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Nella prefazione all’edizione italiana del Rosso e il nero di Stendhal (1913), Massimo Bontempelli (1878-1960), il traduttore del romanzo, presenta alcune sue opinioni relative al necessario rinnovamento culturale e letterario che costituirà poi il suo Novecentismo, difeso nella rivista letteraria “900” (1926-1927). Il presente articolo esplora come Bontempelli, attraverso le osservazioni sulla vita di Stendhal e la tragica esperienza di Julien Sorel, traccia un parallelo implicito con il proprio momento storico, considerando il ruolo dello spirito rivoluzionario delle avanguardie in tale rinnovamento. Tuttavia, implica anche che ciò debba essere controbilanciato dall’idea classica di arte e letteratura, dove la tradizione è vista come un’intima e profonda continuità tra manifestazioni di inaspettata novità. Anche se Bontempelli simpatizzerà in seguito con il Futurismo italiano, è proprio tale equilibrio che rende la sua proposta culturale e letteraria per la “Terza Epoca”, il Novecentismo, unica nel panorama letterario italiano. Questo saggio considera i suoi scritti del 1913 nel contesto della società di massa emergente, e quindi gli aggiustamenti editoriali e linguistici che furono necessari per l’edizione, e li paragona contemporaneamente alle riflessioni bontempelliane fatte sul tema negli anni a seguire.

The Venice Charter deals with archaeological excavations in Article 15 and, in particular, in overcoming the idea of "living" and "dead" monuments, the need for their fruition, which, however, even today, is not always guaranteed and included in broader strategies of enhancement. This paper aims to reflect on contemporary ways of interpretation, comprehension and fruition of archaeological areas sixty years after the Venice Charter. For example, modern virtual technologies, which foster a physical accessibility, or provide an alternative one when it is not applicable, can contribute to their understanding. Such technologies, moreover, can provide a means of reconnecting the link between the artifacts preserved in museums and the archaeological areas that have been stripped from them over time, a key issue that needs to be resolved in order to achieve broad understanding. [ABSTRACT FROM AUTHOR]

This paper, which is based on the contributions of Roberto Sani, Lorenzo Cantatore, Michela D’Alessio and Alberto Barausse, has the objective of presenting and discussing the recent book by Rossella Andreassi, entitled «Caro Vamba». La Corrispondenza de Il Giornalino della Domenica (1906-1911). Il progetto di Luigi Bertelli per l’educazione civile dell’infanzia (Lecce, Pensa Multimedia, 2023). The work is notable for its methodology and the distinctive nature of the sources employed; it concentrates on the noteworthy publishing endeavor initiated by Bertelli in 1906 and his seminal project of promoting democratic and civil education. Of particular significance is the journal’s correspondence section, which afforded children a legitimate space in the democratic process, enabling their active participation, integration and, most crucially, their voices to be heard. [ABSTRACT FROM AUTHOR]

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED 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 Archivio Giuridico is the property of Mucchi Editore 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 Tracce Urbane: Rivista Italiana Transdisciplinare di Studi Urbani is the property of Sapienza 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.)

Copyright of Ingegneria Ferroviaria is the property of Ingegneri Ferroviari 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 Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid 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.)

Starting from a reflection on the sports entertainment industry and the role of advertising during the 20th century, the essay presents a socio-anthropological analysis of the significance of the relationship between a city and its football team (Bologna and the Bologna Football Club 1909) through the study of objects, memorabilia, memories. Studying the material culture of a century-old team means dealing with a specific cultural product, an indicator of facts, events, and people that have traced the history of a community. The analysis of these sports objects produces discourses, narratives, symbols, and meanings along a century of Italian cultural industry through its heroes and their jerseys, not just a flag, but rather brands, values, and lifestyles of an entire city. [ABSTRACT FROM AUTHOR]

Copyright of Tracce Urbane: Rivista Italiana Transdisciplinare di Studi Urbani is the property of Sapienza 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.)

This essay will examine the reorientation of Raffaella Carrà's stardom in the decade of the 1980s, after the great success of her Saturday night TV shows. With the show Pronto, Raffaella? (Raiuno, 1983-1985) her public image shifts significantly in terms of her popularity, familiarity, and direct contact with the audience. The essay will analyze the reorienting elements of Raffaella Carrà's popularity from this decade onward, examining first of all Rai's midday broadcast, Pronto, Raffaella?. The different aspects of this programme's popularity and Carrà's televised transformation will be related to her writing practices during the same years, which have never been considered. Readers' mail and interview columns that Carrà held in «Gente» (1984-1985) and «Radiocorriere TV» (1985-1986), and his cookbook Le ricette di Raffaella (published in 1991) will be analysed to observe the dynamics of the "domesticity" and "familiarisation" of her celebrity. [ABSTRACT FROM AUTHOR]

Copyright of Modern Italy 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.)

Copyright of IUL Research is the property of IUL - Universita Telematica degli Studi 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 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.)

The birth of modern societies has been strongly influenced by the development of digital media, which has facilitated not only the transmission of information and symbolic content, but also the creation of new forms of action, interactions, and social relations. This article examines the repercussion that Clubhouse, a new kind of social network characterized by synchronicity and the use of voice, may generate in a legal and sociological perspective. The paper analyzes the underlying challenges for judicial interpretation in cases relating to defamation through Clubhouse. [ABSTRACT FROM AUTHOR]

The paper, taking the Museum of Casa Romei in Ferrara - an UNESCO heritage city - as a case study, explores some new technologies, ranging from surveying to digital communication and investigates their potentialities in improving the sustainability of cultural heritage. The work pursues the dual value of analyzing new tools and providing research products useful for the enhancement of the specific site, favoring the dissemination of consolidated tourist flows from the major monuments of Ferrara to the more peripheral historical urban fabric. Through the theme of analysis, documentation and archiving of architecture and its context, the research - addressing specific themes of integrated and multi-scale survey, 3D processing, 2D drawing, interactive data storage - examines the use of digital technologies for multi-level dissemination of the cultural assets and their possibilities as tools for accessibility and inclusivity. [ABSTRACT FROM AUTHOR]

Copyright of Studi Medievali e Moderni (15930947) is the property of Paolo Loffredo Iniziative Editoriali 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 Forme e la Storia is the property of Rubbettino Editore 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.)

Both Giorgio Bassani's novel, I Giardini dei Finzi Contini (1967), and its filmic counterpart of the same name, adapted da Vittorio De Sica in 1970, seek to grapple with the historical memory of, and responsibility for, Italy's participation in Holocaust. Bassani lambasted De Sica's "translation" of the source material, considering the film a "betrayal" of the original work. This project advances the thesis that De Sica's film does not, however, attempt to re-create the original "spirit" of the novel, but rather, to advance a distinct moral thesis. Bassani centers his text on a sense of intimate grief: the novel serves as a personal and psychological memorial for the narrator's Jewish love interest, Micòl, and those like her, killed in the Holocaust. To De Sica, however, the crux of the film is not to highlight the loss of relationship between the two tragic main characters, but instead to force the film's audience -- and filmmakers like himself -- to take historical accountability for the passive, escapist mindset of Italian society that led to the rise of Fascism and the tragedy of the Holocaust. What replaces the book's emotional core is instead De Sica's filmic condemnation of the close-minded and insular attitude that allowed Fascism to creep into even the most personal, "protected" spaces of Italian society. Though Bassani claims that De Sica betrays the "spirit of the book," the novelist does not realize that, by doing so, De Sica is also able to offer a more jarring indictment of Italian society, one that reflects his own experience during the rise of Fascism. For this reason, De Sica's film "translates" nuanced narrative elements of the novel into a more guilt-inducing depiction of events in the film. This paper explores De Sica's "translations" of narrative events and the larger goals those adaptations were meant to advance. [ABSTRACT FROM AUTHOR]