ALBERT

Description: Prima di cingere la corona del Regno di Sardegna, i principi di Savoia-Carignano rimasero a lungo in precario equilibrio fra Torino, Versailles e Vienna. La politica funambolesca fra differenti universi curiali, abilmente guidata da Maria di Borbone, principessa di Carignano, è al centro di questo libro. Esso studia due vicende che, alla fine del Seicento, rischiarono di compromettere l’onore del clan dinastico: le nozze di Luigi Tommaso, conte di Soissons e il matrimonio del principe Emanuele Filiberto. Seguendo le mosse di Maria di Borbone e delle altre principesse Savoia-Carignano, nelle più acute fasi di crisi, esso invita a riflettere sul peso delle figure femminili nel consolidamento del prestigio familiare, reale e simbolico.

Description: This book lists more than 2,600 bibliographical entries referring to books, articles, and digital resources concerned with the ancient city of Ebla (modern Tell Mardikh, Syria, XXIV century BCE). The volume provides a comprehensive collection of philological, archaeological, and historical studies on Ebla from 1965 to present day: the Introduction describes structure, usage, and indexing principles of the bibliography, along with a detailed description of previous bibliographical repertoires on Ebla. A subject index is also provided to help the reader find entries related to specific subjects. The bibliography is arranged in alphabetical order by author and chronologically by year: the individual entries are marked by a progressive number for quick reference.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: L’intelligence artificielle est en train de redéfinir la traduction automatique et le traitement automatique des langues. il est ainsi urgent de mieux en saisir les enjeux sociaux, économiques et éthiques. Ce volume collectif explore la possibilité et les contours d’un nouveau consensus entre les usages humains des langues et la contribution des machines.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il presente volume propone una rilettura spaziale di alcune delle opere di quattro grandi autrici del XX secolo: Maria Aurèlia Capmany, Natalia Ginzburg, Elsa Morante e Mercè Rodoreda. Analizzati singolarmente o in prospettiva comparata, i testi raccolti sollecitano una riflessione sulla rappresentazione dello spazio nella letteratura prodotta da donne. Fulcro dell’indagine è la contrapposizione dinamica che, al momento della percezione, si instaura tra la dimensione ‘interna’, e dunque soggettiva, e la dimensione ‘esterna’, regolata dal contesto sociale in cui le protagoniste si muovono. La città e la casa: la chiusura e l’apertura, la fissità e il propagarsi delle direzioni…

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The essay reconstructs broadly The history of cultural life in Florence in the 16th-19th centuries and underlines why the system of government and power in the modern Florence had no need for a university that gave academic degrees, the training of the ruling class was done by other cultural institutions.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: This book explores the link between gender and urban space, attempting to incorporate a joyful activism into geographical research and embracing forms of ""self-awareness and self-ignorance"" (Harding 1992) to reconsider established theoretical and methodological approaches and enact research practices informed by liberatory politics (Federici 2023). The author worked together with transfeminist activists in Cagliari and Brussels, socialised as white and cisgender women as her, to observe the urban space by considering the intersection between gender oppression and the privilege of whiteness and cisgenderness. The result is a deeply reflexive book, because the theory it contains is conceived out of the personal experiences and individual histories of the people involved and is marked by a constant questioning of the author's presence and limits; joyful, because it chooses the path of attention by focusing on the relationships between the people involved and embracing feminist practices of parody; political, because it offers both individual and collective representations that express how power relations work in urban space. Parody is the feminist practice for a joyful geography that the author and participants chose to critically imitate discrimination and create three collaborative short films, entitled: ""By Bike She Lives"", on the right to slowness from a feminist perspective; ""Urban Piss-Ups"", on the act of urinating in public space as a metaphor for the right to the city; and finally ""Freedom for Jeanneke-Pis"", on the symbolism associated with sexist public representations. While the individual cartographies contribute to a theoretical discourse on the city, the films are suitable for public debate, to be discussed, disseminated and used to exercise the right to critique, the right to ask questions and to imagine, think and share urban scenarios other than the existing ones.

Description: Lo grotesco, como categoría transtemporal, en la versión contemporánea del grotesco esperpéntico, es el principal tema teórico de este libro. Con una perspectiva comparatista, nos acercamos a la novela As Naus (Las naves), de António Lobo Antunes (1988), a partir de Tirano Banderas. Novela de tierra caliente, de Ramón del Valle-Inclán (1927). Dos obras en las cuales el modo de representación es el grotesco esperpéntico, modo literario deconstructor de los poderes institucionalizados, de la historia oficial y de los héroes canonizados, mediante un proceso de heteromímesis que critica, en contrarrepresentación, los discursos fictivos o ficcionalizantes de los discursos oficiales.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The reception of Seneca’s Tragedies had a crucial moment during the 14th and early 15th centuries. In this period, after their recent rediscovery but before the extraordinary circulation across Europe in the Renaissance, Seneca’s plays attracted the attention of scholars and poets, and also of some exegetes who taught in Italian universities and schools. These cultural places represented a formidable medium for the dissemination of the Tragedies and the exegetical materials produced around them. In particular, an important role was played by Petrarch and Boccaccio, who read Tragedies and evoked them in their works, but also by some exegetes-professors such as Giovanni del Virgilio, Pietro da Moglio, Domenico Bandini, Bartolomeo del Regno and Petrus Parmensis, who focused their commentaries and lectures on Seneca’s plays. So, at first, this volume recalls the narrow spread of Seneca’s Tragedies up to Early Middle Ages, and examines their rediscovery, that was realized by Nicolaus Trevet and Paduan prehuminists Lovato de’ Lovati and Albertino Mussato, but which took place also in Tuscany and Bologna. Then, the book analyses the philological and interpretative reception of the Tragedies by Petrarch and Boccaccio, and the allusions to Seneca’s plays in the Expositio on Ovid’s Metamorphoses by Bolognese professor Giovanni del Virgilio, who may have influenced Petrarch. Furthermore, great attention is paid to the exegetic activity of Pietro da Moglio, professor in Bologna and Padua and author of poetic summaries of the Tragedies that were very popular. In detail, the volume contains a new edition of these text, which updates Giuseppe Billanovich’s edition on the basis of many recently rediscovered manuscripts. Then, the book explores the interest in Tragedies shown by Domenico Bandini, teacher in Bologna and Tuscany and close friend of Coluccio Salutati. A pupil of the latter, Lorenzo Ridolfi, in his youth wrote – almost certainly on Salutati’s advice – a proem and some original summaries of the Tragedies, an edition of which is offered in this volume for the first time. New investigations are also focused on the exegetical activity of Bartolomeo del Regno, student of Pietro da Moglio and professor in Bologna, and on an important manuscript of the Tragedies linked to him. Good attention is also given to the original glosses on the Tragedies written by Petrus Parmensis in a manuscript adorned with elegant miniatures, that show special features compared to the illustrations in other codices and textual commentaries composed by Trevet and Mussato. This continuous exegesis, multifaceted and also open to dialogue with the art of illumination, represented an indispensable point of reference for the pupils of such professors, including Coluccio Salutati, Francesco da Fiano and Francesco Piendibeni da Montepulciano, who were students of Pietro da Moglio before becoming humanists. After all, the book underlines that Francesco da Fiano and Francesco Piendibeni knew Seneca’s dramas, but also analyses the manuscript of Tragedies copied and annotated by Coluccio Salutati and lists all quotations from this plays in his Epistolary and De laboribus Herculis. Therefore, the ways followed by exegesis and fortune of Tragedies in the 14th century and at dawn of 15th, analyzed in this volume, offer an example of the multiple routes of the text’s tradition, but also an eloquent paradigm of the fact that Middle Ages and Humanism, far from being conceived as historical categories, in this era could productively dialogue on the level of hermeneutics and dissemination of knowledge.

Description: Between the seventies and eighties of the twentieth century Franco Fortini was called to teach the history of literary criticism at the university. Of this experience, capital in the definition of his intellectual parable, we have many preparatory materials for the courses and seminars preserved in the fund dedicated to him of the Humanistic Library of the University of Siena. These are texts of considerable importance, whose themes intersect in a decisive way with the essayistic and poetic reflections that Fortini develops in the same years. This volume, for the first time, offers the transcription of these documents, rearranging and integrating them in order to offer the reader real critical essays on literature and society hitherto unknown.

Description: Questo volume della serie «Eurasiatica» raccoglie articoli dedicati all’Armenia, al Caucaso e all’Asia Centrale nei quali si rispecchiano alcune delle linee di ricerca su tali aree portate avanti in questi ultimi anni da studiosi italiani di diversi ambiti scientifici. Nel volume sono pertanto presenti studi di carattere archeologico, filologico, letterario, socio-economico e politico che segnalano il crescente interesse della ricerca italiana nei confronti di queste regioni, caratterizzate tanto da una tradizione storico-culturale di grande antichità e ricchezza quanto da una sempre maggiore rilevanza negli equilibri politici contemporanei.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Enrique Jardiel Poncela (1901-1952) offrì al pubblico spagnolo del suo tempo un teatro che si proponeva una sfida di innovazione basata su una nuova concezione di umorismo. I meccanismi del comico di parola che sostengono il testo scenico costituiscono un banco di prova esemplare nella traduzione delle chiavi di questa comicità, caratterizzata dalla costante alterazione del codice nei diversi livelli della lingua. In particolare, il volume si concentra su una delle commedie di maggiore successo di Jardiel, Los ladrones somos gente honrada (1941), che, grazie alla presenza di un ampio ventaglio di soluzioni comiche, stimola molteplici riflessioni sulle possibilità di resa in italiano.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il nome di Agamennone evoca un tempo antico e primitivo, quando il potere coincide con la forza, e una storia familiare che narra di una catena ininterrotta di delitti di sangue. Agamennone è il protagonista di una biografia dolorosa, costretto a fare i conti con la maledizione che colpisce la sua famiglia e lo costringe a errori e colpe, imbrigliato dalla rivalità con il più valoroso e nobile degli eroi, Achille, da cui esce sconfitto prima ancora della sfida, vincitore di Troia, ma vittima di un destino tragico. Questo volume nasce nel solco di una tradizione di studi del Dipartimento di Beni Culturali e del Centro di Studi ‘La permanenza del Classico’ dell’Università di Bologna iniziata con Edipo (Edipo classico e contemporaneo, 2012) e proseguita con le Troiane (Troiane classiche e contemporanee, 2017) e raccoglie saggi sulle versioni antiche del mito, le tragedie di Eschilo e Seneca, sulle riscritture moderne e contemporanee, nella letteratura, nel teatro, nella musica, nell’arte.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: For several years now, the University of Cagliari has been committed to the adoption of policies in the field of sustainability that have been translated into strategic goals to be achieved through concrete actions consistent with the Goals of the UN 2030 Agenda and the related National and Regional Strategy on Sustainable Development. Especially in recent years, there has been a growing focus on integrated management of the environmental and social impacts of sustainability arising from the many activities that are carried out daily by the University, which produce an impact both in terms of ecological footprint and social spillovers. In fact, sustainability is a value that cuts across all of the University's activities. The purpose of this document is to describe the most significant steps taken in recent years by the University along the complex path of sustainable development, to give evidence of the efforts made to achieve the goals but also the aspects that still need to be strengthened.

Description: Published

Description: Da diversi anni ormai l’Università di Cagliari è impegnata nell’adozione di politiche nel campo della sostenibilità che si sono tradotte in obiettivi strategici da raggiungere attraverso azioni concrete coerenti con gli Obiettivi dell’Agenda ONU 2030 e con la relativa Strategia nazionale e regionale sullo Sviluppo sostenibile. Soprattutto negli ultimi anni è stata crescente l’attenzione verso una gestione integrata degli impatti ambientali e sociali della sostenibilità derivanti dalle molteplici attività che quotidianamente vengono realizzate dall’Università, le quali producono un impatto sia in termini di impronta ecologica sia di ricadute a livello sociale. La sostenibilità è infatti un valore trasversale a tutte le attività dell’Ateneo. Scopo di questo documento è descrivere i passi più significativi compiuti in questi anni dall’Ateneo lungo il complesso percorso dello sviluppo sostenibile, per dare testimonianza degli sforzi profusi per raggiungere gli obiettivi ma anche degli aspetti che devono essere ancora rafforzati.

Description: Il volume illustra la struttura di un centro di servizi didattici CLIL (Content and Language Integrated Learning) rivolto a docenti universitari che fornisce consulenza metodologica e linguistica erogata da esperti del settore. L’analisi dell’uso dei corpora per la creazione di materiali didattici CLIL, relativi ai vari insegnamenti, è realizzata all’interno di un quadro teorico metodologico che vede il connubio di linguistica dei corpora e linguistica applicata in prospettiva CLIL. Gli ambienti di apprendimento online utilizzati e le attività realizzate con l’ausilio delle nuove tecnologie sono inoltre esaminati alla luce di modelli didattici elaborati sulla base delle nuove modalità di generazione del sapere.

Description: Galileo’s abilities as a mathematician were far below that of many of his contemporaries. He made numerous technical mistakes — including several high-profile, mathematically erroneous applications of his own law of fall — that were swiftly spotted and corrected by the leading mathematicians of the day. Many aspects of Galileo’s work can be viewed as consequences of this limited technical proficiency in mathematics. For example, he ignores Kepler’s work and dismisses comets as a chimerical atmospheric phenomena: decisions that are difficult to justify on scientific grounds but which make sense if we grant that Galileo wanted to avoid technical mathematics at all costs. Instead he drops rocks, looks through tubes, rails against Aristotelian philosophers, and expounds at length about basic principles of scientific method: all of which can be seen as dwelling on precisely those parts of the mathematician’s worldview that do not require any actual mathematics.

Description: Il volume, che prende le mosse da un ciclo di seminari tenutosi all’Università Ca’ Foscari Venezia, si propone un’esplorazione delle opportunità euristiche legate al concetto di confine. Raccogliendo tredici contributi afferenti ad ambiti disciplinari diversi e organizzati in quattro sezioni tematiche, nel suo complesso esso ambisce a mostrare l’arbitrarietà sottesa al tracciamento di ogni confine e a far luce sulla meccanica che orienta i processi di partizione.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il volume raccoglie i contributi presentati nel corso di un convegno sul tema delle antichità egizie e, più in generale, su ricerche condotte in Italia su temi legati alla cultura faraonica. L’incontro di competenze diverse ha saputo mettere in luce la molteplicità e, nello stesso tempo, l’interazione di discipline spesso distanti tra loro, accumunate dal rapporto con quel concetto astratto di bene culturale che costituisce uno dei temi centrali del dibattito attuale sulla memoria e l’identità

Description: The volume contains Andrea Trovesi’s linguistic writings, hitherto scattered in various journals and miscellanies, all characterized by a pragmatic approach. The first part collects studies on Slavic vocative conducted from a comparative-historical perspective ranging from Proto-Slavic to modern Slavic languages. These focus in particular on categorical transformations of the vocative, its relics, so-called ‘new vocatives,’ and pragmatic values developed in the various Slavic languages. The second part of the volume is devoted to modal meanings of the imperfect in a Slavic-Romance contrastive framework. The research privileges Bulgarian, but does not neglect the other Slavic languages of which it analyzes interesting residual peripheral aspects of such linguistic usage. Both lines of research presented here stand out for their originality and theoretical value considered from a point of view that leads from Slavic linguistics to the broader perspective of linguistics as a science of language.

Description: Cosa vuol dire essere uno ‘sciamano’ a Tokyo oggi? In che modo è rappresentato il ruolo dell’attore sciamanico a livello popolare? Perché risaltano determinate caratteristiche e non altre? Ricercare una risposta a queste domande porta molto presto a rendersi conto della presenza di un discorso in particolare, (ri)costruibile e delimitabile prendendo in esame le diverse narrazioni che stanno al suo interno e che portano alla formazione di un determinato tipo di conoscenza sul tema che è condivisa da una determinata comunità. L’elemento centrale di questo lavoro è proprio l’analisi del discorso che emerge dal contesto metropolitano, con attenzione all’uso dei termini e alle modalità con cui alcuni attori basano su essi la loro interpretazione della realtà. Termini che, come molti altri nel campo di studi delle religioni, si rivelano essere costruiti storicamente, socialmente e culturalmente.

Description: In the unfinished Ideen zur Philosophie der Geschichte der Menschheit (Ideas for the Philosophy of the History of Mankind), Johann Friedrich Herder elaborates his most complete synthesis of a philosophy of the history of the entire human race. In Book XIV, in open conflict with the hagiographic vision established in ancient historiography and widely accepted in the following centuries, the author proposes an original reconstruction of the ancient history of Rome, identified as an unparalleled and unrepeatable model of empire; a model of political organisation at all times hostile to peaceful and just coexistence between peoples. Herder's reflections, focused on themes that are still at the centre of historiographical debate today, anticipate judgements taken up and explored in depth by important thinkers in the first half of the 20th century.

Description: Published

Description: Nelle incompiute Idee per la Filosofia della Storia dell’Umanità (1784-1791), Johann Friedrich Herder elabora la sua più completa sintesi di una filosofia della storia dell’intero genere umano. Nel libro XIV, in aperto conflitto con la visione agiografica affermatasi nella storiografia antica e largamente recepita nei secoli successivi, l’autore propone un’originale ricostruzione della storia antica di Roma, identificata come esempio ineguagliato e irripetibile di impero, modello di organizzazione politica in ogni tempo ostile alla coesistenza pacifica e giusta tra i popoli. Le riflessioni di Herder, incentrate su tematiche ancora oggi al centro del dibattito storiografico, anticipano giudizi ripresi e approfonditi da importanti pensatori nella prima metà del Novecento

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: In questo volume sono raccolti e analizzati i dati sulla produzione, comprensione e ripetizione delle frasi derivate da movimento in italiano nei bambini sordi con impianto cocleare con lo scopo di individuare quali, tra le strutture in analisi, siano le più difficili da acquisire per la popolazione di riferimento. Nel volume viene presentato anche il protocollo del training delle frasi relative basato sull’insegnamento esplicito delle regole sintattiche, i cui risultati mostrano un miglioramento nella produzione e nella comprensione delle frasi derivate da movimento, oltre che nelle abilità narrative dei bambini sordi con impianto cocleare.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: For over three centuries Piero della Francesca’s Flagellation has sparked great interest among scholars and academics all around the world who have built complex demonstration plans in order to reveal its true meaning, in attempt to identify historical events that could form a correct chronology. The intent of these pages is to insert the painting in the centuries-old iconographic tradition, an essential reference to Piero and his commissioners, that can clarify its meaning. Hints to the Montefeltro dukes’ conspiracies and joyful or unpleasant events, or Costantinopoli’s fall, alongside the call to the crusade against the Turks, have been set aside. It will now be possible to go back to enjoy the painting in its absolute formal perfection.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il volume raccoglie in gran parte le ricerche presentate durante gli ultimi Seminari sull’Arte Armena e dell’Oriente cristiano organizzati dall’Università Ca’ Foscari Venezia. Dall’arte cristiana (gli arredi della Basilica della Natività; le cosiddette ‘croci di san Tommaso’; le illustrazioni dei Vangeli apocrifi nei manoscritti della Scuola di Vaspurakan), alla trasmigrazione di temi iconografici e simbolici tra Persia e Armenia, il racconto di viaggio di fra Guglielmo di Rubruk, il sito archeologico dell’Età del Ferro di Tatepe (Iran), per concludere con la Casa della Creatività eretta sul lago Sevan durante il periodo sovietico, i contributi restituiscono la ricchezza di temi e di possibili prospettive di ricerca che dall’Armenia si estendono anche oltre il Caucaso meridionale.

Description: Questo volume fa seguito al International Festival Japan Contemporary Arts in Venice, The Aesthetics of Emptiness, organizzato nel 2022 dal Conservatorio di Musica Benedetto Marcello, dal Dipartimento di Studi sull’Asia e sull’Africa Mediterranea dell’Università Ca’ Foscari e dall’Accademia di Belle Arti di Venezia. La struttura del volume è pensata per far rivivere al lettore l’esperienza del Festival, anche attraverso contenuti multimediali, e condurlo ad approfondire alcuni dei temi emersi. Questo lavoro – fatto di suoni, silenzi, vuoti, pieni, presenze, assenze – è dedicato alla memoria di Bonaventura Ruperti.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il volume presenta una teoria transculturale dei mostri con un approccio multidisciplinare ispirato ai monster studies, impiegando metodi che vanno dalla critica letteraria agli studi postcoloniali, all’antropologia, sociologia e storia culturale. Particolare attenzione è rivolta all’affermazione di alcuni fra i mostri giapponesi più popolari, sia del passato che del presente: il tengu (demone divino della montagna), il kappa (mostro-folletto dell’acqua), i mostri ibridi di Miyazaki Hayao, e infine il più ampio processo trans/nazionale di mostrificazione del Giappone globalizzato.

Description: The observation of the stars has never just been a matter of ‘science’, but has constantly interacted with other domains, such as philosophy, literature, medicine, religion, history and magic. Consequently, the history of astronomical writings involves very diverse skills and, therefore, calls for a cooperation between scholars. The present book represents such a shared attempt to investigate ancient, medieval and Renaissance astronomical texts, with a special focus on their transmission in manuscripts and prints, the relationship between texts and images, and the Nachleben of the Greco-Latin tradition in later Western culture.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The aim of this work is to illustrate the main intercultural communicative problems which could arise in the interactions between Italians on the one side and Bosnians, Croatians, Montenegrins and Serbs (who will also be referred to as South Slavs or Slavs from the South) on the other. The general field of research of this study – the intercultural communication – allows us to shed light on aspects which could influence more than morphological or syntactic errors the success of interactions between speakers who do not share the same mother tongue and culture. The communications involving interlocutors belonging to different ‘worlds’ can lead, as a matter of fact, to negative consequences on the interaction and on the relationship between the speakers, if and when they do not take sufficiently into account certain cultural aspects, such as the values guiding the speakers in the communication, the use of verbal and non-verbal languages, and the way in which some cultural traits are conceived. Therefore, it is necessary for each speaker to consider and analise carefully the main aspects which could give rise to intercultural communicative misunderstandings or even conflicts with their interlocutor so as to reduce the risks of the above-mentioned situations arising.

Description: Nel 2009 è uscito per i tipi di FrancoAngeli Il secolo di carta. Antonio Bosio artigiano di testi e immagini nella Venezia del Seicento. Allargando lo sguardo oltre i limiti biografici del protagonista – libraio, tipografo e incisore – e quelli geografici di Venezia, lo studio aveva cercato di fare di un oscuro ma poliedrico artigiano della carta stampata la chiave di lettura del commercio di testi e immagini dell’epoca in cui operava. Qui la seconda e ultima puntata del Secolo di carta, l’edizione integrale dell’inventario di bottega di Antonio Bosio, dal quale la prima ricerca era sbocciata. Era importante dare la possibilità di scorrerne le pagine per la quantità e l’estrema varietà dei materiali ivi descritti, che va dal libro al foglio volante di preghiere, dall’incisione da collezione a quella d’arredo o per laurea, dalle cartegloria ai ventagli e a molto altro ancora. Varietà che rende l’inventario veneziano quasi unico. L’edizione dell’Inventario, con nuovi documenti sulla famiglia Bosio illustrati nell’introduzione, nasce sotto l’auspicio della collaborazione tra persone e discipline. Fra bibliografia e storia – a torto spesso ritenute in competizione tra loro –, perché l’edizione di una fonte come questa invita a formulare riflessioni storiche a partire dall’osservazione di fenomeni bibliografici, anche i più minuti e apparentemente insignificanti. Collaborazione fra persone perché invita tutti i lettori ad appassionarsi al gioco di individuazione degli esemplari superstiti delle voci d’inventario che ancora mancano di identificazione, o, al contrario, a prendere coscienza della loro definitiva scomparsa, spia sfuggente dei silenzi della storia.

Description: La vicenda di Gaio Cornelio Gallo matura sullo sfondo della profonda trasformazione che caratterizzò il I secolo a.C. Intellettuale di primo piano, espressione delle élite occidentali di recente integrate, politico e militare di successo, per primo posto a capo dell’Egitto come prefetto e infine oggetto di un pubblico perseguimento che gli costò la vita, Gallo rappresenta un’efficace chiave di lettura di questo passaggio storico, indagato, attraverso un approccio interdisciplinare, nella duplice prospettiva della res publica diventata principato e dell’Egitto divenuto territorio romano.

Description: For several years now, the University of Cagliari has been committed to the adoption of policies in the field of sustainability that have been translated into strategic goals to be achieved through concrete actions consistent with the Goals of the UN 2030 Agenda and the related National and Regional Strategy on Sustainable Development. Especially in recent years, there has been a growing focus on integrated management of the environmental and social impacts of sustainability arising from the many activities that are carried out daily by the University, which produce an impact both in terms of ecological footprint and social spillovers. In fact, sustainability is a value that cuts across all of the University's activities. The purpose of this document is to describe the most significant steps taken in recent years by the University along the complex path of sustainable development, to give evidence of the efforts made to achieve the goals but also the aspects that still need to be strengthened.

Description: Published

Description: Da diversi anni ormai l’Università di Cagliari è impegnata nell’adozione di politiche nel campo della sostenibilità che si sono tradotte in obiettivi strategici da raggiungere attraverso azioni concrete coerenti con gli Obiettivi dell’Agenda ONU 2030 e con la relativa Strategia nazionale e regionale sullo Sviluppo sostenibile. Soprattutto negli ultimi anni è stata crescente l’attenzione verso una gestione integrata degli impatti ambientali e sociali della sostenibilità derivanti dalle molteplici attività che quotidianamente vengono realizzate dall’Università, le quali producono un impatto sia in termini di impronta ecologica sia di ricadute a livello sociale. La sostenibilità è infatti un valore trasversale a tutte le attività dell’Ateneo. Scopo di questo documento è descrivere i passi più significativi compiuti in questi anni dall’Ateneo lungo il complesso percorso dello sviluppo sostenibile, per dare testimonianza degli sforzi profusi per raggiungere gli obiettivi ma anche degli aspetti che devono essere ancora rafforzati.

Description: Qindīl Umm Hāšim: La lampada di Umm Hāšim con l’autobiografia dell’autore presenta la traduzione della celebre novella del 1944 di Yaḥyā Ḥaqqī (Cairo, 1905-1992), accompagnata per la prima volta in italiano dal saggio autobiografico Ašǧān ʿuḍw muntasib, ‘Le preoccupazioni di un membro affiliato’, apparso nell’edizione al-hayʾat al-miṣriyyat al-ʿāmmat li-l-kitāb del 1975. La novella ripercorre la storia di Ismāʿīl, un giovane egiziano che dopo gli studi di medicina in Inghilterra si scontrerà con le credenze popolari della sua famiglia e del suo quartiere di origine. Ismāʿīl farà trionfare la ragione sulle superstizioni solo dopo aver interiorizzato che, nel Cairo degli anni Venti, la scienza senza fede rappresenta una via impraticabile.

Description: Questo volume indaga il rapporto tra italiano e dialetti siciliani, tenendo conto del nuovo contesto comunicativo rappresentato dai social media. Parte dalla terminologia sociolinguistica necessaria a inquadrare la questione ‘lingua e dialetto’ e offre una panoramica dei principali assetti linguistici europei, discutendo più nel dettaglio lo scenario italiano. Vengono poi analizzati molti dei tratti linguistici che differenziano i dialetti siciliani dall’italiano standard, al fine di dimostrare che, se debitamente conosciuti, questi tratti possono diventare una risorsa per migliorare le abilità metalinguistiche dei membri della comunità dilalica e attivare quei vantaggi cognitivi già documentati in altri contesti affini di bilinguismo. Viene affrontata in seguito la questione dell’uso del dialetto siciliano in assenza di convenzioni scritte ampiamente condivise, con il risultato che scrivere sui social media diventa dominio quasi esclusivo dell’italiano e diminuiscono per i bilingui dilalici le possibilità di usare in modo produttivo una delle due varietà del proprio repertorio. Il volume si conclude con delle indicazioni di ordine didattico valide anche per altre realtà dilaliche italiane.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: La traduzione di un testo che appartiene a un universo culturale remoto è come un viaggio nel tempo: affidandosi alla guida di un traduttore, i nuovi lettori possono risalire i secoli ed esplorare un mondo che altrimenti rimarrebbe accessibile solo a una limitata cerchia di esperti. I contributi raccolti in questo volume, incentrati sui testi del medioevo germanico, offrono significativi apporti alla riflessione sul ruolo specifico della filologia nell’ambito della ‘traduzione intertemporale’, evidenziando la fondamentale funzione svolta nell’attuale panorama culturale da una disciplina che valorizza la capacità di ‘leggere lentamente’ e il rispetto verso il dato testuale.

Description: Spesso si ritiene che espressioni, gesti e consuetudini siano naturali e comuni a tutti gli individui. In realtà, questi elementi hanno una profonda matrice culturale che si basa sui modelli che caratterizzano una società, ma la differenziano da un’altra. Nel volume, i summenzionati elementi vengono presentati nell’ambito della comunicazione interculturale fra italiani e spagnoli. Nel volume si focalizzano alcuni punti chiave della comunicazione interculturale, senza alcuna pretesa di esaustività rispetto ai comportamenti; poiché a comunicare non sono culture ma persone, ognuna con il proprio modo originale di rielaborare gli stimoli e i condizionamenti che la sua cultura offre.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume aims to investigate the concept of ‘violence’ and its representation in different theatrical genres, both in original works and in adaptations that have been written and staged between the 20th and 21st centuries. The book offers a wide-ranging reflection on this theme and the mechanisms implemented in playwriting to represent the different forms and voices of violence imposed and suffered.

Description: Questo nuovo volume della serie «Eurasiatica. Quaderni di Studi su Balcani, Anatolia, Iran, Caucaso e Asia Centrale» delle Edizioni Ca’ Foscari di Venezia raccoglie diversi articoli dedicati all’Armenia, al Caucaso e all’Asia Centrale. Il volume rispecchia alcune delle principali linee di ricerca portate avanti in questi ultimi anni dagli studiosi italiani e internazionali. Ne fanno pertanto parte articoli di carattere filologico, storico, economico e politico che affrontano numerosi temi di rilievo per la conoscenza di queste regioni, caratterizzate tanto da una tradizione culturale di grande ricchezza quanto da una crescente rilevanza nello scenario politico contemporaneo.

Description: La ricerca nel campo dell’epigrafia si arricchisce continuamente con la scoperta di documenti inediti e vive oggi un radicale rinnovamento grazie alle tecnologie digitali. Una componente fondamentale del «mestiere di epigrafista» è però costituita anche dalla ricostruzione filologica e dall’indagine delle figure che si cimentarono nella collazione dei testimoni delle iscrizioni antiche. Il volume comprende sedici saggi di studiosi italiani e francesi, dedicati all’esame della tradizione manoscritta e a stampa dell’epigrafia, che Theodor Mommsen definì la «parte più difficile» della disciplina. Dai tesori ancora nascosti in numerose biblioteche d’Europa emerge un quadro di grande ricchezza documentaria, che presagisce un enorme potenziale di sviluppo per la ricerca futura.

Description: The text is a guided itinerary in the knowledge and interpretations now critically acquired, but also in those in need of further investigation, dedicated to the Sardinian eighteenth century, one of the most significant centuries of the confrontation between tradition and innovation, between preservation and reformism, that Sardinian history can number. This is the first volume in the "Sardiniae memoria" series, a series of textbooks on Sardinia, designed to be usable by both university students and high school seniors.

Description: Published

Description: Il testo è un itinerario guidato nelle conoscenze e interpretazioni ormai criticamente acquisite, ma anche in quelle che necessitano di ulteriori indagini, dedicate al Settecento sardo, uno tra i secoli più significativi del confronto fra tradizione e innovazione, tra conservazione e riformismo, che la storia sarda possa annoverare. È il primo volume della collana “Sardiniae memoria”, una serie di manuali sulla Sardegna, concepiti per essere fruibili sia dagli studenti universitari che da quelli degli ultimi anni delle superiori.

Description: The Faculty of Engineering was born in Florence only 50 years ago, and with Mechanical and Electronics Engineering formed the first nucleus of an area now represented by the Departments of Industrial Engineering (DIEF) and Information Engineering (DINFO). Along these 50 years, several transitions have been triggered by technological advancements, from Personal Computers, the World Wide Web and cellular telephony, to the interconnection of data and computing capabilities, integrated into industrial processes and supported by the development of transportation systems, up to the most recent challenges of artificial intelligence and energy transition. In this scenario, the University has contributed to the growth of research in the technological area, a fundamental engine for regional development towards innovation and a sustainable future.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Siracusa, teatro greco, 1960: l’attesa rappresentazione dell’Orestea del Teatro popolare italiano (Gassman, Lucignani) con traduzione di Pasolini fa parlare di sé. Il testo pare del tutto nuovo, fa storcere il naso ai classicisti in generale. È un’interpretazione fondamentalmente marxista e non nuova della trilogia, tuttavia Pasolini vi infonde la propria sensibilità poetica e ne fa un testo magmatico e potente. Si è scritto molto sulla rappresentazione e sull’intento politico del testo, tuttavia con poca attenzione al piano strettamente linguistico dell’operazione poetica. Il saggio si propone di guidare il lettore, parola per parola, attraverso la costruzione di una trilogia originale, ancora eschilea ma intessuta delle inconfondibili parole di Pasolini. Il testo risulta a tutt’oggi una delle rese più enigmatiche della lingua di Eschilo.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume offers the results of the 3 years joint research project Innovative Japanese Studies through International Cooperation: The Fostering of Young Researchers by Cooperation with Overseas Institutes of Japanese Studies (Graduate School of Humanities, Kobe University, JSPS funds), developed among Kobe University, Hamburg University, Oxford University and Ca' Foscari University.

Description: Attraverso i reportage di tre giornalisti-scrittori italiani si delinea un quadro suggestivo dell’Unione Sovietica degli anni ’50-’60, interpretato e declinato secondo stili, impianti di analisi e poetiche di sguardo differenti. In uno stretto rapporto con il poliedrico paesaggio sovietico, l’incontro con l’altro (geografico, culturale, umano) consente a Enrico Emanuelli, Carlo Levi e Guido Piovene di portare a compimento un’operazione, concretizzata in veri e propri volumi di reportage per i primi due e in articoli di giornale per il terzo, a metà tra la dimensione giornalistico-informativa e l’impianto letterario della scrittura di viaggio e di indagine.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The Covid-19 pandemic highlighted the strengths and weaknesses of the Italian healthcare system. The pandemic not only caused the enactment of extraordinary tools that severely restricted people's freedoms to counteract the spread of the virus, but it also raised the question of the reasons of the very high number of victims, among the highest in the world. Among the causes of the spread of the virus are unpreparedness of the Italian authorities, failure to update the national pandemic plan, lack of coordination amongst the public authorities involved, failure to prepare adequate stocks of medical devices and related supply problems; but also problems that have long been highlighted, such as the lack of attention to primary and local care, to general medicine, to hygiene and occupational medicine. The research aims to examine the strengths and weaknesses of the national health system and the reaction of the Italian system to the pandemic, to verify recent developments (especially those being financed by the National Recovery and Resilience Plan), to propose tools and actions to be able to adequately deal with future health emergencies.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Besides its temporal semantics, the imperfect tense can express a wide range of modal meanings, which occur most typically in spoken varieties of language. The paper contrastively explores the modal uses of the imperfect tense in Italian and Bulgarian, a Romance and Slavic language respectively, and shows to what extent they are similar or diverge in the two languages. Although the basic notional configuration of the imperfect tense in Italian and Bulgarian seems to be exactly the same, occurrences of modal meanings are less frequent in Bulgarian than in Italian. Possible explanatory hypotheses suggest that the peculiarities of the tense system (dedicated future-in-the-past form; specific narrative mood), as well as the different syntactic rules governing the sequence of tenses in related sentences, put major constraints on the development of modal meanings of the imperfect tense in Bulgarian.

Description: Il titolo della collana esprime la volontà di approfondire i profili legati al processo di integrazione europeo, non ignorandone i risvolti più discutibili e burocratici ma sapendo guardare al di là di essi, nella logica che traspare dal gioco di assonanze indicato dal titolo. In questo terzo volume Citizens of Europe, dedicato ai temi delle identità e della cittadinanza culturale, viene in rilievo la tensione tra i limiti delle politiche, culturali e di cittadinanza, perseguite dalla UE e l’imporsi progressivo – malgrado le cupe ombre proiettate dalla drammatica attualità – di una più ampia nozione di ‘cittadinanza d’Europa’, scandita in particolare da quei recenti strumenti giuridici del Consiglio d’Europa attraverso i quali l’afflato europeo, non imprigionato nelle pastoie dei meccanismi della EU citizenship, si sviluppa più significativamente.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Niobe è la protagonista di un mito di superbia e punizione, delitto e castigo. La donna aveva offeso Leto paragonando la propria numerosa prole a quella della dea, che aveva generato due soli figli, Apollo e Artemide. Questi ultimi, per punirla, uccisero ciò che Niobe aveva di più caro: i suoi figli. Proprio questa parte del mito – la più cruenta e la più complessa da rappresentare – fu scelta da Sofocle come punto focale della sua tragedia Niobe, ora conservata solo in frammenti, dai quali tuttavia si possono ancora apprezzare la spettacolarità e il grande impatto emotivo del dramma. In questo volume il lettore troverà il testo critico dei frammenti e delle testimonianze, corredato della traduzione italiana e di un ricco commento. Oltre a presentare criticamente i dati testuali e papirologici, il volume propone una ricostruzione dell’azione del dramma e offre una puntuale analisi delle sue qualità drammaturgiche e letterarie.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: On the eve of the fall of the Wall, the European Community is a mature and evolving reality, already able to compete commercially with the United States and grappling with the complex design of the great Single market. At the same time, it has developed political ambitions, with the first forms of foreign policy coordination between Member States, and the start of the long road towards Economic and Monetary Union. Lorenzo Natali (1922-1989) is one of the least known protagonists of this story. Since the birth of the Communities with the Treaties of Rome, and in the following thirty years he accompanied with his political career the fundamental steps of European construction, first as a minister and, from the late Seventies, as Italian commissioner in Brussels, the longest in terms of term of office. He and the Directorates-General he leads are responsible for some of the most significant achievements of that political season, from the conclusion of the great enlargement to the South to the implementation of the Community's first environmental policy, ending to the consolidation of a fruitful and equal dialogue between Europe and the global South. This book aims to give a first glimpse of light on his figure and his political action.

Description: Published

Description: Alla vigilia della caduta del Muro, la Comunità europea è una realtà matura e in piena evoluzione, già in grado di competere sul piano commerciale con gli Stati Uniti, e alle prese con la complessa progettazione del grande mercato unico. Ha al contempo sviluppato ambizioni di natura politica, con le prime forme di coordinamento della politica estera tra Stati membri, e l’avvio del lungo percorso verso l’Unione economica e monetaria. Lorenzo Natali (1922-1989) è un protagonista tra i meno conosciuti di questa storia. Presente sin dall’atto di nascita delle Comunità, nei trent’anni seguenti accompagna con il suo percorso politico i passaggi fondamentali della costruzione europea, dapprima come ministro e dai tardi anni Settanta come commissario italiano a Bruxelles, il più longevo per durata d’incarico. A lui si devono in particolare alcuni dei traguardi più importanti di quella stagione, dalla realizzazione del grande allargamento a Sud all’implementazione della prima politica ambientale della Ce, fino al consolidamento di un dialogo paritario allacciato tra l’Europa e il Sud globale. Questo libro intende restituire un primo squarcio di luce sulla sua figura e la sua azione politica

Description: Il volume celebra la chiusura della lunga e prolifica carriera accademica di Giuseppe Grilli, di cui si riconosce un lungo e proficuo percorso nello studio della letteratura catalana che ha prodotto diverse illuminazioni e troballes. Si sviluppa sull’ambizione di ricordare tale percorso attraverso le testimonianze di una vita fatta di rapporti affettivi e letterari: da una parte il ricordo degli amici, degli alunni, dei poeti; dall’altra lo sviluppo diacronico degli argomenti su cui si sono articolati i filoni di studio più importanti della seconda parte del Novecento. La comparazione dei classici e la storiografia della critica, le traduzioni italiane e la ricerca sul barocco catalano sono alcuni dei temi grilliani riproposti qui negli approdi più attuali, insieme al contributo creativo di Manuel Foraster, Pere Gimferrer e Narcís Comadira.

Description: Il volume presenta l’edizione critica della versione volgare del trattato sulla prospettiva di Piero della Francesca. Basata sulla collazione tra tutti i manoscritti noti dell’opera, l’edizione offre elementi sulla genesi testuale del trattato (soprattutto grazie allo studio del codice Regg. A 41/2 della Biblioteca Panizzi di Reggio Emilia), mostrando come l’autografo della Biblioteca Palatina di Parma (ms. Parm. 1576) rechi una redazione posteriore a quella degli altri codici. La riproduzione fotografica dei disegni pierfrancescani nel ms. Palatino e un glossario storico-linguistico accompagnano il testo critico.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il volume pubblica gli atti di un incontro tenuto a Venezia nel marzo 2015, la cui finalità era quella di esaminare, attraverso alcuni specifici tematismi e con taglio soprattutto archeologico, i caratteri e la natura delle relazioni commerciali nell’area adriatica durante l’alto-medioevo.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.

Description: Il secondo volume della serie «Eurasiatica» riunisce alcuni saggi che rispecchiano le differenti linee di indagine attraverso le quali, studiosi tanto italiani quanto stranieri, si dedicano al Caucaso e all’Asia Centrale. I testi del volume hanno quindi contenuto archeologico, filologico, storico, linguistico e teologico, contribuendo in maniera significativa all’ampliamento delle ricerche su queste aree.

Description: Based on the Hegelian dialectic of the servant-master, this comedy represents, with the sarcasm and irony typical of its author, a profound reflection on the relationships between human beings. Starting from the local, with a pungent criticism on the social and political condition of Egypt in the Sixties, the two protagonists Farfūr and the Master guide and involve the spectator in a consideration on humanity and on the meaning of life that reaches universality. Divided into two acts, the comedy has no precise indications about time and space, which is confused with the time of representation, also thanks to the involvement of actors who are among the spectators. Discussing each other on names, trades and interpersonal relationships, the two protagonists criticise corruption, poor management of public health, social inequalities, but also the intellectual class that fails to give answers to people’s practical needs. The division in two of human society is even more evident with the second act, when the author’s reflection moves towards the existing organisational and economic systems, dismantling the complexity and reducing them again to a mere servant-master relationship. The other characters of the play are functional to the discourse of Idrīs: wives and children, spectators-actors and especially the figure of the author, who gradually disappears and abandons his own creatures to their fate.

Description: ‘Naturalismo’ è una categoria che designa posizioni filosofiche tra loro diversificate, accomunate dal comune riferimento alla natura come oggetto primario dell’indagine filosofica. La riflessione filosofica della seconda metà del Novecento, in particolare di ambito analitico, si è orientata verso una progressiva identificazione del naturalismo con il solo naturalismo scientifico. Il presente volume raccoglie gli atti di una giornata di studi dottorale che ha riunito dottorandi e professori dell’Università Ca’ Foscari di Venezia e dell’Université Paris 1 Panthéon-Sorbonne con l’obiettivo di mostrare come un approccio naturalista e le nozioni in esso implicate costituiscano fruttuose categorie di interpretazione della realtà al di fuori del paradigma scientista.

Description: Paul Ricoeur, in his philosophical itinerary throughout the 20th century, analysed the major ontological, moral and linguistic issues that animated the philosophical, social and political debate in Europe. In this investigation, the French philosopher has always been confronted with the philosophy of Spinoza, whom he saw as a philosopher of life and man in his complex and sometimes mysterious situation. This approach is central to the question of the phenomenological search for the meaning of being in the world and with others.

Description: Published

Description: Paul Ricoeur, nel suo percorso filosofico che attraversa tutto il Novecento, ha analizzato le maggiori problematiche ontologiche, morali e linguistiche che hanno animato il dibattito filosofico e sociale e politico dell’Europa. In questa indagine, il filosofo francese si è sempre confrontato con la filosofia di Spinoza, da lui visto come filosofo della vita e dell’uomo nella sua situazione complessa e talora misteriosa. Tale impostazione è centrale nella questione della ricerca fenomenologica del senso dell’essere al mondo e con gli altri.

Description: Nel 1974 apriva i battenti a Cortina il Museo d’Arte Moderna e Contemporanea intitolato a Mario Rimoldi, albergatore e già sindaco durante le Olimpiadi del 1956, in seno a una ben più antica istituzione, le Regole d’Ampezzo. Nasceva così uno dei primi musei privati rivolti all’arte del Novecento italiano, esito virtuoso dell’attività collezionistica dello stesso Rimoldi. Il Museo arricchì la comunanza ampezzana di un patrimonio che si impegnava a valorizzare la complessiva eredità artistica della conca dolomitica, proiettando il ruolo di Cortina ben oltre quello naturalistico e ricettivo. Tuttavia, erano rimasti inesplorati finora i materiali d’archivio del Museo, tra cui corrispondenze e fotografie che ripercorrono le vicende di uno dei più raffinati collezionisti di metà Novecento con maestri quali Giorgio de Chirico, Filippo de Pisis, Fortunato Depero, Alis Levi e Mario Sironi. Il presente volume è il frutto del progetto di analisi e adeguamento dell’identità digitale e dei sistemi informatici per gestire, studiare e valorizzare il ricco patrimonio di opere e materiali archivistici delle Regole d’Ampezzo in occasione del cinquantenario dalla fondazione del Museo Rimoldi. In vista di questo traguardo, il Museo ha proceduto assieme al Venice Centre for Digital and Public Humanities dell’Università Ca’ Foscari Venezia a un’approfondita riorganizzazione del proprio patrimonio mediante il riordino dei fondi archivistici e il loro riversamento su una banca dati relazionale. Questo catalogo affianca il nuovo database pubblico come strumento utile a ripercorrere tappe e ambiti dell’intervento di riordino, in modo da affrontare al contempo stringenti aspetti metodologici nel dibattito sulla digitalizzazione del settore artistico. Se da un lato il volume costituisce un momento di riflessione sulle best practice nelle Digital e Public Humanities, specie in materia di creazione di database relazionali, dall’altro offre un’occasione privilegiata di scoperta di materiali inediti del Museo, capaci di gettare luce sulla sua nascita nonché sul contesto artistico ampezzano nel Novecento. Quale esito concreto della metodologia relazionale adottata nella creazione del nuovo database museale, il catalogo presenta per la prima volta un vasto apparato iconografico composto da lettere, opere, documenti e fotografie attraverso cui indicare percorsi di ricerca e valorizzare primizie artistiche nel patrimonio delle Regole d’Ampezzo.

Description: This collection of essays stands as the first volume of the new Eurasiatica series entirely devoted to the vast territories of Iranian culture, understood in the widest sense possible and in an open chronological perspective. Explicitly refusing any fetishization of particularism, it contains fourteen studies organized in thematic pairs: a sequence of interrelated itineraries exploring several heterogeneous borderlands – from Avestan philology to film studies – starting from plural, competing and coexisting ideas of Iran.

Description: The volume, dedicated to the 44th International Conference of the Italian Union for Drawing, investigates the theme of ‘Transitions’, which particularly effectively represents our time and the current condition of the discipline of Drawing. The term, beyond its generic meaning of an intermediate stage in a process in which a condition changes from one state to another, has always been used in various fields, from music to geophysics. In fact, the disciplines of drawing have always been confronted with themes and issues relating to transitions from one condition to another. The history of representation tells us of transformations, even epochal ones, relating to ‘drawing’, with all that such transitions entail: suffice it to think of the evolution of forms of representation, of instrumental apparatuses, of the mutability of supports, of the analogical-digital transition underway, of the new modes of communication on platforms, of the hypertrophic offer of images also on the net that confirms Guy Debord’s intuitions relating to the new spectacularisation of society. Similarly, representation triggers transitions in the prefiguration and communication of design, the anticipation and foreshadowing of future events.The challenges posed by the digital pose open questions whose scope can only be glimpsed, such as the relationship between drawing and the act of modelling, and the construction of new paradigms of visual language and communication. ‘Transitions’, almost implicitly, points to possible futures, the evolution of technique and the search for new modes of expression; at the same time, however, it can suggest silences and reflections in a process of connection between history, theory, criticism and construction.