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Among the various relationships Leonardo Sciascia cultivated with Italian publishers, his connection with the Laterza publishing house in Bari stands out, notably due to its association with the publication of his initial venture into prose writing: Le parrocchie di Regalpetra. Drawing from this relationship, which has been recently documented through the publication of correspondence between Vito Laterza and Sciascia, my paper delves into the meticulous exchange between author and publisher. Specifically, it focuses on the editorial evolution of the work, examining various paratextual elements, ranging from the toponym chosen to signify the title, to the alignment of the title with the cover's iconography, and the overall layout of the mise en page. [ABSTRACT FROM AUTHOR]

The place name Speranzella in Carlo Bernari's novel signifies the author's penchant for evocative and symbolic titles, a trend also observed in his other works within the 'Trilogia napoletana'. These titles encapsulate Bernari's portrayal of Naples as the 'paese delle anime' (the land of souls) rather than just 'dell'anima' (of the soul), thus emphasizing its significance to all inhabitants. Through an exploration of unpublished letters between Bernari and his publisher Vallecchi, discussions regarding the choice of the novel's cover are examined, shedding light on the significance of the repeated mention and personification of 'Speranzella' within the narrative. Furthermore, the novel Vesuvio e Pane is also analyzed to understand the dual realistic and metaphorical functions of place names in Bernari's literary oeuvre. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Excluding D. De Vivo's 1882 Russian grammar, commissioned by the publisher Schnaken-burg in Dorpat, the first grammar of the Russian language published in Italy dates back to 1897 (Voinovich) and was published in Milan by Hoepli. In the 20th century, the elaboration of volumes aimed at teaching Russian progressively evolved in Italy, in accordance with the new direction that glottodidactics was developing, moving away from the grammatical-translative method and embracing communicative approaches. It is, however, in the last three decades that we have witnessed a surprising flowering in quantity and quality. The article begins with an overview of the types of aids and manuals for Russian language teaching published in Italy in the last thirty years, highlighting the objectives achieved and the possible aspects to be strengthened, and then provides some reflections on the perspectives of further development that are already evident. [ABSTRACT FROM AUTHOR]

The essay retraces the cultural framework and the editorial genesis of Alfredo Cattabiani's book Florario. Miti, leggende e simboli di fiori e piante, that had been published in 1996 and that became a Mondadori editor's long seller in the publishing series "Oscar". Cattabiani's work is part of a more complex editorial project named after «Storia dell'immaginario» (history of imaginary), divided into several volumes, where the articles written between 1986 and 2000 for the gardening magazine «Gardenia» merged, even in a partially re-elaborated form. The essay aims at focusing the fruitful contribution that Cattabiani gave to the understanding and the divulgation of the plant symbolism in an anthropological perspective. [ABSTRACT FROM AUTHOR]

The Anton Trstenjak Institute for Gerontology and Intergenerational Relations is named after its co-founder, academician Prof. Anton Trstenjak, Ph.D. The work of the Institute is based on a holistic view of the human being. In the spirit of its co-founder, the Institute researches, publishes, teaches and develops practical programmes in all the areas for which it has been founded; in addition to ageing and coexistence, it also includes psychology and logotherapy, which were in its title when it was founded, including intoxication and addictions, which have been the lifelong focus of the Institute’s co-founders. This article presents some of the outlines of Trstenjak’s life and work and their significance for the development of the Anton Trstenjak Institute up to 2022, when it celebrates its thirtieth anniversary.

Founded in 1896, L’ERMA di Bretschneider is a historic publishing house, whose mission is to publish works of excellent academic reputation. The topics covered by the publications include archaeology, history, heritage conservation and management, Roman law, history of art and architecture, and literary criticism. L’ERMA di Bretschneider is unanimously recognized as the Italian publishing house par excellence for its scientific publications in the field of humanities, in particular archaeology, ancient history and art history. The intense research activity in historical, archaeological and artistic disciplines carried out by L’ERMA in collaboration with leading experts in the field and the most prestigious universities in the world, and the vast editorial catalogue which boasts over a century of collaboration with the Ministry of Culture and its constituent bodies and includes prestigious series and magazines, constitute today an invaluable wealth of cultural heritage, available not only to scholars and enthusiasts, but to the entire community.

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article provides an overview of the state of translation and research on Russian literary theories published in Italy from 1991 to 2023. Particular attention is given to the wide range of perspectives and activities put forward by national literary criticism, especially the role played by Italian journals specialising in Slavic studies such as "Studi Slavistici", "Europa Orientalis", "Russica Romana" "Ricerche Slavistiche", "Slavica Tergestina", "AvtobiografiJA", "eSamizdat", and publishers such as "Bompiani", "Einaudi", "Laterza", "Marsilio", "De Donato". Notably, some journals, for instance "Strumenti critici", "Enthymema", "Letterature e Letteratura", "lea", "Kamen'", "Tincontre. Teoria Testo Traduzione" and "La parola del testo", have shown a significant engagement with Russian literary theories, despite not being devoted to the field of Slavic studies. By taking into account the theoretical trends of the last three decades, I demonstrate that a great deal of consideration has been given to opojaz, the Moscow Linguistic Circle, the so-called "Bakhtin Circle" and the gachn (State Academy of Art Studies), with a renewed interest in literary personalities such as Michail Petrovskij, Grigorij Vinokur, and Lev Pumpjanskij, but also in key figures linked to sociology of literature such as Boris Arvatov. [ABSTRACT FROM AUTHOR]

The essay aims to analyse an illustrated edition of M.me de Staël's 1807 novel Corinne ou l'Italie. This reference edition was printed in 1853 by the publisher Victor Lecou at the Plon Frères printing house, and it is today preserved at the Bibliothèque nationale de France in Paris. The scope of this essay is to analyse, through the lens of visual studies, the political datum of the iconographic representation of pre-Napoleonic Italy in Lecou's edition. This research intends to highlight how the visual dimension of the fictional illustrations can increase the potentiality of reception of de Staël's work. [ABSTRACT FROM AUTHOR]

Copyright of L'Infermiere is the property of IPASVI - Italian Nursing Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Some reflections are made on the meaning of measurement in psychotherapy and on the relationship between the roles of technique and of the therapist's person. Parts of previous papers are also republished, namely some excerpts of the 1992 book La persona e la tecnica ["The Person and the Technique"] (reprinted in 2022 by the publisher FrancoAngeli of Milan) and of the preface, written in 1960, to the Italian edition of Harry Stack Sullivan's 1953 book The Interpersonal Theory of Psychiatry (La teoria interpersonale della psichiatria. Milan: Feltrinelli, 1961). [ABSTRACT FROM AUTHOR]

Peer review evaluates the originality and quality of a scientific work, through the judgment of a peer group, in order to preserve scientific authority and prevent the publication of poor quality manuscripts. Fulvio Guatelli, director of the Firenze University Press (FUP), one of the most innovative realities in the scientific field and one of the first publishing houses to have brought the peer review process to Italy, answers eight questions. FUP pays considerable attention to editorial practices; the FUP Scientific Cloud for Books project allows the systematic description, through a “cloud” of metadata, of all aspects of the scientific book (authorship, evaluation process, dissemination tools and access methods), in order to contribute to its enhancement and place it in the wake of scientific journals. FUP also aims at the dissemination of a qualitatively valid science, supporting the reviewers through collaborations, such as Reviewer Credits, which certify and reward their work. Initiatives that testify to the continuous evolution and gradual refinement process of peer review in the context of today’s scientific community. [ABSTRACT FROM AUTHOR]

Open peer review (OPR) is a type of review that has long since made space alongside the more well-known single-blind and double-blind peer reviews. Despite this, we still do not have a shared definition by the scientific community and publishers. The purpose of this paper is to offer some reflections on the selection of reviewers in OPR, a process that in its current configuration is traced back to the 19th century. After a brief overview of the best-known definitions of open peer review, the paper continues with an analysis of some aspects of reviewer selection carried out with the help of data from a recent survey. [ABSTRACT FROM AUTHOR]

The paper analyzes the various themes addressed in Storia confidenziale dell'editoria italiana by Gian Arturo Ferrari, published by Marsilio in 2022. The author is one of the main protagonists of Italian publishing industry: he worked for almost fifty years in Mondadori and for other publishers, as well as presided over the Centro per il libro e la lettura. From this privileged observatory, he reconstructs atmospheres and anecdotes and provides a wealth of data and information on the events that have characterized the main Italian publishers' life, extending his reflection to the development of Italian society in general. The work is not (only) an historiographical essay but also a story written by someone who was witness and protagonist of the narrated facts, representing, at the same time, a handbook for those who want to work in this world and learn the publisher's profession: it is a book that was not there until now and that certainly fills a gap. [ABSTRACT FROM AUTHOR]

The present text aims to give a brief description of the recent Valentina Negritescu's Dictionary, published by the Hoepli publishing house in Milan this year. A real editorial event, structured on 1648 pages, containing more than 70,000 title-words, with more than 140,000 meanings and more than 250,000 translations, for all those interested in the study of the Romanian language and literature: teachers, translators or simple readers, both Romanian and Italian. After a brief description of the publishing house and its main publications dedicated to the Romanian language, we will focus on the novelties that the dictionary brings. It is also an opportunity to bring back into discussion the role that the dictionary can play in the teaching of foreign languages, in light of the recent coordinates of the Common European Framework of Reference for Languages of the Council of Europe. [ABSTRACT FROM AUTHOR]

Copyright of L'Ospite Ingrato is the property of Quodlibet S.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers a survey of the reception of Ivo Andrić in Italy from 1991 to 2021. The most widely translated South Slavic author, Andrić is unique in having not only major but also minor works translated into Italian. In some cases, various translations of the same text have been carried out, and numerous translators have worked with a wide range of publishers, from small to large publishing houses. In addition to novels, short stories represent the part of Andrić’s oeuvre that translators have cultivated more intensely over the last thirty years. Formal studies of the author’s work have increased since the early 1990s, but only one monograph has been published (P. Lazarević Di Giacomo, I romanzi-cronache di Ivo Andrić). [ABSTRACT FROM AUTHOR]

The retranslation of Russian classics into Italian in the last thirty years is a topic of no little importance, for at least two reasons. On the one hand, this phenomenon mirrors a literary text translation activity that is still alive and in great evolution. On the other hand, an assessment that shows which works of Russian literature have appeared in new translations and which have remained ‘behind the scenes’ can be a useful orientation for the future, for the benefit of publishing houses, translators and scholars. The perspective of this report is therefore not to address specific translation problems, nor to give indications about editorial strategies about Russian literature. Instead, it is to review the main retranslated authors, also highlighting those who have not yet had new translations, and to draw conclusions that may be of use to the scholarly community and its relations with the publishing industry. [ABSTRACT FROM AUTHOR]

Dopo un’introduzione sulla rivalità che, nel corso del Cinquecento, contrappose a Venezia gli editori Giunti e Valgrisio, entrambi impegnati a stampare gli Opera omnia di Galeno, si trascrivono ampie parti di una lettera finora misconosciuta, conservata presso l’Archivio di Stato di Firenze. Si tratta di una missiva risalente all’aprile 1565 del medico Filippo Niccolozzi, nipote di Tommaso e Giovanni Maria Giunti, indirizzata a Firenze al maggiordomo granducale Luigi Gherardi da Borgo San Sepolcro. Niccolozzi, oltre a fornire informazioni sugli zii e a menzionare i medici umanisti Jacopo Antonio Mariscotti e Agostino Gadaldini, parla di un enigmatico monaco greco di nome “Theoglipto” che avrebbe ottenuto cinquecento scudi d’oro per recarsi “in Grecia” a recuperare un favoloso codice galenico contenente, tra l’altro, il perduto De demonstratione, intorno al quale in quegli anni è documentabile un notevole interesse. Con ogni probabilità si trattò di una truffa o di un abbaglio, da inquadrare però nel particolare clima di competizione editoriale, nonché di spregiudicata ricerca e “creazione” di inediti galenici, attestato all’epoca a Venezia e alimentato dal perdurante mito delle favolose biblioteche bizantine e postbizantine. After an introduction on the rivalry that pitted against each other the publishers Giunti and Valgrisio, both engaged in printing Galen’s Opera omnia in Venice during the sixteenth century, large portions of a hitherto unnoticed letter preserved in the State Archives of Florence are transcribed. It is a missive dated April 1565 from physician Filippo Niccolozzi, nephew of Tommaso and Giovanni Maria Giunti, addressed from Venice to the Grand Ducal chamberlain Luigi Gherardi in Florence. Niccolozzi, in addition to providing information about his uncles, and mentioning the humanist physicians Jacopo Antonio Mariscotti and Agostino Gadaldini, speaks of an enigmatic Greek monk named “Theoglipto”, who allegedly obtained five hundred gold scudi to travel “to Greece” to retrieve a fabulous Galen codex containing, among other things, the lost De demonstratione, around which considerable interest can be documented in those very years. In all likelihood, this was a swindle or a blunder, to be framed, however, in the particular climate of publishing competition, and also of reckless research and “creation” of unpublished galenic manuscripts, attested at the time in Venice, and fueled by the enduring myth of fabulous Byzantine and post-Byzantine libraries.

This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott’s novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions.

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Beppe Fenoglio’s novel Una questione privata (Garzanti, 1963; Einaudi, 1978) is written in a more “traditional” language with regard to the Fenoglio canon (characterized by English grammatical structures and words) and constitutes an emblematic case in terms of thematic similarity to Spanish history that could have sustained a synchronic translation with reference to its year of publication. This article aims to investigate the translational choices by Elena del Amo (Un asunto privado Ediciones Barataira, 2004).

Although women have a long history of contributing to classical scholarship, they continue to be a minority both among faculty members and scholarly authors. In this paper, I compare the proportion of women employed at Classics departments in the US, Canada, UK, and Ireland with their proportion among the authors of a sample of English journal articles. While the overall institu­tional gender balance is approaching parity, women continue to be under­represented in senior positions, and progress seems to have stalled over the last ten years. In addition, my analysis of the L’Année philologique database demonstrates that while the share of articles written by women has greatly increased from 1970 to 2009, it has remained stagnant since, hovering just around the 28% mark. I hypothesise that the main reason for women’s con­tinued underrepresentation in Classical scholarship, apart from uncon­scious biases, is the disproportionate share of care responsibilities shouldered by women both within and without academia. In order to improve the situation, I propose a series of interventions to be taken by journal editors and university administrators, particularly the introduction of quotas.

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Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main goal of this research is to give a vision of the main challenges faced by Spanish publishers because of technical change, analyzing its digital transformation. Subsequently, this work proposes different publishing business models currently tested in the market, from which publishers can take advantage by expanding the portfolio of their products and services. Besides, this study outlines and formulates possible future scenarios to deepen the Spanish publishers’ cultural and business functions and encourage them to assume a proactive position on innovation. The main conclusions of this research are the following: first, the Spanish publishing sector presents two lines of business that coexist as complementary and not as substitutes: on the one hand, the paper book and, on the other, the e-book; second, the innovative caution of Spanish publishers is holding back the development of the e-book market on the supply side, given the low volume of works published digitally compared to those on paper; third, the lack of joint digital initiatives, that is, between the different agents of the book value chain, has caused hardware manufacturers and Internet service providers to enter the book industry, surpassing, in many cases, traditional industry players in the creation of new business models for digital content; and finally, the current pandemic situation has represented a turning point in the attitude of a part of the Spanish publishing sector, forced to focus on the need to carry out an accelerated digital transformation to continue with its activity, for which the Covid-19 has indirectly catalyzed, as a collateral effect, the urgency of organizational change.

The article explores the reception of translated Ukrainian literature in Poland over the last thirty years taking into consideration its systemic nature, political contexts and social background. From a methodological point of view the text is informed principally by polysystem theory, Bourdieu's sociology and aesthetic of reception. Firstly, the author presents a brief overview of the reception of Ukrainian literature at the time of Socialist Poland which is indispensable for understanding later developments. Then, the statistical data are summarised considering separately works, writers, publishing houses, translators and the languages translated (mostly Ukrainian, but in a few cases also Russian). The whole thirty-year period under examination is divided into two distinct phases whose watershed is represented by the "orange revolution" in Ukraine in 2004-2005. The period between 1989 and 2004 witnessed a slow change due to the agency of a small group of cultural actors whose work countered the pre-existing stereotypes and promoted contemporary literature. The "orange revolution" has had a profound effect on Ukraine's image in Poland and, moreover, has linked closely the reception of literary texts to political situation. In fact, it is argued that after 2004 large-scale political events in Ukraine have been the essential contexts for the reception of its literature, especially considering the authors and works being noticed on the Polish national market. After the "orange revolution" Ukrainian literature moved from a marginal position within the field to a more dynamic semiperipheral one it occupies today. [ABSTRACT FROM AUTHOR]

The contribution intends to present the genesis and birth of the new and prestigious series of classics of pedagogy «Clásicos de la Educación», the result of an agreement signed in 2019 between the Sociedad Española de Historia de la Educación (SEDHE) and the prestigious publishing house Morata of Madrid. It is a series of classics of pedagogy and education of undoubted interest and with an ambitious profile, not only for the scientific authority of its curators and the seriousness and competence of the scholars involved, but also for the precise cultural and pedagogical design which inspired the first classic prints. [ABSTRACT FROM AUTHOR]

The first issue of Conciliatore was published in September 1818; its history includes heated discussions. Silvio Pellico, who was its most consistent proponent, felt himself to be part of a hegemonic intellectual elite. There is a Foscolian mark to the works of these young intellectuals of the new generation. It is the crisis of a generation that comes to attack the very idea of literature that sees the passage from the certainties of the Enlightenment to the Romantic disquiet. The querelle des anciens et des modernes brought to light the unbridgeable hiatus that put Foscolo in a position of contrast with his friends and pupils. The position assumed by the exile risked placing him against his dearest friends, the Romantics, and bringing him closer to his detractors, the Classicists. Foscolo does not manage to see any possibility of experimenting a valid mediation. A clear symptom of his peremptory closure. [ABSTRACT FROM AUTHOR]

This paper examines some historical queries on the relationship between archaeology and politics. The methodological and scientific outlines of the works of the most prominent archaeologists (1930-1970) are embedded within a specific social milieu; reflecting on this aspect means showing how cultural policies and institutional pressure can influence hermeneutics and methodological debates (i.e. the biases of scientific research). In this sense, when talking about 1950’s Germany and Italy, the importance of publishing houses, as one of the main divulge tools of political parties, becomes indicative of an organized program reflecting and promoting specific cultural and political values. Furthermore, the relationships between archaeologists and publishers can reveal how political intents have conditioned and still condition the transmission of texts, ideas and authors. What I am interrogating is thus the bridge between Academia and the broad public, emphasizing its ideological components. From a methodological point of view, I do not intend to represent a schematization of all occurrences of the relations between archaeologists, political institutions and publicists, but rather I would like to propose an introduction to a new line of research, that will necessarily need to provide for a broader casuistry. The comparative perspective between Italy and Germany is motivated by a desire to denationalize the history of studies and reconstruct a transnational cultural history, with similarities/differences of countries involved in similar extreme caesuras, characterizing the 20th century. [ABSTRACT FROM AUTHOR]

The essay traces the Italian publishing history of Inny świat (A World Apart) by Gustaw Herling Grudziński, one of the most important literary testimonies of the Soviet concentration camp system. In particular, the reception by critics following the three Italian editions of the work is related to the letters between Gustaw Herling and the Italian publishers (Laterza, Rizzoli, Feltrinelli) preserved in the author's archive. The historical period studied is that from 1958 to 2000, therefore up to the year of the writer's death. In the final part we develop a detailed analysis of the reasons for Herling's negative or problematic reception in Italy in the second half of the twentieth century. [ABSTRACT FROM AUTHOR]

This contribution offers a review of the last Paola Italia's volume, Editing Duemila, which focuses on the impact of the digital revolution on writing, publishing, and reading. The author also offers proposals concerning a model of an accessible and sustainable Digital Philology.

By means of archival sources, this study reconstructs the life of anti-fascist Ettore Carozzo, an engineer from a wealthy family, who fought in the Great War, and who was politically active in the context of the Italian People’s Party (Partito Popolare Italiano) founded by Don Sturzo. With the coming to power of Fascism in Italy and the abolition of freedom and of the press, Carozzo decided to move abroad. A pioneer of the publishing industry in Paris, his printing press began helping the exiled Italian members of the People’s Party by publishing books and magazines. Ettore Carozzo maintained a close relationship with anti-fascist intellectuals Luigi Sturzo, Gaetano Salvemini, and Luigi Francesco Ferrari. In the post-war period, his work as an anti-fascist editor and his willingness to help out political refugees in Paris was soon forgotten.

This paper aims to provide a first account of history textbooks for university in Italy. It proposes a comparative analysis of different texts including ones by foreign authors. With regard to their construction, the analysis is based on the study of five important aspects: style and language; methodology and interpretation; analysis of historiographical debate; iconographic and cartographic system; and the use of primary and secondary sources. Based on these topics, this study aims to identify trends, strengths and critical points of university textbooks. Emphasis is given to specific didactic problems. Finally, this paper refers to further themes such as the birth and diffusion of digital platforms, and the impact of economic requirements on editorial policies.

The purpose of this text is to present, characterise and reflect upon a corpus of Portuguese picturebooks, published between 1969 and 2010, which depict home living space, in order to identify and typify the evolution which occurred in its representation. A close reading of selected picturebooks can exemplify the evolution of the depiction of home space over time, by characterising not only the symbolic connotation of intimate and personal spaces in picturebooks, but also their relevance, i.e., the different levels of importance and visibility they acquire. The text also aims to identify the main trends emerging from the corpus regarding the main themes addressed and the different kinds of picturebooks included. Finally, the conclusions will underline the great development of Portuguese picturebooks, in terms of literary and visual quality, including the relevance of peritexts and of the materiality of the picturebooks.

Copyright of Ricerche di Pedagogia e Didattica is the property of Universita di Bologna, Dipartimento di Scienze dell'Educazione and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The essay tries to retrace the life of Daniele Ponchiroli, a brilliant editor in chief who worked at the Giulio Einaudi Editore for almost thirty years. A special attention is given to his activity dedicated to the publishing for children and young adults. In fact, among the editors of Einaudi, he was the point of reference in this field and also a writer for children himself. Thanks to the study of his correspondence with the editorial staff between 1974 and 1978, this research sheds some light on the criteria used for the selection of the texts and the political and pedagogical purpose of the collection «Libri per ragazzi» published by Einaudi and edited by Ponchiroli. He introduced a new way of thinking the child and gave space to the most relevant and innovative authors for children of the postwar Italy, such as Mario Lodi and Gianni Rodari. [ABSTRACT FROM AUTHOR]

The article focuses on activities of Piedmontese Studies Center-Ca dë Piemontèis Studies despite restrictions due to the COVID-19 pandemic. It mentions Poetic voices narratives not to forget, in collaboration with the House Interlinea publisher of Novara, interventions by Giovanni Tesio e Albina Malerba. It also mentions library and the archive which are open and working.

The paper proposes a new methodological approach to collection evaluation in public libraries, with the aim to read bibliographic and usage data in a less self-referential way and to improve collection development and management. Behind this approach there are two integrated types of analysis. The first one is a quantitative and qualitative benchmarking between different library collections: the attention focuses on the size of collections, the variety, the publishers, the subjects, the circulation data. The second type of analysis concerns the benchmarking between library collections and editorial production. Also in this case, the comparison covers the quantitative aspects (number of books selected by libraries and number of books published), the qualitative aspects (subjects, types of documents, Conspectus levels) and the usage data (loans and sales). The paper illustrates the results of a first and experimental application of this methodological approach for the analysis of collection portions of 26 public libraries (belonged to two Italian library systems), that are compared with the editorial production of the subject area Social sciences. [ABSTRACT FROM AUTHOR]

The paper will present OPERAS, a comprehensive infrastructure aimed at providing a pan-European infrastructure to rethink and reshape publishing, discovery and dissemination addressing the specificity and the critical issues of Social Sciences and Humanities (SSH). The paper will try to set the scene examining the status of scholarly communication, the developments of Open Access and Open Science, and the specific demands for SSH. A second part will outline how OPERAS meets these needs, taking care of all the steps of the scholarly communication cycle. OPERAS unique approach is to unite researchers, libraries and publishers in a common effort, in order to take back control over scholarly communication. Not merging nor replacing, but nurturing existing realities, OPERAS provides innovative services to bring SSH into Open Science. OPERAS is designed to elaborate effective and scalable long-term strategies for the future development of the digital infrastructure and community building needed to innovate scholarly communication in the SSH. OPERAS pervading idea of science as communication holds an immense potential for an inspiring model of Open Science with direct societal impact, based on continuous communication.

The essay revises the formulation of Francesco Torraca ‘s commentary on Dante’Comedy published in several editions from 1905 to 1992. It highlights the novelties of Torraca‘s work and the reasons of his long-standing success. [ABSTRACT FROM AUTHOR]