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class="work-thumbnail" src="https://attachments.academia-assets.com/112311407/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/116082602/Di_Monte_La_scienza_moderna_e_lo_specchio_del_sapere">Di Monte, La scienza moderna e lo specchio del sapere</a></div><div class="wp-workCard_item"><span>L'immagine sovrana. Urbano VIII e i Barberini, eds. M. Cicconi, F. Gennari Santori, S. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="113531142"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113531142/Di_Monte_Sullutilit%C3%A0_e_il_danno_della_storia_per_larte"><img alt="Research paper thumbnail of Di Monte - Sull'utilità e il danno della storia per l'arte" class="work-thumbnail" src="https://attachments.academia-assets.com/110467338/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113531142/Di_Monte_Sullutilit%C3%A0_e_il_danno_della_storia_per_larte">Di Monte - Sull'utilità e il danno della storia per l'arte</a></div><div class="wp-workCard_item"><span>in AA.VV., Giardino di conversazioni, Roma</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tout livre d’histoire digne de ce nom - Marc Bloch wrote in "Apologie pour l'Histoire" - devrait ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tout livre d’histoire digne de ce nom - Marc Bloch wrote in "Apologie pour l'Histoire" - devrait comporter un chapitre, ou si l’on préfère, insérée aux points tournants du développement, une suite de paragraphes qui s’intitulerait à peu près: «Comment puis-je savoir ce que je vais dire?». It is certainly an old epistemological question, which also applies to the History of Art, but why, precisely for such a reason, do many, too many, art historians pretend not to know it, and why do they even less feel obliged to take it seriously? How can art history and philosophy dialogue and where can they meet?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c9ab9eebebb996abe70767330723da32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110467338,"asset_id":113531142,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110467338/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113531142"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113531142"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113531142; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=113531142]").text(description); $(".js-view-count[data-work-id=113531142]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 113531142; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='113531142']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 113531142, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c9ab9eebebb996abe70767330723da32" } } $('.js-work-strip[data-work-id=113531142]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":113531142,"title":"Di Monte - Sull'utilità e il danno della storia per l'arte","translated_title":"","metadata":{"abstract":"Tout livre d’histoire digne de ce nom - Marc Bloch wrote in \"Apologie pour l'Histoire\" - devrait comporter un chapitre, ou si l’on préfère, insérée aux points tournants du développement, une suite de paragraphes qui s’intitulerait à peu près: «Comment puis-je savoir ce que je vais dire?». It is certainly an old epistemological question, which also applies to the History of Art, but why, precisely for such a reason, do many, too many, art historians pretend not to know it, and why do they even less feel obliged to take it seriously? How can art history and philosophy dialogue and where can they meet?","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"in AA.VV., Giardino di conversazioni, Roma"},"translated_abstract":"Tout livre d’histoire digne de ce nom - Marc Bloch wrote in \"Apologie pour l'Histoire\" - devrait comporter un chapitre, ou si l’on préfère, insérée aux points tournants du développement, une suite de paragraphes qui s’intitulerait à peu près: «Comment puis-je savoir ce que je vais dire?». It is certainly an old epistemological question, which also applies to the History of Art, but why, precisely for such a reason, do many, too many, art historians pretend not to know it, and why do they even less feel obliged to take it seriously? How can art history and philosophy dialogue and where can they meet?","internal_url":"https://www.academia.edu/113531142/Di_Monte_Sullutilit%C3%A0_e_il_danno_della_storia_per_larte","translated_internal_url":"","created_at":"2024-01-15T05:56:04.506-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":110467338,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/110467338/thumbnails/1.jpg","file_name":"Di_Monte_Sull_utilita_e_il_danno_della_storia_per_l_arte.pdf","download_url":"https://www.academia.edu/attachments/110467338/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Di_Monte_Sullutilita_e_il_danno_della_st.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/110467338/Di_Monte_Sull_utilita_e_il_danno_della_storia_per_l_arte-libre.pdf?1705328130=\u0026response-content-disposition=attachment%3B+filename%3DDi_Monte_Sullutilita_e_il_danno_della_st.pdf\u0026Expires=1732390420\u0026Signature=bcgRNIJQDMmQDKqiTv~xBw9ceJci-iiVv6BwW3Nvp6qSqkN7M4LHSQQy~DxAmXD4YBaxUPiJL4vKI7aDG2Jj~rTnwAFgDrl0oCb9d8dA-qwftgNOJhrXmtt6rQY~LKZyqGBSan7gk18oSlSfSzDIn02EpswHscaAW9bquSF2ayadKx-bHyQL6cD1cs-aPdMKCqX7efBnjfmXTvyhBXHS8Oo1E9uomZOfQ4U7-tBIOsRvHPGkVoOplZ5SieyomKzmH5Heg2YpDEQbheoLjR4pl26cZwWiMC2ZGaHzLCwHt~M5i90rZC6t~bvkup2Q5Qs-pM358oE9rBnUT1cFpPCjTQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Di_Monte_Sullutilità_e_il_danno_della_storia_per_larte","translated_slug":"","page_count":18,"language":"it","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":110467338,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/110467338/thumbnails/1.jpg","file_name":"Di_Monte_Sull_utilita_e_il_danno_della_storia_per_l_arte.pdf","download_url":"https://www.academia.edu/attachments/110467338/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Di_Monte_Sullutilita_e_il_danno_della_st.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/110467338/Di_Monte_Sull_utilita_e_il_danno_della_storia_per_l_arte-libre.pdf?1705328130=\u0026response-content-disposition=attachment%3B+filename%3DDi_Monte_Sullutilita_e_il_danno_della_st.pdf\u0026Expires=1732390420\u0026Signature=bcgRNIJQDMmQDKqiTv~xBw9ceJci-iiVv6BwW3Nvp6qSqkN7M4LHSQQy~DxAmXD4YBaxUPiJL4vKI7aDG2Jj~rTnwAFgDrl0oCb9d8dA-qwftgNOJhrXmtt6rQY~LKZyqGBSan7gk18oSlSfSzDIn02EpswHscaAW9bquSF2ayadKx-bHyQL6cD1cs-aPdMKCqX7efBnjfmXTvyhBXHS8Oo1E9uomZOfQ4U7-tBIOsRvHPGkVoOplZ5SieyomKzmH5Heg2YpDEQbheoLjR4pl26cZwWiMC2ZGaHzLCwHt~M5i90rZC6t~bvkup2Q5Qs-pM358oE9rBnUT1cFpPCjTQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art"},{"id":85781,"name":"History and Theory of Art","url":"https://www.academia.edu/Documents/in/History_and_Theory_of_Art"},{"id":507685,"name":"Art and Art History","url":"https://www.academia.edu/Documents/in/Art_and_Art_History"},{"id":656747,"name":"Aesthetics and Philosophy of Art","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Philosophy_of_Art"},{"id":826428,"name":"Art History and Theory","url":"https://www.academia.edu/Documents/in/Art_History_and_Theory"},{"id":1833140,"name":"Philosophy and Art History","url":"https://www.academia.edu/Documents/in/Philosophy_and_Art_History"},{"id":2983735,"name":"Epistemology of Art History","url":"https://www.academia.edu/Documents/in/Epistemology_of_Art_History"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107340311"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/107340311/The_Image_in_a_Vat"><img alt="Research paper thumbnail of The Image in a Vat?" class="work-thumbnail" src="https://attachments.academia-assets.com/106033106/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/107340311/The_Image_in_a_Vat">The Image in a Vat?</a></div><div class="wp-workCard_item"><span>The Journal for the Philosophy of Language, Mind and the Arts</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The relationship between frames and works of art, or more generally between frames and images, is...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The relationship between frames and works of art, or more generally between frames and images, is a classic problem of aesthetics and art history, which has however become a hot topic today, since new digital technologies seem to promise completely frameless virtual and fictional worlds. Nonetheless, it is perhaps useful to frame the question of the frame, and of the thresholds of images, with a colder look, taking into account the cognitive, phenomenological and ontological implications of their variable and multilayered relationships.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9cfc031abc2cd5167f5e0d3401bc213" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":106033106,"asset_id":107340311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/106033106/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107340311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107340311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107340311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107340311]").text(description); $(".js-view-count[data-work-id=107340311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107340311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107340311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 107340311, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a9cfc031abc2cd5167f5e0d3401bc213" } } $('.js-work-strip[data-work-id=107340311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107340311,"title":"The Image in a Vat?","translated_title":"","metadata":{"doi":"10.30687/Jolma/2723-9640/2023/01/007","issue":"1","volume":"4","abstract":"The relationship between frames and works of art, or more generally between frames and images, is a classic problem of aesthetics and art history, which has however become a hot topic today, since new digital technologies seem to promise completely frameless virtual and fictional worlds. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="104094016"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104094016/Di_Monte_Il_seno_di_Poppea_o_lantifrasi_del_velo"><img alt="Research paper thumbnail of Di Monte, Il seno di Poppea o l'antifrasi del velo" class="work-thumbnail" src="https://attachments.academia-assets.com/103912660/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104094016/Di_Monte_Il_seno_di_Poppea_o_lantifrasi_del_velo">Di Monte, Il seno di Poppea o l'antifrasi del velo</a></div><div class="wp-workCard_item"><span>Studiolo - Revue d'Histoire de l'Art</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Poppea's breast, or the antiphrasis of the veil. When we look at a depicted object we "see" even...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Poppea's breast, or the antiphrasis of the veil.<br /><br />When we look at a depicted object we "see" even those aspects that are not actually visible. Paradoxical as it may seem, such a kind of vague and indeterminate "blindsight" is completely normal. Indeed, visual indeterminacy is less a feature of certain allegedly subversive forms of formless modern art than a necessary condition for the perception and understanding of the visual arts in general. However, like Poppea's veil, this vagueness serves to make us see more and better.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3424b49f2acb4d91ff2989da6f82b530" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103912660,"asset_id":104094016,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103912660/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="104094016"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="104094016"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 104094016; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=104094016]").text(description); $(".js-view-count[data-work-id=104094016]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 104094016; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='104094016']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 104094016, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3424b49f2acb4d91ff2989da6f82b530" } } $('.js-work-strip[data-work-id=104094016]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":104094016,"title":"Di Monte, Il seno di Poppea o l'antifrasi del velo","translated_title":"","metadata":{"volume":"18","abstract":"Poppea's breast, or the antiphrasis of the veil.\n\nWhen we look at a depicted object we \"see\" even those aspects that are not actually visible. Paradoxical as it may seem, such a kind of vague and indeterminate \"blindsight\" is completely normal. Indeed, visual indeterminacy is less a feature of certain allegedly subversive forms of formless modern art than a necessary condition for the perception and understanding of the visual arts in general. However, like Poppea's veil, this vagueness serves to make us see more and better.","page_numbers":"136-151","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Studiolo - Revue d'Histoire de l'Art"},"translated_abstract":"Poppea's breast, or the antiphrasis of the veil.\n\nWhen we look at a depicted object we \"see\" even those aspects that are not actually visible. Paradoxical as it may seem, such a kind of vague and indeterminate \"blindsight\" is completely normal. 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Pasolini e la resistenza delle immagini" class="work-thumbnail" src="https://attachments.academia-assets.com/103471175/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/103472471/Figure_di_figure_Pasolini_e_la_resistenza_delle_immagini">Figure di figure. Pasolini e la resistenza delle immagini</a></div><div class="wp-workCard_item"><span>Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body - Exhibition Catalogue, ed. by Michele Di Monte, Milano, 5Continents</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introductory essay of the exhibition catalogue "Tutto è santo. Il corpo veggente - Everything is ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introductory essay of the exhibition catalogue "Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body", held at Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, 28 October 2022–12 February 2023</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d9b9e4bcf8f86ad6fb04e21b6eb7b452" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103471175,"asset_id":103472471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103471175/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="103472471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="103472471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 103472471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=103472471]").text(description); $(".js-view-count[data-work-id=103472471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 103472471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='103472471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 103472471, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d9b9e4bcf8f86ad6fb04e21b6eb7b452" } } $('.js-work-strip[data-work-id=103472471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":103472471,"title":"Figure di figure. 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Chi ha paura della somiglianza?" class="work-thumbnail" src="https://attachments.academia-assets.com/103470686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/103471749/Di_Monte_Paul_Pedone_Mimetofobia_Chi_ha_paura_della_somiglianza">Di Monte, Paul, Pedone, Mimetofobia. Chi ha paura della somiglianza?</a></div><div class="wp-workCard_item"><span>Elephant & Castle. Laboratorio dell’immaginario - MIMETOFOBIA, edited by Michele Di Monte, Benjamin Paul, Silvia Pedone </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mimesis, even only in the context of artistic production and thought, has long been branded as so...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Mimesis, even only in the context of artistic production and thought, has long been branded as something bearing "the suspicious burden of what did not make the grade, the regressive", in Adorno's words, if not actually a "dangerous moment" for creative freedom, as Arnheim feared. However, whether one likes it or not, the problem is now reappearing, if only due to the pervasive diffusion of technologies for the production and reproduction of so-called virtual reality. After so much speculation on the theme of fear of the Other and of Otherness, perhaps the time has come to reflect better and more clearly on the "other half" of the problem, on the fear of what is similar and of resemblance.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="625a8de13cbf1a98524cef7734985bba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103470686,"asset_id":103471749,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103470686/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="103471749"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="103471749"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 103471749; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=103471749]").text(description); $(".js-view-count[data-work-id=103471749]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 103471749; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='103471749']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 103471749, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "625a8de13cbf1a98524cef7734985bba" } } $('.js-work-strip[data-work-id=103471749]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":103471749,"title":"Di Monte, Paul, Pedone, Mimetofobia. 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Comprensione storica, giudizio estetico e crisi del canone" class="work-thumbnail" src="https://attachments.academia-assets.com/86643452/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/80173127/Quanto_%C3%A8_bello_Raffaello_Comprensione_storica_giudizio_estetico_e_crisi_del_canone">Quanto è bello Raffaello? Comprensione storica, giudizio estetico e crisi del canone</a></div><div class="wp-workCard_item"><span>Raffaello. Mito e percezione, eds. D. Benati, S. Cavicchioli, S. Costa, M. Faietti</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How beautiful is Raphael? Historical understanding, aesthetic judgment and crisis of the canon A...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How beautiful is Raphael? Historical understanding, aesthetic judgment and crisis of the canon<br /><br />According to common wisdom Raphael is a pillar of the canon of art history. But it is also common opinion that the canon is now an obsolete concept and, as Christopher Wood recently reminded us, “relativism, or the recognition of not just one but many different concepts of art, is the basis of the modern discipline of art history”. This means that today Raphael’s works may not even be art in our sense of the concept. If so, so much the worse for Art. But what about beauty or aesthetic quality and merit? If these too were historically relative, what would we really experience in our aesthetic experience of Raphael’s works? Should we accept the idea that the importance and art-historical value of Raphaelesque works are independent of an actual experience of their artistic merits? And how much could these merits be historically different without ceasing to be such?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d8161e47444a3a5c7344c7905e74a10c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":86643452,"asset_id":80173127,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/86643452/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="80173127"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="80173127"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 80173127; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=80173127]").text(description); $(".js-view-count[data-work-id=80173127]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 80173127; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='80173127']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 80173127, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d8161e47444a3a5c7344c7905e74a10c" } } $('.js-work-strip[data-work-id=80173127]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":80173127,"title":"Quanto è bello Raffaello? 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Di Monte, Roma</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. More often it’s necessary, and sometimes it’s profitable, to give our interlocutors the opportunity of exercising their “wonderful sagacity” in “filling up these vacant spaces” with their own conjectures, as Henry Fielding warned in "Tom Jones", thinking about “the good and advantage of the reader”. The essays of the present exhibition catalogue are devoted to that “wonderful sagacity”, for it seems we have to admit that many readers do not even know they possess that particular skill, even though they exercise it spontaneously, and many beholders (above all) do not even exercise it – or at least less than they could do – precisely because they do not know they possess it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1d3a48bae03e177ff6fbef88be0930df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81399512,"asset_id":72493873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81399512/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="72493873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="72493873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 72493873; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=72493873]").text(description); $(".js-view-count[data-work-id=72493873]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 72493873; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='72493873']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 72493873, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1d3a48bae03e177ff6fbef88be0930df" } } $('.js-work-strip[data-work-id=72493873]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":72493873,"title":"Le ragioni dello spettatore","translated_title":"","metadata":{"abstract":"In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. 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Contemporaneità a distanza" class="work-thumbnail" src="https://attachments.academia-assets.com/68300015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50239897/Lopera_nel_tempo_grande_Contemporaneit%C3%A0_a_distanza">L'opera nel tempo grande. Contemporaneità a distanza</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. 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Contemporaneità a distanza","translated_title":"","metadata":{"abstract":"Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. How to overcome it?","publication_date":{"day":null,"month":null,"year":2021,"errors":{}}},"translated_abstract":"Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. 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Memoria, monumenti e paradossi" class="work-thumbnail" src="https://attachments.academia-assets.com/67475061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49080324/Lombelico_di_Adamo_e_i_relitti_di_Teseo_Memoria_monumenti_e_paradossi">L'ombelico di Adamo e i relitti di Teseo. Memoria, monumenti e paradossi</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expect to find absolutely authentic objects and relics. But what about those faithfully reconstructed items that “replace” original objects otherwise no longer available? More generally, is it legitimate to document or remember a real event through a document that is not perfectly original? Then, What is the status of authenticity of memory, in its relationship between what makes us remember and what is remembered? On the one hand, the reality of the past seems indisputable, and even strongly anti-realist philosophers find it “repugnant” to reject it, on the other hand, memory needs representations and reconstructions. Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».<br /><br />Nei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?<br />Qual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? Da una parte, la realtà del passato sembra intoccabile, e persino filosofi fortemente antirealisti trovano “ripugnante” contestarlo, d’altra parte, la memoria ha bisogno di rappresentazioni e ricostruzioni: dunque, per riprendere una domanda di Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b9b96a7799ee50f761580cc5ea63c6d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67475061,"asset_id":49080324,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67475061/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49080324"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49080324"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49080324; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49080324]").text(description); $(".js-view-count[data-work-id=49080324]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49080324; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49080324']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 49080324, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b9b96a7799ee50f761580cc5ea63c6d7" } } $('.js-work-strip[data-work-id=49080324]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49080324,"title":"L'ombelico di Adamo e i relitti di Teseo. 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Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n\nNei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?\nQual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? Da una parte, la realtà del passato sembra intoccabile, e persino filosofi fortemente antirealisti trovano “ripugnante” contestarlo, d’altra parte, la memoria ha bisogno di rappresentazioni e ricostruzioni: dunque, per riprendere una domanda di Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n"},"translated_abstract":"In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expect to find absolutely authentic objects and relics. But what about those faithfully reconstructed items that “replace” original objects otherwise no longer available? More generally, is it legitimate to document or remember a real event through a document that is not perfectly original? Then, What is the status of authenticity of memory, in its relationship between what makes us remember and what is remembered? On the one hand, the reality of the past seems indisputable, and even strongly anti-realist philosophers find it “repugnant” to reject it, on the other hand, memory needs representations and reconstructions. Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n\nNei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?\nQual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? 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Breve guida alla lettura delle letture letterarie di Palazzo Barberini","translated_title":"","metadata":{"grobid_abstract":"Che la mira dei Barberini, di papa Urbano, dei suoi nipoti e i loro parenti e accoliti, fosse quella di fare impressione, quando ebbero per le mani lo scettro del potere, non c'è dubbio. Il loro stesso palazzo era d'altronde concepito come una sorta di teatro delle meraviglie, di \"scena\", non solo artistica, ma anche politica, sociale, rituale ecc. Quello che i Barberini non sapevano, e non potevano sapere, è quanto quell'impressione sarebbe stata duratura e quale inflessione, non sempre proprio positiva, avrebbe finito per assumere. Di questa evenienza, in ogni caso, c'è da presumere, non si sarebbero troppo curati, giacché probabilmente, oltre ai vari motti di cui si fregiarono, avrebbero anche potuto ripetere, parafrasando Caligola: Oderint dum mirent, \"Che ci odino, purché ci ammirino\". E, in effetti, proprio questi due opposti sentimenti trovarono ampio spazio ed ebbero largo corso, forse mai così nettamente percepibili e così intimamente congiunti come nel XIX secolo, e men che mai così plasticamente descritti come nella letteratura dell'epoca. Un'epoca in cui l'immaginazione romantica, le istanze nazionalistiche, un crescente anticlericalismo, il fascino del Grand Tour, il culto delle rovine, l'attrazione per le glorie fatiscenti di un antico splendore e tanto altro finirono per fare della Roma rinascimentale e barocca -o, meglio, delle sue memorie -la perfetta immagine di questo complesso coacervo di fantasie, soprattutto letterarie e poetiche, e soprattutto, si capisce, nutrite da letterati e poeti stranieri, oggi più o meno illustri. E tanto per cominciare con gli stranieri illustri, quando il poeta inglese John Milton visitò Roma, nel 1638, venne accolto, ancorché giovane, con grandi onori, e anche il Cardinal Nepote Francesco Barberini lo invitò a palazzo, dove Milton poté ascoltare, tra gli altri, la virtuosa cantante, all'epoca assai celebre, Leonora Baroni, alla quale egli dedicò poi tre galanti epigrammi latini 1 . Di più stretti rapporti personali tra * Il testo che segue, qui corredato da un minimo di apparati, è stato approntato come guida per una rubrica apparsa sui canali social delle Gallerie Nazionali di Arte Antica durante i mesi di marzo e aprile 2020. 1 Pubblicati nei Poemata del 1645. Vedi J. Milton, Complete Poems and Major Prose, a c. di M. Y. 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Contesti, significati, conservazione, a c. di F. Coltrinari, E. M. Dal Pozzolo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What should beholders do to fully grasp what a painting wants them to see? Just taking a look is ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. From this point of view, Lorenzo Lotto's paintings are a particularly interesting case, because they ask - even if they don’t demand - the viewer to fill blanks, to take the hints, to distinguish between intentional omissions and structural incompleteness, to take advantage of ellipses and ambiguities. Beholding a painting by Lotto means being willing to become his complicit.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3ad23bbb0fcdb40fb10a38b2ded69429" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63064793,"asset_id":42831571,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63064793/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42831571"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42831571"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42831571; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42831571]").text(description); $(".js-view-count[data-work-id=42831571]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42831571; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42831571']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42831571, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3ad23bbb0fcdb40fb10a38b2ded69429" } } $('.js-work-strip[data-work-id=42831571]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42831571,"title":"La \"phantastica\" complicità di Lorenzo Lotto","translated_title":"","metadata":{"abstract":"What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. From this point of view, Lorenzo Lotto's paintings are a particularly interesting case, because they ask - even if they don’t demand - the viewer to fill blanks, to take the hints, to distinguish between intentional omissions and structural incompleteness, to take advantage of ellipses and ambiguities. Beholding a painting by Lotto means being willing to become his complicit.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Lorenzo Lotto. Contesti, significati, conservazione, a c. di F. Coltrinari, E. M. Dal Pozzolo"},"translated_abstract":"What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41040425"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41040425/Iconographies_of_Power_The_Barberini_as_Collectors"><img alt="Research paper thumbnail of Iconographies of Power. The Barberini as Collectors" class="work-thumbnail" src="https://attachments.academia-assets.com/61315893/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41040425/Iconographies_of_Power_The_Barberini_as_Collectors">Iconographies of Power. The Barberini as Collectors</a></div><div class="wp-workCard_item"><span>Baroque Pathways. The National Galleries Barberini Corsini in Rome, Exhibition Catalogue, eds. O. Westheider and M. Philipp</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 17th century, the “century of information” and of the emergence of a new global public sph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 17th century, the “century of information” and of the emergence of a new global public sphere, the Barberini were keenly aware that in order to display the high status of their family they need not only the acquisition and multiplication of material and financial wealth, but also an increase in their “cultural capital” – according to Bourdieu’s famous definition – which could be converted into social and symbolic capital. But collecting artworks would not be enough. It was also necessary to collect a wider range of objects in keeping with the new concerns of the emerging sciences. These objects were not only of a purely material nature, as they included also abstract instances such as information and those curiosities and wonders that we would dismiss today as marginal phenomena from the perspective of traditional art collecting. 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I Barberini collezionisti di cultura" class="work-thumbnail" src="https://attachments.academia-assets.com/61315686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41040218/Figure_del_potere_I_Barberini_collezionisti_di_cultura">Figure del potere. I Barberini collezionisti di cultura</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 17th century, the “century of information” and of the emergence of a new global public sph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 17th century, the “century of information” and of the emergence of a new global public sphere, the Barberini were keenly aware that in order to display the high status of their family they need not only the acquisition and multiplication of material and financial wealth, but also an increase in their “cultural capital” – according to Bourdieu’s famous definition – which could be converted into social and symbolic capital. But collecting artworks would not be enough. It was also necessary to collect a wider range of objects in keeping with the new concerns of the emerging sciences. These objects were not only of a purely material nature, as they included also abstract instances such as information and those curiosities and wonders that we would dismiss today as marginal phenomena from the perspective of traditional art collecting. 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Percezione, cognizione e storia nella visione di Winckelmann" class="work-thumbnail" src="https://attachments.academia-assets.com/58574209/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38506652/Prendi_i_miei_occhi_Percezione_cognizione_e_storia_nella_visione_di_Winckelmann">Prendi i miei occhi. Percezione, cognizione e storia nella visione di Winckelmann</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">According to the conventional wisdom, Winckelmann is considered not only the founder of Art Histo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">According to the conventional wisdom, Winckelmann is considered not only the founder of Art History as an autonomous discipline, but also the advocate of a connoisseurship grounded in the sensitivity and exercise of the eye, aimed at distinguishing and recognizing the authenticity and absolute beauty of ancient art. 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However, in the ordinary use of modern language, the concept acquired a far more limited, though implicit, extension, so that when we speak of a monument, we usually mean a work of sculpture or architecture, of imposing size and appearance, placed in a public space, intentionally endowed with a declared commemorative or votive character.","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"International Lexicon of Aesthetics","grobid_abstract_attachment_id":58496951},"translated_abstract":null,"internal_url":"https://www.academia.edu/38435832/Monument_International_Lexicon_of_Aesthetics_","translated_internal_url":"","created_at":"2019-02-25T10:00:47.191-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":58496951,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58496951/thumbnails/1.jpg","file_name":"Monument.pdf","download_url":"https://www.academia.edu/attachments/58496951/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Monument_International_Lexicon_of_Aesthe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58496951/Monument-libre.pdf?1551123576=\u0026response-content-disposition=attachment%3B+filename%3DMonument_International_Lexicon_of_Aesthe.pdf\u0026Expires=1732431776\u0026Signature=c6XhFVZRLgLEc-OR26uX-3Gd2fpI6dv5FxmSU3UsuuAQN-Nek01uD3PiYEPvYu8W4IL602L1RdntSgrnFcFDB~ApoudeC6P81rlsThK0iUdRG5flhk0A-jwDQ8s31Emif0WJy8mLyGfQgavchY77WO6KSfNdvwe~n-cV2AykbALJvWHZfIYMsNFaY18AJsccmQ29lTZzSFsgGKLch-xFog3R5-VYjGf~U5zogzOo5WrlJWVj96ZtNgRy9AtR1uLp25SXZozayW05mGO4YxwARJJ2O57L6LKUWy-cKM58seuLolBp0Hbg4tDsVF~Idtn3-gR9JXwL5R~dtHT2xCWNDg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Monument_International_Lexicon_of_Aesthetics_","translated_slug":"","page_count":5,"language":"en","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":58496951,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58496951/thumbnails/1.jpg","file_name":"Monument.pdf","download_url":"https://www.academia.edu/attachments/58496951/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Monument_International_Lexicon_of_Aesthe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58496951/Monument-libre.pdf?1551123576=\u0026response-content-disposition=attachment%3B+filename%3DMonument_International_Lexicon_of_Aesthe.pdf\u0026Expires=1732431776\u0026Signature=c6XhFVZRLgLEc-OR26uX-3Gd2fpI6dv5FxmSU3UsuuAQN-Nek01uD3PiYEPvYu8W4IL602L1RdntSgrnFcFDB~ApoudeC6P81rlsThK0iUdRG5flhk0A-jwDQ8s31Emif0WJy8mLyGfQgavchY77WO6KSfNdvwe~n-cV2AykbALJvWHZfIYMsNFaY18AJsccmQ29lTZzSFsgGKLch-xFog3R5-VYjGf~U5zogzOo5WrlJWVj96ZtNgRy9AtR1uLp25SXZozayW05mGO4YxwARJJ2O57L6LKUWy-cKM58seuLolBp0Hbg4tDsVF~Idtn3-gR9JXwL5R~dtHT2xCWNDg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture"},{"id":3987,"name":"History and Memory","url":"https://www.academia.edu/Documents/in/History_and_Memory"},{"id":11483,"name":"Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory"},{"id":81200,"name":"Alois Riegl","url":"https://www.academia.edu/Documents/in/Alois_Riegl"},{"id":106094,"name":"Monumentality","url":"https://www.academia.edu/Documents/in/Monumentality"},{"id":148028,"name":"Monuments","url":"https://www.academia.edu/Documents/in/Monuments"},{"id":625541,"name":"Places of memory (les lieux de mémoire)","url":"https://www.academia.edu/Documents/in/Places_of_memory_les_lieux_de_memoire_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38384225"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38384225/Tiziano_e_il_corpo_a_corpo_della_pittura_Studi_tizianeschi_2017_2019"><img alt="Research paper thumbnail of Tiziano e il corpo a corpo della pittura. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="113531142"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113531142/Di_Monte_Sullutilit%C3%A0_e_il_danno_della_storia_per_larte"><img alt="Research paper thumbnail of Di Monte - Sull'utilità e il danno della storia per l'arte" class="work-thumbnail" src="https://attachments.academia-assets.com/110467338/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113531142/Di_Monte_Sullutilit%C3%A0_e_il_danno_della_storia_per_larte">Di Monte - Sull'utilità e il danno della storia per l'arte</a></div><div class="wp-workCard_item"><span>in AA.VV., Giardino di conversazioni, Roma</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tout livre d’histoire digne de ce nom - Marc Bloch wrote in "Apologie pour l'Histoire" - devrait ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tout livre d’histoire digne de ce nom - Marc Bloch wrote in "Apologie pour l'Histoire" - devrait comporter un chapitre, ou si l’on préfère, insérée aux points tournants du développement, une suite de paragraphes qui s’intitulerait à peu près: «Comment puis-je savoir ce que je vais dire?». It is certainly an old epistemological question, which also applies to the History of Art, but why, precisely for such a reason, do many, too many, art historians pretend not to know it, and why do they even less feel obliged to take it seriously? How can art history and philosophy dialogue and where can they meet?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c9ab9eebebb996abe70767330723da32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110467338,"asset_id":113531142,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110467338/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113531142"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113531142"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113531142; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=113531142]").text(description); $(".js-view-count[data-work-id=113531142]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 113531142; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='113531142']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 113531142, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c9ab9eebebb996abe70767330723da32" } } $('.js-work-strip[data-work-id=113531142]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":113531142,"title":"Di Monte - Sull'utilità e il danno della storia per l'arte","translated_title":"","metadata":{"abstract":"Tout livre d’histoire digne de ce nom - Marc Bloch wrote in \"Apologie pour l'Histoire\" - devrait comporter un chapitre, ou si l’on préfère, insérée aux points tournants du développement, une suite de paragraphes qui s’intitulerait à peu près: «Comment puis-je savoir ce que je vais dire?». 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107340311"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/107340311/The_Image_in_a_Vat"><img alt="Research paper thumbnail of The Image in a Vat?" class="work-thumbnail" src="https://attachments.academia-assets.com/106033106/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/107340311/The_Image_in_a_Vat">The Image in a Vat?</a></div><div class="wp-workCard_item"><span>The Journal for the Philosophy of Language, Mind and the Arts</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The relationship between frames and works of art, or more generally between frames and images, is...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The relationship between frames and works of art, or more generally between frames and images, is a classic problem of aesthetics and art history, which has however become a hot topic today, since new digital technologies seem to promise completely frameless virtual and fictional worlds. Nonetheless, it is perhaps useful to frame the question of the frame, and of the thresholds of images, with a colder look, taking into account the cognitive, phenomenological and ontological implications of their variable and multilayered relationships.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9cfc031abc2cd5167f5e0d3401bc213" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":106033106,"asset_id":107340311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/106033106/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107340311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107340311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107340311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107340311]").text(description); $(".js-view-count[data-work-id=107340311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107340311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107340311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 107340311, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a9cfc031abc2cd5167f5e0d3401bc213" } } $('.js-work-strip[data-work-id=107340311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107340311,"title":"The Image in a Vat?","translated_title":"","metadata":{"doi":"10.30687/Jolma/2723-9640/2023/01/007","issue":"1","volume":"4","abstract":"The relationship between frames and works of art, or more generally between frames and images, is a classic problem of aesthetics and art history, which has however become a hot topic today, since new digital technologies seem to promise completely frameless virtual and fictional worlds. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="104094016"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104094016/Di_Monte_Il_seno_di_Poppea_o_lantifrasi_del_velo"><img alt="Research paper thumbnail of Di Monte, Il seno di Poppea o l'antifrasi del velo" class="work-thumbnail" src="https://attachments.academia-assets.com/103912660/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104094016/Di_Monte_Il_seno_di_Poppea_o_lantifrasi_del_velo">Di Monte, Il seno di Poppea o l'antifrasi del velo</a></div><div class="wp-workCard_item"><span>Studiolo - Revue d'Histoire de l'Art</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Poppea's breast, or the antiphrasis of the veil. When we look at a depicted object we "see" even...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Poppea's breast, or the antiphrasis of the veil.<br /><br />When we look at a depicted object we "see" even those aspects that are not actually visible. Paradoxical as it may seem, such a kind of vague and indeterminate "blindsight" is completely normal. Indeed, visual indeterminacy is less a feature of certain allegedly subversive forms of formless modern art than a necessary condition for the perception and understanding of the visual arts in general. 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Paradoxical as it may seem, such a kind of vague and indeterminate \"blindsight\" is completely normal. Indeed, visual indeterminacy is less a feature of certain allegedly subversive forms of formless modern art than a necessary condition for the perception and understanding of the visual arts in general. However, like Poppea's veil, this vagueness serves to make us see more and better.","page_numbers":"136-151","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Studiolo - Revue d'Histoire de l'Art"},"translated_abstract":"Poppea's breast, or the antiphrasis of the veil.\n\nWhen we look at a depicted object we \"see\" even those aspects that are not actually visible. Paradoxical as it may seem, such a kind of vague and indeterminate \"blindsight\" is completely normal. 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Pasolini e la resistenza delle immagini" class="work-thumbnail" src="https://attachments.academia-assets.com/103471175/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/103472471/Figure_di_figure_Pasolini_e_la_resistenza_delle_immagini">Figure di figure. Pasolini e la resistenza delle immagini</a></div><div class="wp-workCard_item"><span>Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body - Exhibition Catalogue, ed. by Michele Di Monte, Milano, 5Continents</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introductory essay of the exhibition catalogue "Tutto è santo. Il corpo veggente - Everything is ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introductory essay of the exhibition catalogue "Tutto è santo. Il corpo veggente - Everything is Sacred. The Seeing Body", held at Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, 28 October 2022–12 February 2023</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d9b9e4bcf8f86ad6fb04e21b6eb7b452" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103471175,"asset_id":103472471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103471175/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="103472471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="103472471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 103472471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=103472471]").text(description); $(".js-view-count[data-work-id=103472471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 103472471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='103472471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 103472471, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d9b9e4bcf8f86ad6fb04e21b6eb7b452" } } $('.js-work-strip[data-work-id=103472471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":103472471,"title":"Figure di figure. 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Chi ha paura della somiglianza?" class="work-thumbnail" src="https://attachments.academia-assets.com/103470686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/103471749/Di_Monte_Paul_Pedone_Mimetofobia_Chi_ha_paura_della_somiglianza">Di Monte, Paul, Pedone, Mimetofobia. Chi ha paura della somiglianza?</a></div><div class="wp-workCard_item"><span>Elephant & Castle. Laboratorio dell’immaginario - MIMETOFOBIA, edited by Michele Di Monte, Benjamin Paul, Silvia Pedone </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mimesis, even only in the context of artistic production and thought, has long been branded as so...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Mimesis, even only in the context of artistic production and thought, has long been branded as something bearing "the suspicious burden of what did not make the grade, the regressive", in Adorno's words, if not actually a "dangerous moment" for creative freedom, as Arnheim feared. However, whether one likes it or not, the problem is now reappearing, if only due to the pervasive diffusion of technologies for the production and reproduction of so-called virtual reality. After so much speculation on the theme of fear of the Other and of Otherness, perhaps the time has come to reflect better and more clearly on the "other half" of the problem, on the fear of what is similar and of resemblance.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="625a8de13cbf1a98524cef7734985bba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":103470686,"asset_id":103471749,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/103470686/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="103471749"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="103471749"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 103471749; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=103471749]").text(description); $(".js-view-count[data-work-id=103471749]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 103471749; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='103471749']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 103471749, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "625a8de13cbf1a98524cef7734985bba" } } $('.js-work-strip[data-work-id=103471749]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":103471749,"title":"Di Monte, Paul, Pedone, Mimetofobia. 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Comprensione storica, giudizio estetico e crisi del canone" class="work-thumbnail" src="https://attachments.academia-assets.com/86643452/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/80173127/Quanto_%C3%A8_bello_Raffaello_Comprensione_storica_giudizio_estetico_e_crisi_del_canone">Quanto è bello Raffaello? Comprensione storica, giudizio estetico e crisi del canone</a></div><div class="wp-workCard_item"><span>Raffaello. Mito e percezione, eds. D. Benati, S. Cavicchioli, S. Costa, M. Faietti</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How beautiful is Raphael? Historical understanding, aesthetic judgment and crisis of the canon A...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How beautiful is Raphael? Historical understanding, aesthetic judgment and crisis of the canon<br /><br />According to common wisdom Raphael is a pillar of the canon of art history. But it is also common opinion that the canon is now an obsolete concept and, as Christopher Wood recently reminded us, “relativism, or the recognition of not just one but many different concepts of art, is the basis of the modern discipline of art history”. This means that today Raphael’s works may not even be art in our sense of the concept. If so, so much the worse for Art. But what about beauty or aesthetic quality and merit? If these too were historically relative, what would we really experience in our aesthetic experience of Raphael’s works? Should we accept the idea that the importance and art-historical value of Raphaelesque works are independent of an actual experience of their artistic merits? And how much could these merits be historically different without ceasing to be such?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d8161e47444a3a5c7344c7905e74a10c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":86643452,"asset_id":80173127,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/86643452/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="80173127"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="80173127"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 80173127; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=80173127]").text(description); $(".js-view-count[data-work-id=80173127]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 80173127; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='80173127']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 80173127, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d8161e47444a3a5c7344c7905e74a10c" } } $('.js-work-strip[data-work-id=80173127]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":80173127,"title":"Quanto è bello Raffaello? 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Di Monte, Roma</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. More often it’s necessary, and sometimes it’s profitable, to give our interlocutors the opportunity of exercising their “wonderful sagacity” in “filling up these vacant spaces” with their own conjectures, as Henry Fielding warned in "Tom Jones", thinking about “the good and advantage of the reader”. The essays of the present exhibition catalogue are devoted to that “wonderful sagacity”, for it seems we have to admit that many readers do not even know they possess that particular skill, even though they exercise it spontaneously, and many beholders (above all) do not even exercise it – or at least less than they could do – precisely because they do not know they possess it.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1d3a48bae03e177ff6fbef88be0930df" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":81399512,"asset_id":72493873,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/81399512/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="72493873"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="72493873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 72493873; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=72493873]").text(description); $(".js-view-count[data-work-id=72493873]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 72493873; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='72493873']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 72493873, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1d3a48bae03e177ff6fbef88be0930df" } } $('.js-work-strip[data-work-id=72493873]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":72493873,"title":"Le ragioni dello spettatore","translated_title":"","metadata":{"abstract":"In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. 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Contemporaneità a distanza" class="work-thumbnail" src="https://attachments.academia-assets.com/68300015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50239897/Lopera_nel_tempo_grande_Contemporaneit%C3%A0_a_distanza">L'opera nel tempo grande. Contemporaneità a distanza</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. 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Contemporaneità a distanza","translated_title":"","metadata":{"abstract":"Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. How to overcome it?","publication_date":{"day":null,"month":null,"year":2021,"errors":{}}},"translated_abstract":"Appreciation and aesthetic experience of the art of the past seem to us a commonplace and even a cultural duty. Perhaps many would generally agree with Théophile Gautier that, while “Tout passe, l’art robuste seul a l’éternité”. But how many would also be willing to claim that what we today consider as “art” is actually the same thing that the builders of the Gothic cathedrals or the authors of the Elizabethan Age had in mind? If it is true, as Bakhtin wrote, that “works break the frontiers of their time and live over the centuries, that is, in the great time”, then our relationship with the history of art constantly risks anachronism. Indeed, the fear of anachronism is the tacit contradiction underlying the practice of art history. 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Memoria, monumenti e paradossi" class="work-thumbnail" src="https://attachments.academia-assets.com/67475061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49080324/Lombelico_di_Adamo_e_i_relitti_di_Teseo_Memoria_monumenti_e_paradossi">L'ombelico di Adamo e i relitti di Teseo. Memoria, monumenti e paradossi</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expect to find absolutely authentic objects and relics. But what about those faithfully reconstructed items that “replace” original objects otherwise no longer available? More generally, is it legitimate to document or remember a real event through a document that is not perfectly original? Then, What is the status of authenticity of memory, in its relationship between what makes us remember and what is remembered? On the one hand, the reality of the past seems indisputable, and even strongly anti-realist philosophers find it “repugnant” to reject it, on the other hand, memory needs representations and reconstructions. Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».<br /><br />Nei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?<br />Qual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? Da una parte, la realtà del passato sembra intoccabile, e persino filosofi fortemente antirealisti trovano “ripugnante” contestarlo, d’altra parte, la memoria ha bisogno di rappresentazioni e ricostruzioni: dunque, per riprendere una domanda di Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b9b96a7799ee50f761580cc5ea63c6d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67475061,"asset_id":49080324,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67475061/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49080324"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49080324"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49080324; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49080324]").text(description); $(".js-view-count[data-work-id=49080324]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49080324; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49080324']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 49080324, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b9b96a7799ee50f761580cc5ea63c6d7" } } $('.js-work-strip[data-work-id=49080324]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49080324,"title":"L'ombelico di Adamo e i relitti di Teseo. 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Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n\nNei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?\nQual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? Da una parte, la realtà del passato sembra intoccabile, e persino filosofi fortemente antirealisti trovano “ripugnante” contestarlo, d’altra parte, la memoria ha bisogno di rappresentazioni e ricostruzioni: dunque, per riprendere una domanda di Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n"},"translated_abstract":"In museums – and especially in memorial museums, such as those devoted to the Holocaust – we expect to find absolutely authentic objects and relics. But what about those faithfully reconstructed items that “replace” original objects otherwise no longer available? More generally, is it legitimate to document or remember a real event through a document that is not perfectly original? Then, What is the status of authenticity of memory, in its relationship between what makes us remember and what is remembered? On the one hand, the reality of the past seems indisputable, and even strongly anti-realist philosophers find it “repugnant” to reject it, on the other hand, memory needs representations and reconstructions. Thus, just to repeat a question raised by Ricoeur, «Comment maintenir la différence de principe entre l’image de l’absent comme irréel et l’image de l’absent comme antérieur?».\n\nNei musei – specialmente i musei della memoria, come quelli dedicati alla Shoah – ci aspettiamo di vedere oggetti e reliquie assolutamente autentici. Ma che pensare di quegli oggetti fedelmente ricostruiti che “sostituiscono” originali altrimenti non più disponibili? E più in generale, è lecito documentare o ricordare un evento reale attraverso un documento non perfettamente originale?\nQual è, allora, lo statuto di autenticità della memoria, nei suoi rapporti tra ciò che fa ricordare e ciò che è ricordato? 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Breve guida alla lettura delle letture letterarie di Palazzo Barberini","translated_title":"","metadata":{"grobid_abstract":"Che la mira dei Barberini, di papa Urbano, dei suoi nipoti e i loro parenti e accoliti, fosse quella di fare impressione, quando ebbero per le mani lo scettro del potere, non c'è dubbio. Il loro stesso palazzo era d'altronde concepito come una sorta di teatro delle meraviglie, di \"scena\", non solo artistica, ma anche politica, sociale, rituale ecc. Quello che i Barberini non sapevano, e non potevano sapere, è quanto quell'impressione sarebbe stata duratura e quale inflessione, non sempre proprio positiva, avrebbe finito per assumere. Di questa evenienza, in ogni caso, c'è da presumere, non si sarebbero troppo curati, giacché probabilmente, oltre ai vari motti di cui si fregiarono, avrebbero anche potuto ripetere, parafrasando Caligola: Oderint dum mirent, \"Che ci odino, purché ci ammirino\". E, in effetti, proprio questi due opposti sentimenti trovarono ampio spazio ed ebbero largo corso, forse mai così nettamente percepibili e così intimamente congiunti come nel XIX secolo, e men che mai così plasticamente descritti come nella letteratura dell'epoca. Un'epoca in cui l'immaginazione romantica, le istanze nazionalistiche, un crescente anticlericalismo, il fascino del Grand Tour, il culto delle rovine, l'attrazione per le glorie fatiscenti di un antico splendore e tanto altro finirono per fare della Roma rinascimentale e barocca -o, meglio, delle sue memorie -la perfetta immagine di questo complesso coacervo di fantasie, soprattutto letterarie e poetiche, e soprattutto, si capisce, nutrite da letterati e poeti stranieri, oggi più o meno illustri. E tanto per cominciare con gli stranieri illustri, quando il poeta inglese John Milton visitò Roma, nel 1638, venne accolto, ancorché giovane, con grandi onori, e anche il Cardinal Nepote Francesco Barberini lo invitò a palazzo, dove Milton poté ascoltare, tra gli altri, la virtuosa cantante, all'epoca assai celebre, Leonora Baroni, alla quale egli dedicò poi tre galanti epigrammi latini 1 . Di più stretti rapporti personali tra * Il testo che segue, qui corredato da un minimo di apparati, è stato approntato come guida per una rubrica apparsa sui canali social delle Gallerie Nazionali di Arte Antica durante i mesi di marzo e aprile 2020. 1 Pubblicati nei Poemata del 1645. Vedi J. Milton, Complete Poems and Major Prose, a c. di M. Y. 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Contesti, significati, conservazione, a c. di F. Coltrinari, E. M. Dal Pozzolo</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What should beholders do to fully grasp what a painting wants them to see? Just taking a look is ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. From this point of view, Lorenzo Lotto's paintings are a particularly interesting case, because they ask - even if they don’t demand - the viewer to fill blanks, to take the hints, to distinguish between intentional omissions and structural incompleteness, to take advantage of ellipses and ambiguities. Beholding a painting by Lotto means being willing to become his complicit.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3ad23bbb0fcdb40fb10a38b2ded69429" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63064793,"asset_id":42831571,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63064793/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42831571"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42831571"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42831571; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42831571]").text(description); $(".js-view-count[data-work-id=42831571]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42831571; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42831571']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42831571, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3ad23bbb0fcdb40fb10a38b2ded69429" } } $('.js-work-strip[data-work-id=42831571]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42831571,"title":"La \"phantastica\" complicità di Lorenzo Lotto","translated_title":"","metadata":{"abstract":"What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. From this point of view, Lorenzo Lotto's paintings are a particularly interesting case, because they ask - even if they don’t demand - the viewer to fill blanks, to take the hints, to distinguish between intentional omissions and structural incompleteness, to take advantage of ellipses and ambiguities. Beholding a painting by Lotto means being willing to become his complicit.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Lorenzo Lotto. Contesti, significati, conservazione, a c. di F. Coltrinari, E. M. Dal Pozzolo"},"translated_abstract":"What should beholders do to fully grasp what a painting wants them to see? Just taking a look is often not enough. It also takes imagination or, in classical terms, Phantasia. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41040425"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41040425/Iconographies_of_Power_The_Barberini_as_Collectors"><img alt="Research paper thumbnail of Iconographies of Power. The Barberini as Collectors" class="work-thumbnail" src="https://attachments.academia-assets.com/61315893/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41040425/Iconographies_of_Power_The_Barberini_as_Collectors">Iconographies of Power. The Barberini as Collectors</a></div><div class="wp-workCard_item"><span>Baroque Pathways. The National Galleries Barberini Corsini in Rome, Exhibition Catalogue, eds. O. Westheider and M. Philipp</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 17th century, the “century of information” and of the emergence of a new global public sph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 17th century, the “century of information” and of the emergence of a new global public sphere, the Barberini were keenly aware that in order to display the high status of their family they need not only the acquisition and multiplication of material and financial wealth, but also an increase in their “cultural capital” – according to Bourdieu’s famous definition – which could be converted into social and symbolic capital. But collecting artworks would not be enough. It was also necessary to collect a wider range of objects in keeping with the new concerns of the emerging sciences. These objects were not only of a purely material nature, as they included also abstract instances such as information and those curiosities and wonders that we would dismiss today as marginal phenomena from the perspective of traditional art collecting. 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I Barberini collezionisti di cultura" class="work-thumbnail" src="https://attachments.academia-assets.com/61315686/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41040218/Figure_del_potere_I_Barberini_collezionisti_di_cultura">Figure del potere. I Barberini collezionisti di cultura</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the 17th century, the “century of information” and of the emergence of a new global public sph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the 17th century, the “century of information” and of the emergence of a new global public sphere, the Barberini were keenly aware that in order to display the high status of their family they need not only the acquisition and multiplication of material and financial wealth, but also an increase in their “cultural capital” – according to Bourdieu’s famous definition – which could be converted into social and symbolic capital. But collecting artworks would not be enough. It was also necessary to collect a wider range of objects in keeping with the new concerns of the emerging sciences. These objects were not only of a purely material nature, as they included also abstract instances such as information and those curiosities and wonders that we would dismiss today as marginal phenomena from the perspective of traditional art collecting. 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Percezione, cognizione e storia nella visione di Winckelmann" class="work-thumbnail" src="https://attachments.academia-assets.com/58574209/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38506652/Prendi_i_miei_occhi_Percezione_cognizione_e_storia_nella_visione_di_Winckelmann">Prendi i miei occhi. Percezione, cognizione e storia nella visione di Winckelmann</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">According to the conventional wisdom, Winckelmann is considered not only the founder of Art Histo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">According to the conventional wisdom, Winckelmann is considered not only the founder of Art History as an autonomous discipline, but also the advocate of a connoisseurship grounded in the sensitivity and exercise of the eye, aimed at distinguishing and recognizing the authenticity and absolute beauty of ancient art. 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However, in the ordinary use of modern language, the concept acquired a far more limited, though implicit, extension, so that when we speak of a monument, we usually mean a work of sculpture or architecture, of imposing size and appearance, placed in a public space, intentionally endowed with a declared commemorative or votive character.","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"International Lexicon of Aesthetics","grobid_abstract_attachment_id":58496951},"translated_abstract":null,"internal_url":"https://www.academia.edu/38435832/Monument_International_Lexicon_of_Aesthetics_","translated_internal_url":"","created_at":"2019-02-25T10:00:47.191-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":58496951,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58496951/thumbnails/1.jpg","file_name":"Monument.pdf","download_url":"https://www.academia.edu/attachments/58496951/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Monument_International_Lexicon_of_Aesthe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58496951/Monument-libre.pdf?1551123576=\u0026response-content-disposition=attachment%3B+filename%3DMonument_International_Lexicon_of_Aesthe.pdf\u0026Expires=1732431776\u0026Signature=c6XhFVZRLgLEc-OR26uX-3Gd2fpI6dv5FxmSU3UsuuAQN-Nek01uD3PiYEPvYu8W4IL602L1RdntSgrnFcFDB~ApoudeC6P81rlsThK0iUdRG5flhk0A-jwDQ8s31Emif0WJy8mLyGfQgavchY77WO6KSfNdvwe~n-cV2AykbALJvWHZfIYMsNFaY18AJsccmQ29lTZzSFsgGKLch-xFog3R5-VYjGf~U5zogzOo5WrlJWVj96ZtNgRy9AtR1uLp25SXZozayW05mGO4YxwARJJ2O57L6LKUWy-cKM58seuLolBp0Hbg4tDsVF~Idtn3-gR9JXwL5R~dtHT2xCWNDg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Monument_International_Lexicon_of_Aesthetics_","translated_slug":"","page_count":5,"language":"en","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":58496951,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58496951/thumbnails/1.jpg","file_name":"Monument.pdf","download_url":"https://www.academia.edu/attachments/58496951/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Monument_International_Lexicon_of_Aesthe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58496951/Monument-libre.pdf?1551123576=\u0026response-content-disposition=attachment%3B+filename%3DMonument_International_Lexicon_of_Aesthe.pdf\u0026Expires=1732431776\u0026Signature=c6XhFVZRLgLEc-OR26uX-3Gd2fpI6dv5FxmSU3UsuuAQN-Nek01uD3PiYEPvYu8W4IL602L1RdntSgrnFcFDB~ApoudeC6P81rlsThK0iUdRG5flhk0A-jwDQ8s31Emif0WJy8mLyGfQgavchY77WO6KSfNdvwe~n-cV2AykbALJvWHZfIYMsNFaY18AJsccmQ29lTZzSFsgGKLch-xFog3R5-VYjGf~U5zogzOo5WrlJWVj96ZtNgRy9AtR1uLp25SXZozayW05mGO4YxwARJJ2O57L6LKUWy-cKM58seuLolBp0Hbg4tDsVF~Idtn3-gR9JXwL5R~dtHT2xCWNDg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture"},{"id":3987,"name":"History and Memory","url":"https://www.academia.edu/Documents/in/History_and_Memory"},{"id":11483,"name":"Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory"},{"id":81200,"name":"Alois Riegl","url":"https://www.academia.edu/Documents/in/Alois_Riegl"},{"id":106094,"name":"Monumentality","url":"https://www.academia.edu/Documents/in/Monumentality"},{"id":148028,"name":"Monuments","url":"https://www.academia.edu/Documents/in/Monuments"},{"id":625541,"name":"Places of memory (les lieux de mémoire)","url":"https://www.academia.edu/Documents/in/Places_of_memory_les_lieux_de_memoire_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38384225"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38384225/Tiziano_e_il_corpo_a_corpo_della_pittura_Studi_tizianeschi_2017_2019"><img alt="Research paper thumbnail of Tiziano e il corpo a corpo della pittura. Studi tizianeschi 2017-2019" class="work-thumbnail" src="https://attachments.academia-assets.com/67380487/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38384225/Tiziano_e_il_corpo_a_corpo_della_pittura_Studi_tizianeschi_2017_2019">Tiziano e il corpo a corpo della pittura. 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Basso \"Il dominio dell'arte\"","translated_title":"","metadata":{"journal_name":"VeneziaCinquecento.it","grobid_abstract":"Recensione di: Pierluigi Basso, Il dominio delle arti. Teorie estetiche e semiotica Roma, Meltemi Editore, 2002 (\"Segnature\"), pp. 480, € 25,00 Il lettore che si accinga a varcare la \"soglia\" (nel senso dato da Genette) del libro di Pierluigi Basso potrebbe provare una certa titubanza, se non soggezione, come ci si può aspettare di fronte a un volume di 480 pagine e un indice piuttosto articolato. Ma una volta avviata la lettura problemi non ce ne sono, dacché l'autore è riuscito pienamente ad integrare due obiettivi non facili, e forse oggi persino fuori moda: trattare estesamente, e spesso dettagliatamente, una vastissima panoramica di autori e contributi importanti per il dibattito contemporaneo intorno ai rapporti tra estetica, epistemologia e semiotica, senza rinunciare d'altra parte ad uno sviluppo e concatenazione dei problemi il più possibile sistematico. Semmai il difficile viene per il recensore, dato che l'ampia ricognizione muove dai problemi della definizione dell'opera d'arte, delle determinazioni funzionali, dei regimi di esistenza, all'analisi dei modi dell'esperienza estetica, della questione del giudizio valutativo, fino al ruolo svolto dall'immaginazione e dal godimento estetico. Come si vede, ce n'è abbastanza per ogni tipo di curiosità, e altrettanto variegata è la possibilità di soddisfare preferenze in tema di autori e correnti. Va anzi riconosciuto alla fatica di Basso di aver prestato circostanziata attenzione non solo alle ricerche di personaggi molto conosciuti, come Goodman, Eco, Genette, Barthes, Jauss, ma anche ai lavori di studiosi importanti ma poco o pochissimo noti in Italia, quali Wollheim, Walton, Levinson, Currie, Pouivet, per non citarne che alcuni limitandoci ai contemporanei, coi quali il dialogo dell'autore è più fitto. 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Review of the exhibition \"Sebastiano del Piombo 1485-1547\"","translated_title":"","metadata":{"journal_name":"Predella, VI, 23","grobid_abstract":"Sembrano ormai lontanissimi i tempi in cui Quatremère de Quincy lamentava nelle sue Considérations morales sur la destination des ouvrages de l'art l'assassinio dell'arte perpetrato nei musei in nome della storia. Eppure non si direbbe che il misfatto, poi più volte denunciato, si sia mai veramente consumato, se ancora oggi -anzi oggi forse più che mai -arte e storia, in un rapporto malcerto e difficile quanto si vuole, costituiscono le categorie determinanti nella definizione di ruoli, funzioni e compiti delle istituzioni museali, almeno di quelle che si usa distinguere appunto come \"musei d'arte\". D'altronde, cos'altro dovrebbero aspettarsi i visitatori di una mostra se non di poter apprezzare da vicino dei capolavori altrimenti difficilmente accessibili, cercare di imparare e, se possibile, di capirci qualcosa, oltreché, diciamolo pure, di condividere un rito di partecipazione socio-culturale identitario e mimetico (visto che cominciano a essere lontani anche i tempi della demistificazione ideologica e che, come sappiamo fin troppo bene, una pratica smascherata non cessa per questo di esistere)? Potrà sembrare eccessivamente riduttivo, ma quando un museo riesce a garantire ai suoi utenti queste condizioni essenziali non c'è poi molto di che lamentarsi -indipendentemente, si intende, dall'ossessione dei numeri e dei fatturati, che dipendono da fattori assai più aleatori e che raramente sono indici affidabili in sede di giudizi valutativi.","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"grobid_abstract_attachment_id":42828858},"translated_abstract":null,"internal_url":"https://www.academia.edu/22167034/Il_valore_del_Piombo_Review_of_the_exhibition_Sebastiano_del_Piombo_1485_1547_","translated_internal_url":"","created_at":"2016-02-19T01:09:59.407-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"book_review","co_author_tags":[],"downloadable_attachments":[{"id":42828858,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/42828858/thumbnails/1.jpg","file_name":"Il_valore_del_Piombo._Review_of_Sebastiano_del_Piombo_1485-1547.pdf","download_url":"https://www.academia.edu/attachments/42828858/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Il_valore_del_Piombo_Review_of_the_exhib.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/42828858/Il_valore_del_Piombo._Review_of_Sebastiano_del_Piombo_1485-1547-libre.pdf?1455872926=\u0026response-content-disposition=attachment%3B+filename%3DIl_valore_del_Piombo_Review_of_the_exhib.pdf\u0026Expires=1732390421\u0026Signature=IJiKOqToH0Oa~TdICq6F7Ovytx-MO61pbxWdpd6wI-te48E5XlMBThI9GF7il4Ug6Idyl~wciQkP9w37bM8wdiGoBFgjCE1AwPj5nzv-BrDdrf~ipeD0kNhLm96VZmHafJPkAnR9eB-KhRUAAa89yQID0njumWlX5yft30uLXfUk39HtcJYPXyTdgpSqzsOXmCItwoUHqV6kdE2kJfAvco5GzXR~fVxrqF14kknzbCkxvgK~d319k5FFViKKJGVg488aM4r4L6GElErY4rcTcD1~kXq1F81zr0nfbfytxEVOPIjnyQsnw6pkiDcBuJtM2krQBSwRijzwYjr9JHAJCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Il_valore_del_Piombo_Review_of_the_exhibition_Sebastiano_del_Piombo_1485_1547_","translated_slug":"","page_count":3,"language":"it","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":42828858,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/42828858/thumbnails/1.jpg","file_name":"Il_valore_del_Piombo._Review_of_Sebastiano_del_Piombo_1485-1547.pdf","download_url":"https://www.academia.edu/attachments/42828858/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Il_valore_del_Piombo_Review_of_the_exhib.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/42828858/Il_valore_del_Piombo._Review_of_Sebastiano_del_Piombo_1485-1547-libre.pdf?1455872926=\u0026response-content-disposition=attachment%3B+filename%3DIl_valore_del_Piombo_Review_of_the_exhib.pdf\u0026Expires=1732390421\u0026Signature=IJiKOqToH0Oa~TdICq6F7Ovytx-MO61pbxWdpd6wI-te48E5XlMBThI9GF7il4Ug6Idyl~wciQkP9w37bM8wdiGoBFgjCE1AwPj5nzv-BrDdrf~ipeD0kNhLm96VZmHafJPkAnR9eB-KhRUAAa89yQID0njumWlX5yft30uLXfUk39HtcJYPXyTdgpSqzsOXmCItwoUHqV6kdE2kJfAvco5GzXR~fVxrqF14kknzbCkxvgK~d319k5FFViKKJGVg488aM4r4L6GElErY4rcTcD1~kXq1F81zr0nfbfytxEVOPIjnyQsnw6pkiDcBuJtM2krQBSwRijzwYjr9JHAJCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art"},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design"},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art"},{"id":22804,"name":"16th Century Italian Art","url":"https://www.academia.edu/Documents/in/16th_Century_Italian_Art"},{"id":144666,"name":"Sebastiano del Piombo","url":"https://www.academia.edu/Documents/in/Sebastiano_del_Piombo"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10202677"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10202677/I_profili_del_Greco_Review_of_the_exhibition_Arte_y_Oficio_Toledo_Museo_de_Santa_Cruz"><img alt="Research paper thumbnail of I profili del Greco. 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Review of T. Puttfarken, \"Titian and Tragic Painting\"","translated_title":"","metadata":{"grobid_abstract":"In materia di poesia, chi è ingannato è più saggio di colui che non si lascia ingannare. Così almeno credeva Gorgia, con quel gusto raffinato dell'apparente paradosso che i sofisti coltivavano per mestiere. Sennonché qui, più che di gusto del paradosso, sarebbe il caso di parlare propriamente di paradosso del gusto, e forse neppure solo apparente, giacché quel che il filosofo aveva in mente era appunto quell'esperienza particolare, assai più facile da sperimentare che da spiegare, per cui spesso ci compiacciamo di lasciarci catturare da ciò che ci turba, ci spaventa o ci commuove, magari fino alle lacrime, pur sapendo bene che proprio ciò che ci procura tali sentimenti non è che mera finzione, anzi, meglio, \"vera finzione\", per restare in tema di ossimori. Perché ci piace ciò che ci addolora e come può addolorarci se non si tratta di qualcosa di reale? E se è così, quanto sono reali allora i sentimenti di piacere e dolore che proviamo, o crediamo di provare? Non per niente ancora oggi tali questioni sono rubricate e (ampiamente) discusse sotto il nome di \"paradosso della tragedia\". Per quanto possano apparire elusive, è dalle risposte a queste domande che dipende la possibilità di definire e mettere a fuoco l'identità, lo statuto e la natura di quella che chiamiamo \"emozione tragica\", quell'emozione che ci dice insomma quando ci troviamo di fronte a una tragedia che \"funziona\"o almeno quando noi \"funzioniamo\" bene di fronte a un'autentica opera tragica.","grobid_abstract_attachment_id":34577554},"translated_abstract":null,"internal_url":"https://www.academia.edu/8135819/Tiziano_e_la_tragedia_della_pittura_Review_of_T_Puttfarken_Titian_and_Tragic_Painting_","translated_internal_url":"","created_at":"2014-08-30T06:54:14.611-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"book_review","co_author_tags":[],"downloadable_attachments":[{"id":34577554,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/34577554/thumbnails/1.jpg","file_name":"Tiziano_e_la_tragedia_della_pittura.pdf","download_url":"https://www.academia.edu/attachments/34577554/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Tiziano_e_la_tragedia_della_pittura_Revi.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34577554/Tiziano_e_la_tragedia_della_pittura-libre.pdf?1409406717=\u0026response-content-disposition=attachment%3B+filename%3DTiziano_e_la_tragedia_della_pittura_Revi.pdf\u0026Expires=1732390421\u0026Signature=Nki6mH4VX6vRebeHLBJ65C0o7NVTkv~BXp5A0pfuuxRpINjhwOWDSY8K2CXQX46PZU01xkPiuRxfs3UMuFBGJVzUdNzlK40JjJs0CByykT6YU3XQtb3z6sEVDDEAv0o58VY6QrXSZsIpTInpb3FQoqGkC6SO049TRhmqid9Jqa6~CyEp9Fb97v029X47j-b-vFy9ZrSEC3tfSOVwqxjWuadO2M1yqQepB6~GSE86TNaaI7YOKGb8GhhRyTDmItX0Q-3lZL9A28g85Tb0tc-BL~Zis-mFMQvqEC3jFjlrkrm2do79cuU3TMvW2dqcIORtwZ6tVvdciafPlAhLhteudw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Tiziano_e_la_tragedia_della_pittura_Review_of_T_Puttfarken_Titian_and_Tragic_Painting_","translated_slug":"","page_count":5,"language":"it","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":34577554,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/34577554/thumbnails/1.jpg","file_name":"Tiziano_e_la_tragedia_della_pittura.pdf","download_url":"https://www.academia.edu/attachments/34577554/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Tiziano_e_la_tragedia_della_pittura_Revi.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34577554/Tiziano_e_la_tragedia_della_pittura-libre.pdf?1409406717=\u0026response-content-disposition=attachment%3B+filename%3DTiziano_e_la_tragedia_della_pittura_Revi.pdf\u0026Expires=1732390421\u0026Signature=Nki6mH4VX6vRebeHLBJ65C0o7NVTkv~BXp5A0pfuuxRpINjhwOWDSY8K2CXQX46PZU01xkPiuRxfs3UMuFBGJVzUdNzlK40JjJs0CByykT6YU3XQtb3z6sEVDDEAv0o58VY6QrXSZsIpTInpb3FQoqGkC6SO049TRhmqid9Jqa6~CyEp9Fb97v029X47j-b-vFy9ZrSEC3tfSOVwqxjWuadO2M1yqQepB6~GSE86TNaaI7YOKGb8GhhRyTDmItX0Q-3lZL9A28g85Tb0tc-BL~Zis-mFMQvqEC3jFjlrkrm2do79cuU3TMvW2dqcIORtwZ6tVvdciafPlAhLhteudw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":12132,"name":"Venetian art and architectural history","url":"https://www.academia.edu/Documents/in/Venetian_art_and_architectural_history"},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art"},{"id":46641,"name":"Titian","url":"https://www.academia.edu/Documents/in/Titian"},{"id":96218,"name":"Venetian Renaissance art","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_art"},{"id":147016,"name":"Venetian Renaissance Painting","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_Painting"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7641042"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7641042/La_notte_della_pittura_Review_of_J_Elkins_La_pittura_cos%C3%A8_Un_linguaggio_alchemico_"><img alt="Research paper thumbnail of La notte della pittura. 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P. Cometti, J. Morizot, R. Pouivet, \"Le sfide dell'estetica\".","translated_title":"","metadata":{"more_info":"Recensione di J. P. Cometti, J. Morizot, R. Pouivet, Le sfide dell’estetica, Torino 2002","grobid_abstract":"Si sa, ed è ovvio, che per riuscire comici non si deve aver letto Il riso di Bergson e neppure Il motto di spirito di Freud (che per altro, a suo modo, può rivelarsi lettura amena), così come è altrettanto noto, almeno dai tempi di Moliere, che si può persino fare della prosa senza saperlo. Analogamentevenendo a noinon è detto che per essere buoni storici dell'arte ci si debba per forza trovare un maestro di filosofia (dell'arte), o sedicente tale, come quello di monsieur Jourdain, e si può benissimo lavorare con strumenti empiricamente collaudati senza tante preoccupazioni metacritiche. Sennonché, visto che fare della filosofia inconsciao incosciente -sembra anche più facile che fare storia dell'arte senza saperlo, qualche chiarimento più esplicito sarebbe raccomandabile anche a coloro che non amano le contaminazioni e ci tengono a delimitare i confini del proprio giardino accademico. Insomma se uno proprio non vuol fare poesia (o filosofia), bisogna pure che sappia di che si tratta. In questo senso la lettura del recente libro di Cometti, Morizot e Pouivet può rappresentare un'occasione interessante, o provocatoriasecondo i casiper chiarirsi, o complicarsi, le idee. In primo luogo perché Le sfide dell'estetica prospetta una serie di riflessioni di carattere generale, ricognitivo e introduttivo che non sposano in linea di principio alcuna dottrina specifica nell'ambito della letteratura canonica in tema di filosofia moderna dell'arte, da Kant a Gadamer, secondo preferenze. L'assunto qui è che \"l'estetica filosofica si definisce in base ai problemi che pone\" (p. 6), e sui problemi si sono concentrati principalmente gli autorigiusta il titolo originale che suona semplicemente Questions d'esthétiqueproblemi che sono però altrettante sfide che si pongono e si incontrano nel diretto \"commercio\" con le opere, nel senso più ampio, dai criteri di riconoscimento, alle logiche museali, alle ideologie di mercato. Scelta deliberata e dichiarata, che è coerente con due ulteriori opzioni che mi paiono persino più decisive nel rendere il testo degno di nota, anche in particolare in questa sede. Da una parte il rifiuto di ripresentare una (ennesima) ricapitolazione genetico-evolutiva della storia dell'estetica; un rifiuto che viene ribadito in termini molto chiari, e per ragioni espressamente teorico-metodologiche: \"In filosofia dell'arte, come probabilmente altrove, fare la genealogia di una concezione, erronea o meno, non la rende corretta\" (p. 87), osservazione che dovrebbe essere pacifica, e invece non lo è, e in Italia lo è forse meno che altrove. L'altra scelta metodologicamente rilevante, e a questo punto consequenziale, sta nell'aver privilegiato un approccio di tipo analitico, propriamente nell'accezione che il termine ha ormai assuntosia pure oggi per certi versi indebitamentein quanto distintivo di uno stile di indagine filosofica diverso e talvolta opposto a quello \"continentale\". Non per caso gli studiosi con cui gli autori si confrontano e di cui discutono le tesi sono in larga misura angloamericani e comunque riconducibili all'ambito di interessi tipico dell'estetica analitica. E anche questa mi pare una circostanza degna d'attenzione, sia perché, nonostante il crescente favore incontrato anche in Italia negli ultimi anni dalla filosofia analitica, il settore estetico è rimasto relativamente trascurato e autori come Wollheim, Carrol, Levinson, Currie, Waltonper non citarne che alcunisono poco o punto conosciuti; sia perché gli stessi storici dell'arte \"d'avanguardia\" (magari americani), solitamente propensi alle \"aperture\" filosofiche, sembrano piuttosto trascurare la letteratura di questo indirizzo. 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Le tre Maddalene 1634 Olio su tela, cm 68 x 50,5 Roma, Galleria Nazionale d'Arte Antica di Palazzo Barberini inv. n. 1725 La tela, proveniente dalla collezione Chigi, va connessa, come bozzetto definitivo o come versione derivata, con la pala d'altare dello stesso Andrea Sacchi che Urbano VIII inviò nel gennaio del 1634 al convento fiorentino delle carmelitane di S. Maria Maddalena de' Pazzi -proclamata beata dallo stesso papa nel 1626 -e che oggi è conservata agli Uffizi. La destinazione al cenobio fiorentino, dove erano entrate anche due nipoti del pontefice, spiega probabilmente la scelta del soggetto. Al centro e più in alto è seduta la Maddalena evangelica, esempio perfetto di conversione e penitenza; a destra, in abito carmelitano, Maddalena de' Pazzi le consegna il giglio bianco, quale voto di purezza e castità, mentre a sinistra un'altra figura femminile, elegantemente abbigliata, rivolge in alto lo sguardo e si porta la mano al petto. 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Le acquisizioni del Ministero dei Beni e delle Attività Culturali e del Turismo", exhibition cat. ed by M. G. Bernardini, M. 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La prematura scomparsa del padre e le conseguenti difficoltà economiche della famiglia lo costringono a lavorare, sebbene ancora bambino, come apprendista presso la bottega di un fabbro (Ciglia, p. 49). L'impiego però è di breve durata perché, poco tempo dopo, in seguito al nuovo matrimonio della madre, il M. si trasferisce con tutto il resto della famiglia a Chieti. Avviato alle scuole tecniche, il M. dimostra subito una spiccata abilità per le arti grafiche tanto che, nel 1864, appena tredicenne, inoltra una domanda di sussidio -per poter «avere mezzo di istruirmi nel disegno, arte per cui sento un trasporto irresistibile» (Di Tizio, 2007, p. 20) -al Consiglio provinciale di Chieti, che però non l'accoglie. Tuttavia, quattro anni dopo, nel 1868, il M. riesce ad ottenere dalla stessa amministrazione una modesta borsa di studio, di appena 30 lire mensili, che gli permette comunque di trasferirsi finalmente a Napoli (Sillani). Qui, grazie alla mediazione dell'amico Edoardo Dalbono, riesce a iscriversi all'Istituto di belle arti e frequenta le lezioni di Domenico Morelli, il quale apprezza immediatamente le doti coloristiche e disegnative del giovane allievo. La vivacità dell'ambiente artistico e culturale partenopeo non può non influenzare il M., che presto entra in contatto con le personalità di maggior spicco e artisticamente più all'avanguardia. Riesce infatti a conoscere e a visitare spesso lo studio di Filippo Palizzi e soprattutto stringe legami con Giuseppe De Nittis e Marco De Gregorio, vale a dire con alcuni dei componenti del gruppo di artisti che allora formava la cosiddetta Scuola di Resina. Queste frequentazioni non fanno che rafforzare l'innata inclinazione del M. verso una pittura fortemente realistica e naturalistica, anche -e soprattutto, in questa prima fase -nella scelta dei soggetti: per lo più animali, preferiti dall'artista «perché Palizzi li aveva messi di moda in pittura, perché gli facevan pensare alla campagna desiderata e lontana, infine perché come modelli non gli costavan niente» (Ojetti, 1910, p. 405).","grobid_abstract_attachment_id":44305913},"translated_abstract":null,"internal_url":"https://www.academia.edu/23919794/Francesco_Paolo_Michetti_DBI_2010_","translated_internal_url":"","created_at":"2016-04-01T13:13:38.231-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":44305913,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44305913/thumbnails/1.jpg","file_name":"Francesco_Paolo_Michetti_DBI_2010.pdf","download_url":"https://www.academia.edu/attachments/44305913/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Francesco_Paolo_Michetti_DBI_2010.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44305913/Francesco_Paolo_Michetti_DBI_2010-libre.pdf?1459541673=\u0026response-content-disposition=attachment%3B+filename%3DFrancesco_Paolo_Michetti_DBI_2010.pdf\u0026Expires=1732390423\u0026Signature=Pm4xUO8O3KgKUoTRyq2LTvPaT0o~pSPgPUcp9cEr7efE27oEs9~90rYLtZU8eZMSYTogo~aTWN2-eDLRb6wTm17fPiEvEUPS5QI7K8LfCW0NSBpuftB9FWxK5KZzEOjMdFay3GSj3-9nqgaz5ZneVqzrpiLkJMUw7dZdAkagkEs~FiPoiAeoeJSlogAlGDeA8aRJ~qIO0wLSXlAMiB3jFnGhqEzoUvumBfJPNznllfy6LGW7mRtIYegPWPCiWzuk~vcuVmtZE74Schv-ztCYRDroX2s2S8oGobTPSXalgGaXgpssrePB3z4x1QO~6yW4FUgoXAIJvLF2JSTe6Dg6nw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Francesco_Paolo_Michetti_DBI_2010_","translated_slug":"","page_count":6,"language":"it","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":44305913,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44305913/thumbnails/1.jpg","file_name":"Francesco_Paolo_Michetti_DBI_2010.pdf","download_url":"https://www.academia.edu/attachments/44305913/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Francesco_Paolo_Michetti_DBI_2010.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44305913/Francesco_Paolo_Michetti_DBI_2010-libre.pdf?1459541673=\u0026response-content-disposition=attachment%3B+filename%3DFrancesco_Paolo_Michetti_DBI_2010.pdf\u0026Expires=1732390423\u0026Signature=Pm4xUO8O3KgKUoTRyq2LTvPaT0o~pSPgPUcp9cEr7efE27oEs9~90rYLtZU8eZMSYTogo~aTWN2-eDLRb6wTm17fPiEvEUPS5QI7K8LfCW0NSBpuftB9FWxK5KZzEOjMdFay3GSj3-9nqgaz5ZneVqzrpiLkJMUw7dZdAkagkEs~FiPoiAeoeJSlogAlGDeA8aRJ~qIO0wLSXlAMiB3jFnGhqEzoUvumBfJPNznllfy6LGW7mRtIYegPWPCiWzuk~vcuVmtZE74Schv-ztCYRDroX2s2S8oGobTPSXalgGaXgpssrePB3z4x1QO~6yW4FUgoXAIJvLF2JSTe6Dg6nw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":6560,"name":"Italian art","url":"https://www.academia.edu/Documents/in/Italian_art"},{"id":27025,"name":"18th-20th century Modern/Comtemporary Art","url":"https://www.academia.edu/Documents/in/18th-20th_century_Modern_Comtemporary_Art"},{"id":31832,"name":"20th century Italian art","url":"https://www.academia.edu/Documents/in/20th_century_Italian_art"},{"id":32807,"name":"19th century Italian art","url":"https://www.academia.edu/Documents/in/19th_century_Italian_art"},{"id":185881,"name":"19th-Century Art","url":"https://www.academia.edu/Documents/in/19th-Century_Art"},{"id":647574,"name":"Italian Painting","url":"https://www.academia.edu/Documents/in/Italian_Painting"}],"urls":[]}, dispatcherData: dispatcherData }); 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Giovanni il 17 ott. 1582. Il padre, che discendeva dal ramo principale della famiglia ed era entrato a far parte del Consiglio degli anziani nel 1576, preferì avviare il figlio agli studi umanistici e religiosi, piuttosto che alla carriera politica cittadina, assecondando con ciò la più distinta tradizione [p. 331] familiare, illustrata da eminenti prelati, come il cardinale Bartolomeo e il di lui nipote Giovanni, vescovo di Fossombrone. A questi suoi avi il G. avrebbe serbato poi sempre grande devozione, tenendoli come modello di un felice connubio tra talento letterario, dottrina e virtù civile. Egli stesso ricordò più tardi come la sua giovinezza venisse «a simili studi drizzata e retta da sacro prelato» (Rime, Roma 1637, c. 10r). Venne infatti inviato a Roma per acquisire i primi rudimenti letterari, filosofici e teologici presso il seminario romano, dove, secondo il Lucchesini (p. 47), ebbe come guida il gesuita Bernardino Stefonio, allora noto in ambiente romano per i suoi interessi in campo poetico e soprattutto teatrale, e il cui nome ricorre spesso nelle opere del Guidiccioni.","publication_date":{"day":null,"month":null,"year":2003,"errors":{}},"publication_name":"Dizionario Biografico degli Italiani, vol. 61, Roma 2003","grobid_abstract_attachment_id":43514404},"translated_abstract":null,"internal_url":"https://www.academia.edu/23001135/Lelio_Guidiccioni_DBI_2003_","translated_internal_url":"","created_at":"2016-03-08T10:23:01.802-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":11705593,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":43514404,"title":"","file_type":"txt","scribd_thumbnail_url":"https://attachments.academia-assets.com/43514404/thumbnails/1.jpg","file_name":"Lelio_Guidiccioni_DBI_2003.pdf","download_url":"https://www.academia.edu/attachments/43514404/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Lelio_Guidiccioni_DBI_2003.txt","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/43514404/Lelio_Guidiccioni_DBI_2003-libre.pdf?1457464252=\u0026response-content-disposition=attachment%3B+filename%3DLelio_Guidiccioni_DBI_2003.txt\u0026Expires=1732390423\u0026Signature=PQb5aNdv4heTuUT7zzhrrpAs55Y3Xq1P0AIZn4-1Jt3on62tLvFeSWEIVN7NEIaeOYtJk5WGWbALI5Gu1vNHfvUvnvYWKfH7GcHjd-Vv4csjKN1eOKCKWaTRZ9feMYjGDs7YTwA7x9Fbn6NQmGAZMPX45vzwoXrw349Xd3mxtD0bAWS6sRj0sBlhlhEG4cO8pDNU1i0M2451l2JHMXOq1~adrgVkRTT21XB10jKLXoTo-J~536u~uiU~dNmlH4Z0JMMIRQFImZ2dgLKpJO9L5-M4RGyak9MOxpY1hT5HxeRJfc2u6umlY-v4etO7oYTiQf7Oyg9JtjA3Pjsbx8eTMw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Lelio_Guidiccioni_DBI_2003_","translated_slug":"","page_count":4,"language":"it","content_type":"Work","owner":{"id":11705593,"first_name":"Michele","middle_initials":null,"last_name":"Di Monte","page_name":"MicheleDiMonte","domain_name":"beniculturali","created_at":"2014-05-01T19:16:37.749-07:00","display_name":"Michele Di Monte","url":"https://beniculturali.academia.edu/MicheleDiMonte"},"attachments":[{"id":43514404,"title":"","file_type":"txt","scribd_thumbnail_url":"https://attachments.academia-assets.com/43514404/thumbnails/1.jpg","file_name":"Lelio_Guidiccioni_DBI_2003.pdf","download_url":"https://www.academia.edu/attachments/43514404/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Lelio_Guidiccioni_DBI_2003.txt","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/43514404/Lelio_Guidiccioni_DBI_2003-libre.pdf?1457464252=\u0026response-content-disposition=attachment%3B+filename%3DLelio_Guidiccioni_DBI_2003.txt\u0026Expires=1732390423\u0026Signature=PQb5aNdv4heTuUT7zzhrrpAs55Y3Xq1P0AIZn4-1Jt3on62tLvFeSWEIVN7NEIaeOYtJk5WGWbALI5Gu1vNHfvUvnvYWKfH7GcHjd-Vv4csjKN1eOKCKWaTRZ9feMYjGDs7YTwA7x9Fbn6NQmGAZMPX45vzwoXrw349Xd3mxtD0bAWS6sRj0sBlhlhEG4cO8pDNU1i0M2451l2JHMXOq1~adrgVkRTT21XB10jKLXoTo-J~536u~uiU~dNmlH4Z0JMMIRQFImZ2dgLKpJO9L5-M4RGyak9MOxpY1hT5HxeRJfc2u6umlY-v4etO7oYTiQf7Oyg9JtjA3Pjsbx8eTMw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":8121,"name":"Baroque Art and Literature","url":"https://www.academia.edu/Documents/in/Baroque_Art_and_Literature"},{"id":60240,"name":"Gianlorenzo Bernini","url":"https://www.academia.edu/Documents/in/Gianlorenzo_Bernini"},{"id":196029,"name":"Baroque Literature","url":"https://www.academia.edu/Documents/in/Baroque_Literature"},{"id":242625,"name":"Baroque Poetry","url":"https://www.academia.edu/Documents/in/Baroque_Poetry"},{"id":475417,"name":"patronage Baroque Rome","url":"https://www.academia.edu/Documents/in/patronage_Baroque_Rome"},{"id":514793,"name":"Barberini patronage","url":"https://www.academia.edu/Documents/in/Barberini_patronage"}],"urls":[]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="6744572" id="talks"><div class="js-work-strip profile--work_container" data-work-id="32097241"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32097241/_2017_La_formaci%C3%B3n_de_estereotipos_la_representaci%C3%B3n_de_Espa%C3%B1a_e_Italia_en_el_arte_La_creazione_di_stereotipi_la_rappresentazione_della_Spagna_e_dell_Italia_nell_arte"><img alt="Research paper thumbnail of [2017] La formación de estereotipos: la representación de España e Italia en el arte / La creazione di stereotipi: la rappresentazione della Spagna e dell’Italia nell’arte" class="work-thumbnail" src="https://attachments.academia-assets.com/52347443/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32097241/_2017_La_formaci%C3%B3n_de_estereotipos_la_representaci%C3%B3n_de_Espa%C3%B1a_e_Italia_en_el_arte_La_creazione_di_stereotipi_la_rappresentazione_della_Spagna_e_dell_Italia_nell_arte">[2017] La formación de estereotipos: la representación de España e Italia en el arte / La creazione di stereotipi: la rappresentazione della Spagna e dell’Italia nell’arte</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uam.academia.edu/JuanLuisGonzalezGarcia">Juan Luis González García</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://beniculturali.academia.edu/MicheleDiMonte">Michele Di Monte</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La historia de las relaciones hispano-italianas, suele resumirse con términos que han llegado ya ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La historia de las relaciones hispano-italianas, suele resumirse con términos que han llegado ya a ser tópicos. La falta de un apropiado conocimiento histórico, fuera de los exiguos círculos de especialistas, ha dado lugar, como ocurre tantas veces en la historia, a que se elevaran casi a la categoría de realidad incontrovertible distintos estereotipos, resultado tanto de la particular asunción de las relaciones históricas entre ambos como de la proyección de determinados acontecimientos. Estos, una vez procesados, son presentados ante las respectivas opiniones públicas de una forma particular y en ocasiones determinadas, tales representaciones simbólicas obedecen a fines instrumentales actuando como fácil recurso para definir al otro y, al mismo tiempo, encontrar en ello explicación y respuesta a sus comportamientos como pueblo, ya sea en su faceta social, política o económica. El arte, y la pintura en concreto, ha sido históricamente " víctima " habitual de los estereotipos convirtiéndose al mismo tiempo en uno de sus mejores vehículos propagandistas. Por tanto, analizar la imagen recíproca de españoles e italianos, también a través del arte, supone en última instancia un intento de captar el sustrato psicológico, esa concepción de la realidad que subyace en las relaciones entre ambos pueblos y Estados. <br /><br />La storia delle relazioni ispano-italiane, sovente ha assunto caratteristiche intrise di luoghi comuni. La mancanza, al di fuori dei ristretti circoli degli specialisti, di una conoscenza storica apropriata ha portato –come spesso sucede nella storia- al consolidamento di alcuni stereotipi come realtà indiscutibili: luoghi comuni risultato da particolari assunzioni nelle relazioni storiche tra entrambe nazioni e dalla proiezioni di precisi eventi storici. Essi, dopo un processo di elaborazione, vengono presentati dinnanzi alle rispettive opinioni pubbliche nel modo più conveniente assumendo finalità strumentalizzanti, diventando semplici risorse per definire altri popoli e allo stesso tempo per spiegare il loro comportamento come nazione, sia dal punto di vista sociale che politico ed economico.<br />L’arte, e la pittura più precisamente, sono stati storicamente “vittime” abituali degli stereotipi diventando allo stesso tempo uno dei migliori veicoli propagandistici. Analizzare quindi l’immagine reciproca degli spagnoli e degli italiani, anche attraverso le rappresentazioni artistiche, suppone in ultima istanza la volontà di cercare di captare il substrato psicologico, la concezione della realtà che si trova dei rapporti tra questi due popoli e nazioni.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d61259590bc789d6f1e382659ec407e4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52347443,"asset_id":32097241,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52347443/download_file?st=MTczMjQyODIzNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32097241"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32097241"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32097241; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32097241]").text(description); $(".js-view-count[data-work-id=32097241]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32097241; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32097241']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 32097241, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d61259590bc789d6f1e382659ec407e4" } } $('.js-work-strip[data-work-id=32097241]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32097241,"title":"[2017] La formación de estereotipos: la representación de España e Italia en el arte / La creazione di stereotipi: la rappresentazione della Spagna e dell’Italia nell’arte","translated_title":"","metadata":{"abstract":"La historia de las relaciones hispano-italianas, suele resumirse con términos que han llegado ya a ser tópicos. La falta de un apropiado conocimiento histórico, fuera de los exiguos círculos de especialistas, ha dado lugar, como ocurre tantas veces en la historia, a que se elevaran casi a la categoría de realidad incontrovertible distintos estereotipos, resultado tanto de la particular asunción de las relaciones históricas entre ambos como de la proyección de determinados acontecimientos. Estos, una vez procesados, son presentados ante las respectivas opiniones públicas de una forma particular y en ocasiones determinadas, tales representaciones simbólicas obedecen a fines instrumentales actuando como fácil recurso para definir al otro y, al mismo tiempo, encontrar en ello explicación y respuesta a sus comportamientos como pueblo, ya sea en su faceta social, política o económica. El arte, y la pintura en concreto, ha sido históricamente \" víctima \" habitual de los estereotipos convirtiéndose al mismo tiempo en uno de sus mejores vehículos propagandistas. 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Essi, dopo un processo di elaborazione, vengono presentati dinnanzi alle rispettive opinioni pubbliche nel modo più conveniente assumendo finalità strumentalizzanti, diventando semplici risorse per definire altri popoli e allo stesso tempo per spiegare il loro comportamento come nazione, sia dal punto di vista sociale che politico ed economico.\nL’arte, e la pittura più precisamente, sono stati storicamente “vittime” abituali degli stereotipi diventando allo stesso tempo uno dei migliori veicoli propagandistici. 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La falta de un apropiado conocimiento histórico, fuera de los exiguos círculos de especialistas, ha dado lugar, como ocurre tantas veces en la historia, a que se elevaran casi a la categoría de realidad incontrovertible distintos estereotipos, resultado tanto de la particular asunción de las relaciones históricas entre ambos como de la proyección de determinados acontecimientos. Estos, una vez procesados, son presentados ante las respectivas opiniones públicas de una forma particular y en ocasiones determinadas, tales representaciones simbólicas obedecen a fines instrumentales actuando como fácil recurso para definir al otro y, al mismo tiempo, encontrar en ello explicación y respuesta a sus comportamientos como pueblo, ya sea en su faceta social, política o económica. El arte, y la pintura en concreto, ha sido históricamente \" víctima \" habitual de los estereotipos convirtiéndose al mismo tiempo en uno de sus mejores vehículos propagandistas. Por tanto, analizar la imagen recíproca de españoles e italianos, también a través del arte, supone en última instancia un intento de captar el sustrato psicológico, esa concepción de la realidad que subyace en las relaciones entre ambos pueblos y Estados. \n\nLa storia delle relazioni ispano-italiane, sovente ha assunto caratteristiche intrise di luoghi comuni. La mancanza, al di fuori dei ristretti circoli degli specialisti, di una conoscenza storica apropriata ha portato –come spesso sucede nella storia- al consolidamento di alcuni stereotipi come realtà indiscutibili: luoghi comuni risultato da particolari assunzioni nelle relazioni storiche tra entrambe nazioni e dalla proiezioni di precisi eventi storici. Essi, dopo un processo di elaborazione, vengono presentati dinnanzi alle rispettive opinioni pubbliche nel modo più conveniente assumendo finalità strumentalizzanti, diventando semplici risorse per definire altri popoli e allo stesso tempo per spiegare il loro comportamento come nazione, sia dal punto di vista sociale che politico ed economico.\nL’arte, e la pittura più precisamente, sono stati storicamente “vittime” abituali degli stereotipi diventando allo stesso tempo uno dei migliori veicoli propagandistici. Analizzare quindi l’immagine reciproca degli spagnoli e degli italiani, anche attraverso le rappresentazioni artistiche, suppone in ultima istanza la volontà di cercare di captare il substrato psicologico, la concezione della realtà che si trova dei rapporti tra questi due popoli e nazioni.","internal_url":"https://www.academia.edu/32097241/_2017_La_formaci%C3%B3n_de_estereotipos_la_representaci%C3%B3n_de_Espa%C3%B1a_e_Italia_en_el_arte_La_creazione_di_stereotipi_la_rappresentazione_della_Spagna_e_dell_Italia_nell_arte","translated_internal_url":"","created_at":"2017-03-28T08:56:32.945-07:00","preview_url":null,"current_user_can_edit":false,"current_user_is_owner":null,"owner_id":2287285,"coauthors_can_edit":false,"document_type":"talk","co_author_tags":[{"id":28230640,"work_id":32097241,"tagging_user_id":2287285,"tagged_user_id":11705593,"co_author_invite_id":null,"email":"m***e@beniculturali.it","affiliation":"Ministero della cultura","display_order":1,"name":"Michele Di 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</div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="6851338" id="conferencepresentations"><div class="js-work-strip profile--work_container" data-work-id="32484175"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32484175/Programma_LEO_STEINBERG_NOW_conferenza_internazionale_Roma_2017_"><img alt="Research paper thumbnail of Programma: LEO STEINBERG NOW (conferenza internazionale, Roma 2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/52670985/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32484175/Programma_LEO_STEINBERG_NOW_conferenza_internazionale_Roma_2017_">Programma: LEO STEINBERG NOW (conferenza 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