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At the end of the Second World War, Rome was undergoing a period of great turmoil and renewal with a significant increase in population. The urban future of the Republican Capital had to be planned by reforming now obsolete urban planning tools. Several Urban Plans were devised that show an intention to expand towards the eastern quadrant of the Capital – to the detriment of urban planning in the western sector near the Vatican. At the same time, the deleterious social and economic consequences of the war led to a considerable increase in religious vocations in Italy. In this complex social and urban context that saw the planning of the modern capital, various religious buildings in the western sector of Rome were constructed with the objective of educating religious and addressing the lack of State-provisioned services. Several architects known to be spiritually close to Christian charism were involved. Following these events, Studio Passarelli designed the Curia Generalizia and the College of the Holy Cross-Congregation in Via Aurelia Antica. In the 1970s, the building was sold and became home to the German Historical Institute (DHI). [ABSTRACT FROM AUTHOR]

This article enquires into the reasons for the ongoing lack of a complete catalogue of the composer Luigi Nono's works 35 years after his death, stressing the need for an official tool to accurately track his creative journey. As such, it considers various aspects of Nono's work, including the nature of his compositions, the challenges in documenting them, the history of their publication and how their significance has evolved over time. Drawing on Giovanni Morelli's insights, the article aims to summarize the current state of research on Nono's work, with potential applications for cataloguing the works of other composers of the latter half of the 20th century. [ABSTRACT FROM AUTHOR]

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Copyright of Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 author examines the thesis expressed in the title of the volume by Matteo Motolese «L'eccezione fa la regola». Sette storie di errori che raccontano l'italiano (Milano, Garzanti 2022), and especially the notions of «exception» and «error». In the light of the notion of «error», considered as «a usage condemned, generated by a contrasting rule [R-2]», versus a usage approved and generated by a canonical rule [R-1], the author analyses the examples of errors detected by Motolese in the linguistic history of the 7th–8th centuries (Appendix Probi), of the 13th century (Canzoniere Laurenziano), of 1501 (Petrarca, Le cose volgari), 1603 (Vocabolario della Crusca), 1840 (Alessandro Manzoni, Promessi sposi, ed. Quarantana), 1939 (the linguistic policy of Fascism) and 2022 (grammar/spell checkers). [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 Elenchos: Rivista di Studi sul Pensiero Antico is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 paper deals with the particular linguistic variety spoken by some servants in Stefano De Franchi's comedies (1714‒1785). After briefly hinting at some fundamental aspects of his production (§1), we examine the text of his comedies (§2) and analyze the servants' language. This variety presents numerous traits which do not belong to Genoese (§3), some others which will spread in the urban variety only between the nineteenth and twentieth centuries (§4) and many others which had been expelled from it between the fifteenth and seventeenth centuries (§5). Finally (§6), the linguistic analysis of Gerusalemme Liberata's Genoese translation (1755) will allow us to order chronologically the linguistic relics of §5. [ABSTRACT FROM AUTHOR]

Copyright of Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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 Zeitschrift für Romanische Philologie is the property of De Gruyter 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.)

A reliquary casket containing relics of Saint John is currently preserved in the cathedral treasury of Vercelli. The wooden structure of the artifact is covered with thin openwork bone plaques showing birds and vegetal motifs. Although the casket has been considered Byzantine, Sicilian, or Islamic by some scholars, the style of its ornamentation does not seem to support any of these hypotheses. By examining the features of the decorative foliage in the bone plaques, the present article argues for a reassessment of the casket's plausible origins. Especially the flat helix-shaped Rinceau patterns can be closely compared to a large group of bronzes from Lower Saxony, attributable to the Hildesheim workshop. [ABSTRACT FROM AUTHOR]

Within the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory. [ABSTRACT FROM AUTHOR]

In this paper we present a selection of preliminary results of our research project "Intonation and Meaning", in which we compare recurrent intonation contours in German and Italian regional varieties. We apply the method of German Interactional Prosody Research (Interaktionale Prosodieforschung), which in turn is based on Conversation Analysis, to a sample of self-collected empirical data. Our aim is to show the value of intonation as a resource to contextualize speech activities and to point out form-function relationships between intonation patterns and speech act types. In this respect, we observe the usage of intonation contours with rising accent (L*H) and with falling accent (H*L) in the utterance of question activities, and provide evidence for the fact that the latter represent a distinctive type of questions with epistemic presupposition, whereas L*H correlates rather with default, modally unmarked questions. [ABSTRACT FROM AUTHOR]

Foucon de Candie is an epic poem dating to the last two decades of the twelfth century. In the first part, it tells the story of Foucon, one of Charlemagne's nephews, acquiring the Saracen city of Candie. The still unpublished Franco-Italian version of this chanson de geste contains some laisses that are not in the rest of the French tradition. In this article I publish and comment on two of them which describe the galley of Foucon (La nef Folcho mult est bien atorné e Per gran maistrixie hont afermé un doion). [ABSTRACT FROM AUTHOR]

This article considers a new reading of the first lines in P.Ibscher s.n. (= P.Berol. 18122). Meleager and Theseus have a conversation in the underworld. The former hero asks the latter about his presence in the kingdom of death. The sequence of direct questions reflects the narrative modalities of meetings between heroes attested in Homeric epic. [ABSTRACT FROM AUTHOR]

Copyright of Quellen und Forschungen aus Italienischen Archiven und Bibliotheken is the property of De Gruyter 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.)