien. L'incertitude ne porte pas seulement sur la datation ou sur la destination primitive du tableau, mais encore et surtout sur le sujet représenté. En dépit de longues discussions sur la signification globale de l'image, en particulier à propos de l'identification des trois figures situées à l'avant-plan, la Flagellation reste un profond mystère. Dans le prolongement d'une riche et abondante tradition herméneutique, cet article propose une nouvelle interprétation de cette célèbre peinture qui s’écarte d'une lecture politique (fondée sur ses liens supposés avec l'Empire byzantin) ainsi que de la vision traditionnelle affirmant la banalité de son iconographie. L'analyse de la géométrie de l'espace pictural et de sa signification théologique potentielle conduit à reconsidérer le tableau comme une méditation visuelle sur la temporalité inspirée par saint Augustin, en même temps qu'un exercice spirituel singulier.

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Polini, Benedetta, et Federico Sofritti. « "Destinazione Marche" : politiche turistiche e viaggi per le famiglie (prima dell'epidemia da Covid-19) ». PRISMA Economia - Società - Lavoro, n^o 2 (février 2022) : 33–51. http://dx.doi.org/10.3280/pri2020-002003.

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Negli ultimi 15 anni, la Regione Marche ha implementato politiche turistiche finalizzate a rafforzare l'immagine del territorio a livello nazionale ed internazionale, adottando un modello di governance mirato e perfezionato gradualmente. Negli anni questa modalità di governance è stata supportata da un crescente potenziamento del marketing regionale, che ha strutturato l'offerta turistica intorno al brand "Destinazione Marche". Tale brand consta di sei cluster, che identificano differenti prodotti turistici; tra questi, il cluster "Mare. Le Marche in blu" è espressamente rivolto alle vacanze famigliari. Nella prima parte, l'articolo affronta il tema dei consumi turistici, concentrandosi in particolare sulle vacanze famigliari. La seconda parte ha l'obiettivo di inquadrare l'offerta turistica regionale entro lo scenario delle politiche turistiche italiane. Tra i risultati ottenuti, la Regione Marche è stata introdotta dalla Lonely Planet al secondo posto della prestigiosa classifica "Best in Planet 2020". Tuttavia, l'epidemia da Covid-19 rischia di vanificare gli sforzi ed i traguardi raggiunti: questa situazione enfatizza ulteriormente l'importanza di politiche turistiche mirate e la necessità di riprogrammazione ed adattamento degli strumenti fin qui utilizzati.

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Lerda, Martina. « Mostre didattiche e musei : Giulio Carlo Argan e le sperimentazioni italiane nel secondo dopoguerra (1949-1952) ». Opus Incertum 9 (13 décembre 2023) : 100–109. http://dx.doi.org/10.36253/opus-14844.

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This article reconstructs ministerial developments relating to the creation of educational exhibitions in Italian museums in the immediate post-war period and the first exhibitions of this type set up at the Museo Nazionale di San Matteo in Pisa (exhibition dedicated to the Polittico dei Carmelitani by Masaccio) and at the Galleria Nazionale d’Arte Moderna in Rome (exhibition on Nuragic bronzes). It is one of the first forms of reception and implementation in Italy of the principles promoted by ICOM on the educational function of museums and among its main promoters was Giulio Carlo Argan who dedicated articles to the ministerial initiative, not only in the Bolletino d’Arte, but also in Museum, the official journal of UNESCO. The aim of the paper is to bring the Italian experience into dialogue with contemporary international debate on the role of museums.

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Marconi, Mauro, Anna Grazia Quaranta et Silvana Tartufoli. « Lineamenti dell'evoluzione del settore manifatturiero. Le Marche quale laboratorio ». ARGOMENTI, n^o 35 (septembre 2012) : 5–30. http://dx.doi.org/10.3280/arg2012-035001.

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L'economia italiana dal 2007 ha subìto una profonda turbolenza recessiva. In un sistema economico popolato da piccole e medie imprese, il più delle volte il dato nazionale nasconde la reale entità delle modifiche strutturali dei settori produttivi e delle realtà territoriali. L'economia marchigiana, caratterizzata da un'alta densità imprenditoriale, è un microcosmo nel quale le modifiche strutturali del comparto manifatturiero possono essere adeguatamente analizzate. Lo strumento di indagine proposto è quello di un campione chiuso di imprese, osservato dal 1994 al 2010. Dalla ricerca emergono alcuni fatti stilizzati quali il processo di concentrazione basato sulle medie imprese, un'alta propensione all'esportazione ed una crescente patrimonializzazione. A questi aspetti si accompagnano una riduzione dell'efficienza operativa, un alto indebitamento a breve termine ed un'inerzia all'espansione dimensionale.

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Fackler, Fiona. « Exhibiting an Unapologetic Fascist : Mario Sironi ». Perceptions 4, n^o 2 (24 mai 2018) : 20. http://dx.doi.org/10.15367/pj.v4i2.106.

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Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

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Kim, David Young. « Points on a Field : Gentile da Fabriano and Gold Ground ». Journal of Early Modern History 23, n^o 2-3 (28 mai 2019) : 191–226. http://dx.doi.org/10.1163/15700658-12342636.

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Abstract This essay considers gold grounds in early Renaissance panel painting as sites of the possible, here understood in the word’s double meaning as artistic power and mimetic potential. After examining how gold ground in art historiography is depicted as a zone oscillating between worldliness and otherworldliness, the discussion focuses on the process and meaning of gold ground in Cennino Cennini’s Libro dell’arte (c. 1390) and Gentile da Fabriano’s Virgin and Child (c. 1405, Perugia, Galleria Nazionale dell’umbria), with focus placed on the technique of granulation (opus punctorium). Also explored is how gold money and gold pictures exist in a relationship of exchange and mutual reinforcement, both depending on the faculty of sight to recognize them as bearers of value. Gold ground unfolds a spectrum of material, medial, perceptual, and devotional possibilities, which facilitates continuous passage between worlds, artisanal and climatic, pictorial and metallurgical, physical and ethereal.

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Mancini, Diana, Aline Percot, Ludovic Bellot-Gurlet, Philippe Colomban et Paola Carnazza. « On-site contactless surface analysis of modern paintings from Galleria Nazionale (Rome) by reflectance FTIR and Raman spectroscopies ». Talanta 227 (mai 2021) : 122159. http://dx.doi.org/10.1016/j.talanta.2021.122159.

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La Nasa, Jacopo, Patrizia Moretti, Eleonora Maniccia, Silvia Pizzimenti, Maria Perla Colombini, Costanza Miliani, Francesca Modugno, Paola Carnazza et Daphne De Luca. « Discovering Giuseppe Capogrossi : Study of the Painting Materials in Three Works of Art Stored at Galleria Nazionale (Rome) ». Heritage 3, n^o 3 (21 août 2020) : 965–84. http://dx.doi.org/10.3390/heritage3030052.

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We present the results of a diagnostic campaign on three of Giuseppe Capogrossi’s abstract paintings from the 1950s and 1960s, conserved at the National Gallery of Modern and Contemporary Art in Rome. Non-invasive investigations by reflection FT-IR spectroscopy were carried out, followed by micro-destructive laboratory analyses using Py-GC-MS, and HPLC-ESI-Q-ToF. The investigations focused on identifying the binders used for both the preparation and the pictorial layers. In two of the paintings investigated, an industrial preparation was identified based on egg yolk, mixed with other organic materials (acryl resin, oil, animal glue). The paint media include the use of both oil and alkyd paint. In one of the three paintings, the presence of a styrene-acryl resin was observed. The results show the simultaneous use of traditional and innovative materials, confirming the complexity of the period in which the artist was active, characterized by the technical experimentation of both the artists and manufacturers. The research also contributes to a better understanding of Giuseppe Capogrossi’s artistic profile, from the point of view of executive techniques.

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Carnazza, Paola, Serena Francone, Philip Morelli, Rita Reale et Maria Pia Sammartino. « Retouching matt contemporary paint layers : a new approach using natural polymers ». Ge-conservacion 18, n^o 1 (10 décembre 2020) : 384–93. http://dx.doi.org/10.37558/gec.v18i1.842.

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Different painting techniques, materials and application methods that characterise contemporary artworks, with predominantly matt surfaces and uniform tones, make retouching one of the most complicated conservation treatments, since sameness is the main target. The retouching intervention carried out at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome on Tempi prospettici (1969), an installation by the Italian artist Carlo Alfano, gave the opportunity to investigate a method to obtain different matt/glossy values through the use of natural polymers as binders. The binders chosen (different polysaccharides, cellulose derivatives and isinglass) were analysed, both individually and mixed, through colorimetric and glossmetric measurements. The pigment-binder ratio and the addition of silica to get a modulation of the matt appearance of paint formulations were also evaluated. The comparation of the colorimetric values of painting samples and those of the original paint led to the identification of the best solution for the retouching of the artwork

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Di Rosa, Marianna. « Moda, arte ed educazione : le innovazioni di Palma Bucarelli ». EDUCATION SCIENCES AND SOCIETY, n^o 2 (décembre 2023) : 23–33. http://dx.doi.org/10.3280/ess2-2023oa16412.

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L'articolo esamina le tappe salienti della vita di Palma Bucarelli, Sovrintendente della Galleria Nazionale d'Arte Moderna a Roma dal 1943 al 1975, concentrandosi sulle innovazioni da lei introdotte nel campo della moda, dell'arte e dell'educazione museale. Bucarelli si distinse per la capacità di anticipare tendenze artistiche e trend, mettendo in mostra opere contemporanee, aprendo il museo al pubblico e introducendo il primo servizio educativo museale in Italia. Promosse attivamente la funzione educativa dei musei in Italia, grazie anche alla collaborazione con l'Università. Nonostante le sue scelte espositive suscitarono polemiche, Bucarelli perseverò nella promozione dell'arte moderna e contemporanea e nella sua fruizione. Sostenne l'importanza della moda come parte integrante della cultura artistica, esprimendo anche, attraverso il suo abbigliamento, le trasformazioni sociali della sua contemporaneità. Bucarelli, sfidando gli stereotipi dell'epoca, si pone dunque come una figura pioneristica nel campo della museologia e nella promozione dell'arte contemporanea e della moda del XX secolo.

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Tua Pereda, Jorge. « El retrato de Pacioli. Un sabio del Renacimiento impartiendo una de sus lecciones. UN ENSAYO. » Revista la Junta 5, n^o 2 (30 décembre 2022) : 60–77. http://dx.doi.org/10.53641/junta.v5i2.96.

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En este breve ensayo se analiza un cuadro, muy conocido entre quienes cultivamos la disciplina contable, en el que la figura central es Lucas Pacioli (figura 1). Se encuentra en Nápoles, en la Galleria Nazionale di Capodimonte, dónde figura con el título “Retrato de Luca Pacioli con Guidobaldo de Montefeltro”. El recorrido por sus detalles me servirá para repasar con el lector la biografía de Pacioli, personaje importante para la contabilidad y, también, para otras disciplinas: matemáticas, geometría, perspectiva, arquitectura... en ese periodo fascinante, que llamamos Renacimiento. Agradezco a nuestro apreciado amigo Oscar Diaz Becerra, como Pacioli, activo y eficaz profesional y docente en nuestra disciplina, que me abra las páginas de la Revista de la Junta de Decanos de Colegios de Contadores Públicos de Perú, de la que es director dándome así la oportunidad de entrar en contacto con mis colegas de la profesión peruana y, con ello, compartir algunas circunstancias de la vida y obra de este personaje singular, pieza clave en la difusión de la partida doble en el Renacimiento, como importante elemento de apoyo a la actividad económica de su época.

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Leo Tarasco, Antonio. « Pluralizm własnościowy i publiczno-prywatne zarządzanie obiektami wpisanymi na Listę Światowego Dziedzictwa UNESCO, należącymi do Republiki Włoskiej ». Gdańskie Studia Prawnicze, n^o 2(50)/2021 (6 juillet 2021) : 47–67. http://dx.doi.org/10.26881/gsp.2021.2.03.

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W artykule poddano analizie związki między obiektami światowego dziedzictwa UNESCO należącymi do Republiki Włoskiej a zagadnieniami dochodowości i ideą zrównoważonego rozwoju. Ponieważ cechą charakterystyczną statusu obiektów wpisanych na Listę UNESCO – nie tylko włoskich – jest heterogeniczność własności, w modelach zarządzania nimi pojawia się wielość reżimów prawnych. Spośród 55 włoskich obiektów własność państwową stanowi 25, co daje 45,55%. Pluralizm własnościowy przekłada się na praktykę; negatywne skutki stanu rozdrobnienia dają się zauważyć: 1) w rozbieżnych zasadach rekrutacji personelu, 2) w wielości modeli zarządzania, 3) w niejednakowym dostępie dla publiczności, 4) w różnicach w rentowności oraz 5) w różnych modelach finansowo-księgowych. Stan rozdrobnienia wywołuje niemałe trudności w wypadku obiektów należących do różnych podmiotów, a staje się jeszcze mniej zrozumiały, gdy chodzi o obiekty państwowe. Następstwem owej heterogeniczności jest zróżnicowanie rentowności poszczególnych obiektów. Luka jest znaczna i nie można jej zaakceptować. Przykładowo, Tarquinia i etruska nekropolia Cerveteri przynoszą €38.964,84 (rok 2018) oraz €57.127,00 (rok 2019), podczas gdy Koloseum w Rzymie — €46.347.249,57 (rok 2018) i €48.465.096,71 (rok 2019). Do przychodów tych należy dodać przychody Muzeum Narodowego w Rzymie (Museo Nazionale Romano) i Narodowej Galerii Sztuki Starożytnej (Galleria Nazionale d’Arte Antica), a także przychody muzeów państwowych należących do Regionalnej Dyrekcji Muzeów Lacjum oraz stanowisk podległych Zarządowi Archeologicznemu Rzymu. Jakkolwiek jest oczywiste, że wpisanie danego obiektu na Listę UNESCO jest i powinno pozostać niezależne od jego potencjału ekonomicznego, to sam fakt rentowności obiektu ma wpływ na realizację celów konwencji UNESCO z 1972 r., w tym na ochronę i promocję wartości kulturowych. Z tego powodu ustalenie potencjału ekonomicznego jest jednym z wymogów wpisu; pieniądze są środkiem do realizacji celów konwencji. Konsekwencją tego stanu rzeczy jest prawny obowiązek zapewnienia niezależnej sprawozdawczości finansowej, co jednakże stoi w prakseologicznej sprzeczności ze skutkami pluralizmu własnościowego: obiekty nie mają obecnie zapewnionej autonomii finansowej ani nie prowadzi się w stosunku do nich odrębnej księgowości.Reasumując, zjawisko pluralizmu własnościowego 55 włoskich obiektów z Listy UNESCO oraz wpływ tego zjawiska na zarządzanie nimi i ich rentowność nasuwają pytanie o rzeczywistą, a nie tylko deklarowaną pozycję tych obiektów w porządku prawa krajowego.

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Ceccacci, Silvia, Andrea Generosi, Alma Leopardi, Maura Mengoni et And Ferruccio Mandorli. « The Role of Haptic Feedback and Gamification in Virtual Museum Systems ». Journal on Computing and Cultural Heritage 14, n^o 3 (juillet 2021) : 1–14. http://dx.doi.org/10.1145/3453074.

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This article reports the results of a research aimed to evaluate the ability of a haptic interface to improve the user experience (UX) with virtual museum systems. In particular, two user studies have been carried out to (1) compare the experience aroused during the manipulation of a 3D printed replica of an artifact with a pen-like stylus with that aroused during the interaction (visual and tactile) with a 3D rendering application using a haptic interface and PC monitor, and (2) compare the users’ perceived usability and UX among a traditional mouse-based desktop interface, haptic interface, and haptic gamified interface based on the SUS scale and the AttrakDiff2 questionnaire. A total of 65 people were involved. The considered haptic application is based on the haptic device Omega 6 produced by Force Dimension, and it is a permanent attraction of the Museo Archeologico Nazionale delle Marche. Results suggest that the proposed haptic interface is suitable for people who commonly use mouse-based computer interaction, but without previous experience with haptic systems, and provide some insights useful to better understand the role of haptic feedback and gamification in enhancing UX with virtual museums, and to guide the development of other similar applications in the future.

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Ceci, Francesca. « Rome, 10 December 1696, a symbolic funeral : decorations placed in the Polish church of St Stanislaus to commemorate the death of John III Sobieski ». Archiwa, Biblioteki i Muzea Kościelne 120 (30 juin 2023) : 111–36. http://dx.doi.org/10.31743/abmk.16263.

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The Church of St Stanislaus the Bishop and Martyr in Rome is the national church of Poland, where the funeral ceremonies of Polish rulers were celebrated. After the death of King John III Sobieski, ceremonial symbolic obsequies were held. Carlo Barberini, as cardinal protector of Poland, organized public and expensive ceremonies to properly honour the king’s death. The course of the funeral service and the funeral decoration are known in detail through three contemporary printed reports and an engraving describing every aspect of the ceremony and the decoration of the church in honour of the Polish king. The church was decorated with six painted medallions celebrating important events in the life of King John III Sobieski. The surviving four of the six medallions are now kept at the Galleria Nazionale di Arte Antica in the Palazzo Barberini in Rome. In 2018, researcher Giovan Battista Fidanza found documents in the Barberini family archives regarding the cost of the ceremony. According to sources, the artist who made the six funerary oval paintings was Giacomo Wernele, which indicates an Italianization of the name Philip Jakob Wörndle. Currently, the state of preservation of the oval funerary canvases is poor. It is imperative to preserve the paintings in order to save them from destruction and make them available for museum display.

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Foletti, Ivan. « Otevři zahradu rajskou Benediktini v srdci Evropy 800-1300 [Apri il giardino del paradiso. Benedettini nel cuore dell’Europa 800- 1300], mostra : Praga, Valdštejnská jízdárna, 7. 11. 2014 - 15. 3. 2015, catalogo : Otevři zahradu rajskou. Benediktini v srdci Evropy 800-1300, a cura di Dušan Foltýn [et al.], Praga : Galleria Nazionale, 2014 ». Convivium 2, n^o 2 (novembre 2015) : 165–69. http://dx.doi.org/10.1484/j.convi.5.111184.

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Sterpetti, Lunarita. « Federico da Montefeltro e Francesco di Giorgio Martino. Urbino crocevia delle arti (Galleria Nazionale delle Marche, Urbino, 23 June–9 October 2022). Catalogue by AlessandroAngelini, GabrieleFattorini and GiovanniRusso. Venice : Marsilio Editore, 2022. 320 pp. ISBN 979‐1254630396. » Renaissance Studies, 8 juin 2023. http://dx.doi.org/10.1111/rest.12882.

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« Nouvelle installation de la Galleria Nazionale della Sicilia, Palerme ». Museum International (Edition Francaise) 9, n^o 4 (24 avril 2009) : 201–14. http://dx.doi.org/10.1111/j.1755-5825.1956.tb00238.x.

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Giovanni Lanzano, Lucia Luzi, Francesca Pacor, Rodolfo Puglia, Maria D'Amico, Chiara Felicetta et Emiliano Russo. « Preliminary analysis of the accelerometric recordings of the August 24th, 2016 MW 6.0 Amatrice earthquake ». Annals of Geophysics 59 (11 novembre 2016). http://dx.doi.org/10.4401/ag-7201.

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On 24 August 2016, at 1.36:32 GMT, a MW 6.0 earthquake with epicenter located below the village of Accumoli, struck a wide area among the boundaries of Lazio, Abruzzo, Umbria and Marche regions (Central Italy): the main event caused the collapse of several buildings and about 300 fatalities, mainly in the towns of Amatrice, Arquata del Tronto and Accumoli. The main event was recorded by about 350 sensors, belonging to Italian Accelerometric Network (Rete Accelerometrica Nazionale, RAN), operated by the Department of Civil Protection (DPC), to the Italian Seismic Network (Rete Sismica Nazionale, RSN), managed by the Istituto Nazionale di Geofisica e Vulcanologia (INGV) and to other local networks. All the corrected data are available at the Engineering Strong Motion Database (<a href="http://esm.mi.ingv.it">esm.mi.ingv.it</a>). This paper reports the preliminary results of the analysis of the strong-motion recordings.

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Milena Moretti, Silvia Pondrelli, Lucia Margheriti, Luigi Abruzzese, Mario Anselmi, Pierre Arroucau, Paola Baccheschi et al. « SISMIKO : emergency network deployment and data sharing for the 2016 central Italy seismic sequence ». Annals of Geophysics 59 (9 décembre 2016). http://dx.doi.org/10.4401/ag-7212.

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At 01:36 UTC (03:36 local time) on August 24th 2016, an earthquake Mw 6.0 struck an extensive sector of the central Apennines (coordinates: latitude 42.70° N, longitude 13.23° E, 8.0 km depth). The earthquake caused about 300 casualties and severe damage to the historical buildings and economic activity in an area located near the borders of the Umbria, Lazio, Abruzzo and Marche regions. The Istituto Nazionale di Geofisica e Vulcanologia (INGV) located in few minutes the hypocenter near Accumoli, a small town in the province of Rieti. In the hours after the quake, dozens of events were recorded by the National Seismic Network (Rete Sismica Nazionale, RSN) of the INGV, many of which had a ML > 3.0. The density and coverage of the RSN in the epicentral area meant the epicenter and magnitude of the main event and subsequent shocks that followed it in the early hours of the seismic sequence were well constrained. However, in order to better constrain the localizations of the aftershock hypocenters, especially the depths, a denser seismic monitoring network was needed. Just after the mainshock, SISMIKO, the coordinating body of the emergency seismic network at INGV, was activated in order to install a temporary seismic network integrated with the existing permanent network in the epicentral area. From August the 24th to the 30th, SISMIKO deployed eighteen seismic stations, generally six components (equipped with both velocimeter and accelerometer), with thirteen of the seismic station transmitting in real-time to the INGV seismic monitoring room in Rome. The design and geometry of the temporary network was decided in consolation with other groups who were deploying seismic stations in the region, namely EMERSITO (a group studying site-effects), and the emergency Italian strong motion network (RAN) managed by the National Civil Protection Department (DPC). Further 25 BB temporary seismic stations were deployed by colleagues of the British Geological Survey (BGS) and the School of Geosciences, University of Edinburgh in collaboration with INGV. All data acquired from SISMIKO stations, are quickly available at the European Integrated Data Archive (EIDA). The data acquired by the SISMIKO stations were included in the preliminary analysis that was performed by the Bollettino Sismico Italiano (BSI), the Centro Nazionale Terremoti (CNT) staff working in Ancona, and the INGV-MI, described below.

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Biagini, Francesca, et Marco Mazzoleni. « L’utilizzo del corpus parallelo italiano-russo del NKRJa per la didattica del russo L2 ai discenti italiani : il caso dei costrutti preconcessivi ». H2D. Revista de Humanidades Digitais 1, n^o 1 (27 mai 2019). http://dx.doi.org/10.21814/h2d.233.

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In questo lavoro verrà descritto un esempio di utilizzo del corpus parallelo italiano-russo del Corpus Nazionale della Lingua Russa (NKRJa) nella didattica del russo L2 a discenti italiani di livello avanzato, in particolare nella presentazione dei costrutti cosiddetti ‘preconcessivi’. Innanzitutto, agli studenti viene fornita un’introduzione teorica sulle relazioni transfrastiche e sui costrutti preconcessivi sulla base delle forme italiane. I costrutti preconcessivi sono costituiti da una struttura correlativa paratattica con un anticipatore cataforico (come è vero, sì) e una ripresa anaforica (come ma, però). Gli anticipatori cataforici vengono suddivisi in due classi a seconda che indeboliscano il peso argomentativo della prima frase direttamente o indirettamente (come il futuro ‘concessivo’ del verbo essere). Dopo l’introduzione teorica gli studenti procedono alla ricerca sul corpus di alcuni anticipatori cataforici. I risultati permettono di individuare analogie e differenze tra le due lingue. In particolare la ricerca del secondo tipo di anticipatori mostra come in russo il distanziamento epistemico venga reso attraverso marche linguistiche avverbiali quali požaluj e možet byt’. Emerge come l’utilizzo del corpus parallelo si possa applicare alla didattica delle relazioni transfrastiche e dei costrutti preconcessivi agli studenti di russo L2, poiché favorisce l’analisi metalinguistica sulla lingua materna e il confronto interlinguistico nell’uso.

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Maura Murru, Matteo Taroni, Aybige Akinci et Giuseppe Falcone. « What is the impact of the August 24, 2016 Amatrice earthquake on the seismic hazard assessment in central Italy ? » Annals of Geophysics 59 (9 novembre 2016). http://dx.doi.org/10.4401/ag-7209.

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The recent Amatrice strong event (Mw6.0) occurred on August 24, 2016 in Central Apennines (Italy) in a seismic gap zone, motivated us to study and provide better understanding of the seismic hazard assessment in the macro area defined as “Central Italy”. The area affected by the sequence is placed between the Mw6.0 1997 Colfiorito sequence to the north (Umbria-Marche region) the Campotosto area hit by the 2009 L’Aquila sequence Mw6.3 (Abruzzo region) to the south. The Amatrice earthquake occurred while there was an ongoing effort to update the 2004 seismic hazard map (MPS04) for the Italian territory, requested in 2015 by the Italian Civil Protection Agency to the Center for Seismic Hazard (CPS) of the Istituto Nazionale di Geofisica e Vulcanologia INGV. Therefore, in this study we brought to our attention new earthquake source data and recently developed ground-motion prediction equations (GMPEs). Our aim was to validate whether the seismic hazard assessment in this area has changed with respect to 2004, year in which the MPS04 map was released. In order to understand the impact of the recent earthquakes on the seismic hazard assessment in central Italy we compared the annual seismic rates calculated using a smoothed seismicity approach over two different periods; the Parametric Catalog of the Historical Italian earthquakes (CPTI15) from 1871 to 2003 and the historical and instrumental catalogs from 1871 up to 31 August 2016. Results are presented also in terms of peak ground acceleration (PGA), using the recent ground-motion prediction equations (GMPEs) at Amatrice, interested by the 2016 sequence.

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Dalvit, Giulio. « Taddeo di Bartolo (Galleria Nazionale dell’Umbria, Perugia, 28 May–30 August 2020). Catalogue by Gail E.Solberg, with contributions by EmanueleZappasodi, VeruskaPicchiarelli, DonalCooper, AlbertoMaria Sartore, MachteltBrüggen Israëls, Christa Gardnervon Teuffel, Maria CristinaTomassetti, DanieleCostantini, EmanuelaMassa, AnnaPelagotti, SalvatoreSchiavone, Maria FrancescaAlberghina. Colour and b & ; w illustrations. Italian and English edition combined. ISBN 978‐8836645527. » Renaissance Studies, 18 novembre 2020. http://dx.doi.org/10.1111/rest.12713.

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