Xxxiii Annual Congress U.A.E
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Ceremonial Demarcations. the Viceregal Court As Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635)
Ceremonial Demarcations. The Viceregal Court as Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635) Christian Büschges In political and political-historical pamphlets of the Enlightenment and the nineteenth century as well as in traditional political history, ceremony has been seen as an embellishing, vain, and superfluous accessory of the ‘real’, rational, political acts that were regulated by legal norms and institutions. Modern historiography, on the other hand, taking into account sociological and ethnological approaches, emphasises the specific rationality and political nature of ceremony, which is, in turn, only a form of expressing the symbolic dimension inherent in every political communication and interaction.1 At the early-modern court the function of ceremony, which stood out from the spontaneous, individual, everyday acts, lay in making visible the system of monarchical rule and the social and political ranks inherent in it. Ceremony granted the courtiers a visible position in the oft-disputed curial ranking and at the same time fitted external visitors into this symbolic representation of hierarchy.2 Using the example of the court of Louis XIV of France, Norbert Elias, in his study on the ‘court society’ (Die höfische Gesellschaft), which sparked the revival of modern court research, considered ceremony as an exclusive instru- ment of power of monarchical absolutism.3 While Elias coined the image of the court as a ‘golden cage’ used by the absolutist ruler to domesticate the nobility, he also pointed out the ‘very specific network of interdependencies’ that connected the king as primus inter pares to the noble court society and 1 Barbara Stollberg-Rilinger, ‘Zeremoniell als politisches Verfahren. -
LOST and BEAUTIFUL (Bella E Perduta) a Film by Pietro Marcello
LOST AND BEAUTIFUL (Bella e Perduta) A film by Pietro Marcello 87 minutes/ DCP/ 1.85:1/ 5.1/ Italy/In Italian with English Subtitles/16 mm Release 9th July 2021 – in conjunction with Martin Eden FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] Unit 9, Bickels Yard 151 – 153 Bermondsey St London SE1 3HA [email protected] SYNOPSIS Despite death threats from the Mafia and his country’s general apathy, a humble shepherd, Tommaso, takes it upon himself to look after the abandoned Bourbon palace of Carditello, north of Naples, deep in the heart of the ‘Land of Fires.’ One day, Tommaso suffers a heart attack and dies: but not before making a final wish. He summons a masked character named Pulcinella to rescue a buffalo calf called Sarchiopone from the forsaken palace. Together, man and beast, embark on a long journey through a lost and beautiful Italy, searching for something which may no longer exist. Shot on expired 16mm stock, Lost and Beautiful is a ravishing work that (after The Mouth of the Wolf) presaged the arrival of an extraordinary new filmmaker. Further information and downloads here Photo sets for download – here CAST Tomasso Tomasso Cestrone Pulcinella Sergio Vitolo Gisuino Gisuino Pittalis Sarchiapone (voice) Elio Germano Teresa Teresa Montesarchio Raffaele Raffaele Montesarchio CREW Director Pietro Marcello Script -
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. -
Returns to Pompeii Eddy.Indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$'
!%./0"1.)2"3/456)64)!415!%6)/5!"/"2"1")/).#(7)897)-*)) 6$"6)/5!"/"2"/).#(65/).135/)!21$/617)!1./1!)/5)897)-*)) .:;<=>?);@)A@BC:DD)) />;:=D@=)?CEF:)E>G)G:F@=E;D@>) 1GD;:G)IJ)!K:LL:J)&EL:?)M)) G@F<B:>;:G)E>G)=:HDH:G) 6>>:N(E=D:)':E>G:=)"@<E;D) ,O;K)))P*+;K)F:>;<=J !"#$%&#'()*+,-) Returns to Pompeii_eddy.indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$' "-./01234.2506%7%841-48%502-35/39%% ):-%;7<7==/%"-7<-%50%;/325.5 Te exhibition project realized in the Palazzo Reale at Por- new museum in the very building which was at the centre of tici (May 2009) represents a complex “Return to Pompeii” by the events that it wants to describe. Te original museum was creating a new museum that recollects the experience of visit- located in close proximity to the excavations. Both shared the ing the 18th-century museum housing the fnds from the frst same physical setting, and visits to the site and to the museum excavations in the Vesuvian sites. In building this museum, the were part of the same experience for 18th-century visitors. In project used a series of reconstruction techniques to model fact, the rooms of the piano nobile of the Palazzo Reale seemed the environment in which artists, such as the Swedish sculp- to be the ideal space in which to chronicle—through an exper- tor Johan Tobias Sergel, and Grand Tourists, such as Sergel’s imental museum—the inspiring intellectual adventure that, king, Gustav III, frst encountered objects from Pompeii and starting with the Herculanense Museum in Portici, spread Herculaneum. -
A Scenographic Solution for a Neapolitan Bridge in the Beginning of Nineteenth Century
A scenographic solution for a Neapolitan bridge in the beginning of nineteenth century C. Ceraldi, V. Mormone and E.R. Ermolli University of Naples, Department of Construction and Mathematical Methods in Architecture, Naples, Italy M. Lippiello Second University of Naples, Department of Civil Engineering, Aversa, Italy V. Tempone Second University of Naples, Department of History of Architecture and Anthropic Environment, Aversa Italy ABSTRACT: Object of the present study is the masonry bridge, still standing, built for King Ferdinand I of Bourbon, in 1818, by the court scenographer and architect Antonio Niccolini, in the Villa Floridiana Park in Naples. The original drawing, plan and front view, of Niccolini’s design is kept in the Archive of the Saint Martin Museum in Naples. The bridge, made of Nea- politan tuff and bricks, with a single polycentric arch, spanning thirty metres, can be ascribed to the typology of lightened tympanum bridges, in which continuum masonry in the backfills is substituted by a system of vaults leaning upon the extrados of the underlying arch. The static behaviour of the bridge will be studied, basing upon a detailed survey and an accurate examina- tion of the historical sources, also employing the graphical methods known at the age of its re- alization. 1 INTRODUCTION 1.1 Antonio Niccolini, scenographer and architect Notices about the life and first education of the scenographer and architect Antonio Niccolini, born in Tuscany (at San Miniato in the district of Pisa), the 21 April 1772, can be deduced by his autobiography, “Memories of my life”, written in 1847, now kept in the Neapolitan National Library, Mancini (1964). -
The Monastery of San Domenico Maggiore a Ten Centuries Long Story
MINISTERO PER I BENI the restoration of the monastery of san domenico maggiore E LE ATTIVITÀ CULTURALI ASSESSORATO ALLA CULTURA E AL TURISMO the monastery soprintendenza per comune di napoli i beni architettonici, assessorato alla cultura of san domenico paesaggistici,storici, artistici e al turismo ed etnoantropologici per napoli assessore antonella di nocera maggiore e provincia soprintendente giorgio cozzolino direzione centrale cultura, sport a ten centuries e turismo e servizio patrimonio soprintendenza speciale per artistico e beni culturali long story il patrimonio storico, artistico direttore silvana dello russo for Quarantore prayers”, a complex machinery that will 2000 and it has been competed in 2002 including the ed etnoantropolgico e per il polo The monastery of San Domenico Maggiore, together the first floor there were the refectory, the library and be one of the most important points of attraction when project Polis-Musea organized by Superintendence with the church, forms a large structure which is the re- the “Sala del Capitolo”. The architects who worked at museale della città di napoli visiting hours these areas will be arranged as museum. for historical patrimony of Naples with European sult of many changes started in 1227 when Pope Greg- this magnificent structure were: Bonaventura, Presti Restored area was about 7000 mq whose 400mq Community’s co-financing by FESR Funds (Financial soprintendente fabrizio vona monday - saturday, 10am - 5pm ory IX sent to Naples a small group of Dominicans who ,Francesco Antonio Picchiatti and Luigi Nauclerio. where the courtrooms of Corte d’Assise were and 300 grants for Historic Centre of Naples); the second part settled in the ancient monastery of San Michele Arcan- Now the monastery is divided in different areas: one mq where the part of school Casanova are now com- began in May 2006 and it has been completed in July written by info gelo in Morfisa, in origin founded by Basilians monks. -
'The System of This Court': Elizabeth Farnese, the Count of Santiesteban
The Court Historian ISSN: 1462-9712 (Print) 2056-3450 (Online) Journal homepage: https://www.tandfonline.com/loi/ycou20 ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738 PABLO VÁZQUEZ-GESTAL To cite this article: PABLO VÁZQUEZ-GESTAL (2009) ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738, The Court Historian, 14:1, 23-47, DOI: 10.1179/cou.2009.14.1.002 To link to this article: https://doi.org/10.1179/cou.2009.14.1.002 Published online: 03 Nov 2014. Submit your article to this journal Article views: 20 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ycou20 (The SysteITlof This Court': Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734-1738 BY PABLO VAZQUEZ-GESTALl The new kingdom of the Two Sicilies was set up in 1734 under the direct supervision of the Spanish crown, since the young Don Carlos, first-born son of Philip V and l Elizabeth Farnese, was thought to be too young to· rule it by himself. Before its conquest and subsequent independence in that year, the kingdom of Naples had belonged to the Spanish king for more than two centuries until. 1707, when the viceroyalty was conquered and ruled by the Emperor. However, the city of Naples was still one of the most significant capitals of eighteenth-century Europe and the new kingdom wasa distinct political territory that was strategically important to both the Italian peninsula and the wider Mediterranean. -
Superb Naples, a Journey Through Twenty-Seven Centuries of History and Culture
4 JANUARY 2017 CATERINA POMINI 3858 SUPERB NAPLES, A JOURNEY THROUGH TWENTY-SEVEN CENTURIES OF HISTORY AND CULTURE Summarizing a city like Naples in just one article is quite challenging. Founded by the ancient Greeks in the 6th century BC, the capital of Campania is so old, large and filled with amazing sights that it's almost impossible to make a complete list of things to see and do. We did our best, so we hope that the information provided will help you enjoy your visit. A popular travel destination since the time of the Grand Tour of Europe, Naples is mainly synonymous with impressive archaeological treasures, superb architecture and mouth-watering food. Anarchic but breathtaking, Italy's third-largest city boasts a historic centre that is studded with Medieval, Baroque and Renaissance buildings and was declared a UNESCO World Heritage Site in 1995. Furthermore, the capital of Campania is home to one of the oldest universities in the world ( University of Naples – Federico II), the artistic tradition of Capodimonte porcelain and numerous theatres where – during the Late Baroque period – opera seria and opera buffa had their origins. Certainly, at first glance, this city can look shabby and neglected; but if you look beyond the veneer, you will discover a place of unexpected charm and beauty. A (very) brief history of Naples Prior to becoming a Roman colony (326 BC), Naples had been a Greek settlement. According to legend, Greek sailors from Rhodes first established a small commercial port on the former island of Megaride, where Castel dell'Ovo now stands. -
Architecture and Royal Presence
Architecture and Royal Presence Architecture and Royal Presence: Domenico and Giulio Cesare Fontana in Spanish Naples (1592-1627) By Sabina de Cavi Architecture and Royal Presence: Domenico and Giulio Cesare Fontana in Spanish Naples (1592-1627), by Sabina de Cavi This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Sabina de Cavi All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0180-1, ISBN (13): 978-1-4438-0180-5 Per l’amore, che ho ricevuto da mia madre Per la tenacia, che ho appreso da mio padre Per la dolcezza, che vedo in mio fratello Per l’infinito, che esiste in mio marito TABLE OF CONTENTS Acknowledgements .................................................................................... ix List of Illustrations ................................................................................... xiii Picture Credits ........................................................................................ xxiv Introduction ............................................................................................... 1 Spanish Naples: Problems, Historiography, and Method CHAPTER I............................................................................................ -
Four Condemnations -1Qypp7l
Four Condemnations 1 Karsten Harries Four Condemnations Philosophy and Religion in Conflict Lecture Notes Fall Semester 2015 Yale University Copyright Karsten Harries Four Condemnations 2 Contents 1. Introduction 4 2. The Aristotelian Cosmos and the Creation Account of the Timaeus 13 3. Christian Appropriations of the Greek Understanding of Nature 22 4. The Arab Aristotle 33 5. The Instability of the Medieval Synthesis 46 6. Divine Freedom 56 7. Human Freedom 73 8. The Condemnation of Meister Eckhart and the Heresy of the Free Spirit 83 9. Medieval Communists 94 10. The Condemnation 105 11. Modes of Knowing 117 12. Anarchic Mysticism 125 13. Eckhart’s Teleological Suspension of the Ethical 137 14. The Burning of a Heretic 148 15. The Ash Wednesday Supper 163 16. The Copernican Revolution 175 17. The Return of the Sun 185 18. Political Implications 194 19. The Crime of Bruno 204 20. The Power of Mathematics 213 21. The Questionable Authority of the Eye 223 22. Conflicting Claims to Truth 234 23. Insight and Blindness of Galileo 246 Four Condemnations 3 24. Bellarmine Contra Galileo 257 25. Religion and the Freedom of Thought 269 26. Truth and Value Today 278 Four Condemnations 4 1. Introduction 1 In this course I plan to take a careful look at four famous condemnations: At issue is the genesis of our modern world, more especially the role that both science and religion play in that genesis. Each condemnation brings a different aspect of that genesis into focus. The four condemnations are 1) the Condemnation of 1277, 2) the condemnation of Meister Eckhart in 1328, 3) the condemnation and execution of Giordano Bruno in 1600, 4) the condemnation of Galileo Galilei in 1633. -
Visits and Excursions Departing from Sorrento
HIGH SEASON 2019 ENGLISH sorrento visits and excursions departing from sorrento We feature monolingual tours departing from Sor- rento: Pompeii, Herculane- um, Vesuvius, Amalfi, Capri and Ischia for small groups who desire to discover the cultural heritage and the local traditions. We offer Skip the Line access to mu- seums and cultural sites, with professional and authorized local guides. i T rrani Tour Ca s since since 1925 c e m Italian D Why are Sorrento Tours unique and beloved Expert Local Tour by Travelers? Culture & Leisure Guides and Tour Escorts Customize your city break with pro- All of our tour guides are experts, fessionally-guided tours to heritage professional and friendly. sites and experience new ways to visit Sorrento and its surroundings with us. Departures Always Fantastic Guaranteed Day Excursions No minimum number of partici- Reach the surroundings of Sor- pants requested for most of our rento and live the wonders of Italy tours and activities. in an easy and affordable way. Sorrento HS 19 | 2 Sorrento HS 19 | 3 Useful information Tours Index before booking our Tours DEPARTURES FROM SORRENTO 1 HD Pompeii ........................................................................................................7 HIGH SEASON 2019 2 HD Herculaneum ...............................................................................................8 st st Valid from 1 April to 31 October 2019 3 FD Pompeii & Vesuvius .....................................................................................9 4 FD Pompeii & Herculaneum -
ABSTRACT Title of Document: LYING with the SAINTS: HEAVENLY
ABSTRACT Title of Document: LYING WITH THE SAINTS: HEAVENLY BODIES AND EARTHLY BODIES IN THE SUCCORPO OF SAN GENNARO Nicole Riesenberger, Master of Arts, 2011 Directed By: Professor Meredith J. Gill, Department of Art History and Archaeology In January 1497, when the powerful Carafa family translated the relics of San Gennaro, patron saint of Naples, to the city’s cathedral, a devastating plague that had ravished the region is said to have immediately ceased. The presence and miraculous power of the saint’s relics give meaning to the Succorpo, Cardinal Oliviero Carafa’s funerary chapel in the cathedral. This magnificent foundation serves two functions: first, it is the private funerary chapel of Carafa and select members of his family; second, it is the locus of the cult of San Gennaro himself. My thesis examines the chapel’s dual functions and explores the iconography of its decoration. I present new propositions regarding the architectural plan and artistic attributions of the chapel, and I provide a close reading of the portrait sculpture of Cardinal Carafa in the Succorpo, considering how its strategic placement informs our understanding of the program and its meaning. LYING WITH THE SAINTS: HEAVENLY BODIES AND EARTHLY BODIES IN THE SUCCORPO OF SAN GENNARO By Nicole Joy Riesenberger Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2011 Advisory Committee: Professor Meredith J. Gill, Chair Professor Anthony Colantuono Professor Marjorie S. Venit © Copyright by Nicole Joy Riesenberger 2011 Disclaimer The thesis or dissertation document that follows has had referenced material removed in respect for the owner’s copyright.