The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations – incuding Machiavelli’s Mandragola and Clizia, Cecchi’s Assiuolo, Groto’s Emilia, and Dolce’s Marianna – and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period.
Since unification in 1860, Italy has remained bitterly divided between the rich North and the underdeveloped South. This book examines the historical, literary, and cultural contexts that have informed and inflamed the debate on the Southern Question for over a century. It brings together analysis of cinema, literature, and newspaper archives to reconsider the myths and stereotypes that both Northerners and Southerners deploy in their narratives. Salvatore DiMaria offers a masterful assessment of the entangled issues that have produced the South’s image as impoverished and backwards, such as organized crime, illiteracy, and mass emigration. Documenting the state’s largely failed efforts to bring the South into its socio-economic fold, DiMaria also points to the future, arguing that the European Union and globalization are transformative forces that may finally produce a unified Italy.
The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period.
This book is about the Renaissance revitalization of classical drama. Using a cultural and theatrical approach, it shows how Italian playwrights made ancient tragedy relevant to their audiences. The book challenges the traditional critical approach to the Italian Renaissance tragedy as a mere literary work, and calls attention to the complementary function of the theatrical text, which is 'reconstructed' from the stage directions embedded in the discourse of the characters.
The word conservation, when used in the context of the preservation of built heritage, implies an intrinsically complex concept that evolved over time, since it has been influenced by the perception of history throughout time. This volume emphasises why an understanding of the cultural evolution of the conservation approach must be considered a prerequisite for architects and engineers if they are to cooperate in full harmony with historic-artistic culture for the preservation of global built heritage. In particular, the volume highlights how, during the second half of the last century, the preservation process also involved engineering – the science of making practical applications of knowledge – which, for a long time, made an uncritical use of techniques and materials and devised interventions on historical heritage that were heavily invasive. The volume also devotes special attention to the problems related to seismic risk, to which Italy, Greece and Portugal are particularly prone. Problems that emerge during the crisis and reconstruction phases are dealt with in detail, as is scheduled maintenance, as this latter approach always constitutes an improvement in the performance of the monument and is the most appropriate tool for the conservation of the built heritage. Finally, the volume collects examples of building restoration with case studies of many outstanding monuments. The work will appeal to professionals and academics in the broader fields of civil engineering (both geotechnical and structural engineering), architecture, art history, the history of architecture, restoration and cultural heritage management. This book will: Provide a critical reading of the history of conservation; Discuss materials and techniques of ancient architecture; Cover seismic vulnerability and preservation of the historic integrity of the monument; Advocate an approach based on programmed maintenance; Feature numerous case histories, including St Mark’s Basilica in Venice and the complex restoration of the cathedral of Notre-Dame in Paris.
Since unification in 1860, Italy has remained bitterly divided between the rich North and the underdeveloped South. This book examines the historical, literary, and cultural contexts that have informed and inflamed the debate on the Southern Question for over a century. It brings together analysis of cinema, literature, and newspaper archives to reconsider the myths and stereotypes that both Northerners and Southerners deploy in their narratives. Salvatore DiMaria offers a masterful assessment of the entangled issues that have produced the South’s image as impoverished and backwards, such as organized crime, illiteracy, and mass emigration. Documenting the state’s largely failed efforts to bring the South into its socio-economic fold, DiMaria also points to the future, arguing that the European Union and globalization are transformative forces that may finally produce a unified Italy.
This book is long awaited within the contemporarily creative field of cultural psychologies. It is a theoretical synthesis that is at the level of innovations that Sigmund Freud, James Mark Baldwin, William Stern, Kurt Lewin, Jean Piaget, Lev Vygotsky and Jan Smedslund have brought into psychology over the past century. Here we can observe a creative solution to integrating cultural psychology with the rich traditions of psychodynamic perspectives, without repeating the conceptual impasses in which many psychoanalytic perspectives have become caught.
Foundations of the Psychological Intervention presents a new General Theory for Psychological Intervention (GTPI), delving into how its methodology can be applied across diverse psychological contexts. Rooted in semiotic cultural psychology and guided by the GTPI framework, this book offers a cohesive perspective of psychology, addressing the prevailing fragmentation evident in various domains of psychology such as health, sports, forensic, organisational, and clinical psychology. The framework establishes a foundation of methods and techniques that render psychological interventions applicable across various domains, substantiated by concrete examples from different areas. With chapters revolving around theories of action, change and the client dynamics, this groundbreaking work provides both a conceptual and methodological structure to underpin domain-specific theories and methodologies, thereby strengthening the conceptual links among distinct domains of psychology. As one of the first works to develop a theory and method of intervention across multiple psychological domains, this book will be of interest to postgraduate students and researchers specialising in cultural psychology, clinical psychology, health psychology, and the philosophy of psychology. Moreover, it serves as a useful reading for practising psychologists and psychology professionals.
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