The book contains collective memoirs about family traditions, memories, travel stories and special Italian American memories. It is a keepsake for future generations. Also, the book shows the ways in which we remain connected to our Italian traditions and memories.
The book contains collective memoirs about family traditions, memories, travel stories and special Italian American memories. It is a keepsake for future generations. Also, the book shows the ways in which we remain connected to our Italian traditions and memories.
Charlemagne and Rome is a wide-ranging exploration of cultural politics in the age of Charlemagne. It focuses on a remarkable inscription commemorating Pope Hadrian I who died in Rome at Christmas 795. Commissioned by Charlemagne, composed by Alcuin of York, and cut from black stone quarried close to the king's new capital at Aachen in the heart of the Frankish kingdom, it was carried to Rome and set over the tomb of the pope in the south transept of St Peter's basilica not long before Charlemagne's imperial coronation in the basilica on Christmas Day 800. A masterpiece of Carolingian art, Hadrian's epitaph was also a manifesto of empire demanding perpetual commemoration for the king amid St Peter's cult. In script, stone, and verse, it proclaimed Frankish mastery of the art and power of the written word, and claimed the cultural inheritance of imperial and papal Rome, recast for a contemporary, early medieval audience. Pope Hadrian's epitaph was treasured through time and was one of only a few decorative objects translated from the late antique basilica of St Peter's into the new structure, the construction of which dominated and defined the early modern Renaissance. Understood then as precious evidence of the antiquity of imperial affection for the papacy, Charlemagne's epitaph for Pope Hadrian I was preserved as the old basilica was destroyed and carefully redisplayed in the portico of the new church, where it can be seen today. Using a very wide range of sources and methods, from art history, epigraphy, palaeography, geology, archaeology, and architectural history, as well as close reading of contemporary texts in prose and verse, this book presents a detailed 'object biography', contextualising Hadrian's epitaph in its historical and physical setting at St Peter's over eight hundred years, from its creation in the late eighth century during the Carolingian Renaissance through to the early modern Renaissance of Bramante, Michelangelo, and Maderno.
Scholarly reflection on kindness raises a variety of issues and perspectives. In order to consider the impact of kindness on various aspects of human existence, it is first necessary to give it a concrete meaning. This seemingly simple task turns out to be quite challenging. The prevailing definitional chaos in the literature, the lack of consensus on basic terminological assumptions, indicates a deficit in the theoretical understanding of the concept of kindness and, perhaps more importantly, poses a problem when attempting to verify existing empirical findings, raising doubts about the generalizability of the conclusions and possible comparative studies. The book is an attempt to clarify the definition of the phenomenon of kindness. It is the result of the first research of its kind and carried out on such a scale in Poland. The main aim of the study was to determine how Polish youth understands the concept of kindness.
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