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Adelaide Ristori was among the first actresses to build an iconic image of herself, which spread internationally since her Parisian debut in 1855. Aware of the importance of photography, she did not hesitate to be portrayed by the most important photographers. Ristori thus entered the pantheon of illustrious people, known throughout Europe and beyond its borders. Her portraits in carte de visite format quickly integrated into the circuit of the press, establishing a complex relationship with pre-existing graphic techniques, such as engraving. The article analyses the progressive diffusion of Adelaide Ristori’s photographs, focusing in particular on the carte de visite format and on newspapers. The corpus includes three photographs of the actress kept at the Bibliothèque Nationale de France (BNF): a portrait by August Bertsch and two cartes de visite by André Adolphe Eugène Disdéri and Étienne Carjat. What image of the actress do these pictures convey? How do press, graphic arts and photography interact in creating the iconic image of the actress?

Esplorando dal punto di vista storico, antropologico e artistico l'incredibile successo e diffusione del motivo della Madonna Lactans, il presente scritto si propone di indagare le dinamiche politiche associate al motivo stesso e alla devozione ad esso correlata. Il motivo è un utile punto di accesso per indagare quali orizzonti simbolici, soprattutto legati alla corporeità, vengano attivati nel difficile rapporto tra élite di potere e cultura popolare nello stabilire la legittimità politica. Questa indagine si prefigge di esplorare questo rapporto in diversi contesti socio-culturali del Mediterraneo arricchendo l'analisi tramite una comparazione tra la censura post-tridentina sul motivo e la ripresa del tema nell’impero mughal tra il secolo XVI ed il XVII.

Although theatre and cross-dressing have represented the main way to explore sexuality and gender’s identities for Italian homosexuals movements (including the LGBT+ communities) during the 70’s, it is not clear how these movements’ magazines managed to become factories of queer theatre. Their pages, in fact, allowed to revise and imprint true life experiences, which were shared and gave rise to queer practices. Theatre, therefore, became a therapeutic and explorative instrument to fight against sexual and gender’s homogeneity.

L’aumento dei vuoti urbani, dettato dal mutamento dei processi produttivi, fa sì che la riprogettazione di spazi abbandonati non unitari diventi un tema fondamentale nella pianificazione contemporanea. Il rapporto tra città e arte diviene componente stessa della progettazione di un luogo in continuo mutamento, frutto della sinergia tra l’incessante processo creativo dell’arte contemporanea e la produzione di massa.

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Adelaide Ristori was among the first actresses to build an iconic image of herself, which spread internationally since her Parisian debut in 1855. Aware of the importance of photography, she did not hesitate to be portrayed by the most important photographers. Ristori thus entered the pantheon of illustrious people, known throughout Europe and beyond its borders. Her portraits in carte de visite format quickly integrated into the circuit of the press, establishing a complex relationship with pre-existing graphic techniques, such as engraving. The article analyses the progressive diffusion of Adelaide Ristori’s photographs, focusing in particular on the carte de visite format and on newspapers. The corpus includes three photographs of the actress kept at the Bibliothèque Nationale de France (BNF): a portrait by August Bertsch and two cartes de visite by André Adolphe Eugène Disdéri and Étienne Carjat. What image of the actress do these pictures convey? How do press, graphic arts and photography interact in creating the iconic image of the actress? [ABSTRACT FROM AUTHOR]

The physiopathology of the hemorrhagic blood coagulation disorders caused by genetic or aquired problems is described. Among the former the most frequent ones include the hemophilia of type A-B and the von Willebrand disease, among the latter the use of oral anticoagulant constitutes the most frequent cause. If the are not subjected to an adequate haemostatic prophylaxis, both patients with hemophilia and von Willebrand disease present a serious haemorrhagic risk as a consequence of dental practice. As far as the use of anticoagulants is concerned, a periodical monitoring of the time of prothrombin (PT) is needed to find the right dosage (TP between 20%-30% or INR--international normalized radio between 2 and 3.5). Values over this range cause an increase of the hemorrhagic risk, while lower values involve an increased risk of thrombotic events. According to the authors the patients with the hemorrhagic diathesis show a precise handicap, caused both by his illness and by environmental elements, such as the fear of doctors for the haemorrhagic complications consequent to a therapeutical operation, fear that often leads to neglect important medical measures, in particular dental measures. The specialized dental surgeon has to mantain a strict cooperation with the hematologist in order to arrange an appropriate procedure of the prophylaxis. As far as the hemostatic prophylaxis is concerned, the use of the dermopressin (DDAVP), in patients with hemophilia A and von Willebrand disease, guarantees the realisation of dental practice without hemorrhagic risk. On the contrary, the use of the tranhexanic acid on patients in an anticoagulant oral treatment gives hemostatic security and makes it possible to carry on the therapy and the out-patient treatment.