City of demons Kalleres, Dayna S
2015., 20151013, 2015
eBook
Although it would appear in studies of late antique ecclesiastical authority and power that scholars have covered everything, an important aspect of the urban bishop has long been neglected: his role ...as demonologist and exorcist. When the emperor Constantine made Christianity the official religion of the realm, bishops and priests everywhere struggled to "Christianize" the urban spaces still dominated by Greco-Roman monuments and festivals. During this period of upheaval, when congregants seemingly attended everything but their own "orthodox" church, many ecclesiastical leaders began simultaneously to promote aggressive and insidious depictions of the demonic. InCity of Demons,Dayna S. Kalleres investigates this developing discourse and the church-sponsored rituals that went along with it, showing how shifting ecclesiastical demonologies and evolving practices of exorcism profoundly shaped Christian life in the fourth century.
Actor, playwright and capocomico, Edoardo Ferravilla is the most original personality of Milanese dialect theatre and, in the comic repertoire, one of the greatest exponents of Italian scene between ...19th and 20th centuries. Creator of a series of lucky characters, such as Sûr Pedrin and Tecoppa, between 1872 and 1880 is a very prolific author.
It is a little known fact that as early as the thirteenth century, Europe's political and religious powers tried to physically mark and distinguish the Jews from the rest of society. During the ...Renaissance, Italian Jews first had to wear a yellow round badge on their chest, and then later, a yellow beret. The discriminatory marks were a widespread phenomenon with serious consequences for Jewish communities and their relations with Christians. Beginning with a sartorial study - how the Jews were marked on their clothing and what these marks meant - the book offers an in-depth analysis of anti-Jewish discrimination across three Italian city-states: Milan, Genoa, and Piedmont. Moving beyond Italy, it also examines the place of Jews and Jewry law in the increasingly interconnected world of Early Modern European politics.
Provider: EFG - The European Film Gateway EFG - The European Film Gateway - Institution: EFG - The European Film Gateway Istituto Luce - Cinecittà - Data provided by Europeana Collections- 92 - the ...neoclassical façade of the Teatro alla Scala by Giuseppe Piermarini- 140 - images of repertoire concerning building reconstruction in post-World war II Milan with construction sites and workers at work- 59 - detail of the pictorial decoration: a prospective eyepiece with a father of the church in his scholar- 96 - a eighteenth-century painting depicting an intellectual life skit in an interior in the style of the Longhi- 37 - external details of the cathedral full of architectural sculptures, spires, pinnacles and rampant arches in the Gothic rayonnant style- 53 - the perspective escape of the portico taken from the inside- 104 - the arch of peace, neoclassical triumphal monument; the central furnace of the arch frames the tower of the castle Sforzesco beyond the park- 47 - view of the ducal court with the Renaissance portico- 111 - the aforementioned gallery of the castle Sforzesco with, on display, a series of armor- 22 - another nineteenth-century painting of historical subject- Documentary that traces the history of Milan through the major city monuments, the masterpieces of its greatest artists and through images of repertoire, pieces of films concerning the Milan of the twentieth century- 61 - the Bramantesque grandstand of Santa Maria delle Grazie taken from one of the cloisters of the annexed convent- 130 - four personalities, perhaps representatives of the socialist party, caught at the entrance of a palace- 118 - focusing of the text of a legislative decree issued in Milan on 29 July 1848 by the public defense Committee- 20 - the Gothic tabernacle, on the outer front of the Ticino gate, with an altorilievo representing the Madonna and child among four saints- 100 - detail of the portrait, painted in 800 by A. Appiani, by Vincenzo Monti- 73 - a painted view of the five-century Milan- 18 - the complex, with its structures of various eras, framed by Piazza della Vetra- 9 - details of the Roman columns at San Lorenzo Maggiore- 62 - Leonardo da Vinci's masterpiece in the refectory of Santa Maria delle Grazie: the\ "last supper\"- 24 - the courtyard of the Archbishop's Palace taken from above- 21 - an nineteenth-century painting, in Hayez's style, depicting a patriotic episode of medieval history- 132 - images of fiction taken from a film concerning the riots, the strikes that broke out in Milan in the early 900's.- 137 - sequence of images taken from the film\ "Mussolini last act\" by Carlo Lizzani- 1 - Piazza della Scala with Palazzo Marino and the monument to Leonardo- 84 - the\ "Christ dead\," famous painting of the Mantegna preserved at the Pinacoteca di Brera- 107 - the Boro Bonaparte with its neoclassical buildings- 25 - the portico of the Broletto di Milano; the façade of the Giureconsulti Palace on the merchant street can be glimpsed in the background- 14 - the interior of central plan, with exedre, of San Lorenzo Maggiore- 16 - the complex of San Lorenzo Maggiore with the adjacent chapels taken from Piazza della Vetra- 123 - one of the eclectic gallery walls topped with a mosaic bezel.- 120 - a panel of the Museum of science and technique with the design of an engine- 31 - the Brahmin cloisters of the Catholic University of Milan attended by students- 4 - one of the rooms of the museum: the great gallery of Leonardo da Vinci with the transparency image of Leonardo placed at the entrance- 38 - the golden statue of Madonnina at the top of the main spire of the cathedral- 64 - the plastic model of a bridge of boats exhibited in the Leonardo da Vinci gallery- 54 - the Gothic-Renaissance façade of the hospital, today the state University of Milan- 151 - the arch of peace framed by a portal of the Sforzesco castle- 56 - the courtyard, attended by the students, taken from different points of view- 70 - detail of a plastic model reproducing a military device invented by Leonardo- 2 - the cloister of the former monastery of the Olivetans; a working machinery displayed in the section of the Museum of science and technique set up in the five-century building of the monastery- 125 - the polychrome marble floor of the gallery taken from above- 86 - the\ "sposalizio della Virgen\" by Raphael, preserved at the Pinacoteca Brera- 55 - the central part, later, of the long fifteenth front of the building the worn and worn inner courtyard- 11 - the dome of the basilica framed by the arch on Roman columns that precedes the complex- 60 - the fake, illusionary Brahmin perspective in the choir of the church of San Satiro- 3 - Leonardo's famous drawing with the human figure inscribed in a square and in a circle- 81 - the façade of the palace in via Brera, seat of the Brera Academy and the Pinacoteca- 67 - detail of a drawing by Leonardo engineer: a lock- 146 - photographs of scenographies, of theatrical scenes created at the Scala and Piccolo Teatro in Milan- 28 - exterior of the Basilica of Sant'Ambrogio in Milan- 93 - the eighteenth-century façade of the Royal Palace in Piazza del Duomo resumed from above- 77 - a crenelated section of Sfrozesco castle walls- 6 - a panel that reproduces the leonardesco project of a boat with wheel propulsion, and its model, exhibited in the museum- 79 - the baroque façade of the Senate Palace, former Swiss college, today the seat of the state archives- 74 - the façade of the house of the Omenons: five-century palace of the sculptor Leoni Leoni- 138 - images of repertoire (see Venice repertory roller 43-603 of 1944) concerning the theater the staircase hit by the bombing and its reconstruction- 147 - the Romanesque relief depicting the return of Milanese troops to the city- 33 - interior of the cathedral: the central nave and the apse area with the altar- 45 - the vast courtyard of the castle: the square of arms- 10 - the Roman colonnade that delimits the churchyard in front of the basilica- 85 - the\ "Pietà\," painting by Giovanni Bellini, preserved in Brera, characterized by a Mantegnesco style- 117 - detail of an nineteenth-century painting depicting an episode of the Risorgimento wars- 124 - focus of the nineteenth-century mosaics, in the lunettes, depicting allegorical subjects- 128 - a group of people, probably socialists following Turati, pose for the objective in a street in Milan- 112 - the plaque affixed to the house in which\ "lived and died Alessandro Manzoni\"- 150 - the aforementioned painted view of Renaissance Milan- 15 - exterior of the Paleochristian sacello of S.Aquilino attached to the basilica.- 13 - the Roman colonnade in front of the basilica; in the background the porticoed façade of San Lorenzo- 133 - detail of the famous futurist painting\ "brawl in Galleria\" by Umberto Boccioni- 48 - the camera runs on a series of ancient reproducing prints the straining castle- 69 - the Milanese district of the dock crossed by canals, navigates- 153 - a room of the Museum of science and technique that illustrates the functioning of the human body- 66 - a panel in the aforementioned gallery with, reproduced, the details of a hydraulic engineering work designed by Leonardo for the stress court- 94 - the façade of Palazzo Beljeweloso, always the architectural work of Piermarini- 154 - focus of the image in transparency with the portrait of Leonardo in the Leonardo da Vinci gallery of the aforementioned museum- 149 - the Bramantesque grandstand of Santa Maria delle Grazie- 12 - the bronze statue of Emperor Constantine placed in the center of the churchyard- 129 - the entry of a crowd of people into a palace- 46 - view of the square of arms with the factory bodies of the castle closing it- 23 - a medieval relief of Romanesque style that depicts the return of the Milanese troops to the destroyed city- 57 - the three-hundred-year-old\ "Ark of Saint Peter martyr\" by John of Balduccio in the Renaissance Portinari chapel in Saint Eustorgio- 95 - Piazza della Scala with its imposing buildings and go people- 83 - the porticoed and worn courtyard of the palace with, in the center, the bronze statue of Napoleon I- 109 - exhibition panels with, reproduced, the plans for the façade of the Duomo of Milan- 35 - a Gothic stained glass window of the cathedral- 34 - one of the chapels of the cathedral- 32 - the façade of the Duomo of Milan- 30 - the porch of the rectory- 139 - images of repertoire concerning Arturo Toscanini who conducts an orchestra in a theater- 29 - the quadriportic of the Romanesque basilica- 26 - the arches of the portico del Broletto- 19 - the Roman colonnade- 17 - the various covers of the complex- 152 - the Pirelli skyscraper- 145 - focus of the unfinished masterpiece- 127 - interior of a steel industry- 119 - Piazza del Duomo with its monuments- 116 - corners of the castle Sforzesco- 115 - the facade of the Teatro alla Scala- 113 - the façade of the palace in which Manzoni lived- 110 - the neo-Gothic façade of the Duomo of Milan- 108 - the Ticino gate- 106 - the arch of peace taken up by the park- 105 - the Sempione Park- 102 - Piazza d'Armi- 101 - a drawing with the profile of Giuseppe Parini- 50 - a section of the museums of the castle Sforzesco with an exhibition of armor and weapons of war- 98 - Peter Verri's graphic portrait sat in his studio- 75 - the façade adorned with a series of caryatids called Omenoni- 7 - a map of Europe: focus of the red dot indicating the position of Milan in northern Italy- 141 - aerial views of the reconstructed city with modern architectures- 5 - the camera runs on some panels of the gallery with, exposed, studies by Leonardo regurating the flight; focusing on an aerial model- 144 - the Hall of museums of the castle Sforzesco with, on display, the\ "Pietà Rondanini\" by Michelangelo- 122 - the gallery Vittorio Emanuele II by Giuseppe Mengoni with iron and glass cover- 27 - detail of the façade of the Broletto: the niche with the two hundred
Curata da Vittorio Gregotti e Umberto Eco, la Sezione introduttiva della XIII Triennale del 1964 dedicata al Tempo libero fu uno degli episodi figurativo-teatrali più significativi del fermento ...sperimentale che interessò l’Italia dei primi anni Sessanta. Architettura, letteratura, arti visive, cinema e musica convergevano – nel senso della tradizione modernista della Sintesi delle Arti – a creare una sorta di macchina narrativa integrale, chiamata ad affrontare tramite i canoni dell'opera aperta il tema dello svago. L’architettura si faceva così spazio performativo, coinvolgendo attivamente il pubblico, attore e spettatore allo stesso tempo. In questo che è il primo studio specificamente dedicato all’allestimento, l’autore ricostruisce il percorso espositivo della mostra per mettere in luce il dialogo che in queste sale intercorre tra il dibattito letterario del Gruppo 63, le avanguardie architettoniche europee, la Pop Art statunitense e gli ambienti spaziali di Lucio Fontana. Questo labirinto di specchi e illuminazioni al neon ha nell’immersività degli spazi uno dei tratti più distintivi, che l’autore interroga alla luce delle odierne estetiche transmediali (in ambito allestitivo, narrativo e teatrale), proponendo così una disamina innovativa circa il fenomeno e la rilevanza attuale della neoavanguardia italiana. Il volume ripropone inoltre per la prima volta alcuni testi di Umberto Eco, Vittorio Gregotti, Enrico Filippini e Gillo Dorfles relativi all’allestimento della XIII Triennale.
The presence of SARS-CoV-2 in raw wastewaters has been demonstrated in many countries affected by this pandemic. Nevertheless, virus presence and infectivity in treated wastewaters, but also in the ...receiving water bodies are still poorly investigated. In this study, raw and treated samples from three wastewater treatment plants, and three river samples within the Milano Metropolitan Area, Italy, were surveyed for SARS-CoV-2 RNA detection by means of real time RT-PCR and infectivity test on culture cells. SARS-CoV-2 RNA was detected in raw, but not in treated wastewaters (four and two samples, respectively, sampled in two dates). The isolated virus genome was sequenced, and belonged to the strain most spread in Europe and similar to another found in the same region. RNA presence in raw wastewater samples decreased after eight days, probably following the epidemiological trend estimated for the area. Virus infectivity was always null, indicating the natural decay of viral pathogenicity in time from emission. Samples from receiving rivers (three sites, sampled in the same dates as wastewaters) showed in some cases a positivity to real time RT-PCR, probably due to non-treated, or inefficiently treated discharges, or to the combined sewage overflows. Nevertheless, also for rivers infectivity was null. Risks for public health should be limited, although a precautionary approach to risk assessment is here advocated, giving the preliminary nature of the presented data.
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•SARS-CoV-2 RNA presence and infectivity in wastewaters and receptors was assessed.•Viral RNA was detectable in the inflow but not in the outflow wastewaters.•Viral RNA was present in receptors due to sewage overflows or inefficient treatment.•SARS-CoV-2 infectivity was null both in wastewaters and receptors.•A precautionary approach in the assessment of contagious risk is advocated.
Il perimetro geografico entro cui sono ambientate le novelle degli Ecatommiti è molto esteso, eppure circa i due terzi dei racconti hanno per cornice la penisola italiana. Due novelle consecutive e ...affini narrano vicende che si svolgono a Milano agli inizi del Cinquecento, all’epoca di Gian Giacomo Trivulzio (V 4 e 5). Sono esempi di fedeltà coniugale articolati sull’espediente narrativo comune della fuga di un prigioniero per mezzo di uno scambio di persona. Il saggio analizza le fonti di questo motivo e le pone in confronto con la versione di Giraldi, per mostrare le caratteristiche e i significati implicati nella rappresentazione di Milano all’interno del novelliere. The geographic setting of the Ecatommiti outlines a very wide perimeter. Nevertheless, about two thirds of the tales are set in the Italian peninsula. Two consecutive and related tales narrate events taking place in Milan at the beginning of the Sixteenth Century, at the time of Gian Giacomo Trivulzio (V 4 and 5). They are examples of marital fidelity based on the common narrative means of the escape of a prisoner changing clothes with a helper. The essay analyzes the sources of that theme and compares them with Giraldi’s tales. Its aim is to show the characteristics and meanings of Milan’s representation within the book.
Neste artigo, propõe-se uma reflexão a respeito das relações entre natureza e sociedade a partir da leitura de poemas selecionados de Poesias, de Dante Milano (1979), especialmente da peça ‘Jardim ...público’. Assumindo como referência a crítica à racionalidade moderna formulada por Adorno e Horkheimer (1985), segundo a qual a razão esclarecida procurou desencantar o mundo, dominando e subjugando o supostamente ameaçador mundo natural, procura-se meditar de que maneira em uma obra produzida por um poeta moderno/modernista brasileiro (de uma modernidade incompleta e periférica) essa crítica é particularizada. Para tanto, além dos autores da Teoria Crítica, fundamentam o estudo autores como Ulpiano Meneses, Octavio Paz, Jeanne Marie Gagnebin, Paul Ricoeur, entre outros. A leitura dos poemas, conforme a perspectiva assumida, indica que uma das forças da obra milaniana é a problematização da relação entre homem e natureza. Percebeu-se que as tensões resultantes da cisão entre homem e natureza não escamoteiam as consequências trágicas desse processo e frequentemente apontam para a assunção de uma voz crítica que irrompe no animismo da natureza e na denúncia da reificação do homem. Neste estudo, estruturado em três partes intituladas ‘Das imagens e das paisagens’, ‘O jardim como paisagem cultural’ e ‘Um ‘jardim’ de memórias’, aponta-se, ainda, a conservação de elementos do mundo empírico na fatura dos poemas.
Background and Purpose
Therapies based on apolipoprotein A‐I (ApoA‐I), classically tested for cardiovascular diseases, were recently proposed for Alzheimer's disease (AD). Based on a drug reprofiling ...approach, our objective was to explore the use of a natural variant of ApoA‐I form, ApoA‐I‐Milano (M), as a treatment for AD. ApoA‐I‐M contains the R173C mutation, and confers protection against atherosclerosis development, although ApoA‐I‐M carriers exhibit low HDL levels.
Experimental Approach
Middle‐aged (12‐month‐old) and aged (21‐month‐old) APP23 mice were intraperitoneally treated for 10 weeks with human recombinant ApoA‐I‐M (hrApoA‐I‐M) protein or saline. Pathology progression through behavioural parameters and biochemical determinations was evaluated.
Key Results
In middle‐aged group, hrApoA‐I‐M treatment reduced the anxiety behaviour associated with this AD model. In aged mice, hrApoA‐I‐M reversed T‐Maze performance alterations, a cognitive improvement accompanied by neuronal loss recovery in the dentate gyrus. Aged mice treated with hrApoA‐I‐M showed lower brain Aβ40 soluble levels and elevated Aβ40 levels in cerebrospinal fluid, without modifying insoluble brain Aβ burden. Interestingly, hrApoA‐I‐M sub‐chronic treatment induced a molecular effect on the cerebrovasculature, increasing occludin expression and ICAM‐1 presence, as well as promoting an elevation of plasma soluble RAGE in all hrApoA‐I‐M‐treated mice, drastically decreasing the AGEs/sRAGE ratio, a marker of endothelial damage.
Conclusion and Implications
Peripheral hrApoA‐I‐M treatment shows a beneficial impact on working memory, involving mechanisms related with brain Aβ mobilization and modulation of the levels of cerebrovascular markers. Our study shows the potential therapeutic applicability of a safe and non‐invasive treatment based on peripheral administration of hrApoA‐I‐M in AD.
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