Pasquale del Pezzo, Duke of Caianello, Neapolitan mathematician

This article is dedicated to a reconstruction of some events and achievements, both personal and scientific, in the life of the Neapolitan mathematician Pasquale del Pezzo, Duke of Caianello.

Grand concertante duet : for harp & piano forte on a favorite Irish and Neapolitan air /

Mode of access: Internet.

The Neapolitan revolution of 1820-1821.

Mode of access: Internet.

Nelson and the Neapolitan Jacobins. Documents relating to the suppression of the Jacobin Revolution at Naples. June 1799 /

Bibliography: p. 337-340.

Floræ neapolitanæ prodromi appendix quarta, accedunt de plantis quibusdam in horto regio cultis, observationes nonnullae.

Mode of access: Internet.

King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

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.

Swan Lake ballet

Äänitetty: 14.-15.12.1954, University of Minnesota, Northrop Memorial Auditorium.

Encuadernaciones Mudéjares de la Biblioteca de Alfonso el Magnánimo: Ms. 574 y 576 Biblioteca de la Universitat de Barcelona

This work expect to prove relations between the bookbinding of two manuscripts conserved in the Library of the University of Barcelona and the bookbinding to realise in the workshop of bookbinding of the Library of Alfonso el Magnanimous in this court Neapolitan, across over the study of this elements and architecture, and give the denomination of bookbinding mudejar neapolitan, because they are to make in this workshop or in this defect in Italy in the middle of the XV century.

Cerimonial i pràctica de govern a la cort dels virreis de Nàpols al segle XVII

[spa]Durante el primer tercio del siglo XVII la corte virreinal de Nápoles alcanzó un alto grado de desarrollo y madurez en su organización y su ceremonial. La prácticamente consecutiva aparición de dos importantes manuales de ceremonias, elaborados por dos ujieres mayores de los virreyes, Miguel Díez de Aux y Jusepe Renao, dan cuenta de la sofisticación ceremonial de que es protagonista una corte como la napolitana en el contexto de la monarquía hispánica de los Austrias. El segundo de estos textos, un elaborado manual de ceremonias compilado por Jusepe Renao, activo entre los años 1622 y 1637, es el punto de partida para una serie de consideraciones en torno al creciente interés por el ceremonial en ese preciso momento histórico.

Les Històries de Tobies d'Andrea Vaccaro: de Nàpols al Museu Nacional d'Art de Catalunya

[cat] Aquest article intenta reconstruir la història de quatre pintures de l'artista napolità Andrea Vaccaro, actualment al Museu Nacional d'Art de Catalunya, i originàriament part d'una sèrie de 12 peces dedicada a les històries bíbliques de Tobies, propietat del virrei de Nàpols Pedro Antonio de Aragón. L'anàlisi de les obres i del context de la seva comissió a la llum d'estudis recents permet corregir-ne la datació i comprendre la importància de les quatre peces de Vaccaro del MNAC, en el marc de la circulació d'obres d'art entre el Regne de Nàpols i la península Ibèrica al llarg del segle XVII.

Loquit, ridet, et vincit : l’intégration du toscan dans la commedeja pe ‘mmuseca et sa mise en musique : une forme de résistance contre la domination étrangère

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

A Shine of Truth in the "universal delusional context of reification" (Theodor W. Adorno)

“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle.

Towards a European tephrochronological framework for Termination 1 and the Early Holocene

The record of deposition of tephras in Europe and the North Atlantic during the period 18.5–8.0 ¹⁴C ka BP (the Last Termination and Early Holocene) is reviewed. Altogether, 34 tephras originating from four main volcanic provinces (Iceland, the Eifel district, the Massif Central and Italy) have been identified so far in geological sequences spanning this time–interval. Most of the records have been based, until very recently, on observations of visible layers of tephras. Here, we report on the potential for extending the areas over which some of the tephras can be traced by the search for layers of micro–tephra, which are not visible to the naked eye, and on the use of geochemical methods to correlate them with known tephra horizons. This approach has greatly extended the area in Northern Europe over which the Vedde Ash can be traced. The same potential exists in southern Europe, which is demonstrated for the first time by the discovery of a distinct layer of micro–tephra of the Neapolitan Yellow Tuff in a site in the Northern Apennines in Italy, far to the north of the occurrences of visible records of this tephra. The paper closes by considering the potential for developing a robust European tephrostratigraphy to underpin the chronology of records of the Last Termination and Early Holocene, thereby promoting a better understanding of the nature, timing and environmental effects of the abrupt climatic changes that characterized this period.

Retorica e mito in Giambattista Vico

The purpose of this thesis is to show that Vico had the constant aim, remained unaltered in time, to support the usefulness of Rhetoric. The awareness of the strength acquired by the “anti-rhetorical” movements, particularly by the Cartesians and the Logicians from Port-Royal, obliged Vico to elaborate some strategies and counter-moves that, little by little, became more and more complex and refined, till they inspired his main work, The New Science. By taking into consideration the most significant aspects of Vico’s speculation (topic, tropes, the formation of language, the development of human thought, the new conception of philology ), this work shows that they are part of a strategy worked out by the Neapolitan philosopher, in order to demonstrate the validity, the usefulness and the modernity of Rhetoric. Every aspect of Vico’s thought reaches its peak when Vico formulates his theory about myths, which he interprets as an expression of the primitive man’s necessities and demands. The point of view expressed by this doctorate thesis emphasizes that, despite the inevitable modifications that have taken place through the centuries, Vico’s thought keeps its substantial unity. So those subjects that critical literature tends to separate are, in reality, linked and unified.

The invention of democratic parliamentary practices in the Helvetic Republic

In this book, leading historians of the French, Batavian, Helvetic, Cisalpine, and Neapolitan revolutions bridge the gap between the historiographies of the so-called Sister Republics and explore political culture as a set of discourses or political practices. Parliamentary practices, the comparability of "universal" political concepts, late-eighteenth-century Republicanism, the relationship between press and politics, and the interaction between the Sister Republics and France are all examined from a comparative, transnational perspective.