Italian Journalist Oriana Fallaci at the United Nations

General note: Title and date provided by Bettye Lane.

Italian-American women demonstrate against Channel 9's "Untouchables" program

General note: Title and date provided by Bettye Lane.

Italian harness race driver Loredana Moretti

General note: Title and date provided by Bettye Lane.

Italian bakery on Bleeker Street

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Italian-American Civil Rights League booth at the Fiesta of Maria S.S. della Grazie on Mulberry Street

General note: Title provided by Freda Leinwand.

Italian festival in New York

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Italian-American Civil Rights League sign at the Fiesta of Maria S.S. della Grazie on Mulberry Street

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Reimagining the Baroque in Italian Modernism. From the fin-de-siècle to Lucio Fontana

<p>While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists' complex engagement with concepts of the ‘Baroque’ has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy’s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.</p>

ROCADA: Romanian daily gridded climatic dataset (1961-2013) V1.0

Daily records of nine meteorological variables covering the interval 1961-2013 were used in order to create a state-of-the-art homogenized climatic dataset over Romania at a spatial resolution of 0.1°. All meteorological stations with full data records, as well as stations with up to 30 % missing data, were used for the following variables: air pressure (150 stations); minimum, maximum, and average air temperature (150 stations); soil temperature (127 stations); precipitation (188 stations); sunshine hours (135 stations); cloud cover (104 stations); relative humidity (150 stations). For each parameter, the data series were first homogenized with the software MASH (Multiple Analysis of Series for Homogenization); then, the data series were gridded by means of the software MISH (Meteorological Interpolation based on Surface Homogenized Data).

Towards an Archaeology of Media Ecologies: The Case of Italian Free Radios

This article looks at the contemporary reinvention of the term Media Ecologies in the work of Matthew Fuller, arguing that its provenance is less form Postman's Media Ecology Association andmore form the work of Felix Guattari. It then presents an account of free radios in Italy and France in the 1970s and contemporary pirate radio as exemplary cases of media ecologies in Fuller's sense of the term

Polifemo en Yucatán. Variaciones sobre un episodio de la Eneida en la épica cortesiana del Quinientos

Entre los modelos literarios que, en las epopeyas quinientistas acerca de la conquista de México, sirven para dar forma épica a la materia histórica tomada de las crónicas, la Eneida de Virgilio desempeña un papel fundamental. En el presente artículo se pretende mostrar cómo la identificación de Jerónimo de Aguilar con el Aqueménides virgiliano, que se encuentra por primera vez en el Carlo famoso de Luis Zapata, reaparece en Francisco de Terrazas, en Gabriel Lobo Lasso de la Vega y en Antonio de Saavedra Guzmán, así como proponer algunas consideraciones acerca de las relaciones que se hayan podido dar entre las obras de estos poetas.

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

What Makes Your Writing Style Unique? Significant Differences Between Two Famous Romanian Orators

This paper introduces a novel, in-depth approach of analyzing the differences in writing style between two famous Romanian orators, based on automated textual complexity indices for Romanian language. The considered authors are: (a) Mihai Eminescu, Romania’s national poet and a remarkable journalist of his time, and (b) Ion C. Brătianu, one of the most important Romanian politicians from the middle of the 18th century. Both orators have a common journalistic interest consisting in their desire to spread the word about political issues in Romania via the printing press, the most important public voice at that time. In addition, both authors exhibit writing style particularities, and our aim is to explore these differences through our ReaderBench framework that computes a wide range of lexical and semantic textual complexity indices for Romanian and other languages. The used corpus contains two collections of speeches for each orator that cover the period 1857–1880. The results of this study highlight the lexical and cohesive textual complexity indices that reflect very well the differences in writing style, measures relying on Latent Semantic Analysis (LSA) and Latent Dirichlet Allocation (LDA) semantic models.