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    Wyświetlanie 1-6 z 6
    Tytuł:
    La società scomposta: il progresso in Sardegna ne Il Parroco di Arasolè di Francesco Masala
    Autorzy:
    Maniowska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/638452.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Sardinia, Francesco Masala, dissolution of personality and society, the Italian economic miracle
    Opis:
    A Disintegrated Society: Progress in Sardinia in Il Parroco di Arasolè by Francesco Masala In this article were examined the representation modalities of Italian economic miracle in Sardinia included in Il Parroco di Arasolè by Francesco Masala. The starting point for the author of the novel are antithetical concepts such as progress and regress, the past and the present, immutability and changes, winners and losers. In the face of changes taking place in Italian society during post-war period, Masala reflects on how economic factors have affected the society and analyses individual solutions directed to face them as well as their consequences at social and personal level.
    Źródło:
    Romanica Cracoviensia; 2012, 12, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sardinian composers of contemporary music
    Autorzy:
    Giglio, Consuelo
    Powiązania:
    https://bibliotekanauki.pl/articles/780397.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Sardinia
    Franco Oppo
    Ettore Carta
    Fabrizio Casti
    Antonio Doro
    Lucio Garau
    Antonio Lai
    Vittorio Montis
    Marcello Pusceddu
    Andrea Saba
    Giorgio Tedde
    Opis:
    The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of traditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed disciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002). Meanwhile, the foundation of a new Sardinian musical culture was also placed within the social context too, with Oppo’s deep personal engagement. At first Oppo promoted the Giornate di musica contemporanea (1977-1978), a weighty international festival, inside the Teatro Lirico of Cagliari, later founding, with some of his students, the Festival Spaziomusica (1982). Still an active event, the latter has proved to be a solid structure thanks to which generations of Sardinian composers have been able to promote their music alongside the most famous names of the avant-garde, with also the opportunity of several important conferences. From the earliest days much attention was paid to Scelsi, and, with the backdrop of the presence of Nono, Xenakis and Stockhausen, electronic music also continues to maintain a very active profile on the island. Moreover, three research centres conceived in 1990 by some of Oppo’s students have been veiy active: Spaziomusica Ricerca, Ricercare and the CERM of Sassari, which in 1992 brought the Sardinian experience to the 36. Ferienkurse fur Neue Musik. Fabrizio Casti, Antonio Doro, Lucio Garau, Marcello Pusceddu and Giorgio Tedde, together with the younger Ettore Carta and Andrea Saba, who started writing in the 1980s, can be identified as the first and most interesting generation of musicians who grew up studying with Oppo at the Conservatory of Cagliari, while Antonio Lai, the last of his students, specialized in theoretical research, working in Paris.
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 107-126
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Królestwo Sardynii i Turyn w relacjach podróżniczych Michała Jerzego Wandalina Mniszcha z roku 1767
    The Kingdom of Sardinia and Turin: The Travelogues of Michał Jerzy Wandalin Mniszech dated 1767
    Autorzy:
    Bratuń, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/446383.pdf
    Data publikacji:
    2014-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Educational travels
    political economy
    image of Italy in the eighteenth
    Century
    Michał Mniszech
    Kingdom of Sardinia and Turin
    Opis:
    The article includes an analysis of Michał Mniszech’s travel accounts from the year 1767 concerning the Kingdom of Sardinia and Turin: Observations sur les États du Roi de Sardaigne and Observations sur Turin. According to the concept of Mniszech’s European educational travels that had been worked out in cooperation with the Polish magnate’s mother, Catherine Zamoyska of Mniszech, and Elie Bertrand, in the process of foreign education, becoming familiar with issues related to the broadly defined political economy was the most important aspect. Benefits of an aesthetic nature, resulting from admiring monuments of art and architecture, were less significant. Therefore, Mniszech’s travel accounts put strong emphasis on the problems of demography, administration, finance and taxation, government forms, trade and industry. In this respect, Italy was no exception. Mniszech’s travel accounts on the Kingdom of Sardinia and Turin are characterized by an intended complementarity. Observations sur les États du Roi de Sardaigne is mainly focused on the aspect of political economy. Hence, the emphasis is on information about trade, finance, demography, and industry. Observations sur Turin, although repetitive, e.g. educational matters while describing the University of Turin, concerns mostly issues of an aesthetic nature pertaining to architecture (also sacred), arts, culture and science. Importantly, in both accounts, Mniszech lists their potential sources: in reference to the first account, it was an outstanding piece of work in the field of political economy by Zanon, while in reference to the second account – a literary work of a well-known art historian, Cochin, and a literary historian, Richard, both distinguished experts on Italy and its spiritual and material culture. When focused on demographic issues, Mniszech draws special attention to his relationship to the clergy, which was very high in number ‒ not only in the described Kingdom of Sardinia and Turin but also in the whole of Italy, and was an obvious obstacle in the process of populating.
    Źródło:
    Italica Wratislaviensia; 2014, 5; 303-315
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ecomorphological and taphonomic gradients in clypeasteroid-dominated echinoid assemblages along a mixed siliciclastic-carbonate shelf from the early Miocene of northern Sardinia, Italy
    Autorzy:
    MANCOSU, ANDREA
    NEBELSICK, JAMES H.
    Powiązania:
    https://bibliotekanauki.pl/articles/945625.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Instytut Paleobiologii PAN
    Tematy:
    echinoidea
    taphonomy
    functional morphology
    palaeoecology
    miocene
    sardinia
    Opis:
    Clypeasteroid echinoids are widespread and abundant within Miocene sedimentary sequences of the Mediterranean area within both siliciclastic and carbonate deposits. Herein, three clypeasteroid-dominated echinoid assemblages from the mixed siliciclastic-carbonate succession of the Mores Formation (lower Miocene) cropping out within the Porto Torres Basin (northern Sardinia) are described. These assemblages were compared to previously described clypeasteroid-bearing deposits from the Miocene of northern Sardinia with the purpose of investigating their palaeoecology and taphonomy along a shelf gradient. These goals are accomplished by various methods including (i) logging sedimentary facies, (ii) analysing the functional morphology of sea urchin skeletons, (iii) comparing the relative abundance of taxa and taphonomic features, and (iv) studying associated fauna, flora, and trace fossils. The clypeasteroid-bearing deposits differ greatly with respect to echinoid diversity, accompanying fauna and flora, sedimentological signatures, and taphonomic features. They also show variations in depositional environments and the mechanism of formation of the deposits. Three different shelf settings are distinguished: littoral, inner sublittoral, and outer sublittoral environments. Furthermore, an ecomorphological gradient along the shelf is recognized with respect to echinoid taxa and their morphologies. This gradient ranges from shallow water to a moderately deep shelf and is interpreted with respect to both abiotic and biotic factors as well as the taphonomy of the echinoid tests.
    Źródło:
    Acta Palaeontologica Polonica; 2017, 62, 3; 627-646
    0567-7920
    Pojawia się w:
    Acta Palaeontologica Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Służba wojskowa księcia Witolda Czartoryskiego w Królestwie Sardynii i Piemontu (1847-1850)
    Military service of prince Witold Czartoryski in the Kingdom of Sardinia and Piedmont (1847-1850)
    Autorzy:
    Obtułowicz, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/1878559.pdf
    Data publikacji:
    2019-10-23
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Witold Adam Czartoryski
    Królestwo Piemontu i Sardynii
    legiony polskie w Italii
    Hotel Lambert
    wojna austriacko-piemoncka (1848-1849)
    Risorgimento
    Kingdom of Sardinia and Piedmont
    polish legions in Italy
    Austrian-Piedmont war (1848-1849)
    the Risorgimento
    Opis:
    Tematyka niniejszego tekstu stanowi kontynuację wcześniejszego, który ukazał się na łamach „Roczników Humanistycznych” i dotyczy Witolda Adama Czartoryskiego (1822-1865) jako żołnierza w wojsku hiszpańskim. Celem artykułu jest zapoznanie czytelników z genezą i przebiegiem kolejnej służby wojskowej księcia, tym razem w Królestwie Piemontu i Sardynii, której szczegóły są nieznane historiografii. Dlaczego Witold zdecydował się na wstąpienie w szeregi wojska piemonckiego? Czy wierzył w powodzenie podejmowanych działań i w strategię Hotelu Lambert? Jakie czynniki ułatwiały, a jakie utrudniały realizację jego misji? Na te i inne pytania postaramy się odpowiedzieć w prezentowanej pracy. Nie zabraknie w niej opisów ciekawych sytuacji i przygód, które przydarzyły się księciu. Spróbujemy także nakreślić jego osobowość, tęsknotę za domem, posłuszeństwo wobec rodziców, patriotyzm. Podstawową bazę informacji stanowią materiały archiwalne z Biblioteki Książąt Czartoryskich w Krakowie, przede wszystkim listy Witolda do członków jego najbliższej rodziny i współpracowników.
    The subject of this article is a continuation of the earlier paper that appeared in the “Annals of Arts” and presents Witold Adam Czartoryski (1822-1865) as a soldier in the Spanish army. The aim of this article is to familiarise readers with the genesis and course of prince’s another military service, this time in the Kingdom of Sardinia and Piedmont, the details of which are unknown to historiography. Why did Witold decide to join the ranks of the Piedmont army? Did he believe in the success of the actions and the strategy adopted by Hotel Lambert? What factors facilitated and which hindered the implementation of his mission? This paper tries to answer these and other questions. It also includes descriptions of interesting situations and adventures that happened to the prince. The paper also attempts at presenting the prince’s personality, his longing for home, obedience to parents and patriotism. The basic source information was obtained from archives of the Princes Czartoryski Library in Kraków, mainly based on Witold’s letters to the members of his immediate family and collaborators.
    Źródło:
    Roczniki Humanistyczne; 2017, 65, 2; 23-42
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Proibito di Mario Monicelli tratto da La madre di Grazia Deledda come esempio di “western deleddiano”
    Mario Monicelli’s Proibito Based on Grazia Deledda’s La madre: A Case Study of the ‘Deleddian Western’
    Autorzy:
    Baszak-Glebow, Ewa
    La Rosa, Gabriele
    Powiązania:
    https://bibliotekanauki.pl/articles/34670931.pdf
    Data publikacji:
    2024-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    film adaptation
    Mario Monicelli
    Grazia Deledda
    Deleddian western
    Sardinia
    adattamento cinematografico
    Monicelli
    Deledda
    western deleddiano
    Sardegna
    Opis:
    In the 1950s, films inspired by the work of Grazia Deledda and, at the same time, by the western genre appeared. Called ‘the Deleddian westerns,’ they typically featured the conquest of a wild environment, submission to the laws of nature, the primacy of local unwritten customary laws over the official law of the state (bound up with the frequent motif of justice), and stories of outlaws from the early 20th century. In the article, we analyse Mario Monicelli’s film Proibito (1954; Forbidden), inspired by Deledda’s novel La madre (1919; The Mother). Thematising justice, Proibito is a story of bandits and a priest who must intervene for the sake of peace and the good of the community. The film’s plot transports viewers to the non-existent Sardinian Far West and goes beyond the concerns of Deledda’s novel. Though coming closer to American cinema and the western film model of the time, Forbidden went down in the history of Sardinian cinema for its realistic and non-invasive portrayals of Sardinia’s iconic symbols, such as nuraghes, village churches, costumes, and local festivals. In this article, we compare the novel and the film to conclude that the two substantially differ in their renderings of the character of the mother and her relationship with her son, his inner conflict, religion, and superstition. All these aspects are absent or marginalised in the film.
    Negli anni Cinquanta, sono apparsi film ispirati all’opera di Grazia Deledda, con elementi caratteristici del genere western. Tale genere è chiamato “western deleddiano” e presenta la conquista di un ambiente selvaggio, la sottomissione alle leggi della natura, e la supremazia della legge consuetudinaria locale rispetto alla legge dello Stato (legato al ricorrente motivo della giustizia) e storie di banditi del primo Novecento. Nell’articolo si analizza il film Proibito (1954) di Mario Monicelli, ispirato al romanzo La madre (1919) di Grazia Deledda. Tematizzando l’argomento della giustizia, Proibito è una storia di banditi e di un prete che deve intervenire in nome della pace, per il bene della comunità. La trama del film trasporta lo spettatore nell’“inesistente” Far West sardo andando però ben oltre le preoccupazioni del romanzo di Deledda, nel quale tutto ruota attorno alla figura della madre e al suo rapporto col figlio, al dissidio interiore di quest’ultimo (tra passione per Agnese e i suoi doveri da religioso), nonché alla presenza della religione e della superstizione. Pur avvicinandosi al cinema americano e al modello cinematografico occidentale dell’epoca, Proibito è passato alla storia del cinema sardo per la rappresentazione realistica e non invasiva dei simboli della Sardegna, come i nuraghi, le chiese di paese, i costumi e le feste locali. In questo articolo, confrontiamo il romanzo e il film per concludere che le due opere differiscono sostanzialmente nell’interpretazione del personaggio della madre e del suo rapporto con il figlio, del suo conflitto interiore, della religione e della superstizione. Tutti questi aspetti sono assenti o marginalizzati nel film.
    Źródło:
    Italica Wratislaviensia; 2024, 15.1; 127-150
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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