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5 book(s) with the same title
Mapping Artistic Networks: Eighteenth-Century Italian Theatre and Opera Across Europe
, Brepols, 2022 Paperback, 232 pages, Size:216 x 280 mm, Illustrations:25 b/w, 12 col., 10 tables b/w., 10 maps b/w, Language: English. ISBN 9782503584959.
Summary Mapping Artistic Networks provides a new critical overview of the circulation of the Italian theatre and opera across Europe in the eighteenth century. Performed as an extension of imperial celebrations, coronations, weddings, and masquerades, Italian theatre and opera provided scripts for the representation of political power and became an expressive metonym for the Bourbon monarchs, Austrian Habsburgs, Saxon electors in Poland, Prussian rulers and Russian emperors. They employed theatre as a political tool that magnified their victories and fashioned their courts as theatre and made theatre part of their courts. From Munich to Vienna, from Madrid to St Petersburg, from Dresden to Stockholm, there was seldom a court that did not employ Italian-born artists, musicians, singers, and theatre engineers. The volume furnishes valuable information and substantive new analysis on both Italian plays and operas performed throughout various European courts and the mobility of theatre professionals. The essays critically assess how the italianit , the notion we use in the sense of the image of otherness that Europeans wished to assimilate and musical style, were defined but also challenged through the productions of Italian theatre and opera abroad and their encounters with national traditions. The collection aims to contribute to a broader discussion of cultural transfer and transmission of artistic practices in music and theatre, and migrations of artists and texts across the continent, while also exploring for the first time the East of Europe. TABLE OF CONTENTS List of Illustrations List of Tables List of Musical Examples Introduction: Italian Theatre Reverberated Tatiana Korneeva A Note on Transcription, Transliteration, and Translation Part I. Itinerant Italians Italian Singers on the Move: Networks, Social Support, and Contact with the Native Land during Senesino's London Years Melania Bucciarelli The Italian Opera in Prague in the Eighteenth Century: Networks, Strategies, Repertoires Marc Niubo Pursuing Enlightenment Delights: Processes and Paths of Italian Operatic Migrations to Warsaw, 1765-93 Anna Parkitna Operatic Patchworks and Their Crossings: The Masi Family of Singers and Pasticcio Practices in Europe, 1750-70 Gesa zur Nieden Part II. Russian Italians Italian Operisti in Early Eighteenth-Century St Petersburg: Repertoire, Audience, and Translation Tatiana Korneeva The Scenographic Fantasies of Giacomo Quarenghi: Stylistic Migrations from the European to the Russian Stage Nadezhda Chamina Italian Stage Designers and the Staging of the First Russian Epic Drama with Music by Catherine the Great, The Early Reign of Oleg Anna Korndorf Andromeda Rescued on the Banks of the Neva: Opera for the Grand Master of the Order of Malta Bella Brover-Lubovsky Part III. Translational Encounters The Textual Evolution of Metastasio's Semiramide: Aesthetic Transformation and Proportional Identity Javier Guti rrez Carou Carlo Goldoni's Repertoire in Dresden: The Earth Seen from the Moon Piermario Vescovo A Mirror of Deceit: Giacomo Casanova's Theater Massimo Ciavolella Index of Names Notes on Contributors
Sull'Origine delle Specie per Elezione Naturale ovvero Conservazione delle Razze perfezionate nella Lotto per L'Esistenza. Prima Traduzione Italiana col Consenso dell' Autore per Cura di G. Canestrini e L. Salimbeni. - [FIRST ITALIAN TRANSLATION OF DARWIN'S ""ORIGIN OF SPECIES""]
Modena, Nicola Zanichelli e. Soci, 1864. 8vo. In contemporary half calf with four raised bands and gilt lettering to spine. Reinforced in inner margins and plate with waterstains to lower margin. An unusually fine and well preserved copy, internally as well as externally. XV, 403 pp + 1 plate.
Rare first edition of the first Italian translation of Darwin's seminal ""Origin of Species"", quite unusually, authorized by Darwin himself. The work was very well received and - compared to France and Spain - Darwinism was quickly adopted by Italian biologist and zoologist and meet only little catholic opposition. ""The impact of Darwinism on Italian naturalists was powerful"" the logic and rigorous treatment of the problem of the origin of species as Darwin had presented it, forced zoologists and anthropologists to reconsider those passages of Lamarckisms that they had agreed to with excessive enthusiasm"". (Capanna, Darwinism and the Italian academies). The reception of Darwin's work in France (1862) and Spain (1877) were characterized by a strong chatolic opposition, which also had a strong suppressing effect on the spread of his ideas to academic institutions.Despite of Italy being a catholic stronghold the reception of Darwinism was very favourable and meet very limited criticism from the church:""In contrast to the power Catholicism was able to exert against Darwinism in Spain, it was practically impotent in Italy. Neither could the Italian Catholic intellectual establishment draw upon a repertory of anti-Darwinism arguments from the Italian scientific establishment, as was done in France. As in France under the Third Republic and as was the case sporadically in Spain, the advent of Darwinism in Italy provided a source of ideology for the anticlerical movement. Although Darwinism enjoyed a number of close connections with the English source, the peculiarities of the Italian situation set Darwinism in Italy apart from other situations. Italy was in the forefront in recognizing Darwin, electing him to various academies and societies and awarding him the famous Bressa Prize in 1875. In Italy the translation of the Origin ""1864"" was given an impeccable scientific presentation by Giocanni Canestrini and Leonardo Salimbeni, which avoided the type of situation that arose from the presentation of Darwinism in France by Clémence Royer as a new scientific basis for a secularistic Weltanschauung. As a general explanation, of course, it is reasonable to accept Cermenati's arguments that the favorable receptivity of the scientific community and the general indifference to ecclesiastical objections to Darwinism are the chief factors explaining the quick spread of Darwinism in Italy"". (Glick, The Comparative Reception of Darwinism).Emma Darwin, Darwin's wife, wrote publisher John Murry on the 17th of December: ""Mr Darwin desires me to say that as you have never hesitated to authorize a foreign translation he has taken upon himself to authorise a translation into Italian without consulting you."" When Darwin was informed that his work was being translated into Italian he wrote to his close friend J. D. Hooker: ""There is an Italian Edit. of Origin preparing!!! This makes fifth foreign Edit, ie in five foreign countries. Owen will not be right in telling Longmans that Book wd be utterly forgotten in ten years. Hurrah!"".Freeman no. 706
Italian Sculpture in the Detroit Institute of Arts,
Turnhout, Brepols, 2003 Hardback, two-volume catalogue, 564 p., 390 b/w ill. 43 colour ill., 210 x 280 mm. ISBN 9781872501383.
This two-volume catalogue covers the entire collection of post-antique Italian sculpture in the Detroit Institute of Arts, ranging from early medieval to the early twentieth century. The collection of post-antique Italian sculpture in the Detroit Institute of Arts is considered among the three finest and most comprehensive outside Europe; however, this large and distinguished collection, whose formation began a century ago, has never been published in its entirety as a museum catalogue. Ranging from early medieval, pre-Romanesque stone carvings of the eighth and ninth centuries to works created more than a millennium later, the collection numbers over 350 pieces of Italian sculpture in wood, stone, terracotta, stucco, porcelain and bronze. More than half of the collection consists of sculpture from the fifteenth and sixteenth centuries (or the Early, High and Late Italian Renaissance), and approximately one-fifth dates from the thirteenth and fourteenth centuries (roughly, Italian Gothic sculpture). Although the remainder is more or less equally balanced in number between the eighth to the twelfth centuries, and those pieces from the seventeenth to the early twentieth centuries, the latter group of Italian baroque to nineteenth-century sculpture contains some of the most important and most recently acquired Italian works of art in the collection. New book.
Italian Film Music, 1950s-1970s. Between Tradition, Innovation, and Internationalisation
, Brepols, 2023 Hardback, 454 pages, Size:210 x 270 mm, Illustrations:32 b/w, 48 musical examples, Language(s):English, Italian. ISBN 9782503608464.
Summary The music heard in Italian cinema along the arch of the three decades highlighted in this book, has not only made history but has become an unspoken of patrimony of humanity. This book provides a platform to build a lasting tribute to those composers who were, indeed, the ?sounding? protagonists of hundreds of films - from Fellini's La dolce vita to Tornatore's Cinema Paradiso to a myriad of cultural documentaries and productions made for cinema and television. The book is divided into three parts comprising essays on the music of Nino Rota, lesser-known composers yet important on the national circuit like Carpi, Gervasio, Vlad, and Chailly, and four essays dedicated to the towering figure of Ennio Morricone whose legacy will continue to hover over Italian cinema of the 50s-70s for many decades to come. An introductory essay, 17 chapters annotated and provided with musical examples, tables, and iconographic material written by internationally known academics specialised in Italian film music; bibliographies and abstracts following each essay; biographies of the contributing authors; and an index organized by names and subjects, make this volume an indispensable research tool free of geopolitical barriers and ideological constrains in the bourgeoning field of Film Music. TABLE OF CONTENTS Franco Sciannameo Preface Part One: One the Road with Nino Rota Giada Viviani Un viaggio audiovisivo lungo il Po. Mario Soldati e Nino Rota agli esordi della televisione Francesco Finocchiaro We Were the Leopards : Strategies of Adaptation from Tomasi di Lampedusa to Visconti & Rota Anna Igielska Visconti's Integration of Opera Excerpts: Towards a Comparative and International Perspective Pasquale Giaquinto 'Kremmerzian' Influence in Nino Rota's Music for the Cinema of Federico Fellini: 'Rosa Aurata' in Giulietta degli spiriti (1965) Franco Sciannameo Fellini's Melophobia, Rota and Prova d'orchestra Part Two: Homages, Considerations, New Horizons Franco Sciannameo L'Armata Brancaleone and the Musical that Never Was Antonio Ferrara La grottesca combinazione audiovisiva di un pastiche parodistico di danze: l'allestimento musicale di Sedotta e abbandonata Marida Rizzuti Film Music in the Concert Programs of the Orchestre Sinfoniche della RAI of Milan and Rome Oreste Palmiero Fiorenzo Carpi e il cinema (con un catalogo delle sue colonne sonore e un contributo biografico) Beatrice Birardi Comporre con spontaneit controllata : la musica per film secondo Raffaele Gervasio Anna Scalfaro Music for TV Dramas by Luciano Chailly Marco Cosci How Does the Italian Cultural Heritage Sound? The Case of Roman Vlad's Documentary Music Giacomo Albert Sound in Italian Experimental Cinema 1950s-1970s: Between Audiovisual Counterpoint, Deconstructions, Asynchronies, Remediations, and Collages Part Threee: Ennio Morricone beyond Absolute Music Hugh Maloney Film Music as Greek Chorus: Ennio Morricone and Il ritorno di Ringo Antonella Coppi - Stefano Cucci Unusual Linguistic and Syncretic Opposites in the Music of Ennio Morricone Alessandro Mastropietro Informal Film Music: Morricone, De Seta and Un uomo a met (1966) Maria Birbili Sam Fuller's and Ennio Morricone's White Dog: Auteur Cinema Meets the Civil Rights Movement Abstracts and Biographies Index of Names
DIVA! ITALIAN GLAMOUR IN FASHION JEWELLERY
, Silvana Editoriale, 2021 HB, 310 x 240 mm, 264 p, 300 illustraties Eng/ IT edition. ISBN 9788836648047.
Two hundred Italian fashion jewels define the aesthetic mirror of society through the decades, showing the transformation of styles and customs. In Italy, since ancient times, fashion jewellery has been, and still is, an important component of clothing, of which it represents an accessory and a complement. The history of fashion cannot be written without mentioning its jewels. The volume presents two hundred Italian fashion jewels that, spanning from era of La Dolce Vita to the Pret Porter of the Eighties, from 90s Minimalism to the Neo Baroque of the new millennium, define the aesthetic mirror of society and show the transformation of styles and customs, ambitions and conquests of women, the evolution of shapes and innovations of materials and new technologies. DIVA! Italian Glamor in Fashion Jewellery tells about fashion jewelery in its creative intersections with Italian excellence: craftsmanship, design and fashion. A typically Italian story based on the ability to combine creativity, manufacturing and industry, art and technology, beauty and innovation. The masters of costume jewelery enter a dialogue with the great stylists and the talents of design, three heterogeneous visions with a single great protagonist: the Italian fashion jewel.
