DOCSLIB.ORG

Admission to the Vittore Branca International Center for the Study of Italian Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Admission to the Vittore Branca International Center for the Study of Italian Culture ADMISSION TO THE VITTORE BRANCA INTERNATIONAL CENTER FOR THE STUDY OF ITALIAN CULTURE W HAT IS THE VITTORE BRANCA CENTER? Named after a world-renowned Italianist and historic Secretary General of the Giorgio Cini Foundation, the Vittore Branca International Center for the Study of Italian Culture is a new international resource for humanities studies. It is also the principal means of implementing a strategy to open up and make good use of the great store of art and intellectual treasures housed in the Giorgio Cini Foundation on the Island of San Giorgio Maggiore in Venice. The Vittore Branca Center has been designed to host an international, interdisciplinary academic community. The residential facilities on the Island provide scholars and researchers with the opportunity to work and stay, often at length, in Venice at economically reasonable conditions in a setting conducive to reflection and intellectual exchanges. Since it opened in June 2010, the Center has not only been attended by expert scholars and young researchers from major institutions in various countries but also by writers and artists interested in studying Italian culture. Being a resident is an essential requisite for studying at the Vittore Branca Center. Only through the physical and emotional involvement of prolonged immersion in the context of San Giorgio Maggiore will it be possible to take full advantage of the countless opportunities offered. Moreover, only in this way will young researchers and expert scholars be able to enjoy the mutual benefits of working side by side. W HO CAN APPLY FOR ADMISSION? Residence at the Vittore Branca Center can be applied for not only by young researchers, such as postgraduate students (studying for a masters degree, doctorate or specialization) and Ph.D. graduates but also by expert scholars, such as university lecturers, senior researchers, directors of research centers, writers or artists. All such researchers will share an interest in furthering their knowledge in a field of Italian culture (especially that of the Veneto) – the visual arts, history, music, literature and drama – from an interdisciplinary point of view. W HAT THE CENTER HAS TO OFFER The Vittore Branca International Center for the Study of Italian Culture offers the opportunity to enhance individual studies through interdisciplinary exchanges with fellow scholars attending the Center as well as with the academic and professional community at the Giorgio Cini Foundation. Facilities and benefits include: a) The residence is situated in the grounds of the island and can accommodate around 90 scholars in self- catering mini-apartments with a telephone, Internet connection and shared laundry services. The cooking facilities enable residents to economize on food expenses. The residence is also equipped with reception, surveillance and cleaning services and food and pharmacy dispensers. To encourage social life and exchanges of ideas, there are a number of shared spaces for use by all guests, such as the common rooms, the music room and fitness area. b) The Giorgio Cini Foundation’s libraries are specialized in the fields of art history, Venetian history, literature, music, dance and drama. The Foundation also boasts a photo library and antique book collections, while its literary, art, drama and music bequests contain vital documents related to the activities of leading figures in Italian culture (to mention but a few: Eleonora Duse, Giuseppe Fiocco, Rodolfo Pallucchini, Arrigo Boito, Alfredo Casella, Gian Francesco Malipiero, Aurel Milloss, Ottorino Respighi, Nino Rota, Diego Valeri and Antonio Vivaldi). The current document is valid for applications received from 15 October 2010 to 31 May 2011. The Fondazione Giorgio Cini reserves the right to make changes to the regulations. c) Cultural events (courses, seminars, conferences, exhibitions, concerts, etc.) organized by the Giorgio Cini Foundation. Thus, for example, musicologists can attend seminars of historical studies, while art historians can sit in on seminars on early music: both thus have the opportunity to explore the broader cultural background to their own work. d) Young researchers can benefit from the presence of a tutor who will assist them in becoming familiar with the cultural services of the Giorgio Cini Foundation and the city. Tutors will also suggest which of the Foundation’s directors and collaborators may be able to help them with their research projects. e) various other services, such as: - a work station with an Internet connection, printer and scanner in the Nuova Manica Lunga, the Foundation’s main documentary center, with Internet connection, printer and scanner; - an international newspaper library; - cultural initiatives for residents; - advice and information about libraries and archives in the main Venetian institutions. HOW TO APPLY AND SELECTION Applications for admission must be filled out according to the form downloadable at www.cini.it/centrobranca and sent by registered mail or courier at least 30 days before the desired period of residence to: Fondazione Giorgio Cini onlus Segreteria del Centro Internazionale di Studi della Civiltà Italiana “Vittore Branca” Isola di San Giorgio Maggiore 30124 Venezia Applications must be accompanied by a description of the research project (including a reference to the status of ongoing or completed research on the topic and the main documents to be consulted) as well as a curriculum vitae, including a list of main publications. Applications for admissions will be assessed by the Giorgio Cini Foundation and selected, with no right to appeal, on the basis of the quality of the proposed project and its relevance to the Foundation’s cultural programs. The outcome of the application will be communicated within 30 days. COSTS The individual daily rate for use of the Vittore Branca Center facilities, including lodgings in the residence, is 50.00 euros (VAT incl.), a price subsided by the Giorgio Cini Foundation. For research projects that are particularly relevant to the Giorgio Cini Foundation cultural strategies, the Foundation provides a further subsidy to reduce the daily cost to 35.00 euros (VAT incl.). Venice, 15 October 2010 Pasquale Gagliardi Secretary General For information please contact the Secretariat at: +39 041 2710253 - centrobranca@ cini.it .
Load more

Recommended publications
  • Il Recupero Dell'antico Nell'opera Di Ottorino
    SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….
    [Show full text]
  • Lettera Da San G Iorgio
    Lettera da San Giorgio Lettera da San Year XIX, number 37. Six-monthly publication. September 2017 – February 2018 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue PROGRAMMES (SEPTEMBER – FEBRUARY 2017) 12 MAY 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 30 NOV 2018 Le Stanze del Vetro Installation Qwalala by Pae White 1 SEP – 15 NOV 2017 VENICE, PALAZZO CINI GALLERY AT SAN VIO Exhibition Lyda Borelli: A Leading Lady of the 20th Century 4 SEP VENICE, TEATRO LA FENICE 19, 21, 22 SEP VENICE, LA CASA DEL CINEMA – VIDEOTECA PASINETTI 8 NOV 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Cinema Series Lyda Borelli: Film Diva 9 SEP – 16 DEC 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Lo Squero Auditorium Concert Season 2017 10–17 SEP 2017 VENICE, VARIOUS VENUES The Venice Glass Week 11 SEP 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 7 JAN 2018 Le Stanze del Vetro Exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini 12–15 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Dialoghi di San Giorgio What’s the Body of the Body Politic? Sovereignty, Identity, Ecology 21–22 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Thirteenth World Conference on the Future of Science The Lives to Come 4, 10, 18 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Books at San Giorgio 9–13 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE The Egida Sartori and Laura Alvini Early Music Seminars Roman de Fauvel. Music and Corruption in the Paris of Philip the Fair.
    [Show full text]
  • Download Myriam Zerbi – a Flow of Music
    FONDAZIONE GIORGIO CINI ISTITUTO ITALIANO ANTONIO VIVALDI MYRIAM ZERBI A FLOW OF MUSIC ANTONIO VIVALDI AT THE ORIGINS OF A REDISCOVERY VENEZIA FONDAZIONE GIORGIO CINI 2020 This book recounts the circumstances leading up to the foundation of the Istituto Italiano Antonio Vivaldi, established by Antonio Fanna and Angelo Ephrikian on 23 January 1947. It retraces the sometimes surprising adventures in postwar Italy that took the two protagonists from the dream of reviving the Red Priest’s music to the publication of his complete instrumental works. Using the le琀ers of the leading players, contemporary press reports and the personal memories of one of the founders, the author reconstructs the Istituto’s vicissitudes focusing especially on its first years, full of high emotions, enterprise and tenacity, in a war-torn country where a desire for renewal was everywhere palpable, through to 1978 when it was donated by Antonio Fanna to become part of the Fondazione Giorgio Cini in Venice. The story, which is enlivened with a copious apparatus of images and documents, unfolds through the personal testimonies of those involved: Angelo Ephrikian, who dreamed the original dream, Antonio Fanna, who laid the practical foundations of the Istituto and ran it for 昀fty years, Alfredo Gallinari the enabling benefactor, who until now has remained, by his own wish, anonymous, Francesco Continetto, the copyist, who transcribed over 昀ve hundred of Vivaldi’s manuscripts, Gian Francesco Malipiero, the Istituto’s artistic director and editor of the greater part of the Venetian composer’s music, and Eugenio Clause琀i the enlightened head of the music publisher Casa Ricordi.
    [Show full text]
  • San Giorgio Lettera 16 UK
    Lettera da San Giorgio Lettera da San Year IX, n° 16. Six-monthly publication. March – August 2007 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Indice Contents I Programmes (March – August 2007) 3 Editorial Main Future Activities 4 Hello Mr. Fogg! Round the world in music on fifty-two Saturdays 5 Study Days The arts in Istria 6 Study Conference Rosalba Carriera and 18th-century Europe 6 Historical Studies Seminar The perception of territory: definitions, descriptions and representations 7 The Egida Sartori and Laura Alvini Early Music Seminars The Codex Faenza 117 and the alternatim in Italy in the late Middle Ages (1390-1430) 7 Music from Arabia Course on the Arab lute by Farhan Sabbagh 8 Music from Armenia Seminar on the duduk and concert by Gevorg Dabaghyan 9 International conference Antonio Vivaldi. Past and future 9 The Vittore Branca Course on Italian Civilisation Venice and Italian civilisation in the centuries of European modernisation. I. The 18th Century 10 Books at San Vio 11 The Veneto Region Vittore Branca Prize for Studies and Research on Veneto Popular Cultures Collections 12 The Alain Daniélou archives Projects and research 15 The Vittore Branca School of Italian Language and Civilisation Presences on San Giorgio 18 Goffredo Parise: Venetian “sowings” and “gatherings” 21 Publications III – IV Contacts Editorial The year 2007 will mark a turning point for the Giorgio Cini Foundation thanks to the implementation of a series of changes announced some time ago. The most striking change will be the renovation of some of the buildings and rooms.
    [Show full text]
  • The Blackcat, Pagina 1 Di 209
    The BlackCat, Pagina 1 di 209 THE - BLACK CAT Mafia e Fascismo nascosti dentro la massoneria deviata: “The Black Cat” Versione 1.50 –Febbraio 2010 Pagina 1 di 209 The BlackCat, Pagina 2 di 209 «Finché la mafia esiste bisogna parlarne, discuterne, reagire. Il silenzio è l’ossigeno grazie ai quali i sistemi criminali si riorganizzano e la pericolosissima simbiosi di mafia, economia e potere si rafforza. I silenzi di oggi siamo destinati a pagarli duramente domani, con una mafia sempre più forte, con cittadini sempre meno liberi». Pietro Grasso. (Capo della SuperProcura nazionale antimafia) Pagina 2 di 209 The BlackCat, Pagina 3 di 209 Mafia e Fascismo nascosti dentro la massoneria deviata: “The Black Cat” Introduzione In questi anni sono venuti alla luce in Italia numerose pagine che trattano di affari di stato, di coinvolgimenti dei servizi segreti in stragi, della strategia della tensione, del terrorismo nero, dei tentativi di colpi di stato, di Gladio, delle trattative tra la mafia e lo Stato… D’altra parte si parla molto di Fascismo come situazione del passato, di Cosa Nostra come affare siciliano, di Ndrangheta come affare calabrese, di Camorra come affare napoletano, ben poco si parla però del Nord- Italia e del posto dove siamo nati, dove gli affari della Mafia e del Fascismo Internazionale si intrecciano, e sono portati avanti attraverso la massoneria deviata. Queste manifestazioni sembrano godere di una specie di immunità e di una sorta di invisibilità, invisibilità che proviene dall’aversi rivestito con panni nuovi, eleganti e filantropici: quelli di una certa parte della massoneria. La nostra storia racconta come il Fascismo e la Mafia hanno agito e continuano ad agire oggi nella nostra vicenda all’interno delle istituzioni, della magistratura e delle forze dell’ordine.
    [Show full text]
  • San Giorgio Lettera 10 UK
    Lettera da San Giorgio Lettera da San Sandro Botticelli and workshop, Judgement of Paris, Year VI, n° 10. Six-monthly publication. March– August 2004 Palazzo Cini Gallery at San Vio Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Indice Contents I Programmes (March – August 2004) 3 Editorial 4 Main Future Activities Exhibition Memories of war and prison: Renzo Biasion’s drawings from the Giorgio Cini Foundation 4 Study Conference China and the challenges of the 21st century 5 Workshop on the Ottoman-Turkish Ney 6 Music and Gender Project: Women Composers Prize 6 International Study Conference: Venice, the Fourth Crusade and the Arts 6 Historical Studies Seminar: Writings by, to, and on Government 7 “Egida Sartori” Early Music Courses: Rediscovering Virtuosity 8 Course for Italianists: A Journey into 20th-century Italian Literature 9 Collections Round Europe with Art Works from the Cini Foundation 13 Portraits of Patrons Renzo Biasion, artist and patron 16 Presences on San Giorgio Homage to Vittore Branca 19 Publications III – IV Contacts Editorial During the press conference to present the Foundation’s activities for 2004, in Milan last November, I pointed out several times how the Giorgio Cini Foundation cannot consider itself to be immune from the pressure of changes in society. Today any cultural activity is expected to reveal its “usefulness”, in the widest and loftiest sense of the word, by contributing to the growth and integration of the community. Intellectual and moral ideas thus must also be translated into practical objectives, and resources must be used in the best way possible to obtain those objectives.
    [Show full text]
  • Introduction
    FONDAZIONE GIORGIO CINI ONLUS THE FORESTERIA Introduction Every place at the Giorgio Cini Foundation has its own history. The most well-known sites are the cloisters, the Palladian 'cenacolo', the 'manica lunga' and the library designed by Longhena. There is, however, another lesser- known spot that preserves a prestigious past in many ways underestimated. The Foresteria, as the guest quarters at the Cini Foundation are called, came into being as a private 'salotto' for Vittorio Cini's friends and, by tradition, has always been reserved for the Foundation's important guests. The recent restoration of its twelve rooms and ample living-dining space was completed in September 2005. The Foresteria's charm is the fruit of the exclusive 'mingling' from which its atmosphere is drawn. Few places in the world have been so regularly visited by the 'giants of the earth'. Even fewer are those where it is possible to meet while admiring paintings by esteemed masters of contemporary art, such as Carena, Severini, Sironi, and Vedova, in surroundings filled with invaluable objets d'art and antique furnishings that reflect the taste and sensibility of era gone by. Few places in the world vaunt a panorama comparable to the views from the Foresteria's windows: the Salute across the water, St Mark's basin directly below, Palazzo Ducale and the Riva degli Schiavoni to the right, the Zattere and the Giudecca to the left and, in the background, the water and sky of Venice. It is only place where one is actually on an island with a more than 1000-year-long history and at the site of one of the most prestigious Italian cultural institutions - the Giorgio Cini Foundation on island of San Giorgio Maggiore.
    [Show full text]
  • 20 Century Italian Piano Music
    20 TH CENTURY ITALIAN PIANO MUSIC LINER NOTES CD1 reflects Mendelssohn’s models and those of Schumann, his GIUSEPPE MARTUCCI favorite author. In this piece, after a virtuosistic first section, we Giuseppe Martucci became famous towards the end of find a choral that interchanges with pearlescent arabesques nineteenth and the beginning of the twentieth century, and he (maybe a reminiscence of Chopin’s “Scherzo Op.39”) and is then was well-known for his polyhedric activity as a pianist, repeated, at the end of the piece, in the form of a recitative. conductor, artistic director, teacher and composer. He was born The third piece, “Colore Orientale”, is a march in a tripartite in Capua in 1856, and in the beginning was taught from his form, and shows a strong variety of tone-colors and dynamic; in father Gaetano, who played the trumpet in the army. A child the same year of composition, Martucci arranged this piece for prodigy, he played in solo concerts when he was only eight orchestra. The “Barcarola” and the “Nocturne” create a more years old. In 1868 he was a student at Naples Conservatory, relaxed and colloquial tone. where he studied piano with Beniamino Cesi and counterpoint The “Tarantella” is an extremely lively piano piece: it under the direction of Paolo Serrao. Later he became teacher includes popular music references and denotes an achieved and director of the same Conservatory. maturity in terms of style control. This piece was also adapted Martucci contributed to the changes of Italy’s musical and reworked by Martucci in 1908 as an orchestral culture, and turned his attention to the European coeval arrangement of rich colors.
    [Show full text]