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The Etruscans can be shown to have made significant, and in some cases perhaps the first, technical advances in the central and northern Mediterranean. To the Etruscan people we can attribute such developments as the tie-beam truss in large wooden structures, surveying and engineering drainage and water tunnels, the development of the foresail for fast long-distance sailing vessels, fine techniques of metal production and other pyrotechnology, post-mortem C-sections in medicine, and more. In art, many technical and iconographic developments, although they certainly happened first in Greece or the Near East, are first seen in extant Etruscan works, preserved in the lavish tombs and goods of E...
The Etruscans were the creators of one of the most highly developed cultures of the pre-Roman Era. Having, at one time, control over a significant part of the Mediterranean, the Etruscans laid the foundation of the city of Rome. They had their own language, which has never been totally decoded, and their art influenced such artists as Michelangelo. While the Etruscans were eventually conquered by the Romans, they left a rich culture behind. The Historical Dictionary of the Etruscans relates the history of this culture, focusing on aspects of their material culture and art history. A chronology, introductory essay, bibliography, appendix of museums and research institutes, and hundreds of cross-referenced dictionary entries on important persons, places, events, and institutions provide an entry into a comparative study of the Etruscans.
This handbook has two purposes: it is intended (1) as a handbook of Etruscology or Etruscan Studies, offering a state-of-the-art and comprehensive overview of the history of the discipline and its development, and (2) it serves as an authoritative reference work representing the current state of knowledge on Etruscan civilization. The organization of the volume reflects this dual purpose. The first part of the volume is dedicated to methodology and leading themes in current research, organized thematically, whereas the second part offers a diachronic account of Etruscan history, culture, religion, art & archaeology, and social and political relations and structures, as well as a systematic treatment of the topography of the Etruscan civilization and sphere of influence.
Nell'anno del centenario del Futurismo, la critica e la storiografia più avvedute celebrano il movimento marinettiano in tutta la sua estensione temporale (1909-1944) e tematica (pittura, pittura murale, scultura, arti applicate, design...). In questa ottica si sono anche riproposte figure di artisti attivi nella stagione degli sviluppi futuristi dagli anni Trenta - quella più comunemente nota, ma impropriamente, come "secondo futurismo" - che dopo attente ricerche si sono rivelati interessanti, per avere anche loro, lasciato un segno autonomo nella grande avventura futurista. In questo volume si analizza a fondo la figura e l'opera di Alessandro Bruschetti (Perugia, 1910-Brugherio, 1980),...
The book is about the history of the Italian Secret Services from the pre-unitarian states to the ultimate events.
This book provides the opportunity to explore the variety of meanings, undertones and contextual connotations that currently pertain to the expressions of "virtual (or digital) restoration" and "reconstruction". The book focuses on the latest applications of virtual restoration and reconstruction in different areas of Cultural Heritage through the presentation and discussion of several case studies. The goal is to provide a broad perspective on the subject. The sample presented in this book has been indeed selected and evaluated referring to different disciplinary fields such as archaeology, architecture, and conservation while encompassing a variety of cultural and chronological contexts.
In 1909 the poet Filippo Tommaso Marinetti published the founding manifesto of Italian Futurism, an inflammatory celebration of "the love of danger" and "the beauty of speed" that provoked readers to take aggressive action and "glorify war--the world's only hygiene." Marinetti's words unleashed an influential artistic and political movement that has since been neglected owing to its exaltation of violence and nationalism, its overt manipulation of mass media channels, and its associations with Fascism. Inventing Futurism is a major reassessment of Futurism that reintegrates it into the history of twentieth-century avant-garde artistic movements. Countering the standard view of Futurism as na...
"This impressive volume succeeds in bringing Italian colonialism into the space of today’s most important debates regarding colonialism and multiculturalism."—Graziela Parati, author of Mediterranean Crossroads "A significant collection that really has no equal to date. The essays in this volume investigate profoundly the relationship between Italian colonialism and Italian society, past and present."—Anthony Tamburri, author of A Semiotic of Rereading
Un tenace filo rosso collega nel secondo Ottocento Perugia a Recanati: nell’intimità familiare dell’inedito carteggio (dal 1868 al 1902) di Maria Alinda Bonacci Brunamonti con la sorella Pia e nel diario della poetessa s’intrecciano notizie e curiosità sugli avvenimenti cittadini, confidenze particolari, passeggiate e gite fuori porta, consigli per rimodernare un vecchio abito o cappellino, i concertini domestici con pianoforte, flauto, chitarra e mandolino, infine i piaceri della cucina, con saporite ricette e il dono per le festività di prelibatezze della tradizione gastronomica umbra e marchigiana. All’orizzonte il successo letterario di Alinda che, in attesa dell’imminente pubblicazione dei suoi Nuovi canti, nel 1886 scrive a Pia: “…la gloria dovrà venire nel lunario di quest’altro anno”.