Anche questa è vita (Gli emersi narrativa) (Italian Edition)

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The Leitmotiv is the affirmation of the crucial role of creativity and innovation, two core concepts of the traditional spirit that has always pervaded the whole production of the FOPE brand. The Venetian centre of Telecom Italia, based in the former cloisters of San Salvador, has the ability to combine past and future, and history turns into art by means of computer sciences.

In this way the Future Centre widens its traditional focus on the world of ecosystems with the aim to analyze the pervasive presence of telecommunications, in order to unfold new scenarios of interactive communication, that can be practiced by concentrating on the specific assets of an Operator like Telecom Italia. In the artistic sphere, the Future Centre aims to build a prototype for the study of the city of the future with the related conservation of its cultural and environmental heritage, by taking Venice as a model. From the digital reconstruction of intelligent environments, from interactive and multimedia design to the analysis of artworks, up to the creation of scenarios of augmented reality, and the redefinition of the museum experience: these are just a few fields and applications the researchers of the Telecom Italia Future Centre are working on.

The Romanian Institute for Culture and Humanistic Research of Venice is continuing the traditional collaboration with Arte Laguna Prize which, we could say, has grown and developed together with our Institute. We will host in the New Gallery of the Institute the traditional exhibition dedicated to the Under25 finalist artists.

Download PDF Dal buio alla luce nei sentieri della vita (Gli emersi narrativa) (Italian Edition)

The Romanian Institute of Venice — founded in — has as its goal the dissemination of the Romanian art and culture in Venice and Italy, acting as a cultural "bridge". We hope that our partnership with the Prize continues, now and in the future, acting as a bridge for Romanian artists as well as for all the artists of different nationalities that participate. We congratulate the excellent initiative of the Prize that has provided added value to the artistic environment of Venice. Riguardando, Incisione calcografica, fotografia analogica, disegno e scrittura su carta Engraving, analogue photography, drawing and writing on paper x cm.

Ricerca, Acrilico su tela con telaio in legno Acrylic on canvas with wooden framework 50x70 cm. Hesperia 05, Acrilico, grafite, inchiostro su carta fotografica Acrylic, graphite, ink on photographic paper x40 cm. Thank you Anselm, Olio, acrilico, polvere di quarzo su tela preparata Oil, acrylic, quartz powder on prepared canvas x cm.

The storm, Smalto ad olio, tecnica mista su tela Oil enamel mixed media on canvas ,92x91,44 cm. Detour 21, Olio, smalto e acrilico su tela, plastica, acetato, plexiglass, nastro adesivo Oil, enamel and acrylic paint on canvas, plastics, acetate, plexiglass, adhesive tape x cm. Raison d'Etre, Acrilico, wash, grafite su tela Acrylic, wash, graphite on canvas x81 cm. Out going, Stampa su tela, pittura acrilico e oggetti cartone Print on canvas, painting acrylic and object cardboard 80xx4 cm.

Choice of Belief, Espressione delicata e un gentile stile narrativo metaforico Delicate expression as well as a gentle metaphoric narrative style x cm. In the studio Diamond floor chair drawing piece , Pigmenti, sedia, giacca, acqua Pigments, chair, jacket, water Variable size. Enjoy Venice, Zucchero, coloranti naturali, glucosio, legno Sugar, natural colorants, glucose, wood 50x50x75 cm.

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Nature Preserved, Lavoro in plastica e nylon riciclati: un Giardino dell'Eden riciclato Work of recycled plastic and nylon: a recycled Garden of Eden x cm. Geo-cognition, Lavorazione spaziale, geometrica, matematica e materiale Spatial, geometrical, mathematical, material processing x cm. Lovecraft Lyubolet , Scultura gonfiabile in lattice Inflatable latex sculpture xx cm.

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Milchstrasse Milky Way , Circa 30 metri di cavi collegati manualmente About 30 meters of cable ties, manually connected Variable size. Rosa de cabeza, Oggetti pittorici realizzati con Lycra e pinzatrice Pictorial objects made with Lycra and a stapler xx cm. Star Shower -Star Rain-, Oggetti, proiettore, computer portatile strumento: flash, poser Objects, projector, laptop tool: flash, poser xx cm.

Evolution of pollution, Realizzato con cartone e specchio Made from cardboard and mirror 80x60x40 cm. The Last Supper, Legno, neon, trasformatore, lenza Wood, neon, transformer, fishing line xx cm. Reset, Legno, corda, metallo, iPod, casse audio Wood, rope, metal, iPod, speakers xx cm.

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Strange Fruit, Assemblaggio, cavo elettrico Assemblage, wire and electrical work x50 cm each. The Last Gun, Fucile da caccia 12Ga.

Carte altrove 01, Foto digitale, filigrane di carta fatte a mano con ricami Digital photo, handmade paper watermarks with embroidery 35x49 cm. Outdoor 60x90 cm. Sans titre, Stampa digitale, cappucci fatti a mano con tappezzeria Digital print, cowls hand made with tapestries 27x37 cm. The Beautiful Depths, Fotografia digitale grande formato Large-format digital photograph 61x81 cm.

Forbidden City, Stampa digitale montata su dibond, laminato opaco, stampa al vivo Digital print mounted on dibond, matte laminate, perfect bleed ,9x,4 cm.

Mondo , Getto d'inchiostro K3, elaborazione digitale da negativo K3 inkjet, digital elaboration from negative 50x37 cm. African Queen, Lambda, dibond, sotto vetro, cornice nera Lambda, dibond, under glass, black frame 80x80 cm. Escalators of the Central Station Milan, Pittura digitale mista ad olio su tela Digital painting mixed with oil on canvas x cm. Abandoned beach shacks, Digitale, obiettivo speciale, stampa cromogenica, carta baritata, cornice in legno trasportato dalla corrente Digital, special lens, c- print, baryta, framed in real driftwood frames 57x38 cm.

Jeane Dixon or to weave the dawn with the night, Grafite su carta Graphite on paper 65x50 cm.

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Change the Rules, Palloncini bianchi in lattice gonfi di elio ancorati a terra White latex helium balloons anchored to the ground x cm, h. Effetti realizzati con macchina fotografica Digital photography. Effects all done in camera 29,21x35,56 cm.

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The man who tries to remember his genuine self during annihilation process, Acrilico Acrylic ,6x76,2 cm. Wave cube, Tecnica di disegno a polvere di carboncino Drawing technique of stencil charcoal dust 70x cm. Nevertheless, Berti has produced useful editions of valuable historical sources, preserving both the form and spirit of the manuscripts in the process. Collected Letters of a Renaissance Feminist. Diana Robin. King and Albert Rabil, Jr. The editor and translator of the present volume has distilled a biography of Cereta from evidence found in these letters. The lively prose translation will appeal to specialists and non-specialists alike.

Diana Robin has nicely identified classical and contemporary humanist sources, motifs, and even lexicon that Cereta used. Many of the parallels to The Family could be considered conventional humanist topoi, but their frequency, language, and co-presence with letters addressed to Alberti family members should not pass by unremarked. Apart from sketchy comments in the footnotes, the "edition" lacks a critical apparatus. There are no descriptions of the two extant manuscripts, whose readings differ, and no discussion of how the manuscripts and the Tomasini edition Padua, are related.

Robin should have identified a base text and included a summary discussion of the textual relationships among the witnesses. Some sentences found only in Vat. Could Marc. Cereta herself refers to "the final draft. The diligent reader is also perplexed by the inconsistent choices of titles for the letters. Footnotes explain that Robin has retitled certain letters and that the Vatican manuscript had an index with titles.

Were these written by a contemporary book owner, by a modern librarian cataloguing the codex, or were they assigned by Cereta herself? Why do two dedicatory epistles and an epilogue appear in this edition as items 4, 6, and 5, respectively? Dates at the ends of letters reveal their chronology, and footnotes somewhat inconsistently give the order of the individual letters in each exemplar. However, the original arrangement of the contents is not easily discernible. Yet the "Dialogue on the Death of an Ass" is now found at the end of the volume, almost as an afterthought.

Robin should at least offer a statement justifying her rationale for her reordering and should clearly show in parentheses the original order. I do not wish these criticisms to detract from the inherent worth of this translation. Cereta employed many predictable humanist tropes and relied on well-known classical sources as her male counterparts did, but in numerous passages a startlingly original female voice emerges. Space does not permit a complete discussion of the metaphors and passages particular to Cereta, but these include: a homology of embroidery and writing; vividly detailed descriptions of nature, birds, and animals; friendship as a plant which must be cultivated; passages of sincere piety; and eye-witness "war memoirs" which are more poignant than the drier pacificism of male humanists.

There are remarkable glimpses into Renaissance domesticity, such as a birthing scene within the circle of women attending the mother. In several letters, the young widow laments the death of her husband and even hints at the resulting economic and erotic deprivations this loss represented to a woman of her era. Classical antiquity and mythology are present, but Cereta suppresses elements of rape or incest to put a positive spin on her ancient female characters. In an innovative description of a Hades-like underworld, Cereta adopts the role of a female Orpheus seeking her dead spouse.

Recurrent, classically inspired images of Furies, madwomen, and female monstrosities suggest the suppressed rage Cereta felt as a woman whose considerable intellectual powers were too tightly contained by her society. Elsewhere, she fends off polemical attacks on her work, comparing herself to a lion, a tigress, and a she-wolf. This book traces the development of the episode in which a traveling knight, sometimes accompanied by his lady, arrives at a castle and is asked to abide by a strange, often unjust custom.

In particular, Ross sets out to demonstrate how these "nuanced narratives explore the social limits of order, violence, justice, civility, and political conformity" xiii. In moving from medieval to Renaissance, and from French to Italian to English, Ross aims to show how the episodes reflect changes in the function of custom and the authority of the past, related in part to two factors: "first, the transmutation of oral law into written law, and second, the transition from a French culture of customs to one which followed Roman or civil law and then on to England, a common law country" Combining a perceptive reading of romance with an extensive background in natural and customary law, Ross asks new questions about old texts, and he thereby enriches our own reading of romance.

While the early chapters leave some questions unanswered, the analysis is original, thought-provoking, and stimulating throughout. Ross sees the Weeping Castle episode as "an allegory of social pressure" in which the victorious Tristan, rather than eliminating an evil custom of judicial murder, conforms to the custom by beheading the defeated lord and lady of the castle. A way out is found only when Galahaut returns from self-imposed exile in protest of the custom to challenge Tristan and avenge the murder of his parents. While Ross remarks that "Malory seems to have missed the point" 30 of the earlier text, he leaves the reader curious to hear more about the point Malory may have been trying to make.

At the same time, by focusing attention on the serious issues at stake in this fictional form, Ross entices the reader to go back and reread these medieval narratives in a more probing way. The underlying premise of the next section is that "the Italians developed a notion of civility to counteract a rigid social system increasingly dominated by foreigners during the sixteenth century" He examines a "custom of the castle" episode in Boiardo and Ariosto, the two masters of romance epic in the Italian Renaissance.

Here, too, his analysis engenders additional questions. If Boiardo portrays Ranaldo negatively as getting caught up in the cycle of violence, does he also indicate how the knight should have reacted when attacked by the mob? Although Bradamante is powerless to overturn a foul custom, she can be granted an exception through witty reasoning backed by martial prowess.

Whereas in the first two chapters Ross tended to isolate single episodes, here he sustains his argument by comparing variations on the "custom of the castle" theme that stretch across The Faerie Queene. Further, he identifies an evolution within the poem itself. Whereas in the first half Spenser "generally looks to the distant past for those values that would fashion a gentleman to the ideals of chivalry," in the second installment he "seems to have struggled more openly with the relationship between social practice and values" Ross provides fresh and provocative readings of Hamlet and Macbeth , with additional insights into As You Like It , Twelfth Night , and the history plays, as well as an appendix on King Lear and Othello.

Ross cuts across temporal, spatial, and linguistic boundaries and brings philosophy, anthropology, socio-political history, and ethics to bear in his interpretation of chivalric fiction. Readers may find that the book leaves out their favorite "custom of the castle" episode which may or may not conform to the evolution that Ross traces. But this is really not the point. Did Boiardo, Ariosto, and Tasso consciously attempt to camouflage the classical sources of their epic poems?

Is the Orlando furioso really a harmonious montage of classical and medieval sources as critics have traditionally contended or is its success a result of a disharmony of these elements? These are only a few of the challenging questions Dennis Looney addresses in his provocative study , Compromising the Classics: Romance Epic Narrative in the Italian Renaissance. In discussing these poets, Looney considers how "narrative artists in the Renaissance renovated the popular genre of romance through their imitation of classic epic" In response to these static categorizations, the study suggests how these three Ferrarese poets "compromised" classical models "by incorporating them into the narrative structures of their vernacular poems" In doing so, the poets overcame, to some extent, the distinction between classical and medieval models in the construction of their narrative.