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This paper focuses on the papermaking inventions that, beginning with the Flemish physician Andreas Vesalius' De humani corporis fabrica (1543), became part of anatomy books. In particular, flaps became the tactile and visual tool that allowed, by progressively lifting individual flaps of paper (lift the flap), to represent the layered arrangement of organs and apparatuses of the human body. These movable devices, along with others (e.g., volvelle) widely employed especially in astronomy texts, became the educational complements of the new science. The paper reconstructs, through some significant samples, the evolution of interactive anatomical books up to the threshold of the 20th century. [ABSTRACT FROM AUTHOR]

This paper explores the presence of phraseological expressions in Alfredo Panzini's Dizionario Moderno, considering the first edition (1905) and the last edition edited by the author (1935). The rich phraseological variety of the dictionary reveals itself in various aspects: spoken and dialectal language, literary quotations, co-presence of various modern and ancient languages, specialist languages in their relationship with the common language. In the last paragraph, the essay analyses the role of phraseology in the light of Panzini's linguistic ideas: according to the author, phraseological expressions are a vital and fundamental element of every language. Their presence in the Dizionario Moderno thus shows Panzini's attention to the evolution of the Italian language in the first decades of the 20th century. [ABSTRACT FROM AUTHOR]

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Copyright of JLIS.it: Italian Journal of Library, Archives & Information Science is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of JLIS.it: Italian Journal of Library, Archives & Information Science is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses how to widen the boundaries of an existing World Heritage Site to include the heritage of the 20th century. The work by Giancarlo De Carlo in Urbino is a perfect case study since modern architecture enriches the set of values where the statement of OUV was based. Urbino undertook a process of urban rebirth in the second half of the 20th century, according to De Carlo's master plan, which promoted a harmonic continuity between modern architecture and the preservation of the historic city. As a result, the Historic Centre of Urbino was enlisted in 1988 as an outstanding example of Renaissance capital. Although the statement of OUV did not mention De Carlo's work, the site's management plan (2012-14) suggests widening the buffer zone to include modern buildings. The authors wonder how to promote such updating of the WHS towards the recent past, something that seems not to have precedent examples in the WHL. [ABSTRACT FROM AUTHOR]

The paper reflects on the training potential of football - addressing both professional and youth activities - and investigates the way in which the media have represented (during the 20th century) and represent (today) soccer, emphasizing how narratives and discourses about soccer produce both formative potentials as much as troubling outcomes that can overshadow the authentic values of the sport. The task of pedagogy is precisely to highlight the risks and opportunities of these representations and to promote, in all the actors involved, active attitudes to ensure that football, even today, can create opportunities to promote self-care, of the other and of the world. [ABSTRACT FROM AUTHOR]

Making sense of the spectacular performance of postwar Japanese economy is one of the central issues in Japanese contemporary history. Recently, economic and business historians are debating on the role of the colonial experience in respect of the Japanese postwar economic boom. In the light of this new issue, the analysis of life histories of Japanese commoners who migrated in the colonies is gaining relevance. This paper attempts to contribute to this debate focusing on 69 Japanese who lived Fushun in the first four decades of the 20th Century. Fushun, the "city of coil" of Manchukuo, was a medium-sized company town created by the South Manchurian Railway Company around the local coil mines. The main source of the paper is the biographical annals of notable Japanese people in Manchuria (Manshū shinshiroku), recently collected in a volume by Takenaka Shin'ichi. The evidence gathered for this contribution suggests that Fushun was as a city quite selective towards highly skilled Japanese migrants, and that not a few people had the chance to collect professional experience in Fushun, which could have been an important asset after the war. My analysis was focused on a small sample of male self-employed, employed in small firms, or public servants in Fushun. I plan to extend this survey in a new article considering also a sample of the numerous Railway Company employees in the same city. [ABSTRACT FROM AUTHOR]

The paper attempts to grasp the normative tools with which the catholic church, throughout history, has imagined to cope with the issue of pedophilia among its members. The institution’s responses to the violation of the sixth commandment made use of penal and corrective measures which, although proven since time immemorial, have been visibly ineffective, or incredibly effective if we consider the ability to stifle the clamor of the phenomenon for so long. The paper focuses on especially the measure of fraternal correction which appears in the Gospel and became a specific issue in Augustine and Thomas Aquinas until the post-tridentine era. The analysis of certain texts of the curia from the beginning of the twentieth century to the present day suggests that fraternal correction was the predominantly practiced expedient to avoid the trial against clerics accused of sexual abuse. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Linguistica Pragensia (Charles University Prague, Faculty of Arts) is the property of Charles University Prague, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For about a decade now, the historiography of emotions has developed spectacularly, though with mixed outcomes. This paper will assess the main research orientations that have shaped this history. It will provide a first critical account of the main works in the field. To do so, we will begin by highlighting the often implicit tensions and the various debates that have erupted around the history of emotions. Among the contentious historical approaches to the study of emotions, we will focus on the so-called tensions between nature and culture, language and experience, the individual and the collective. Starting from an essentially nineteenth/twentieth century historiography, this paper aims to go beyond just a history of emotions as a research topic. Instead, it seeks to seize emotions more broadly as a category of cross-analysis that allows historians to reach and study all aspects of social life. In this regard, emotions can be analyzed both through their own historicity and through the agency of the social actors. [ABSTRACT FROM AUTHOR]

For the first time, in this paper, the topic of the relationship between Polish rap music and literature, which is actually very strong, is compared. Immediately after the fall of communism (1989) poetry stopped being seen as a primary necessity good in Poland, but the role of literature (literaturocentryzm) is still very important and maintains central itself also in the frame of rap and youth (sub)cultures. There are several ways Polish rap uses literature and poetry within its tracks, the simple recall to single authors and works, whole citations of poems, the direct or indirect quote of lines or sentences, i.e. follow up. Follow up is therefore a direct or indirect reference to another work, a typical component of intertextuality of rap. The first Polish rap singers and crews, such as Kaliber 44 and Paktofonika, all coming from Silesia, insert into their texts lots of references to Polish romanticism. The number "44" from the same name of the group, e.g., comes from Mickiewicz's Dziady. After the rapper Łona in 2004 uses Żeromski's szklane domy (glass houses) from the book Przedwiośnie (1924) in order to report the loneliness of contemporary human beings, the references to literature and poetry from the 20th century become more and more frequent. In 2008-2009 there were the publications of albums (Rymy częstochowskie, Poeci) entirely made of rap versions from famous poems, and follow up becomes something natural and necessary ("No rap without follow up" sings the Polish rapper Tede in his song Follow up, 2009). The most famous Polish rappers from these last years, Taco Hemingway and Mata, also share a common inclination towards contemporary poetry and literature, Polish or beyond. Taco's songs are often compared to lyrics from the Skamander movement, in particular from Tuwim's poems, whereas Mata moves between the holy Bible and Harry Potter. [ABSTRACT FROM AUTHOR]

On 13rd October 2016 the Chiostergi-Tuscher archive and library, originating from the heirs' house located in France (Saint-Cergues Les Voirons), was transferred to the Centro cooperativo mazziniano "Pensiero e Azione" in Senigallia. The paper reports about how this remarkable heritage of Chiostergi-Tuscher was retrieved and returned to Italy after thirty years. The collection includes correspondences, letters, diaries, documents, journals and papers, pictures, books, posters and other archival and bibliographic materials of great historical value to learn about the political, civic and cultural activities of Giuseppe Chiostergi (1899-1961), anti-fascist, member of the Italian Constituent Assembly and of Parliament, ambassador, pro-European and statesman, friend and correspondent to leading Italian and European personalities in the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of InTRAlinea: Online Translation Journal is the property of Department Interpreting & Translation (DIT) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Educación is the property of Espacio, Tiempo y Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The life of Alda Merini has always been connected with abandonment, reclusion, abuse, failure of motherhood: in one word, of that kind of loneliness, suffering and inexpressibility that could be called 'desolation'. The author analyses the construction of the subject in Merini's L'altra verità. Diario di una diversa: a diary, a reportage, but even a metaphor of the condition of the artist. The paper aims to show that desolation (as product of suffering, loneliness and inexpressibility), is a key element for the condition of the artist (and the subject itself) in 20th century. But it might be particularly a keyword for Alda Merini, marking her way to achieve a state of grace as a writer, and as a woman. [ABSTRACT FROM AUTHOR]

Copyright of Altreitalie is the property of Centro Altreitalie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Women movement have long seemed little interested in law, and traditional legal scholars were little interested in gender studies. However, throughout the twentieth century, women's movements produced a real revolution in the legal order. This paper discusses the different stages of the relationship between women's movements and the Italian way to gender equal opportunities. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper highlights a pedagogical experience that began in Portugal in 1976, namely that of the Escola da Ponte, the success of which was based on a shift from the graded school model. Unlike the majority of educational reforms that were tested throughout the twentieth century, changes were made in Escola da Ponte precisely due to the fact that the genetic matrix of the school model, the classroom, had been called into question. Therefore, it is not surprising that since the late 1980s, Escola da Ponte has received multiple visitors, associated with the knowledge of new ideas and pedagogical methods. Departing from the research of Larry Cuban (2008), however, the initial aim of this paper is to reflect on the inflexibility of the school model. Secondly, with a view to understanding how Escola da Ponte was «regarded» by its visitors (based on their own photographic records), the use of visual documents in historical research is addressed. The pedagogical project of Escola da Ponte is then discussed. Finally, a number of photographs depicting pedagogical action in the School in the 1980s and 1990s are considered. Based on the assumption that images are representations of objects, in other words, re-representations (Collelldemont, 2010), this paper seeks to reveal what the photographs sought to transmit, and how they should be interpreted in terms of pedagogical innovation.

At the beginning of the XX century music's aesthetic is not an autonomous discipline with defined borders. Scholars dealing with it are neither philosophers in the strict sense nor merely historians or critics of music. In this paper, I wonder about the possibility of finding the traces of the first Italian aesthetics of music among the folds of a composite and ongoing reflection and through the study of some generally-considered musicological production also having some philosophical profile. Along this path, some figures of particular interest emerge such as that of Fausto Acanfora Torrefranca, a "non-aligned" intellectual, who firmly tried to give musical studies an aesthetic-philosophical basis, on the one hand, and a much needed rigor in the early twentieth century Italy on the other. [ABSTRACT FROM AUTHOR]

The paper proposes a synthesis and a reflection on the topics addressed during the conference "The other side of publishing: the women of books and reading in the 20th century", organized by the Apice Center, with the collaboration of the Department of Historical studies of the University of Milan and the Arnoldo and Alberto Mondadori Foundation. On this occasion it was intended to shed light on the women's role in the publishing during the 20th century, especially on those figures who, often without leaving any apparent trace, as editors, illustrators, translators and librarians, played a far from secondary role in discovering authors, in promoting works, in curating collections and disseminating good practices, such as reading. The conference days, organized in five sessions, were divided by themes: "Editorial work"; "In the workshop of translators"; "Promoting reading"; "Drawing the book", and "Female militancy". The event was characterized by the heterogeneity and the multidisciplinary approach of the young researchers involved, who were able to let communicate different skills, related to gender studies, literary, artistic and historical, preferring, from the point of view of the method, the exploitation of archive sources, the identification of new types of documents and the experimentation of new working tools, like digital databases. This strategy led to the articulation of an intense program, full of insights and discussion, branched out from the main topics identified, such as the importance of memory, the autobiographical writings, the ongoing transformation of editorial work and the ability of women to create strong institutions. [ABSTRACT FROM AUTHOR]

Luigi Villari's book Fire and Sword in the Caucasus, published in London in 1906, is widely quoted by scholars working on the history of Transcaucasia, in particular in respect to the Armenian- Tatar war. Yet neither this text nor its author have been so far studied in detail. The Italian Luigi Villari (1876-1959) is a figure of considerable interest; he was a diplomat, traveler, and journalist. His father, Pasquale Villari (1827-1917), was an accomplished historian and politician who played an important role in nineteenth-century Italy; Villari's mother was the British writer Linda White (1836-1915). It is remarkable that the author wrote a book an English at a time when this was not a popular language in Italy. He wrote extensively both in English and Italian about different topics, mainly related to history and international politics. It has been shown that, after the First World War, Villari joined Fascism and contributed actively to the regime's propaganda in Great Britain. The present paper examines Luigi Villari's book on the Caucasus, especially the author's attitude towards the Armenians. I shall demonstrate that in his work, he handles negative stereotypes of the Armenians ("one of the most unpopular races of the East"), which were common in the Russian empire at the beginning of the twentieth century, in a rather interesting way. [ABSTRACT FROM AUTHOR]

This article deals with the treatment of phrasal verbs in the dictionaries of the Trentino dialects, where the sequence verb + locative was - and is still - used widely. An introductory paragraph briefly illustrates the spread of phrasal verbs formed with a locative particle in the Romance languages, and particularly in Italian and in the dialects of Northern Italy. In the second paragraph, eight lexicographical Trentino works are examined, five of which have a digital version. The selected dictionaries, written during the last decades of the 20th century and the first decades of the 21st, cover different areas of Trentino. For each work, the analysis focuses on how phrasal verbs are presented in the macro- and the microstructure. The review shows that all authors provide a rich exemplification of phrasal verbs, but only two present these phraseological units systematically and exhaustively. However, the dictionaries that have an online version offer the possibility of an automatic search which makes up for the absence of a coherent registration. [ABSTRACT FROM AUTHOR]

This article analyzes the two films of the Taviani brothers through which the Tuscan directors have narrated the early 20th century Italian diaspora in the United States: the first episode of Kaos, the 1984 film based partly on Pirandello’s Novelle per un anno, and the 1987 film Good morning, Babylon. Besides analyzing various sequences of the films, especially those related to the departure, arrival and pursuit of the American dream, in this paper I explain how both films aimed not only to recall the relevance of a social-historical phenomenon such as the great migration, but also by reflecting on the present and the future, the films force us to focus on the drama of those who today are forced to leave their homeland in search of a better future. [ABSTRACT FROM AUTHOR]

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Literary studies on the simulacrum generally adopt a thematic perspective aimed at examining the presence of simulacra in specific genres, authors or literary traditions. This contribution proposes a less common approach by investigating those cases in which literature itself acquires a simulacral nature, rather than being a means of representation of simulacra. After a brief historical recognition of the aesthetic of automation, the research focuses on stochastic and algorithmic poetry produced in Germany since the second half of the 20th century. The analysis of computer-generated poems offers the opportunity to reflect upon theoretical and aesthetical matters concerning e.g. the concept of authorship, the referentiality of literary texts, the role of creativity in art as well as the mechanical component involved in every act of artistic creation. In this context, the present contribution shows how the discussion on this form of “artificial poetry” (Max Bense) can contribute to the debate about posthumanism from a purely aesthetic point of view. [ABSTRACT FROM AUTHOR]

Copyright of Altreitalie is the property of Centro Altreitalie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ricerche di Pedagogia e Didattica is the property of Universita di Bologna, Dipartimento di Scienze dell'Educazione and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The plays of Shakespeare have undergone radical transformations in the ways they have been produced and perceived over the centuries. In the 20th and 21st centuries, the plays have been adapted, localized, appropriated through a vast range of media: theatre, cinema, music, comics, and cartoons. This article will focus on the appropriation of A Midsummer Night's Dream in the form of cartoons and comics, comparing different versions and different media, from the puppet version of Jiri Trnka to the animated tales, to the manga version adapted by Richard Appignanesi and illustrated by Kate Brown, to Neil Gaiman's graphic novel version of the play. [ABSTRACT FROM AUTHOR]

This contribution aims at presenting the first account of a two-year research project which investigates Florence as a migration goal for German-Jewish intellectuals during the 1930s. In the first section, the historical and cultural background of Italian Exile are examined, with specific attention to the relationship between the intellectuals and political power. The second section presents a short overview of how German intellectuals had perceived Florence between the 19th and the beginning of the 20th centuries. The third section is then focussed on the perception of Florence during the Thirties as it emerges from both the memories and works of some of the refugees, who recorded their exile and represented the city both as the only possible shelter during this time of migration and the pleasurable waypoint of a potential Grand Tour. [ABSTRACT FROM AUTHOR]

The aim of the essay is to throw some additional light on the politics of dissent in the Slovene and Yugoslav theatre of the 20th century. It focuses on the specific Central and East European area of non-aligned Yugoslavia as a Second World cultural model in the period of socialism and post-socialism. It thus outlines the alternative culture that emerged after Tito’s break with Stalin in 1948 and continued with neo-avant-gardes and movements of dissent in the postmodern era marked by a severe crisis of self-management socialism. The essay starts from the definitions of the political in the post-dramatic by Hans-Thies Lehmann, and the theatre of opposition or dissidence and theatre of consensus by Valentina Valentini. It outlines the specific character of the Slovene theatre and the ideology of mild socialism that continued to define many aspects of the political within the one-party system of the former Yugoslavia. Thus, it maps a new geography of this specific East European theatre of dissent from the experimental theatre of the 1960's and 1970's until the retro-avant-garde subversive theatre of the Neue Slowenische Kunst. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents new facts, hitherto unpublished in Croatia, concerning the life and work of Selman Selmanagić, the well-known Berlin architect, designer and professor. The life of this successful Bosniak was saturated with influences from the various cultures and communities in which he lived, studied and worked. He was born in Srebrenica, and went to school in Sarajevo, Ljubljana and Dessau. He spent the majority of his working life in Berlin where, among other activities, he led the Department of Architecture at the Kunsthochschule for twenty years. The article focuses on his life, the development of his rich career and all of his most important achievements. It is of particular interest that he actively took part as a main consultant in the renovation project of the Bauhaus building in Dessau in 1975.