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The article treats of the most famous sort of Irish protective prayer, which name is lorica (breastplate). The author talks over this kind of prayer and inserts its translation. Next, on the base of article of O'Donoghue, the author analyzes every stanza of S. Patrick's lorica. First and eight stanza tells about Trinity and God, in the second and second the power of Christ is invoked in all its main manifestations: his birth, his baptism, his death and burial, his resurrection and his coming in judgment. The third stanza descends from the sphere of deity to the world of the first creation - angels. The fourth stanza dips down from heavenly host to the visible cosmos in its spheres and elements: sun, moon, and firmament, and the four elements: fire, air, water and earth. In the fifth stanza we are back at the source of creation, a natural progression from the invocation of created nature in the fourth stanza. The sixth stanza tells about spells cast by women and blacksmiths and druids.

Lo studio è incentrato sul tentativo di comprendere la scena presente sulla lorica di una statua acefala di probabile fine età claudia rinvenuta nell'area archeologica di Rusellae (Roselle, GR) all'interno di un edificio connesso al culto imperiale. La decorazione analizzata è composta da diversi elementi: un trofeo di armi ed un'aquila in posizione pressocchè centrale, ai loro lati si dispongono figure umane interpretabili come barbari e per le quali si propone l'identificazione con il britanno Caratacus accompagnato dai suoi familiari mentre rivolge una supplica di liberazione al Senato ed all'imperatore Claudio, secondo l'episodio riportato negli Annales di Tacito (12.33-40).

Copyright of Studi Pesaresi is the property of Societa Pesarese di Studi Storici 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 Studi Pesaresi is the property of Societa Pesarese di Studi Storici 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 LANX is the property of LANX 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 work consists of the presentation and conceptual reading of two frescoes found in the House of the Vetii, in Pompeii. The representation of two women painters has allowed the development of an investigation of the iconographic value of both frescoes in order to deepen and giving relevance to the images represented; In the present work, the relationship of these images with a certain social function of the Pompeian woman, educated in art and even medical techniques, is revealed. This work highlights the apotropaic value of the paintings studied in relation to female fertility, family wealth, and medical science and practice. [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 Asprenas is the property of Verbum ferens srl. 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 Bollettino della Società Entomologica Italiana is the property of PAGEPress 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 Papers of the British School at Rome is the property of Cambridge University Press 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 accounts kept in the Millini fonds of the Serlupi Crescenzi Archive have allowed the author to redefine the stages of the construction of the Patrizi chapel in the basilica of St. Maria Maggiore. At the same time, it was possible to ascribe the two portraits of Costanzo and Patrizio Patrizi, previously attributed by critics to an anonymous sculptor and to Alessandro Algardi, to the hand of Orfeo Boselli. This rediscovery makes it possible to add two important pieces to the autonomous production of the Roman sculptor, known essentially for his work as a restorer of antique sculptures. In addition, the author proposes to identify a bust made by Orfeo Boselli in a private collection, already erroneously identified as an effigy of Paolo Giordano II Orsini, as a portrait of Torquato Alessandri, a friend of Boselli's who is depicted in his mature age and in old-fashioned clothes to honour his military career. [ABSTRACT FROM AUTHOR]

The Forum built in Rome by Trajan is a match of his political and military virtues: the defeated populations materialize with statues and high-reliefs in precious marble and are therefore an integral part of the marble triumph of the emperor and the Roman army. The statues of the Dacians are distributed on the most visible architectural parts of the complex, and they have different size, as well as different back surface treatment, depending on their location. In order to reconstruct the architectural composition together with the sculptural apparatus, a complete metrological analysis of the sculptures has been undertaken, alongside the examination of the material features of Daci statues (clothing, surface treatment) and of data yielded by archives and excavations that took place in the past centuries and recently in the 21st century. The work has been based on a method measuring bi-dimensional photographic shaped-set of all the Daci dispersed in several art collections, starting from the idea of working with a low-cost method without specific expensive software. The workflow combines bi-dimensional images, scaled to 1:1 reference, imported in AutoCAD in order to produce a single .dwg file, with good resolution but easy-to-manage during the data processing. Some interesting, albeit preliminary, goals have been achieved. In the first place, a measured catalogue of all the Dacian statues dispersed in the world has been quickly built. It was therefore possible to start the reconstruction, at least virtual, of the sculptural context of Trajan's forum. Regarding the size and archaeological aspect of the sculptures, three dimensional series of Dacians have been grouped, which contributed, on the one hand, to confirm the results of previous studies, and on the other to advance the knowledge with new data. [ABSTRACT FROM AUTHOR]

Copyright of TST - Transportes, Servicios y Telecomunicaciones is the property of Asociacion Iberica de Historia Ferroviaria 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 examines a series of drammi per musica written by Adriano Morselli during the last years of his own career as librettist for the Teatro di S. Giovanni Grisostomo in Venice: Amulio e Numitore (1689), Pirro e Demetrio (1690) and L'incoronazione di Serse (1691), with music by Giuseppe Felice Tosi; La pace fra Tolomeo e Seleuco (1691) and L'Ibraim sultano (1692), with music by Carlo Francesco Pollarolo. Investigating a series of topoi and dramaturgical devices that place this works in the wake of the writing conventions of late seventeenth-century Venetian opera, the paper takes into consideration the dramatic models employed by the poet, with their direct influences from the classical French theatre. This allows us to consider Morselli's libretti as an example of a poetic trend, only partially studied by theatrologists and musicologists, which flourished in Venetian opera during the last quarter of the 17th century. [ABSTRACT FROM AUTHOR]

Historiography has given little space to housing and settlements created by State interventions – such as the Bonifica integrale and the Riforma agraria – which also in Calabria have given rise to colonization projects in rural areas removed from isolation or malaria. The contribution takes into consideration the planning history of rural and mountain villages, the models and logic that guided them and their medium-long term impact on local settlement systems in some intervention areas of the Opera Valorizzazione Sila, the body entrusted with the implementation of the agrarian reform in post war Italy (Law n. 230 of 1950). Particular emphasis was given to the relationship between the forms of intervention launched after WWII and those promoted with somewhat similar intentions during Fascism with the Bonifica integrale (Law n. 235 of 1933). The areas involved in this colonization were the Sila plateau, hilly areas and contiguous plains, such as the Marchesato and the Neto valley in the Crotone area and the Piana di Sibari, in the upper Ionian coast of Cosenza. [ABSTRACT FROM AUTHOR]

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon 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.)

Copyright of Thiasos is the property of Edizioni Quasar di Severino Tognon 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.)

Copyright of Cartagine. Studi e Ricerche is the property of Cartagine. Studi e Ricerche 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 focuses on the essay Trajan's Column narrated, which is part of the latest collection published by Italo Calvino himself. It is therefore a work of maturity. The purpose of our analysis is twofold: firstly, we want to make known Calvino's reading of the Trajan's Column - this "epic carved in the stone, one of the most extensive and perfect figurative narrations that are known to us" -, a writing little known to the wide audience. Secondly, we wish to emphasize the literary merits of this short, yet very dense essay, highly representative for the Italian writer's way of making literature, and already encompassing his recommendations for the next millennium literature: lightness, quickness, exactitude, visibility, multiplicity. [ABSTRACT FROM AUTHOR]

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.)

In the late nineteen fifties in Lucania, an area that became symbolic as regards the peasant condition which would be redeemed and changed through new programmes and politics, Ernesto De Martino studies and records the ancient mythical and ritualistic performance of the "game of the sickle". In the same period Luchino Visconti studies the location and makes a detailed anthropological research for "Rocco and his brothers", one of the masterpieces of Italian neo-realism, released in Italy in 1960. That same year L. Del Fra presents "A passion for wheat", a documentary based on the documents and archive material of the research conducted by De Martino. Visconti's neo-realism and the anthropological studies in southern Italy are connected by the same methodology used and the creation of the paradigms of the first "anthropological cinema" or documentary which in Italy is, in its beginnings, the "meridional" cinema. [ABSTRACT FROM AUTHOR]

Renate Siebert is a distinctive/unique figure in the field of sociology in Italy and the rest of Europe. German-born, she was a pupil of Adorno's, under whom she graduated in the late 1960s with a thesis on Frantz Fanon published in German, Italian, French, Spanish and English. In the early 1970s she moved to Italy, first Milan andthen the University of Calabria, where she found the path that was to shape her scientific,civil and political field of interest: the situation and experiences of those on the margins of society, victims of prejudice and discrimination, and women in particular.This perspective gave rise to some of her most innovative, best-known work, such asSecrets of Life and Death: Women and the Mafia – published in Italian, English and German, Razzismo: il riconoscimento negato (Racism: recognition denied), the research studies on three generations of women in Southern Italy, on the construction of prejudicein everyday life, on the difficult undertaking of engaging with memories of violence. In recent years she has increasingly turned her focus to the condition of women in Islamic countries, with particular attention to the work of Assia Djebar, whose work she has helped promote in Italy. Siebert's work has spanned a host of geographicaland cultural contexts, in search of what lies hidden in the silence that victims of prejudice are confined to. One emblematic publication is Voci e silenzi post-coloniali.Frantz Fanon, Assia Djebar e noi (Post-colonial voices and silences, Frantz Fanon, Assia Djebar and us), in which the author brings together two figures who, albeit very different, can help us «decipher the post-colonial period». Fanon and Djebar were heavily involved in the struggle for the independence of Algeria, and Renate Sieberthighlights their «voices», set against our silence, or rather our «lack ofawareness of the implications of colonial and post-colonial violence and racism for our own future». [ABSTRACT FROM AUTHOR]

Old-growth forests are terrestrial ecosystems with the highest level of biodiversity and the main environments for the study of conservation and dynamics of the forest system. In Mediterranean Europe, two millennia of human exploitation deeply altered the structural complexity of the native forests. Some animal groups, including insects, may be used as a proxy of such changes. In this paper we explored the possible effects of forest management on the functional diversity (species traits) of carabid beetle communities. Three old-growth forests of the Sila National Park were sampled by pitfall traps set up in pure beech, beech-silver fir and Calabrian black pine forests. In each forest, five managed vs. five unmanaged stands were considered. Managed sites were exploited until the sixties of the past century and then left unmanaged. More than 6000 carabid specimens belonging to 23 species were collected. The functional diversity in carabid groups is influenced by forest management especially in beech and beech-silver fir stands. Body size, specialized predators, endemic species and forest species were negatively affected by stand management. On the contrary, omnivorous ground beetles populations (or species) with a high dispersal power (macropterous) and large geographic distribution were positively influenced by stand management. In pine forests the old-growth community seems less sensitive to past management and more affected by soil evolution. Soil erosion and disturbance may reduce species diversity of ground beetles. Anyway, the composition of the carabid community shows that 50-60 years of forest restoration are enough for the reconstruction of a fairly diverse assemblage reflecting a "subclimax" situation. [ABSTRACT FROM AUTHOR]

Copyright of Acta Histriae is the property of Historical Society of Southern Primorska of Koper 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 present paper aims at examining the motif of textiles and dressing in the Latin hagiographic epos of Venantius Fortunatus. Key elements of the biographical tradition about Saint Martin of Tours, the images of cloths and the scenes of dress sharing seem to have special narrative and aesthetic functions in the poem while keeping their essential ascetic, thaumatourgic and anthropological importance. Being dressed appears as a symbol of being saved and protected, while a naked body can signify human vulnerability, temptation and sin at the same time. The stories woven into the poetic text about the different textiles of human or heavenly origin that are worn or shared by Saint Martin are used to illustrate the spiritual progress of the hero. Nevertheless, these episodes provide the unity of the narrative and renew some generic topos and skills of classical epic poetry (see the case of ecphrasis or enargeia) as well as formulate highly self-reflective metapoetic statements about creating a discourse. Finally, they raise questions about the hierarchy between visual arts (weaving, jewellery) and verbality, and reflect on the limits of human ways of expression in the representation of immaterial divine beauty. [ABSTRACT FROM AUTHOR]

An Oriental facies of the cult of Mithras is testified in the Roman East from the first century onward. This article proposes evidence and discusses crucial and peculiar characteristics and idiosyncrasies in the known mithraea from the Roman Near East, against the generally accepted theory stating that the cult of Mithras in the East, and particularly in Syria, shared the same features as those known of Mithraism in the West. [ABSTRACT FROM AUTHOR]

Copyright of Territórios e Fronteiras is the property of Revista Territorios & Fronteiras 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.)