Best Historic Locations in Naples"
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boccaccio Angioino Materiali Per La Storia Culturale Di Napoli Nel Trecento
Giancarlo Alfano, Teresa D'Urso e Alessandra Perriccioli Saggese (a cura di) Boccaccio angioino Materiali per la storia culturale di Napoli nel Trecento Destini Incrociati n° 7 5 1-6.p65 5 19/03/2012, 14:25 Il presente volume è stato stampato con i fondi di ricerca della Seconda Università di Napoli e col contributo del Dipartimento di Studio delle componenti culturali del territorio e della Facoltà di Lettere e Filosofia. Si ringraziano Antonello Frongia ed Eliseo Saggese per il prezioso aiuto offerto. Toute représentation ou reproduction intégrale ou partielle faite par quelque procédé que ce soit, sans le consentement de l’éditeur ou de ses ayants droit, est illicite. Tous droits réservés. © P.I.E. PETER LANG S.A. Éditions scientifiques internationales Bruxelles, 2012 1 avenue Maurice, B-1050 Bruxelles, Belgique www.peterlang.com ; [email protected] Imprimé en Allemagne ISSN 2031-1311 ISBN 978-90-5201-825-6 D/2012/5678/29 Information bibliographique publiée par « Die Deutsche Nationalbibliothek » « Die Deutsche Nationalbibliothek » répertorie cette publication dans la « Deutsche Nationalbibliografie » ; les données bibliographiques détaillées sont disponibles sur le site http://dnb.d-nb.de. 6 1-6.p65 6 19/03/2012, 14:25 Indice Premessa ............................................................................................... 11 In forma di libro: Boccaccio e la politica degli autori ...................... 15 Giancarlo Alfano Note sulla sintassi del periodo nel Filocolo di Boccaccio .................. 31 Simona Valente Appunti di poetica boccacciana: l’autore e le sue verità .................. 47 Elisabetta Menetti La “bona sonoritas” di Calliopo: Boccaccio a Napoli, la polifonia di Partenope e i silenzi dell’Acciaiuoli ........................... 69 Roberta Morosini «Dal fuoco dipinto a quello che veramente arde»: una poetica in forma di quaestio nel capitolo VIII dell’Elegia di Madonna Fiammetta ................................................... -
Naples - Campania
Naples - Campania The city, capital of Campania, was founded by the Greeks in the 6th century BC. It is one of the oldest continuously inhabited areas in the world. It served as the capital of the Duchy of Naples from 661—1139, the Kingdom of Naples from 1282-1816 then the Two Sicilies until the unification of Italy in 1861. It is now the 3rd largest city in Italy and one of the leading ports in Europe. The historic city center is the largest in Europe and a UNESCO World Heritage Site. Within an easy day out are several notable destinations, including the ruins of Pom- peii, the Amalfi Coast and the Island of Capri. 7 ˄4 6 10> 5 1 3 8 9 2 1. Capella di San Severo 6. Duomo 2. Castel dell’Ovo 7. Museo Archeologico Nationale 3. Castel Nuovo 8. Palazzo Reale 4. Catacombe San Gennaro 9. Piazza del Plebiscito 5. Chiesa di San Domenico Maggiore 10. Vesuvius 1.Capella di San Severo 2. Castel dell’Ovo A jewel in the world’s 15th century building artistic heritage, with on the site of the origi- masterpieces like the nal 6th century Greek “Veiled Christ” and settlement and later a “Disillusion”. The Roman fortress. Just a chapel is one of the short walk from the most impressive city. monuments. 3. Castell Nuovo 4. Catacombe di San Gennaro Built as a fortress in The nucleus of the the 13th century. Catacombs dates back The castle now hous- to the 2nd century AD. es the Municipal Mu- It was probably the seum of Naples with tomb of a noble fami- objects from the me- ly, who then provided dieval period to the spaces for the Chris- 19th century. -
The Recollections of Encolpius
The Recollections of Encolpius ANCIENT NARRATIVE Supplementum 2 Editorial Board Maaike Zimmerman, University of Groningen Gareth Schmeling, University of Florida, Gainesville Heinz Hofmann, Universität Tübingen Stephen Harrison, Corpus Christi College, Oxford Costas Panayotakis (review editor), University of Glasgow Advisory Board Jean Alvares, Montclair State University Alain Billault, Université Jean Moulin, Lyon III Ewen Bowie, Corpus Christi College, Oxford Jan Bremmer, University of Groningen Ken Dowden, University of Birmingham Ben Hijmans, Emeritus of Classics, University of Groningen Ronald Hock, University of Southern California, Los Angeles Niklas Holzberg, Universität München Irene de Jong, University of Amsterdam Bernhard Kytzler, University of Natal, Durban John Morgan, University of Wales, Swansea Ruurd Nauta, University of Groningen Rudi van der Paardt, University of Leiden Costas Panayotakis, University of Glasgow Stelios Panayotakis, University of Groningen Judith Perkins, Saint Joseph College, West Hartford Bryan Reardon, Professor Emeritus of Classics, University of California, Irvine James Tatum, Dartmouth College, Hanover, New Hampshire Alfons Wouters, University of Leuven Subscriptions Barkhuis Publishing Zuurstukken 37 9761 KP Eelde the Netherlands Tel. +31 50 3080936 Fax +31 50 3080934 [email protected] www.ancientnarrative.com The Recollections of Encolpius The Satyrica of Petronius as Milesian Fiction Gottskálk Jensson BARKHUIS PUBLISHING & GRONINGEN UNIVERSITY LIBRARY GRONINGEN 2004 Bókin er tileinkuð -
Paolo Poccetti
13-Poccetti 171 5-07-2013 9:18 Pagina 171 PAOLO POCCETTI IL FILO DELL’ONOMASTICA E LA TRAMA DELLA RAPPRESENTAZIONE LETTERARIA DELLA CAMPANIA IN VIRGILIO Virgilio è certamente tra gli autori dell’antichità più indagati per quanto riguarda l’uso dei nomi propri. L’interesse risale ai suoi com- mentatori antichi i quali proprio a partire dai nomi offrono le informa- zioni più dettagliate e più ghiotte per gli antiquari e i filologi. È dietro le citazioni di nomi che si seguono le tracce di opere perdute che sono state la fonte del poeta augusteo, si raggranellano frammenti di autori di cui a loro volta spesso non resta che il nome. Fatto sta che la biblio- grafia sull’onomastica virgiliana è ormai sterminata e se ne ricava la sensazione che sia giunto il momento di una riflessione generale e di un bilancio critico sull’uso che è stato fatto dei nomi propri, particolar- mente dell’Eneide, nell’ambito dell’esegesi e dei commenti, a scopo let- terario, linguistico e storico-antiquario. È, infatti, a partire dai nomi che Virgilio è stato utilizzato ora come fonte storica ora come serbatoio di tradizioni altrimenti perdute ora, perfino, come guida topografica, di cui esempio più noto e qui perti- nente è la ricerca dell’ubicazione reale dell’antro della Sibilla nell’area archeologica di Cuma sulla scorta della descrizione fattane nell’Eneide.1 Per ovvi motivi ruolo privilegiato come repertorio di ono- mastica sotto il profilo storico e geografico ha l’Italia, che è, per quanto riguarda l’Eneide, meta e teatro degli avvenimenti di oltre metà del poema e, per quanto riguarda le Georgiche, spazio ideale della vita campestre e delle risorse dell’agricoltura. -
Castles of Napoli - Naples, Italy (All Levels) Description: Naples, Italy Is a City of Many Castles
Castles of Napoli - Naples, Italy (All Levels) Description: Naples, Italy is a city of many castles. The requirements for this patch can be completed by visiting and/or researching Castel Nuovo, Castel dell'Ovo, Caserta Palace, Baia Castle, or Castel Sant’Elmo. Learn more about these castles by completing this badge. 1. This patch may be earned by participation as an individual or in a troop. Please follow Safety Wise when planning your outing. 2. The patch may only be earned by currently registered girls. 3. The patch is not official insignia. It may be worn on the back of the sash or vest. 4. The cost is $3.00 per patch. To earn this Badge: ● Daisies complete at least 4 of the following activities. ● Brownies complete at least 4 of the following activities. ● Juniors complete at least 6 of the following activities. ● Cadettes complete at least 8 of the following activities. ● Seniors complete at least 8 of the following activities. ● Ambassadors complete at least 8 of the following activities. 1. What year was the Castel dell’Ovo built? What islet does it sit on? What legend surrounds that islet? 2. How did the Castel dell’Ovo get its name? 3. Visit Royal Palace of Caserta. Wander through the rooms and learn about the Bourdon Kings of Napoli. 4. Visit the garden at the Royal Palace of Caserta and view the five fountains. Share with your troop which fountain is your favorite and why. 5. What year did the construction of the Royal Palace begin? What year was it completed? 6. -
Untold Italy Episode 44 - Ciao Napoli
Untold Italy Episode 44 - Ciao Napoli [00:01:00.070] - Katy Buongiorno! Ciao to all our wonderful listeners, it's Katy here hosting the show today, and I'm so happy to have you here. Before we get started on today's show, I wanted to let you know that we'll be doing another listener Q&A session on next week's episode. Our first Q&A on Episode 39 was a great success, and so I thought we would do it again with another update on the travel situation in Italy as things are quite fluid, as we are finding in 2020. [00:01:28.060] - Katy So if you have a burning question about travel in Italy, we would love to hear it. Chances are that someone else is thinking about it, too. Don't be shy. We always love hearing from you and often learn lots from your questions too. You can send them into [email protected]. Or there will be a shout out on our Italy travel planning community on Facebook and our Untold Italy Facebook page too. [00:01:56.050] - Katy I'll put all the links to this and the contact details on the show notes for this episode, which is episode number 44. Make sure to send them in by Sunday, October the 20th, so we can answer them on the show. [00:02:08.980] Right. So on to today's show, which is all about Italy's third biggest city. And it's one that inspires adoration and perhaps some not so favorable opinions. -
Fourteenth–Sixteenth Century)
Cultural heritage Illustrious Men in Italy and Europe (fourteenth–sixteenth century) Jean-Baptiste DELZANT ABSTRACT Often associated with biblical heroes and mythical figures from chivalry, the illustrious men of Antiquity sparked the medieval imagination in the West. They were collected in a vast repertory from which examples of moral, political, and military virtues could be drawn. Their perfection was impossible to match, a reflection of how much humanity had declined since the heroic age that was theirs. Beginning in the fourteenth century, the humanist appreciation for ancient models once again focused attention on the ancient Greeks and Romans, with imitation of their actions—as it was hoped at the time—enabling the rise of a new golden age. The theme of illustrious men took hold in literature, historical writing, and poetry, as well as the visual arts. Renaissance Europe made it a preferred mode for understanding the past, and thereby shaping oneself to better conquer the future. Domenico Ghirlandaio, Hall of Lillies at the Palazzo Vecchio in Florence (1482-1484). Source : Wikimedia Commons Workshop of Gentile da Fabriano, Hall of the Imperatores in the Palazzo Trinci in Foligno (circa 1410-1412). Source : Wikimedia Commons The Middle Ages did not forget Antiquity and its great men. The heroes of the Iliad and the Aeneid were as familiar to them as figures from the history of Republican Rome or ancient Greece. These illustrious men filled novels, historical literature, exemplary tales, and the songs of minstrels. They were often associated with figures from other repertoires such as the Bible and Arthurian legend. As part of an encyclopedic and moralist perspective, they were used as examples of the timeless virtues they represented. -
Posillipo Inside
Posillipo inside Guided Tour Sejanus Cave and Parco della Tomba di Virgilio are the focus points of the itinerary. The first one crosses the hill of Posillipo, provides wonderful landscapes of Nisida and the Phlegrean area; from the park, you can see an amazing landscape of the Neapolitan gulf, on which is settled the Vesuvius’s mole. Poi 1 Crypta neapolitana (Park of Virgilu's Tomb) Info POI Distance Skill Scan the QrCode to access the 1 0.00 Km Tutti navigable mobile version of the itinerary Poi 1 Crypta neapolitana (Park of Virgilu's Tomb) Napoli / Place to visit - Archaeological areas Site rich of suggestive legends, equipped with such beauty to be quoted by Petrarca and to turn Goethe’s head, the Neapolitan Crypt, situated in Parco Virgiliano, is a long cramped gallery of 700 meters excavated in tuff in the 1st century b.C. Also known as Grotta vecchia di Pozzuoli (old cave of Pozzuoli), it was built at the time of Emperor Augustus to connect Naples to Campi Flegrei. At the entrance, situated not too far from Giacomo Leopardi’s tomb, it is now possible to see two frescoed niches: the one on the left has a raffiguration of the Madonna and her Baby from the 14th century, while, on the right one, which is of uncertain origins, God’s face is depicted. The tunnel is oriented so that, in occasion of the equinoxes, the sun is perfectly allineated between the two entrances at dusk and dawn, which enables the natural light to illuminate it completely. This crypt, besides being an essential passage to connect Neàpolis with Puteoli harbour, was also a place of worship where initiation rites took place. -
Pierluigi Leone De Castris
87 pierluigi leone de castris Decorazione a fresco d'etaÁ angioina negli edifici riemersi dagli scavi di piazza Municipio: problemi di topografia, di cronologia e di committenza* Gli scavi archeologici condotti a Napoli in Piazza Municipio nel corso e in previsione dei lavori di costruzione della stazione linea 6-linea 1 dalla Metropolitana di Napoli, sotto la supervisione della locale Soprintendenza per i Beni Architettonici e Paesaggistici e in collaborazione con l'altra Soprintendenza per i Beni Archeologici, hanno dato luogo a importanti rinvenimenti giaÁ in gran parte resi noti dai media, la televisione, la stampa cittadina, e infine da alcuni lavori di taglio piuÁ scientifico 1. Nel novembre del 2008, richiesto nei mesi precedenti dalla citata Soprintendenza per i Beni Architettonici e Paesaggistici di collabo- rare quale consulente scientifico allo studio degli edifici medievali intanto ritrovati, ed in particolare di quelli decorati a fresco, io stesso ho redatto una relazione tecnica che dava conto delle risultanze di carattere storico e storico-artistico emerse da questi studi, condotti in stretto contatto con i funzionari responsabili delle varie Soprinten- * Le figg. 2, 3, 5, 7, 8, 9a,b, 20a,b, 21a,c e 22a,b sono riportate a colori alla fine del volume. 1 Vedi in ultimo D. Giampaola-V. Carsana, Castel Nuovo riscoperto: le recenti indagini archeologiche, in Castelnuovo, in ``A.F., Architettura Fortificata in Campania'', Quaderno n. 2, Castel Nuovo, acuradiL.Maglio,2009, 2,pp.33-40; D. Giampaola-V. Carsana-U. Carughi, Napoli, indagini per la linea 1 e 6 della Metropolitana: fra archeo- logia preventiva e tutela conoscitiva,inTerza Mostra Internazionale del restauro mo- numentale. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Architettura E Città Nella Storia Di Castel Nuovo
24 Abitare il futuro / Castel Nuovo è uno dei monumenti simbolo di Napoli.Difficile raccontare in breve il significato di questo edificio. Architecture and City in the History of Castel Nuovo Architettura e città nella storia di Castel Nuovo L’ultimo castello napoletano all’epoca del suo fondatore, Carlo I d’Angiò, ha subito distruzioni, ricostruzioni, Architettura e città nella storia di Castel Nuovo trasformazioni e sostituzioni, ma è rimasto sempre al centro delle vicende storiche, culturali, artistiche napoletane. Gli autori raccontano Castel Nuovo attraverso i principali punti: la storia e la sua evoluzione, l’architettura militare, Architecture and City in the History of Castel Nuovo l’iconografia e la storiografia. Il volume mette in risalto quanto il castello sia un edificio che parli della storia di Napoli stessa, è un documento di architettura, arte e forma urbis dell’antica capitale, dal medioevo fino a oggi, conservando il ruolo evocativo che ha avuto fin dalla sua origine come reggia e fortezza inespugnabile. Inhabiting the future / a cura di / edited by Salvatore Di Liello Castel Nuovo (New Castle) is one of the most symbolic monuments of Naples. It is hard to tell briefly the meaning Leonardo Di Mauro of this building. The castle was the last Neapolitan one during the reign of his founder, Charles I d’Anjou; it suffered destructions, reconstructions, transformations and substitutions, but remained always the centre of historical, cultural, artistic events for the Neapolitan crown. The authors tell about Castel Nuovo through the main topics: the history and its development, the military architecture, the iconography and the historiography. -
1 Castel Nuovo. Aragonese and Later Viceregal Renovations to Original
Castel Nuovo. Aragonese and later viceregal renovations to original Angevin fortress and residence In 1266, Charles I of Anjou decided to build Castelnuovo with the plan of architect Pierre de Chaule. In 1282 the Castle was finished, and was called Castrum Novum to distinguish it from the older Castel dell’Ovo and Castell Capuano. Castlenuovo became the main residence of the king, and became with Castel Capuano, the centre of political, ceremonial and cultural life of the court. In 1442, Alfonso I of Aragon conquered Naples, and Castelnuovo was almost completely destroyed in the war against Rene d’Anjou. Alfonso entered the city on February the 26th of 1443 (as Rex utriusque Siciliae). Today’s Castelnuovo is the result of a 20th c. rebuilding attempted to restore the castle to its Aragonese times, based on 15th c. descriptions and images, like the Tavola Strozzi; and by freeing monumental evidence remaining from subsequent additions made after 1734, when the castle got surrounded by buildings, warehouses and houses. The director of the Archivio di Stato and director of the restorations of the castle in 1926, Riccardo Filangieri is one of the main sources about the Aragonese Castelnuovo. He considered Alfonso I rebuilt Castelnuovo reusing the structures of the Angevin castle; while Achille Stella, president of the Associazione per la tutela dei monumenti e del paesagio, considered it was reconstructed from its base. * Restorations and Additions made by Alfonso I of Aragon In March the 25th 1443 the reconstruction of Castelnuovo started as a family residence as an aim take symbolic possession of the city.