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The knitwear field has been experiencing a significant economic growth and has been going through a strong phase of technological development, driven by merging innovations coming from mechanics, electronics and the digital sector, coherently with the evolution of the Industry 4.0. Two main innovation areas are identified: new manufacturing technologies, developed by knitting machine producers, and virtualization and 3D modeling softwares, enabling virtual garment prototyping on avatars.This paper explores the role of design as a “cultural mediator” between the present and the past and, through a research conducted at the Gianfranco Ferré Research Center, it proposes the use of the archive as a tool to explore the new trajectories of technological innovation in knitwear and to guide them through the perspective of the Industry 5.0, refusing a technocratic idea of the future. Two approaches are highlighted: the ri-materialization of archival pieces through 3D modeling and the reinterpretation of archival material experimenting with new technologies. The research underscores the archive’s role as a tool to anticipate the future and proposes the adoption of a design-oriented approach to fully understand its value, countering a passive consumption of the archive.

In recent years, the archive has evolved from an endless source of research and innovation to the establishment of the brand’s heritage. It is increasingly evolving as a communication tool that takes on multiple forms, hovering between market and staging, between cultural events and media events. In the early 2000s, the red carpets were already defined as the ideal catwalk on which archive clothes could be worn, opening up the concept of the vintage, which expanded from a niche to the mass market, and the archive became a moment of sharing the history of the brand as well as a moment of communication. Thus, in this continuous game of cross-references, even the catwalks — historically deputed to the presentation of new products on the market — become places that stage the company’s archive. In this contest, the catwalks are not only the place to present new collections but have also become one of the places to stage, share and valorise the archive, increasingly integrating heritage and new collections in the exact moment and action: the archives, then, as “living machines” increasingly cohesive with the brand’s contemporaneity, which also finds in the fashion shows an opportunity to generate knowledge and even engage new markets.

In the context of studies on “cinephemera”, this contribution aims to investigate the intersections between cinema and private female writing, analyzing some sources usually neglected by historiography. In the context of the contemporary debate on the “writing culture of ordinary people”, I will focus in particular on the private diary. A device that, traditionally, is not intended as a tool for recording cinematic consumption, but is chosen by the writer as a surface of spontaneous self-representation, in which to record daily experiences and personal urgencies. The analysis of an unpublished diary written by a young woman during the years that led to the Italian economic miracle (and preserved at the Archivio Diaristico Nazionale in Pieve Santo Stefano), shows us how female personal writing can also become a means to reflect on family and social roles, on hegemonic values, on behavioral norms, and on social and consumer practices. The first-person diary becomes a place of interaction with cinematic imagery and star models while, in broader terms, it allows for a reflection on the social experience of cinema, in a historical moment in which it is at the center of the media and consumption system. On the border between public and private issues, the analysis of diary writing favors an “intimate history” of cultural phenomena, which enhances individual “agency” in the analysis and interpretation of broader historical processes.

Object of this study is the perception of archives and archivists in the public imaginary through the analysis of the national and international literature review existing about the topic and the creation and distribution of an on line survey. Aim of this work is to trace an overview of the existing research about the theme, on the one hand, and to have preliminary data from the survey on the other, in order to know how the archival world is imagined and to understand the impact, the power and the public awareness of the value of archives and archivists in the society.

After an introduction on the recent scientific and professional reflections on personal and author archives, the contribution briefly traces the biographical and professional path of Goliarda Sapienza (1924-1996) and outlines the history and articulation of the recent ordering of the writer's archival fonds. On the occasion of the centenary of Sapienza's birth, through the events and structure of the archive assembled after her sudden death by her husband and heir Angelo Pellegrino and ordered many years later, an overview of the fund is outlined that broadens previous knowledge by providing further research perspectives.

Promoting and presenting archives in a way that makes them a reassuring and easily accessible context is a primary concern for archivists, who are used to working in a field driven by communication. This paper offers a reflection on models and methods of transmitting and promoting documentary collections, while drawing inspiration from recent works that propose new perspectives on the question and its forms of presentation. Does a clear distinction between the established descriptive tradition and the so-called alternative approaches still make sense? Perhaps the two approaches are much more interconnected and stable than previously thought. Are research tools “healthy carriers” of narrative? It seems so. Alongside descriptive practices, the paper will compare some effective museum practices aimed at presenting archives and highlighting the specific cultural value that archives actively preserve. From a broader perspective, after a period of great success, narratives are now in crisis. To quote Byung-Chul Han, «At the core of this noisy storytelling lies a narrative void, manifesting itself as a lack of meaning and a loss of direction». Maybe archives can offer a different interpretative and descriptive key.

“Archive” comes from the Ancient Greek ἀρχεῖον, “house of the ruler”: inside, we find what corresponds to the normative framework; outside, everything that dissents and is not conform. This occurs for the heteropatriarchal archive of intimate partner violence, as it is explored by Carmen Maria Machado in In the Dream House (2019), and for the archive of folklore, ruled by each (re-)teller’s framework. What if we regain the oral dimension of the tale tradition in a diffractive perspective? What if the reader entangles with the text, co-creating a new meaning? In this paper, I propose to shed a light on the possibilities of diffracting the folkloric archive, to shift the archival-ruled narratives in the direction of self-representation and empoderamiento for the subjectivities expelled from the archival narratives. Two are the paths proposed: firstly, situated literary retellings, with a focus on Machado’s memoir; and secondly, wild pedagogy and slow scholarship methodologies and practices, enabling the experience of the reader to entangle with and diffract the tales’ narratives.

Over the last few years, the “Perotti-Toscanini” comprehensive school in Turin has undertaken an activity aimed at valorizing the archive, library and museum belonging to the school. Thus, the MAB was born, an acronym for the aforementioned school spaces which aim to enhance both the research and historical memory of the school, as well as new activities and educational projects in line with an increasingly diversified and expanded student education. [ABSTRACT FROM AUTHOR]

Te paper reconstructs the genesis of the ‘Centro di iniziativa giuridica Piero Calamandrei’ Foundation, from the initiative of the Radical Party to its progressive autonomy. After outlining the characteristic features of its statutory purposes, the Author highlights the main actions of the Foundation, among which the very recent publication in open access of the ten hard-to-find volumes of Calamandrei’s Opere giuridiche, edited by Mauro Cappelletti, stands out.

Albania, throughout centuries, has been closely linked to the material, spiritual, cultural, artistic, and religious aspects more than any other country in Western Europe. Primarily, due to geographical reasons, Albania's long coastline, faces the Mediterranean basin, which has been a source of communication, exchange, as well as conflicts between the countries surrounding it. From this perspective, Albania has been a part of the Mediterranean "system" since ancient times, sharing forms of life closely. To focus on the medieval and modern ages, various Italian states have been closely tied to Albania, serving as a bridge to the East. This includes the Republic of Venice, the Kingdom of Naples, and the Papal State, among others. From geographical position to economic and political relations, the interest of various Italian states quickly centered on Albania, as its coastline facilitated commercial exchanges with the nearby East. Throughout the Middle Ages, there was a continuous flow of goods from coast to coast, with a constant pursuit of routes for various products such as salt, grains, and timber, as well as finished goods. The Republic of Venice, which considered the Adriatic its own "Gulf," played a leading role in these economic strategies and in controlling political events on the other shore. From economic and political relations to religious, cultural, and artistic ones: as goods circulated, so did people, ideas, thoughts, and artistic choices. Ships carried priests, notaries, religious figures, painters, sculptors, and geographers, contributing to the creation of a true Adriatic common culture. Trade routes intertwined with paths of faith, and these were intertwined with political systems. Even from this brief overview, one can understand how much shared memory has been preserved and is documented in the numerous archives of various Italian regions. These archives have proven invaluable in uncovering pages of Albania's history, even in modern times. Italian and Venetian archives and museums, once again, testify to the historical ties of the peoples in the Adriatic basin, particularly the connections between the Venetians and the Albanians. It is inspiring to walk through the streets of Venice, to delve into the archives of history to deepen our knowledge, and to recover our values. These discoveries make us proud of our past and origins, and at the same time more attentive and responsible to conserve and promote values, continue research as there is still much material to explore in the future and contribute to peace among peoples. [ABSTRACT FROM AUTHOR]

Based on documentary evidence from ayllus and community archives in Bolivia, the authors of this essay reflect on the preservation, transmission and use of particular normative knowledges in the long period between the 16th and 21st centuries. They point out that some of the memorias of these ayllus, transmitted orally or in writing, formed not only the basis for collective pronouncements against the arbitrariness of authorities and governments in power but also for an effective inter-ayllu and trans-community organisation of the territory. They propose that it is fundamental to approach this knowledge from a social and anthropological history of law that does justice to the particularity, complexity and internal tensions of the narratives used by the actors involved.

The archive of the Tempo Reale center for music research, production and education, founded by Luciano Berio in 1987, is a heritage of great importance for the recent history of electronic music. This article describes the initiatives that have been taken to promote the archive, as well as some ongoing projects: in particular, it presents the methods and perspectives adopted with the aim of disseminating knowledge of the heritage and widening access to it, also involving the potential stakeholders of the archive. Based on this limited experience and on the notion of the “activation” of the heritage, some theoretical perspectives are outlined, questioning the possible participatory construction and transmission of an “electronic music culture”.

Violence against women and femicide are two of the most profound problems facing today’s society. This article deals with the theatrical piece The Incredible Disappearing Woman (2003), by the Cuban-American artist Coco Fusco, in dialogue with other performative aesthetics from the Mexican and Guatemalan context, in particular, the work Mientras dormíamos (2002) by Lorena Wolffer and Extensión (2008) by Regina José Galindo. Based on these works, the article investigates the cyberperformance, as well as the role of the archive and the judicial-forensic material to shape their discourses on women spectralized by femicide.

Knowing glass beads as active agents – as beings – proffers forms of analysis untethered from linear temporality and immersed in story. Analytical frameworks steeped in Western philosophical traditions dictate limited understandings of art made by Indigenous peoples within the study of art histories, and as displayed and collected by museums and galleries. Despite museological conventions that reproduce entrenched processes of objectification and linear classifications, appreciating Indigenous beadwork through relational and dialogical epistemologies has gained traction within the study of Indigenous arts in Canada. In support of future generations of Indigenous makers in the prairie region, this analysis upends conventional colonial structures of knowledge entrenched in institutions.

Developed starting from some archive materials, this contribution intends to propose a first synthetic reconstruction of the interest shown by the editorial directors of the UTET publishing house towards Romanian literature. The papers preserved in the archive did not perhaps provide many details on the literary translations published in the well-known book series I Grandi Scrittori Stranieri, but they reveal some nineteenth- and twentieth-century projects, "missed opportunities", which, alongside the publications, allow us to better frame interests and editorial plans of the publishing house. [ABSTRACT FROM AUTHOR]

Copyright of Bibliothecae.it is the property of University of Bologna 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 Bibliothecae.it is the property of University of Bologna 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 article describes the circumstances of the discovery and the methods of reordering the archive of «Il semplice. Almanacco delle prose». Giving the physiognomy of the fund, consisting mainly of correspon- dence and stories, some exemplary documents are presented, including an unpublished text by Gianni Celati and another one likely to be attributed.

This essay is aimed at providing a first overview and analysis of Lorenzo Pellizzari’s network and personalrelationships, unravelling several elements within Italian film criticism that have remained untapped thus far.Amongst the hundreds of private letters preserved by Pellizzari and which span across fifty years of activity,valuable details about the critic’s activity and his social networks emerge. In particular, the essay focuses onthe correspondence between the Milanese critic and Guido Fink, which is particularly intense between the1960s and 1970s. An intimate epistolary relationship was born and consolidated between the two critics.The study of this mail exchange allows to gain insights into the personal and professional spheres of the twocritics, including their friendship, their work in film journals (e.g.Cinema Nuovo and Cinema & Cinema), andtheir evaluations of films recently released in U.S. and Italian theaters. Indeed, these are years in which Finkcollaborates with several Italian journals, and also works as a lecturer at Princeton University and Universityof California – Los Angeles (UCLA). The essay analyses 1) the private correspondence preserved by Pellizzariand Fink; 2) film criticism in the Pellizzari-Fink correspondence; and 3) film evaluations. Through that, inaddition to reconstructing a part of the history of Italian film criticism, the essay will unearth a form of “byletter” criticism that exists at the margin of journals’ editorial policies and is of critical relevance to filmhistoriography.

The Instituto Cubano del Arte e Industria Cinematográficos - ICAIC was established by the Cuban government in March 1959. The institute promoted a peculiar interpretation of the revolution and its imagery, also presenting itself as a new space for an international discussion on cinema. In a such context, directors, critics, and intellectuals from all over the world were welcomed to Cuba by the government menbers and by the Cine Cubano group. In December 1966, Ugo Casiraghi was welcomed to Cuba by Alfredo Guevara, one of the creators and the first president of the Institute. The story of these relationships and this journey is intertwined with Casiraghi's encounter with cinema, authors and the reality of "Third World Cinema". This occasion allowed Casiraghi to meet in persona or see again cubain directors, critics, intellectulas, artists, from ICAIC and Cine Cubano, while the journey iteself was made possible by the link between Italian film culture and the development of the Cuban film industry and film-educational structures. According to Mariani and Venturini perspective (2017), this article aims to interpret the figure of Casiraghi, reading the work and experience of the critic in the light of two important definitions and notions, such as that of " cultural intermediary” (Andreazza 2014) and “cultural agent of translation” (Salazkina 2012).

Padua, 30s. A young Antonio Covi contributed to making the city’s Film Club possible by playing a crucial role as a cinephile militant amongst public debates, filmmaking experiences, and film critics mainly published in local journals. In less than a decade, he obtained his Literature degree with a dissertation on film aesthetic in 1940, attended then film courses at the Centro Sperimentale di Cinematografia, and, finally, he joined the Jesuits Society in August 1945. The Ignatian confreres immediately acknowledge his aptitude for film and arts, enough for obtaining pivotal roles in Jesuit cultural policies over the years. This step from “militancy” toward “institution” allowed him to embrace national perspectives, establishing him as a reference point for Catholics in film knowledge widespread both in the Fifties and Sixties. During these two decades, father Covi published several articles and essays on film criticism and aesthetics, led the Antonianum Cineforum in Padua and film courses throughout Italy, and ran a local film production company. Film criticism as a form of cultural diplomacy and education represents the thread for all these activities. The paper aims to point out Antonio Covi’s contribution to Italy’s film culture from the 1930s to the 1960s. Firstly, by questioning the shift from “militancy” to “institution” and his role as a film critic during those years. Secondly, by underlying his discourses on film knowledge spread over national and local journals, books, public statements, and film courses as well, proposing, therefore, a diagnostic analysis of terms and themes he dealt with.

Starting from the consultation of the materials preserved in the Italian-Romanian cultural archive of Rosa Del Conte, the present study aims to seek an answer to the question on which and how much control Rosa Del Conte has on the self-image that the archive conveys. [ABSTRACT FROM AUTHOR]

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) 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.)

Between Eighteenth and Twentieth century the archive of Arezzo Cathedral’s Chapter is object of many operations of documents’ tidying up by the canons themselves. At the beginning they provide the archival material with inventories in order to easily find all that documents able to uphold the Chapter’s rights in case of juridical controversies, then they recognize the cultural value of their documentation and so they start to promote historical studies based on it. Afterwards the canons obtain many other funds, especially as consequence of French suppressions or by private initiative, and then they establish specifical rules for documents’ safeguard and fruition, always according to The Holy See’s legislation. The essay shows the phases and the protagonists of all those processes of production and conservation of the archival material related to Arezzo’s Cathedral Chapter’s between Eighteenth and Twentieth century, but it also contains references to the period between the origins of the Chapter in the Ninth century to the first Eighteenth century and to the current situation.

In August 2022, Carlo Augusto Bachschmidt, filmmaker and activist, attended the “États généraux du film documentaire” in Lussas, Ardèche (France), to present the archive he had helped to build within the Genoa Legal Forum, a coordination group set up in the wake of the Genoa Social Forum to support civil proceedings and lawyers in the long run after the 2001 counter-summit. In order to initiate a debate on the judicial and memorial stakes involved in using this archive, he brought with him two of his films: OP Genova (2007), made during the proceedings and based on archived audiovisual material, and Black Block (2011), made with some of the victims of the police raid on the Diaz school during the night of 21 July 2001. This discussion with the festival audience provided an opportunity to look back at the creation of this archive, which is unprecedented in its scope and diversity of formats – documentaries, militant videos, local television rushes and audio recordings of police radio communications– and also at the editing and reconstitutions to which it has given rise, not only in the context of the trials in which these materials were shown, but also beyond the judicial arena, in the militant worlds and more broadly in the constitution of a record of the event. The project of this archive and its uses can therefore be understood as an undertaking not of institutionalisation but of critical rereading of material: collecting and preserving, yes, but dedicated to an ambition that is irreconcilable with the framework of political and judicial institutions. What are the historiographical and critical issues involved in such an approach? Who is it for? What resonance does it have with other narratives of past and present violence?

In 2019 Mexican-born Valeria Luiselli penned Lost Children Archive, which inaugurates her writing in English, and tells the interwoven stories of a blended family, as they take a road trip across America, and of the hardships of children travelling on foot to the US border. The narrative is a poetic representation of lives in transit, and mobility informs it semantically and structurally: it is organized in four parts, each divided up in small sections, and includes manifold documents. In the narrative, the notion and the experience of the archive are of great importance, emerging out of multiple displacements. This being-in-transit conjures up a literal – it discusses the movement of people –, and figurative – it embraces multiple entanglements, renouncing completeness – translatedness. While Lost Children Archive is a tour the force, and adds a layer of complexity her writing, Luiselli’s oeuvre, in Spanish and English, has always been characterized by an interpenetration of languages, texts, places, people – a close-knit interweaving of trajectories and memories. This results in an understanding of literature as assemblage, a ground in which to tentatively document existence. As such, it lends itself to an examination of the ways translation shapes the literary in a post-colonial, global(ized) world.

In the panorama of the institutions of the Italian Archival Administration, the Umbria Soprintendenza archivistica e bibliografica can certainly boast a primacy: its conspicuous editorial production that started in the late 1990s composed by the series “Segni di civiltà” and “Scaffali senza polvere”, in addition to the many exhibition catalogs. To date, in SIUSA and the SAN Portal – Online Research Tools, there are over 500 inventories of Umbrian archives, more than a quarter of the national production. What path has been taken from printed volumes to downloadable pdfs and browsing archival description software? [ABSTRACT FROM AUTHOR]

This article inquiries into the relationships between the archive, the state violence and the images as metaphors of the mutilated, murdered and disappeared body in the works of Bruno Varela, Volatilidad (2015), Fauna nociva (2015) y Materia oscura (2016). In order to achieve the latter, the ways in which the official narrative, issued by the State, is enunciated from the indeterminacy and erasure of the bodies and of the images and documents that serve as expert evidence and testimonies of the violent exercise are put into question from a Visual Studies approach.

L’article analyse un cas spécifique de remontage artistique d’images d’archives concernant la violence de la guerre coloniale. En particulier, il s’agit d’une série de séquences concernant les effets du gaz moutarde utilisé par l’armée de l'air italienne pendant la guerre italo-éthiopienne de 1935-36. Comment montrer ces images sans tomber dans le risque de spectacularisation de la violence et tout en préservant une intention de dénonciation historique ? La stratégie artistique des deux cinéastes Gianikian et Ricci Lucchi, auteurs des films d'archives qui composent ce travail de remontage et de « refilmage », est ici analysée en proposant un regard interdisciplinaire sur son effet critique.

Starting from the bibliography of the volume Eminescu o dell'Assoluto and using Rosa Del Conte's papers conserved in her Archive (Milano), I will reconstruct the main lines of study followed by the philologist, evoking the main features that link the study published by Rosa Del Conte to the Eminescology school of Cluj, determining the genesis of her research and the methodology adopted by the scholar in recovering an originality that is first and foremost a legacy. [ABSTRACT FROM AUTHOR]

Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.

Being a teacher is a complex and articulated task. The pandemic and the consequent introduction of distance learning in schools, has increased the difficulties of the Italian educational system. Students have lost the opportunity to learn through an involving sensorial, emotional and cognitive experience, while teaching has become even more transmissive, and in other words, mis-educational, mis-instructional and ineffective. This contribution seeks to highlight the importance of an historical reflection as the tool for understanding our own personal identity. A particular focus is given to the Ligurian Archive of People’s Writing (Archivio Ligure della Scrittura Popolare - ALSP), which, in collaboration with the University Museum System (Sistema Museale dell’Ateneo - SMA) of Genoa, aims at bringing the archive closer to the schools by creating and implementing educational paths. Lo sviluppo delle competenze per la vita: tra archivio e didattica. Essere insegnante è un compito complesso e articolato: la pandemia, con la conseguente attivazione della didattica a distanza, ha acuito le difficoltà del sistema scolastico italiano sottraendo agli studenti la possibilità di imparare attraverso l’esperienza cognitiva, emotiva e sensoriale, rendendo l’insegnamento ancor più trasmissivo e quindi de-formante, dis-educante e de-istruttivo. Questo contributo cerca di mettere in evidenza l’importanza della riflessione storica come strumento di comprensione dell’identità personale. Particolare attenzione verrà data all’Archivio Ligure della Scrittura Popolare (ALSP), che, in collaborazione con il Sistema Museale dell’Ateneo (SMA) dell’Università degli Studi di Genova, si pone l’obiettivo di avvicinare l’archivio al mondo delle scuole attraverso la creazione e la sperimentazione di percorsi didattici.

(Series Information) European Papers - A Journal on Law and Integration, 2021 6(1), 579-588 | Article | (Table of Contents) I. Introduction. - II. The hidden sources in written observations: Dassonville and the EEC's definition of MEEQR. - II.1. New sources revealed. - II.2. MEEQR as an ongoing discussion in EEC institutions. - III. Behind the CJEU for-mula, the story of wholesalers and the technicity of trade regulations. - III.1. The unseen critics: personal attacks and blame on the neighbour. - III.2. Technicity of MEEQR, the importance of evidence in the procedural dossier. - IV. Conclusion. | (Abstract) In 1974 the Court of Justice of the European Union (CJEU) stated that measures having an effect equivalent to quantitative restrictions were prohibited. The famous Dassonville formula is known and repeated by judges and students alike. The release by the CJEU of the dossier de procédure provides however a new take on the story that led to one of its most notable decisions. The discovery of new arguments, sources and evidence offers valuable insights into the parties' interests and goals. Behind the formula, technical and personal arguments are hid-den. The dossier puts the Dassonville case back in its context. This context reveals how the definition of measure having equivalent effect to quantitative restrictions was an ongoing subject in all the institutions of European Economic Community. The dossier thus extends understanding of the Dassonville case and sheds light on the circumstances that led to the famous formula that was elaborated therein.

This article deals with the fragmentary mosaic panel with a bust of the Virgin set against a golden ground. At either side of the head are the remains of a Greek monogram naming her as the Mother of God (Theotokos). The Madonna, dated between the 11th and 13th centuries and of unknown provenance, is mentioned for the first time in 1870. The piece has been restored several times but without documentation, except for the first documented 1996 restoration. The panel has been the topic of two AISCOM essays concerning problems of provenance and authenticity. This study, accompanied by further archaeometric investigations and historical research, rejects the recently proposed hypotheses (i.e. is it a Byzantine mosaic fragment from Hagia Sophia of Constantinople or a nineteenth-century fake?). [ABSTRACT FROM AUTHOR]

Copyright of Bibliothecae.it is the property of University of Bologna 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 the active function of archives. The latter often understood as the sole place of conservation, are instead the starting point for the construction of a language capable of narrating and enhancing not only the content, but also the owner institution. Through some examples, the present paper will highlight how each storytelling activity passes through a well-organized archive capable of becoming language.

The article is about Derrida’s mal d’archive [archive fever] related to Blanchot’s mal du musée, and suggests a possible treatment of these two ‘maladies’ through museum practices leaning on the idea of ‘collection’ in order to bridge the gap between museum and public.

Within the rich manuscript production of Pellegrino Prisciani, the Collectanea are one of the most complex and elusive works in terms of gender, models, forms and functions. The study therefore intends to investigate their possible points of contact, but also of break, compared to the tradition of medieval chartularies.

This essay aims to reconstruct the history of Ettore Cozzani’s archive, which was believed to have been totally destroyed during the Second World War. It maps what remains, however, in the Lombard Academy of Sciences and Letters and on the antique market. Finally, it reflects on the meaning that Cozzani attributed to his archive and on his attempts to reconstruct it, both materially and through autobiographical writing.

This essay will deepen the figure of Giuseppe Fracassetti (1802–1883), a lawyer, historian and scholar from Fermo who published and translated Latin Letters of Petrarch (and more), and his archive at the Biblioteca Spezioli in Fermo, through the study of unpublished correspondence with Giuseppe Valentinelli, who was prefect of Biblioteca Marciana in Venezia and his precious interlocutor in the studies of Petrarch manuscripts.

To answer the question posed by the call: Could the pandemic, the pervasive use of the Web and the experimentation of Extended Reality technologies give a boost to fashion archives? it is necessary to undertake a analysis of different case studies that over the years have been confronted with Digital Humanities practices.The essay aims to outline a methodological lecture on museum and archival practices related to digital humanities. Since March 2020, museums and archives have accelerated the data restitution process and reinterpreted the functions of institutions through digital practices and virtual exhibitions - that do not aspire to replace the real ones - and demonstrating how these are placed on a different level of reading. They can certainly integrate with the museum and physical itinerary, but they can also take place independently of it. The debate on Digital Humanities and Virtual Exhibitions is now wide and articulated and one of its major authors, Jeffrey Schnapp, writes of Knowledge design: we find ourselves creating new forms of knowledge assuming the current conditions that contemporaneity offers us, while other critical perspectives are aimed at restoring the difference on the role of the document as such or on the method of construction and the impact of digital platforms

The contribution examines the artistic activity of Basmati Film (Audrey Coïaniz and Saul Saguatti) in order to identify the function performed by the database in their operative practice and the ways of approaching the archive defined within their poetics, devoted to contamination and multimedia.

The entire research by Lia Perjovschi, often shared with her husband Dan, focuses on recent Romanian history. Until 1989, Romanians have been forced to live in asphyxial conditions, with censorship on all international information and knowledge regarding the awful actual state of their country.

Historically, artistic practices have been measured through experiments aimed at the involvement and active participation of the public, as well as the themes of memory have been at the center of the most recent museological and museographic debate. The experience of MuMe of San Miniato highlights how the creation of an inclusive archive of the «collective memory» can stimulate the engagement of the community to the protection and enhancement of its cultural heritage.

Galleria Milano, run by Carla Pellegrini from 1965 to 2019, presented the most relevant facts of international contemporary art to the Italian public, with a marked research attitude, especially between the Sixties and Seventies: the paper aims to retrace this story through its vast Archive.

The paper proposes a didactic activity to start reading historical sources suitable for the first classes of primary school. The activity - Track hunting - has a playful and active form, provides a phase of search for the tracks and a subsequent phase of analysis of the tracks as sources of information on the past. The proposal would like to reverse a deductive custom of approach to sources that is prevalent in teaching materials.