Image Of Italy Research Articles

<span>The Image of Italy on the Pages of the Newspaper Russian Invalid in the First Years of the First World War (1914–1915)</span>

<span>The Image of Italy on the Pages of the Newspaper Russian Invalid in the First Years of the First World War (1914–1915)</span>

Elio Attilio Baldi. The Author in Criticism. Italo Calvino’s Authorial Image in Italy, the United States, and the United Kingdom

Elio Attilio Baldi. The Author in Criticism. Italo Calvino’s Authorial Image in Italy, the United States, and the United Kingdom

GEOPOETICS OF THE ART NOUVEAU ERA: SOUTHERN ITALY THROUGH THE EYES OF RUSSIAN AUTHORS OF THE LATE 19TH - EARLY 20TH CENTURY

The article dwells on the semantically integral system of Southern Italy Russian reception in the heyday of Belle époque. Its connection with the European context dating back to Goethe and purely national features are shown. Based on Berdyaev’s relevant texts, the imagological constants of the Silver Age ‘Russian Italy’ are reconstructed. Three different models of it are demonstrated, opposing the aesthetic line of Italy reflection in the mirrors of the arts, embodied by P.P. Muratov (Images of Italy, 1912): in the works of D.S. Merezhkovsky, M.A. Osorgin and I.A. Bunin. It is proved that they are united by an unexpected in the depiction of the bright Italian South antirhetoric, expressive asceticism, opposition to decorative redundancy and polemic in relation to the romantic apology of the ‘Mediterranean Arcadia’. In the case of Merezhkovsky, this even laid the foundation for a special potential type of alternative poetics, which could but never managed to reach the center of the writer’s artistic system.

The inaudible and noiseless foot of Time: An image of Italy in television advertising

The inaudible and noiseless foot of Time: An image of Italy in television advertising

ITALIJA U STVARALAŠTVU TOMASA MANA: NOVELA „SMRT U VENECIJI“

Whether it is travelers who visited Italy: Paolo Hofmann (The Will to Happiness), Tonio Kröger (Tonio Kröger), Gustav von Aschenbach (Death in Venice), Adrian Leverkühn (Doctor Faustus) or Italians in literary works: Girolamo Savonarola and Lorenzo de’ Medici (Florence), Ludovico Settembrini (The Magic Mountain), Mario and Cipolla (Mario and the Magician), of Thomas Mann’s oeuvre, the image of Italy and Italians is seen directly or indirectly in relation to Germany and the Germans. Behind the terms SOUTH and ITALY, a complex relationship is revealed that reflects Mann’s political and intimate understanding of these terms. Relying on the achievements of imagology, this paper asks, based on the novella Death in Venice, how the perception and presentation of oneself and the other support and maintain established images and notions of Italy and Italians as different, unconventional and exotic.

Эпитет «итальянский» в творческом и эпистолярном наследии А.С. Пушкина

There are many research works describing Italy and Italian in Pushkin's oeuvre. The most elaborated aspects of this problem are literature relations and reminiscences and the question of Pushkin's mastery of the Italian language. However, the forming of the whole image of Italy in Pushkin's mind remains a relevant issue today. The objective of the study is the reconstruction of this image based on linguistic materials specifically on metaphrastic expressions of the concept “Italian” in Puskin's heritage. The data of the study are Pushkin's poetry, prose, epistolary works and journalism. The object is the literal expression of the concept “Italian” in Pushkin's texts. The research methodology is an imagological method. It is determined by the objective of study: an image of another country and culture. The notion of concept in Anna Wierzbicka's defenition referred to the semiotic paradigm is adaptable to realise the imagological description. In this article, the concept “Italian” is analysed only in its literal expression because of large data content. It is realised as the usage of epithet “Italian” and its phonetic variants in Pushkin's texts. The notion of concept is used to serve the methodological tasks of imagology and complemented by the hermeneutical approach. The biographical method was also applied (the epithet and its usage is analysed in Pushkin's biographical context). During the study all cases of using the word “Italian” were found and described. The results of the description were generalised according to the objective of the study. The Dictionary of Pushkin's Language served as a background work in the study and allowed making a quantitative calculation of linguistic usage and selection of representative texts. The study was carried out by analysing the significative complex of “Italian” and its compatibility. According to the Dictionary of Pushkin's Language, the word “Italian” is encountered 21 times in his works and letters. To analyse this phenomenon, the realia should be determined that Pushkin combined with the adjective “ital'yanskiy” [Italian]. The author has found that the adjective describes certain realities of everyday life of the author (in his letters), his characters (poetry, prose) and literary work (critical notes). They are opera, language and some of its elements - lexis, phraseology, some phonetic aspects. As a result of study, the following conclusions are drawn: firstly, the role of Italy in Pushkin's artistic consciousness and his emotional attitude to it were determined; secondly, the evolution of the poet's perception of the Italian topos was shown; thirdly, the basic content of Pushkin's concept of Italy and ”Italian” in three aspects was identified and analysed. The three aspects are: opera and its influence on the poet's state of mind; the role of Italian language in forming the opposition “North-South” in the novel Egyptian Nights; Italian literature compared with Russian.

Italy in Philip Massinger’s The Maid of Honour

This article discusses Philip Massinger’s The Maid of Honour, showing how this tragicomedy set in Italy is resonant of stories, ideas, theories and characters from the Italian literary and cultural tradition. On the one hand, I will shed light on Massinger’s use of an Italian ambience, concentrating on the choice of Palermo and Siena as a setting. The pseudo-historic setting of the play may be seen as a pretext to dramatize the author’s moral needs and convey a form of political ideology, which reflects the social tensions and the political concerns of the period. On the other hand, I will discuss the different forms of legacy from the Italian world, focusing on the cultural forces, and the moral and ideological motivations behind the playwright’s choice of the genre of his play, the changes concerning plot, setting and the characters’ names in the original Italian text on which the tragicomedy is based. Moreover, this tragicomedy, characterized by a profound didactic and moral intent, also seems to combine some elements of the late 16th century commedia grave, mainly in the presence of an exemplary female protagonist, Camiola, who embodies the providential spirit of the Counter-Reformist attitudes in vogue in the period. Finally, I will examine the way an image of Italy is portrayed through language, analyzing the very marginal occurrence of the Italian language and the presence of Latin words and tags.

Euro-BioImaging – Interdisciplinary research infrastructure bringing together communities and imaging facilities to support excellent research

Euro-BioImaging – Interdisciplinary research infrastructure bringing together communities and imaging facilities to support excellent research

Reduction of cardiac imaging tests during the COVID-19 pandemic: The case of Italy. Findings from the IAEA Non-invasive Cardiology Protocol Survey on COVID-19 (INCAPS COVID)

BackgroundIn early 2020, COVID-19 massively hit Italy, earlier and harder than any other European country. This caused a series of strict containment measures, aimed at blocking the spread of the pandemic. Healthcare delivery was also affected when resources were diverted towards care of COVID-19 patients, including intensive care wards. Aim of the studyThe aim is assessing the impact of COVID-19 on cardiac imaging in Italy, compare to the Rest of Europe (RoE) and the World (RoW). MethodsA global survey was conducted in May–June 2020 worldwide, through a questionnaire distributed online. The survey covered three periods: March and April 2020, and March 2019. Data from 52 Italian centres, a subset of the 909 participating centres from 108 countries, were analyzed. ResultsIn Italy, volumes decreased by 67% in March 2020, compared to March 2019, as opposed to a significantly lower decrease (p < 0.001) in RoE and RoW (41% and 40%, respectively). A further decrease from March 2020 to April 2020 summed up to 76% for the North, 77% for the Centre and 86% for the South. When compared to the RoE and RoW, this further decrease from March 2020 to April 2020 in Italy was significantly less (p = 0.005), most likely reflecting the earlier effects of the containment measures in Italy, taken earlier than anywhere else in the West. ConclusionsThe COVID-19 pandemic massively hit Italy and caused a disruption of healthcare services, including cardiac imaging studies. This raises concern about the medium- and long-term consequences for the high number of patients who were denied timely diagnoses and the subsequent lifesaving therapies and procedures.

Sociocultural Dynamics of Perception of Italian Brands in Russia

Introduction. This article analyzes the specifics of the perception of Italian brands in Russia. The starting point in the paper is the understanding that the evolution of Italian culture and the image of Italy itself has led to the perception of this phenomenon through the prism of both its numerous attributes and Italian brands in particular. Today Italy is associated with national cuisine, culture and historical heritage.From a sociological perspective, brands are an important resource for the representation of national culture, especially for foreign consumers. To date, however, there has been little research into how this culture is transmitted through brands to society. In particular, little attention has so far been paid to studying the perception of brands and their relationship to the national culture of the country they represent.The socio-cultural perspective of the study implies an examination of the dynamics of attitudes towards Italian brands, reflecting the variability of society itself.Methodology and sources. The methodological basis is an interdisciplinary approach to the problem of studying and analyzing brands. The main research method in the work is the Internet survey. Thus, based on the theoretical concepts on the study of brands in sociology, in April 2020 on the platform ”Google Form” the authors conducted an empirical study. The purpose of this research was to conduct an online survey to identify the attitudes of Russian respondents towards Italian brands. The results of the sociological research conducted in the form of a questionnaire survey are presented. The sample type was random with the number of 150 respondents.Results and discussion. According to the survey results, the main associations associated with the image of Italy are: Italian food, holidays, fashion and historical heritage. At the same time, about one fifth of respondents are not familiar with any of the Italian brands or cannot name them. Among those familiar with Italian brands, 80 % responded that they know Gucci, Fendi, Valentino, Versace, Moschino, Giorgio Armani, Prada, Roberto Cavalli, Dolce &amp; Gabbana, Lamborghini, Maserati and Ferrari.One of the key findings of the study was the conclusion that brand perception today is not directly related to its country of origin. The brand does not always represent the country, becoming multicultural. The socio-cultural model of consumption is changing, and the understanding of the Italian brand is divorced from the cultural foundation from which it originated.Conclusion. In general, the authors of the article come to the conclusion that the perception of Italian brands in Russia is conditioned by the specifics of sociocultural development. In the early nineties, when the country had just opened up to Western brands, it was vital for the consumer to purchase products from well-known brands, in particular the «Made in Italy» category, firmly associated with the country of origin. Today, in the context of globalization and multiculturalism, many brands have lost their national identity, and for the consumer the consumer properties of the product come first, and not the brand itself.

Artificial intelligence applications in medical imaging: A review of the medical physics research in Italy.

To perform a systematic review on the research on the application of artificial intelligence (AI) to imaging published in Italy and identify its fields of application, methods and results. A Pubmed search was conducted using terms Artificial Intelligence, Machine Learning, Deep learning, imaging, and Italy as affiliation, excluding reviews and papers outside time interval 2015-2020. In a second phase, participants of the working group AI4MP on Artificial Intelligence of the Italian Association of Physics in Medicine (AIFM) searched for papers on AI in imaging. The Pubmed search produced 794 results. 168 studies were selected, of which 122 were from Pubmed search and 46 from the working group. The most used imaging modality was MRI (44%) followed by CT(12%) ad radiography/mammography (11%). The most common clinical indication were neurological diseases (29%) and diagnosis of cancer (25%). Classification was the most common task for AI (57%) followed by segmentation (16%). 65% of studies used machine learning and 35% used deep learning. We observed a rapid increase of research in Italy on artificial intelligence in the last 5years, peaking at 155% from 2018 to 2019. We are witnessing an unprecedented interest in AI applied to imaging in Italy, in a diversity of fields and imaging techniques. Further initiatives are needed to build common frameworks and databases, collaborations among different types of institutions, and guidelines for research on AI.

КОНСТРУИРОВАНИЕ ОБРАЗА ИСТОРИЧЕСКОГО ПРОШЛОГО ИТАЛИИ XV-XVI ВВ. В СОВРЕМЕННОЙ СЕРИАЛЬНОЙ КУЛЬТУРЕ

The history of Italy in the 15th-16th centuries has assumed a special relevance in modern serial culture, becoming not only the basis for the European and transatlantic cooperation in the creation of cultural products, but also the space for the interpretation of the Renaissance historical heritage. Using the deconstruction of the four TV series of the 2010s, the author strives to find those universal images with the help of which series directors and show runners construct the audiovisual image of the past in historical TV series. The author's attention focuses on such aspects as the screensaver, the images of Italy, the representation of physicality and gestures. The analyzed film texts serve as the basis for the conclusion that modern serial culture in the process of constructing the audiovisual image of the historical past of Italy does not only follow the basic elements of medieval visual entertainment, but also creates a semiotic code for the historical era representation.

Заимствования в тексте травелога как средство создания образа итальянского мира

The study aims to identify the thematic areas in which the Italian borrowings are used conjuring up the image of Italy, as well as to describe the functioning features of narration, description and argumentation in the travelogue. The subject matter of the article’s analysis comes down to such a linguistic feature of the travelogue as the system of borrowed words and word combinations adding colour to the speech (foreign-language inclusions, barbarisms, exotic words, i.e., borrowings) arranged into functional-semantic types of speech. The research is novel in that it treats the travelogue as a special type of the text in terms of its linguistic organisation, as well as it studies the distribution and functioning of Italicisms in this genre. As a result of analysing the Italicisms used in two books by the modern author A. V. Ippolitov, as well as their distribution, such thematic areas in which the foreign words are used as art, culinary art, city and other, evoking a new image of Italy among the Russian readers, are identified. The man (the narrator, the object of his reflection, as well as the narratee engaged in the story by means of the first-person narrative) becomes an essential part of this image creation.

Образ Италии на страницах эмигрантской газеты «Возрождение» (1920-1930-е гг.)

Образ Италии на страницах эмигрантской газеты «Возрождение» (1920-1930-е гг.)

Италия Достоевского

The theme “Dostoevsky and Italy” is extensive and diverse due to the fact that a number of researchers constantly turn to it, opening new pages in the life of the great writer. It includes the following areas of research: Dostoevsky's journey through Italy, the images of Italy in the pages of Dostoevsky's works, the reception of the writer's creativity in journalism, cinema and art, the problems of translating Dostoevsky's works into Italian. A special appeal to this topic shows that these four areas of research are connected in the works of Dostoevsky with such Italian cities as Rome, Florence and Naples. This determines the problematic of this article. The author assumes that there is a special integrity in all the disparate impressions and plots of Dostoevsky connected with Rome, Naples, and Florence. Dostoevsky's great novels are born in Rome against the backdrop of the great creations of Italian architecture. Naples is a city of dreams, a city where “noise, thunder, life” is intertwined with Dostoevsky’s fatal love, with truly Italian passions that defined the love story of the writer and Apollinaria Suslova. Florence is a city of quiet family happiness and comfort, which the writer needed so much during his creative dawn.

Mina as Transnational Popular Music Star in the Early 1960s

As a ‘timeless icon’, ‘sophisticated performer’ and ‘the most versatile singer in Italian pop music’, Mina is perhaps the most famous and successful proponent of the canzone italiana, Italian mainstream pop music. Her meteoric rise to fame in the early 1960s was mediated by television and the popular press, which both presented Mina as a quintessential Italian star. Her popularity also extended abroad: in the same period, and at the climax of her rise to fame, Mina embarked on television and concert tours of Spain, West Germany, Venezuela, France and Japan. Singles released in these countries during this period performed extremely well, with ‘Heisser Sand’ in West Germany and ‘Suna ni kieta namida’ in Japan charting at number one in each country’s singles chart in 1962 and 1964 respectively. Such success illustrates how, in the period 1960–5, the singer became a transnational popular music star, who was able ‘to produce cultural meaning in relation to (but not dictated by) the existing power structures of nations and states, to remain mobile, flexible, and open to multiple avenues of meaning and pleasure in different contexts of politics, social relations, and cultural assumptions’ (Meeuf and Raphael 2). Through this lens of transnationality, the article explores Mina’s status as star as it was established during the early 1960s in the Italian context before focusing specifically on Mina’s presence on the global market during the same period. It takes as case studies Mina’s star image in Italy in the late 1950s and early 1960s, as well as the singles released on the Japanese and West German markets, as a means of interrogating the extent to which Mina is transnational, with the potential to generate new cultural and social meanings, both in Italy and beyond.

The development of forensic imaging in Italy. A systematic review of the literature

Abstract Objective With a specific focus on Italy, the aim of this paper was to assess the development of forensic imaging techniques, to determine which techniques have had a larger diffusion, and to identify the most relevant field of application. Materials and methods An online literature search was performed to identify Italian publications on forensic imaging between 1956 and February of 2018. For each publication included in the analysis, the following data were annotated: title and abstract, year of publication, type of article, and number and type of subjects examined. The selected publications were also categorized based on imaging modalities and the forensic field of investigation. Results A total of 44 Italian publications were included in the study. Publications of forensic imaging have increased in the last years. More than half of all manuscripts were related to post-mortem investigations (31/44; 70%). The majority of all post-mortem publications were focused on the documentation of injury or disease followed by identification and age estimation category (5/44; 11%). In cases of unnatural death, the principle issue of research was gunshot wounds, followed by asphyxia and drowning. The most commonly used imaging modality was computed tomography (CT). Conclusions The results of this study showed an increase of forensic imaging in Italy in the last years. However, a review of the literature demonstrated that imaging techniques are not yet exhaustively adopted by the Italian forensic community, and that further research is needed to provide information about the accuracy of forensic imaging techniques with respect to autopsy.

Włochy w perspektywie Dickensa i dziewiętnastowiecznych polskich pisarzy

Italy in perspective of Dickens and the 19th century Polish writersAbstractThe paper analyzes the way Italy is presented in Dickens’, Kremer’s and Kraszewski’stravelogues and works. They sometimes construct their image of Italy from differentperspectives applying various types of texts and stylistic devices. Special attention was givento similarities and differences between three images of Italy in the 19th century literature.Theoretical aspects of Grand Tour and Dickens’ travel to Italy are shortly discussed.Keywords: Pictures from Italy, Charles Dickens, Józef Ignacy Kraszewski, Józef Kremer,travelogues, pictures of Italy

Reimagining the Nation: Gendered Images of Italy and the Italo‐Turkish War of 1911–12

Reimagining the Nation: Gendered Images of Italy and the Italo‐Turkish War of 1911–12

Gli intellettuali stranieri e l'opinione pubblica internazionale di fronte all'Italia fascista

The essay takes into exam Niccolo Zapponi’s works devoted to analyzing the attitudes of foreign intellectuals and observers towards fascist Italy. The first part of the essay focuses on Zapponi’s studies on Ezra Pound. These studies - devoted to Pound’s involvement with the fascist regime, to his relationship with Italian intellectuals during Fascism, and to the reception of his poems Italy the postwar years - are framed within Zapponi’s broader research work and within wider developments Poundian studies. The second part of the essay examines Zapponi’s book on cartoons portraying Mussolini and Fascism published by the international antifascist press between 1935 and 1940. Zapponi’s analysis of satirical iconography - considered a tool to investigate collective habits of mind as well as expression of older narrative archetypes - is seen context with other important studies on fascism, iconographic sources and public opinion published those years. Finally, the essay proposes an interpretation of these works by Zapponi as a contribution to studies on the image of Italy, this case fascist Italy, in the eyes of others.