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Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche 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.)

Il ms. intitolato Libro della Natione Normanda, conservato alla Biblioteca Universitaria di Siviglia (di autore ignoto del XVII s.) contiene stemmi, ritratti di sovrani e alberi genealogici delle dinastie regnanti a Napoli dai Normanni agli Asburgo. Alcune tavole poste alla fine del lavoro illustrano stemmi fittizi copiati da fonti straniere, assegnati a personaggi e popoli antichi, e una tavola con bandiere cariche di segni araldici attribuiti ai domini dai Greci, ai Goti, ai Longobardi, fino ai Franchi e ai Saraceni. Si tratta di un esempio di araldica immaginaria, costruita su anacronismi, ma in parte originale rispetto ad altre testimonianze dell'epoca, ove si rinuncia a figure di carattere fantastico in favore di composizioni araldiche liberamente ispirate a quelle delle città capitali della Campania.

Il saggio intende analizzare alcune delle questioni nate in seno all’edizione delle Cinque rose di Jennifer di Annibale Ruccello (1980) edita nel 2022 (a cura di Vincenzo Caputo, Edizioni di Storia e Letteratura). Specifici passaggi dell’opera di Ruccello consentono, infatti, una più generale riflessione sulla problematicità di qualunque commento teatrale che abbia come punto di riferimento un’opera vicina sul piano cronologico.

L’articolo rende omaggio al più prolifico poeta napoletano neolatino attivo tra il 1490 e il 1540, Giano Anisio, nato a Domicella nei pressi di Nola. Un riassunto degli studi dedicati all’autore precede l’analisi di un aspetto finora trascurato: la straordinaria ricchezza formale dei carmi lirici che distingue i suoi Varia poemata da tutte le altre raccolte poetiche contemporanee, comprese quelle di Pontano, Marullo e Sannazaro. Anisio non si limitò infatti a riprendere quasi tutti i sistemi strofici usati da Catullo e Orazio, ma ne accrebbe il repertorio con un numero consistente di tipi nuovi. All’illustrazione della varietas offerta dall’autore in questo campo, segue un campione di sei suoi carmi con relativa traduzione italiana.

Percy Allum began his studies with law and history and graduated from Queens' College, Cambridge in 1956 before going on to study political science and international law at Sciences Po in Paris (1959). In 1965, he completed his D.Phil. at Oxford under the supervision of the historian Christopher Seton-Watson and began his teaching career, working at English, French and Italian universities. His study Politics and Society in Post-war Naples was published by Cambridge University Press in 1973. From 1966 to 1993 he taught at the University of Reading, and from 1993 to 2005 at the University of Naples 'L'Orientale', a return to the city that was his first and favourite field of research. [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]

This essay aims to pave the way for a critical edition of Matilde Serao’s masterpiece, Il ventre di Napoli. We moved from the consideration that the recent revival of this author and the always more frequent re-editions of her texts are often not paired with an appropriate philological in-depth study. Il ventre di Napoli was published in 1884 for the first time, on the columns of the roman periodical «Capitan Fracassa». During that same year the author collected those articles into a volume published by Treves. Almost twenty years after, an extended version of the articles appeared on «La Settimana», a journal that Serao published herself, and in 1906 she gathered them into a volume issued by the Neapolitan publisher Perrella. The focus is on the analysis of the author’s variants of Il ventre di Napoli, collected thanks to a systematic comparison between the four printed versions of Matilde Serao’s Il ventre di Napoli, in order to understand Serao’s revising style and comment how such changes affect the text its various versions.

This article aims at examining the role that public art might have in processes of reconfiguration and resignfiication of urban space in view of the unveiling of absent emergencies, with a specific focus on Jorit's murals' located in Naples' peripheral areas. Rancière's politico-aesthetic methodology enables to critically analyze the relationship between public art and the distribution of the sensible. The objective is to identify alternative cartographies proposed by such works through the sensory clash they catalyze, hallmark of emergency aesthetics, and crucial in the re-writing of excluding urban narratives.

Lettura di Zanobi Acciaioli, Oratio in laudem Civitatis Neapolitanae, ed. Antonietta Iacono, Napoli, Paolo Loffredo, 2023

Concepito come tappa di una ricerca sui Seggi medievali nell’Italia meridionale, il saggio esplora le forme con cui è descritto e controllato lo spazio urbano di Napoli dal X al XIV secolo, con particolare riguardo a plateae e regiones, e alle microsocietà territoriali chiamate ‘tocchi’. L’intento è riaprire, anche grazie a fonti inedite, la questione dei tocchi, attestati dalla metà del XII a quella del XIV secolo, indagando una pratica di controllo dello spazio urbano, con cui gruppi di nobiliores o boni homines appartenenti a una regio o a un toccum concedono l’absolutio ad agire giuridicamente ad alcuni soggetti. Tale pratica individua nel radicamento e nel controllo dello spazio esercitato delle famiglie dei nobiliores un criterio di distinzione sociale in un contesto di forte inurbamento, ed è analizzata per la prima volta in termini complessivi, in rapporto al contesto sociale dell’atto e alla sua formalizzazione nelle chartae dei curiales.

Along the Annexation Wall in Bethlehem, an entangled web of tags, slogans, graphic stencils, and gestures cover the surface of the concrete barrier wall and asphalt road. In Napoli, Italy, similar messages, and symbols appear on the dressed stone facade of government buildings, churches, and apartments. Messages exclaim: Not only Floyd, Iyad Hallaq Too, IAW, Palestino, and No Balls? #Build Walls. Varying in opacity, the words and symbols fight for legibility and presence, acting as a conversational message board between local and international activists. Such visual elements are, according to Ella Chmielewska, "connected with the specific history of protest, contestation, and subversion framed by the locality" (Chmielewska, 2007). Thus, graffiti may be read as an actual and symbolic act of resistance, framed by locality. Considering the saturation of solidarity-based graffiti in places like Bethlehem and Napoli, this paper examines how urban space both facilitates and complicates the durability of activist-based interventions. Through a pictorial study, I focus on the effects of graffiti-based activism and examine how these marks continue to draw attention to solidarity-based causes. Kevin D. Murphy and Sally O'Driscoll refer to these types of marks as "ephemeral interventions," a reference to the temporary nature of graffiti and the potential long-term impact of certain politically motivated works that produce iconic symbols/signs (Murphy and O'Driscoll, 2015). Whether along the Annexation Wall in Bethlehem or the streets of Napoli, graffitied messages are specific to local political and social causes, yet also connect to greater, global solidarity movements. [ABSTRACT FROM AUTHOR]

Travel diaries of members of successive generations of the Demidov family from the mid eighteenth century onwards (Aleksandr, Pavel and Petr Georgevich between 1751 and 1761, and Nikita Akinfievich in 1771-1773), shed light on how Russian travelers visited Naples and the surrounding area, what distinguished those visits as well as their perceptions of Vesuvius. [ABSTRACT FROM AUTHOR]

This article aims at analyzing the complex processes and social dynamics stemming from the looking for a space to pray by Sri Lankan Catholics during the long period of Covid-19 pandemic. The focus will be on the social meanings of occupying a piece of public street in the grassroots neighborhood of Sanità, in the hearth of Naples’ historical center. Sanità is a space managed by different power with strong forms of self-organization that rule things without recurring to a formal/legal mediation, creating an urban life so unusual in the European cities. Starting from showing off how this direct mediation works, the article will dialogue with the social science debate regarding how migrant religious groups move within the framework of “local rules” in the use of social space that is also a practice of group affirmation, claiming for the right to the city and negotiating within power relationships.

Obiettivi di questo articolo sono la discussione della presenza epica a livello strutturale nel diario narrativo Mistero napoletano (1995) di Ermanno Rea e l’individuazione delle sue particolarità e delle sue caratteristiche. A tal fine, nella prima parte del contributo si rileverà sia come il tempo costituisca uno dei temi centrale del testo sia in che modo Mistero napoletano rappresenti qualcosa di ulteriore rispetto alle forme del diario-journal e del diary novel, pervenendo alla definizione di diario narrativo. Nella parte centrale del contributo la presenza del tratto epico di Mistero napoletano verrà discussa assumendo alcuni elementi, quali il preterito epico di Hamburger, la riformulazione di determinati moduli epici (il dissidio tra “vecchio” e “nuovo”, la dismisura, l’Evento in grado di trascendere sé stesso, il rapporto tra singolo e comunità, il senso della morte nel sistema valoriale di quest’ultima, l’ipoindividualità dell’autore, ecc.), la lettura politica di La Capria, il quale designa in termini negativi il portato epico presente nel testo, spiegandolo solo come ideologico. Nell’ultima parte del contributo l’osservazione dell’epico in Mistero napoletano sarà accompagnata a una lettura globale del testo secondo la teoria letteraria dell’ipermoderno e si osserverà come la struttura epica del testo ben si confaccia a quanto descritto da Donnarumma.

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Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche 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 Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche 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.)

Usando come modello il ‘discorso sul Capo di Buona Speranza’ di John Maxwell Coetzee, con la definizione di ‘discorso napoletano’ si intendono i riferimenti dell’autore alla città di Napoli e al suo ambiente socioculturale e il richiamo a temi e autori della letteratura napoletana, nei confronti dei quali la posizione assunta è di confronto/scontro. Preliminarmente verranno affrontate la questione dell’esistenza di una letteratura napoletana e la circoscrizione di quest’ultima sulla base del criterio della napoletanità e della risposta dell’autore ad essa. In secondo luogo, verranno circoscritti i temi e gli autori affrontati in Mistero napoletano per la definizione del suo ‘discorso napoletano’. Nello specifico si discuterà dell’assenza del dialetto e dell’impasto linguistico tra italiano e napoletano e verranno individuati gli autori di riferimento del suo ‘discorso napoletano’ (Anna Maria Ortese e Raffaele La Capria). Verranno discusse sia similarità e divergenze nei confronti di questi autori, dal punto di vista dell’arte scrittoria praticata e dal punto di vista delle posizioni assunte nei rispettivi discorsi napoletani (naturalistica, umanistica, materialistica). Infine, si discuterà di come il ‘discorso napoletano’ di Mistero napoletano sia ‘munizionale’, ovvero di interesse tanto per un lettore municipale quanto per un lettore nazionale.

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita 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 Scienze del Territorio is the property of Firenze 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.)

Considering the implications of transnational mobility dynamics within the urban space, the city of Naples shows growing fluidity since territorial reconfigurations intersect with the influx and stabilization of foreign communities. However, forms of socioeconomic vulnerabilities also emerge, associated to filtering-down housing processes, residential differentiation, or even deprivation and spatial segregation. From this case, and in the frame of the cosmopolitism approach, it is possible to discuss, on the one hand, how these socio-spatial dynamics, deriving from global processes, reverberate on the urban fabric reshaping and reinterpreting its functions, traits and characteristics and, on the other hand, which kind of practices may contribute (or not) to a bottom-up social cohesion. This enquiry is the result of a micro-scale qualitative analysis of the urban practices of the Sri Lankans in the Cavone area and Stella neighborhoods, which present the highest incidence of the community within the city, highlighting the evolution of the group's strategies and interactions. [ABSTRACT FROM AUTHOR]

This contribution is inspired by a current scenario regarding the city of Naples, Italy, where a strong popular uprising is underway against local institutions that are destroying the Camorra murals celebrating its "heroes" died in "war". These events are very interesting to analyse the theme of the iconographic exploitation of urban space by the criminal part of society in order to amplify the identity symbols of a tribal structure such as the Camorra. While on the one hand the analysis aims to show the positive response of civil society and institutions in eradicating these celebratory icons of evil, on the other hand the research intends to emphasise the profound and worrying systemic modification of public space according to subjective and negative canons that, however, are also shared by some intellectuals and even an administrative court. [ABSTRACT FROM AUTHOR]

In the analysis of the relationship between social and spatial dynamics, the peripheries assume, from the perspective of social geography, the role of an ideal laboratory for observing and interpreting the conditions of discomfort and marginalization. The contribution focuses on Scampia, the northern district of the city of Naples, which represents, together with other Italian suburbs, a context where the gaze that is exercised is too often conditioned by a stigma of decay, also fueled by some media simplifications. Through the reconstruction of the genesis and history of this district, with the contribution of the various land surveys carried out, we try to return a more articulated vision.

Copyright of Tiempos Modernos is the property of Tiempos Modernos 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 Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio 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.)

L'immagine letteraria di Napoli, "Capitale del Sud", che vede periodiche alternanze di crisi e splendore nelle arti, è sicuramente dicotomica: da un lato il locus amoenus in cui fiorisce l'inventiva e diverse tradizioni culturali si intersecano e convivono; dall'altro, il luogo simbolico di immense disparità sociali, uno scoppio di epidemie e la culla di una mentalità rilassata e reazionaria. L'immagine usata da Benedetto Croce per definire la città, "un paradiso abitato dai diavoli", risale al Medioevo, e viene negata di volta in volta dagli autori che intendono costruire un mito positivo di napoletanità, ma già agli inizi 20° secolo, e quindi soprattutto nel periodo dal 1943 (ai giorni nostri), ci sono accenti sempre più critici nei confronti di questa immagine, che risultano - più che nell'odio o nel disprezzo per la città e i suoi abitanti - nella tendenza ad allontanarsi da Napoli, per abbandonare una realtà contraddittoria che non risolve i suoi problemi, ma come una foresta vergine ricresce distruggendo ogni elemento del progresso. Gli autori esaminati nell'articolo sono: Carlo Bernari, Anna Maria Ortese, Raffaele La Capria, Fabrizia Ramondino, Ermanno Rea, Giuseppe Montesano, Elena Ferrante.

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This article is the result of ethnographic research exploring the relationships between social movements for the commons and local institutions in Naples. Proposed as an effective counter-narrative that opposes the clientelistic and corrupt management of public resources, the approach introduced by the Neapolitan commons network has become a model on a national scale and beyond. My aim is to describe the social and cultural factors underlying commoning practices and policies for the commons in a context that expresses specific conceptions of the political. I will dwell, in particular, on the experience of L'Asilo, the first community of commons activists who obtained recognition from the local administration for the 'civic use' of a public building that they had occupied in the historic centre of Naples. [ABSTRACT FROM AUTHOR]

Some of the mechanisms through which house prices are determined to remain unclear. This work aims to shed some light on the subject by analyzing the impact of text structure and given keywords in the announcements of house sales over the internet. It seems that, especially in trade among private individuals, the marketing of the announcement can make the difference. By retrieving data regarding houses on sale in Italy, one of the countries in which the housing market is still overwhelmingly composed of deals between private individuals (and not a market shared by a few big companies), we derived via OLS and fractional response probit estimation the impact of the text structure and several keywords. Our results show that there is no mark-up due to verbs and punctuation, or transport- and tourism-related keywords, while an abundance of nouns and adjectives or keywords related to investment, panorama, and cultural heritage have a positive (or expected) impact on the price. This suggests that using many nouns and adjectives in writing a house sale announcement helps to sell the property at a higher price, and also that while the latter set of keywords play a role in determining house prices, announcements leveraging transport opportunities and touristic opportunities do not. [ABSTRACT FROM AUTHOR]

Il flâneur rappresenta una fisionomia metropolitana che è intrinsecamente connessa alla dimensione urbana. La nozione nasce dai lavori di Baudelaire, che ha reso nota tale figura. Per Benjamin, il prototipo di flâneur è Hessel: i due amici cominciano insieme la stesura dei Passagenwerk nel 1927, e da Hessel, Benjamin impara l'arte di andare a passeggio. La prima città di cui Benjamin fornisce immagini dialettiche è Napoli, che visita varie volte dal 1924. A Capri conosce Asja Lacis che consiglia a Benjamin lo studio di Marx. durante il soggiorno caprese egli è impegnato a scrivere Premessa gnoseologica al Ursprung des deutschen Trauerspiels. Questo articolo si occupa del metodo di Benjamin e in generale del concetto di flâneur. la prospettiva fisiognomica, il procedimento micrologico e il metodo archeologico vengono applicati alla dimensione urbana - un teatro di comportamenti, in cui è possibile riscontrare le dinamiche del proprio tempo. Il flâneur occupa la soglia e scova gli interstizi urbani. Nella città, il tempo non scorre ma si sedimenta; antico e moderno coesistono; il calcolo prevale sulla sentimentalità. Altri autori come l'architetto Kracauer e il musicologo Adorno, sono considerati flâneur e riflettono su varie città come Parigi, Mosca e Berlino. in generale la correlazione è tra aspetti comportamentali e forme urbane; l'architettura testimonia il ritmo di una comunità e il gioco di forze della storia; l'idea di corrispenza di Baudelaire è preferita alla relazione deterministica. Benjamin si oppone all'idea lineare e progressiva della temporalità: attraversale la città significa prendere contatto con l'Ur; i suoi passi sull'asfalto risveglano una sorprendente risonanza e la strada diventa un labirinto. Le polarità del reale vengono trasformate in immagini dialettiche, che montate inseime generano lo choc del risveglio. L'inutilità del passeggiare senza una meta diventa un atteggiamento filosofico in contrapposizione alla società capitalistica. Si vedrà come il metodo di Benjamin può essere trasposto nella contemporaneità e quanto di ciò che dice sia ancora valido per Napoli. il riferimento è agli stereotipi che l'industria culturale e cinematografica promuove sulla città. Benjamin rappresenta un anti-turista. Se il turista guarda una vetrina, Benjamin vede la fantasmagoria della merce. Se il turista raccoglie cartoline tipiche, egli produce immagini dialettiche. le rovine di antiche città, egli afferma, sono trasformate in feticci dall'industria turistica.

Copyright of Gândirea Militară Românească is the property of Romanian Armed Forces Defence Staff 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 is the property of University of Illinois 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 article Sequences of architectural landscapes that opened the number 270 of the magazine "Domus" in 1952 - the director Ponti was in the jury of the competitions of INA Casa - focuses on an aspect of particular interest, that of the construction of the urban image related to the public housing, revealing, at that time, an attention to the quality of the relationship between houses and cities much more closely than one can imagine if one looks at the current de-qualification of the suburbs. It is at the crucial moment of the Reconstruction that the phase of reflection on the concept of townscape, developed by Cullen, begins, during which one questions the sense of the aesthetics of the buildings: the shared idea is that the urban landscape is the true bearer of harmony and "beauty" in the cities, as also verified by Giovenale on «Urbanistica», precisely in relation to public housing. Naples, in this sense, is at the forefront, following the example of Rome, but with originality and autonomy, while these convictions reach the most disadvantaged areas of Basilicata, as highlighted by Rogers. In the editorial on «Casabella» of 1959, he stimulates the comparison between what produced by the best architects and engineers of those years. That intent that is pursued here, on the basis of documentary acquisitions, highlighting that attempt to avoid the conformity of the urban environment, giving identity to the places.

As of today, there is not a complete study on the villas in Naples between the 16th and 17th centuries. The demolition or the big transformations of buildings incorporated in the new town have, until now, discouraged the scholars from this systematic investigation that could perhaps bring new insights on the theme of the villa in Italy. The study of architectural history of Villa Carafa in the 17th century can maybe help move forward in this direction. This paper retraces the architectural history of Villa Carafa between the 17th and 18th centuries, before the opening of the new via Posillipo in the 19th century, when the villa was then distanced from the hill and was forced to change its orientation, urging for a new re-configuration. With the help of new archival documents, the essay investigates the origins back to when the property belonged to the Hierosolymite Order in the early seventeenth century and focuses on the architectural works promoted by Carlo Carafa, after his brother purchased it in 1629. It was then that it became the magnificent villa overlooking the sea eulogised in the 17th century books and repeatedly depicted by landscape artists during the 18th century.

Through the examination of manuscript notebooks, sketches, drawings and tables of architecture, the essay reconstructs the main stages of the three travels in southern Italy of the French architect Pierre-Adrien Pâris, that were limited exclusively to sojourns in Naples and Campania; the paper also analyzes the perception and iconographic and descriptive restitution of the places and monuments visited, from that appears the remarkable interest of Pâris for architecture and archeology. The documents examined, such as Journaux de voyage, Carnet de croquis, Études d'architecture, are just a part of the vast collection, digitalized and available online for consultation, preserved in the Pâris Fund of the Municipal Library of Besançon.

Between the seventeenth and eighteenth centuries, some new cultural relations between Bologna and Naples developed a new dialogue between the two cities, focusing on new scientific discoveries and academic disciplines. From this moment on, Naples and the South become a pole of attraction in the reflections of intellectuals and artists of the Bolognese circles. Thanks to the Institute of Sciences and the Studio in Bologna, it begins a production and a collection of texts, images and objects that refer to the charm of the coastal city. If some of these materials have already been analyzed individually, the paper aims to set a broader reflection that recomposes a network of correspondence; it also identifies the attention on Naples during the eighteenth century within the main figurative genres and collectors who animate the Bolognese artistic culture.

At the beginning of the 18th century, there was a new interest in the knowledge and representation of the territory of Southern Italy, with many iconographies of some previously unknown urban centers being produced, where local contexts and landscapes were very much emphasized. In the second half of the century, on the one hand, with significant progress in the fields of surveying and mapping, only the description of urban details remained as a role for the traditional “views”; on the other hand, there was an increasing focus on anthropological and social aspects, on natural phenomena and on archaeological findings., This was also recorded in the iconography of Southern Italy with the first representations of many undeveloped parts of the Neapolitan Kingdom. In this way, a largely unexplored horizon had just opened for the abbot Saint-Non. Yet is was in the capital of that Kingdom that the French traveler, impressed by the charm of a city suspended between myth and nature, best approached the theme of urban landscape, interpreting it for the first time according to the idea of “picturesque”, that is of a primordial synthesis between man and natural environment. Indeed, while Saint-Non did not fail to consider the pristine nature of the southern landscapes compared to the advances of industrial civilization, in the Bourbon capital he grasped, more than anywhere else, several “mythical” signs throughout the urban territory and its suburbs.

The Cardinal and Archbishop of Naples Ascanio Filomarino was one of the main protagonists of the so-called "revolt of Masaniello". Historians have emphasized above all his role of mediator during the first ten and most celebrated days of the revolt, that were characterized by the presence of the pescivendolo at the head of the rebels. The article proposes to show that the Archbishop of Naples was much more than a simple mediator between the warring parties, because he played a key role and openly took position in the course of the revolt. In particular, the attention will be focused on the period between October 1647 and April 1648, when Filomarino had to confront two illustrious characters: Don Juan of Austria, sent from Madrid to the command of the Spanish Armada, and the French noble Henri II of Guise, one of the many leaders who tried to impose themselves as head of the revolt after the death of Masaniello.

La notizia, supportata da una lunga tradizione erudita, per cui sotto il complesso di Santa Maria della Vita a Napoli si collochi una catacomba dedicata a san Vito, dove un tempo si ergeva una chiesa intitolata al medesimo santo, è stata sempre circondata da incertezza. Nonostante la catacomba sia tuttora irrintracciabile, lo studio, mosso dal fine di chiarire il complesso di fonti al riguardo, ha conseguito notevoli risultati, accertando l’esistenza storica e i caratteri della primitiva chiesa, individuando in loco numerose cavità ipogee non funerarie, nonché riportando all’attenzione degli studiosi un’immagine mariana dimenticata, proveniente dagli ambienti sotterranei preesistenti al convento.

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Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche 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.)

L’articolo presenta la decrittazione e ricostruisce il contesto storico di una lettera cifrata di Federico re di Napoli ai Re Cattolici, conservata nel ms. Espagnol 318 della BnF, per la cui cifratura è stato utilizzato insolitamente il cifrario in dotazione all’ambasciatore spagnolo a Napoli nello stesso periodo, Joan Ram Escrivà.