Il Giovane Research Articles

Cinema, literature and looking at the world from Naples

This interview focuses on first-hand insights into Mario Martone’s cinematographic work. It presents the accurate transcription of an engaging conversation with the filmmaker held at the University of Sussex on 8 December 2023. By discussing the inspiration behind some of his most successful films – specifically L’amore molesto (Troubling Love) (1995), Il giovane favoloso (Leopardi) (2014), Nostalgia (2022) and the docufilm Laggiù qualcuno mi ama (Massimo Troisi: Somedody Down There Likes Me) (2023) – the reader will feel captivatingly guided by Martone into the fascinating relationship between cinema and literature, and on the difficulties of love as ‘a longing that drives us all’. The role that the cultural milieu of Martone’s birthplace, Naples, had in his career and artistic creativity will also help to understand both the realistic and mythological dimensions of his cinema.

Isolation of carbonatogenic bacteria for biorestoration

Biomineralization of calcium carbonate by living organisms, including bacteria, has been studied for its potential use in conservation and restoration applications in Cultural Heritage. This study reports the carbonatogenic properties of three bacterial strains (Lysinibacillus fusiformis 3.20, Psychrobacillus psychrodurans 7Mo and Lederbergia lenta Vetro1) isolated from Il Giovane di Mozia sculpture (Mozia), the Etruscan mural paintings of the Tomba degli Scudi (Tarquinia), and a microbial community isolated from the Sant'Eustachio statue (Matera). The crystals precipitated have been investigated through a multi-analytical approach: Field Emission Scanning Electron Microscopy (FESEM), X-ray diffraction (XRD), and Fourier transform infrared spectroscopy (FTIR). The analyses showed the formation of stable vaterite by the bacterial cultures, while the microbial community induced calcite precipitation. This approach aims to support the conservation-restoration efforts, taking into the account the requests of the conservation-restorers and the unique characteristics of each Cultural Heritage artwork.

Il caso delle prelature personali dei Genovesi nella Roma tardo-barocca

Abstract This essay publishes the preliminary findings of a study of the personal prelatures established in Rome between the seventeenth and eighteenth century by some cardinals belonging to the Genoese aristocracy. Of particular importance in this context are the Pallavicino and Spinola prelatures, respectively founded by cardinals Lazzaro Pallavicino (in 1679) and Gio. Battista Spinola ‚il giovane‘ (in 1707). These ecclesiastical positions were established by means of a bequest assigning a significant annual income (alongside the use of a prestigious residence, fully furnished and endowed with a library, in the case of the Spinola prelature) to the kinsman who in each generation showed most promise among those who had entered the clergy. Above all, Lazzaro and Gio. Battista desired the beneficiaries of the bequest to take up permanent residence at the Papal court, thereby establishing a firm connection between the family and the Curia. Personal prelatures thus appear to be a further part of the larger social, political, and cultural picture of the nationes in Rome. The Spinola prelature, in particular, responded to the more specific aim of establishing a Cardinal’s court as a site of diplomacy, with spaces suitable for socializing and political negotiation.

Analysis of Şeyhî’s masnavi titled Harnâme and Gianni Rodari’s tale titled “Young Crayfish” in the context of their cultural codes

Bu çalışmada, Şeyhî’nin Harnâme adlı mesnevisi ile Gianni Rodari’nin “Genç Kerevit” (Il Giovane Gambero)” adlı masalının benzerlik ve farklılıkları, ait oldukları farklı kültür kodları bağlamında incelenerek her iki eserin de kaynağı tespit edilmeye çalışılacaktır. İncelemeye temel olan sorunsal; farklı dönemlerde, farklı kültür ve edebiyat dizgelerinde ve farklı edebi türlerde verilen ve çalışmanın temel inceleme nesnesini oluşturan bu iki eserin içerik açısından birçok benzerlik taşıması ve karşılaştırmalı olarak daha önce ele alınmamış olmasıdır. Temel inceleme nesnelerinden birisi olan Harnâme on beşinci yüzyıl Türk edebiyatı eserlerinden, diğeri ise yirminci yüzyıl İtalyan edebiyatı eserlerinden biridir. On beşinci yüzyıl Klasik Türk Edebiyatı mesnevi şairlerinden olan Şeyhî, Türk edebiyatının ilk fabl örneği olarak da kabul edilen, toplamda yüz yirmi altı beyit ve dört bölümden oluşan Harnâme başlıklı mesnevisinde öküzlere özenen bir eşeğin hikâyesini anlatır. Yirminci yüzyıl İtalyan çocuk edebiyatının en önemli isimlerinden biri olarak kabul edilen Rodari ise masalları çocuk eğitimi için bir araç olarak gören yazarlardan biridir. Rodari, Bir Telefonluk Masallar (Favole al Telefono) adlı kitabındaki yetmiş masaldan biri olan “Genç Kerevit” başlıklı masalında, kurbağalara özenen bir yengecin başından geçen maceraları anlatır. Bu çalışmada öncelikle bu iki eserin benzerlikleri ve farklılıkları tespit edilerek bu benzerlik ve farklılıkların, dünya masallarına yön veren Pançatantra adlı eserdeki izleri saptanmaya çalışılacaktır.

A threefold adaptation: Mario Martone's Leopardi

Abstract This article explores how Martone's seemingly traditional period biopic of nineteenth-century Italian poet Giacomo Leopardi challenges the conventions of the genre, and could be read, instead, as an interesting case of cinematic adaptation on at least three different levels. I propose that Il giovane favoloso (Leopardi) is a film that, as a biopic, can be understood as an adaptation of a life experience – an adaptation that, in its cinematic construction, expresses an awareness of the biopic as a film genre that can only perform a representational version of a life. Secondarily, Leopardi is a film that engages with an array of cinematic strategies to 'give body' to Leopardi's lyrical texts, turning his lines into a sensorial experience. Finally, it is a film that not only 'translates' specific literary texts in images but also expresses the overall development of Leopardi's poetics into a distinctly cinematic syntax.

Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane

The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.

Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane

The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.

Alexandre Deleyre, Agostino Paradisi il Giovane and the 1765 literary controversy over the (presumed) Italian decadence

The present article takes into exam the French-Italian literary controversy that took place in 1765 and which, despite its brief duration, revived the national sentiment in a wide portion of the Italian cultured world. The dispute began in response to an anonymous Lettre, although sent by the French Alexandre Deleyre (1726-1797), published on march 1765 in the Parisian journal Gazette litteraire de l’Europe: according to the controversial Encyclopedist, eighteenth century Italy was in full moral, cultural, political and economic decadence. The Italian poet Agostino Paradisi il Giovane (1736-1783) sent to the Venetian journal «La Minerva» a very well informed anonymous Epistola. It was printed on october 1765, and is to be considered the clearest and most thoughtful response from the Italian side to Deleyre’s denounces and accusations.

Le immagini della storia: le fonti iconiche fra ricerca, divulgazione storica e spettacolo

Images, both moving and fixed ones, have an important role in Niccolo Zapponi’s heterogeneous production. The scholar used graphic, photographic and cinematographic images as research tools for his suggestive historical analysis of different cultures and myths. Zapponi expressed his deep interest for iconic sources not only in his scientific texts, but also in his collaboration with the Italian television Rai for the fiction Il giovane Mussolini (Benito. The Rise and Fall of Mussolini). He also wrote some screenplays and storylines for cinema and television, which remained unpublished. These works focused on relevant historical figures as Bernard de Clairvaux, Martin Heiddeger and Hannah Arendt, Pio IX and Edgardo Mortara, Giorgio Perlasca. These works as a whole show Zapponi’s peculiar approach to history, free from methodological boundaries, and reveal his understanding of iconic sources: of their polysemic nature and their utility to highlight the past and tell it into the present.

Neapolitan Leopardi and the Naples of Mario Martone

To make a biopic of any writer is an effort almost inevitably doomed to failure. Filming the life of Leopardi was a hard challenge. During the study of Il giovane favoloso, however, something unexpected came up: Martone was not interested so much in the poet of Recanati, as in Leopardi's Neapolitan and final period. A great part of the film, in fact, deals with and also invents episodes of his and Antonio Ranieri’s life in Naples. Martone’s strong connection with Naples is apparent in the treatment of the city, from the camera shots to the use of colors and the intensity of the scenes. Watching the movie I realized that the film the director wanted to make was on Naples, as he had done in many of his earlier works. And Leopardi’s final period gave him a perfect excuse to do this. Il giovane favoloso ends with a dramatic scene of erupting Vesuvius while the voice of the poet recites his final canto “La ginestra.” But Martone’s dialogue with Leopardi had already started years before in “La salita”, an episode in the film I vesuviani. There the director describes the climb of mount Vesuvius that the mayor of Naples, interpreted by Tony Servillo, undertakes to reflect upon the changes his city has undergone, its corruption, and the compromises he has been forced to accept. It could be interpreted as the realization of the presumption and fallibility of humankind Leopardi so well portrayed in “La ginestra,” that is, as his prophecy.

Alexandre Deleyre, Agostino Paradisi il Giovane e la polemica letteraria del 1765 sulla (presunta) decadenza dell’Italia

The present article takes into exam the French-Italian literary controversy that took place in 1765 and which, despite its brief duration, revived the national sentiment in wide portion of the Italian cultured world. The dispute began in response to an anonymous Lettre, although sent by the French Alexandre Deleyre (1726-1797), published on march 1765 in the Parisian journal Gazette litteraire de l’Europe: according to the controversial Encyclopedist, eighteenth century Italy was in full moral, cultural, political and economic decadence. The Italian poet Agostino Paradisi il Giovane (1736-1783) sent to the Venetian journal «La Minerva» a very well informed anonymous Epistola. It was printed on october 1765, and is to be considered the clearest and most thoughtful response from the Italian side to Deleyre’s denounces and accusations.

Intervistare il mondo

Analysis of two works of R. Warner, Il giovane Cesare and Cesare Imperiale, published in 1958 and recently translated into Italian: these books are part of a large tradition of historical novels of the twentieth-century wich deals with the biography of Giulio Cesare. Warner, indeed, who is a philologist and an expert of classical antiquietes, retraces the life of Cesar from his youth to the Ides of March. The A. starts with some considerations about the connection between classical antiquietes and media, fiction, cinema and comics and how they rework myths, characters and historical events of Rome in a up-to-date way, opening new and original courses of research.

Investigations And Project Hypotheses For TheRecovery And Enhancement Of The Value Of AMilitary Site: The Case Of The Ancona Citadel

The case of building recovery in military architecture involves many problems: the lack of historical documentation, the difficult interpretation of the individual building components, the historical evolutions and the attribution of new destination use. The Cittadella represents one of the must important examples of military architecture in Ancona. During the XVI century, the city had a great transformation: from merchant square to “Armi” square for a new system of walls and fortifications. The Cittadella constitutes the most important of its architectural elements and shows the ability and the genius of Antonio da Sangallo il Giovane, the architect of fortresses. The project of Cittadella recovery concerns the walls with its eight ramparts, the buildings and the other handmade arts. We studied the architectonic elements of the buildings, and we have used them to reconstruct the model of the complex whole with metrical and geometrical correct properties. We also studied a method to examine the complex whole to recover the superficial set of the area (merloni, troniere, bastioni...)

ローマ・フィオレンティーニ地区におけるジューリア通りの建設と発展

The purpose for the study was to clarify the distinct features in the construction as well as development of Via Giulia located in the Florentine's residential district, Rome. The following was evident from the 16^<th> century census records as well as present street conditions: (1) Restaurant owners, tailors and bakers were amongst the wide variety of occupations which took up business in the Florentine residential district during the 16^<th> century. (2) The 1508 urban redevelopment project was undertaken to correct streets intersecting "Via Guilia" diagonally and rearrange the intersections to a vertical angle.(3) The Florentine Antonio da Sangallo il Giovane was responsible for construction of three buildings, thus contributing to the prosperity of "Via Giulia".

Een schilderij van Jacopo Palma il Giovane in een vroeg zeventiende-eeuwse Amsterdamse verzameling

AbstractIn this article a drawing by Palma il Giovane, now owned by the Staatliche Graphische Sammlung in Munich, is identified as a study for a painting by the same artist. The present whereabouts of this painting, which early on in the 17th century was in the collection of the Amsterdam merchant and art-lover Hendrick van Os, are unknown. Identification of the drawing was facilitated by the lengthy description of this work in Karel van Mander's biography of Palma Giovane in the Italian Lives of his Schilderboeck (Haarlem 1604). Van Mander describes the painting as showing Venus, Juno and Minerva seated at a table, while the angry Discord has just thrown the apple of discord in their midst. His description of the Van Os painting conforms perfectly, almost down to the smallest detail, with the Munich drawing. Van Mander, during his entire stay in Italy, never visited Venice. For his notion of Venetian painting he relied largely on the information he received from visitors to Venice and its surroundings or on Venetian works he had seen elsewhere, either in other Italian cities or in the Netherlands. For his description of Palma Giovanc's artistic skills Van Mander could rely on his firsthand knowledge of the painting owned by Hendrick van Os.

Non Occorre Nominare Tanti Musici: Private Patronage and Public Ceremony in Late Sixteenth-Century Florence

he wedding of Maria de' Medici and Henri IV of France was celebrated in Florence in October, 1660: the elaborate festivities combined music, drama and spectacle in a manner customarily associated with Medici weddings. As usual, a commemorative account describing the event was published, the Descrizione delle felicissime nozze ... della Cristianissima Maesta di Madama Maria Medici, Regina di Francia e di Navarra (Florence, G. Marescotti, 1600) compiled by Michelangelo Buonarroti il giovane. Buonarroti's drafts of the descrizione also survive in manuscript, including one version with marginal annotations by Grand Duke Ferdinando I and his staff: these annotations reflect wide-ranging criticisms of Buonarroti's narrative, with specific instructions for revision Non occorre nominare tanti musici (It is not necessary to name so many musicians) beside a list of composers is a typical example.1 All this material prompts intriguing questions about the

Action and Report: The Problem of Indirect Narration in the Academic Theory of Painting

Previous articleNext article No AccessAction and Report: The Problem of Indirect Narration in the Academic Theory of PaintingSixten RingbomSixten Ringbom Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Journal of the Warburg and Courtauld Institutes Volume 52, Number 11989 Published for the Warburg Institute and the Courtauld Institute Views: 1Total views on this site Citations: 1Citations are reported from Crossref Article DOIhttps://doi.org/10.2307/751537 Views: 1Total views on this site Citations: 1Citations are reported from Crossref Copyright © 1989 by The Warburg Institute. All rights reserved.PDF download Crossref reports the following articles citing this article: Massimiliano Rossi Per l'unità delle arti: La poetica 'Figurativa' di Giovambattista Strozzi il Giovane, I Tatti Studies in the Italian Renaissance 6 (Oct 2015): 169–213.https://doi.org/10.2307/4603696

A Treatise by Francesco Bocchi in Praise of Andrea del Sarto

Previous articleNext article No AccessA Treatise by Francesco Bocchi in Praise of Andrea del SartoRobert WilliamsRobert Williams Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Journal of the Warburg and Courtauld Institutes Volume 52, Number 11989 Published for the Warburg Institute and the Courtauld Institute Views: 1Total views on this site Citations: 1Citations are reported from Crossref Article DOIhttps://doi.org/10.2307/751541 Views: 1Total views on this site Citations: 1Citations are reported from Crossref Copyright © 1989 by The Warburg Institute. All rights reserved.PDF download Crossref reports the following articles citing this article: Massimiliano Rossi Per l'unità delle arti: La poetica 'Figurativa' di Giovambattista Strozzi il Giovane, I Tatti Studies in the Italian Renaissance 6 (Oct 2015): 169–213.https://doi.org/10.2307/4603696

Art and Propaganda in Late Renaissance and Baroque Florence: The Defeat of Radagasius, King of the Goths

Previous articleNext article No AccessArt and Propaganda in Late Renaissance and Baroque Florence: The Defeat of Radagasius, King of the GothsHenk Th. van VeenHenk Th. van Veen Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Journal of the Warburg and Courtauld Institutes Volume 47, Number 11984 Published for the Warburg Institute and the Courtauld Institute Views: 3Total views on this site Citations: 1Citations are reported from Crossref Article DOIhttps://doi.org/10.2307/751441 Views: 3Total views on this site Citations: 1Citations are reported from Crossref Copyright © 1984 by The Warburg Institute. All rights reserved.PDF download Crossref reports the following articles citing this article: Massimiliano Rossi Per l'unità delle arti: La poetica 'Figurativa' di Giovambattista Strozzi il Giovane, I Tatti Studies in the Italian Renaissance 6 (Oct 2015): 169–213.https://doi.org/10.2307/4603696

Camillo Procaccini: Toward a Reconstruction of the Emilian Years

The name Procaccini hovers about the edges of the history of northern Italian painting. Many inaccuracies of name, date, and place connected with the family have been corrected;1 but they have not entered the current literature in any consistent fashion. The first of three generations of painters, Ercole il Vecchio (1520–1595), was a minor Bolognese artist, who, by 1587, had moved with his sons to Milan.2 This second Procaccini generation included Camillo (ca. 1555–1629), Giulio Cesare (1574–1625), and Carlo Antonio (1571–1630). Little more than written evidence survives attesting to Carlo Antonio's work as painter; however, his son, Ercole il Giovane (1606–1676), was a prolific artist whose activity kept the family name and profession alive in Lombardy until the latter part of the seventeenth century.