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Vita e Pensiero

Sport e comunicazione. Alla ricerca di un soggetto fra ibridazioni e disseminazioni digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 1. Sport e media
Year: 2006
Over the course of the years, the world of enterprise communication has shown an increase of interest in the sports universe. The existing ties between the world of sports and enterprise have increased: it is nearly impossible to find an event, a contest or an athlete that are not ‘branded’ by some sponsor. The interactions between sports and advertising communication are multiple, both from the point of view of the language (advertising draws metaphors from the sports jargon), and from the point of view of celebrity (thanks to the presence of athletic sponsorship). The author analyzes the communicative manifestations of sports as a subject of enterprise, keeping in mind that it is completely involved in the ‘mediatic jam’. All this to demonstrate that the sports world must recognize several fields of activity, different among themselves, that consider teams and athletes as subjects acting in a thick net of relations and processes of exchange with the other enterprises, the media and the public.
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Epica e narrazione: «Sfide» digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 1. Sport e media
Year: 2006
Sfide (Challenges), a broadcast on Raitre which has been telling for nearly ten years about events and sports celebrities of all times, is an exception in the Italian television panorama. Face to a television that constantly simplifies topics and narrations, this television broadcast tells the stories of men and women athletes with a complex structure. It works on epics, thanks to the rhetorical and on narration through a fascinating game of temporal expansion and compression. Just thanks to rhythms and alternation, Sfide always arouses the attention of the public, which becomes distracted when the narration rhythm becomes monotone telling a good sports story, but keeping it out of the reality.
€ 6.00
Lo sport come forma breve della tv: gli ‘highlights’ digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 1. Sport e media
Year: 2006
The television rework of sports determines deep changes through the application of linguistic dynamics that overlap the traditional instruments of representation. An emblematic case are highlights, that can be defined as the most important and the most meaningful images which can be attributed to a sport event and to its comment. In particular the highlights of soccer games are one of the characterizing elements of many broadcasts about this sports. Television language has changed from the former traditional chronological synthesis of the event, choosing the interpretation, revealing new and unknown reading paths for sports events following the lines indicated by the experience of the American network ESPN.
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COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro digital
format: Digital issue
Year: 2006
Numero due del 2006 della rivista "Comunicazioni Sociali"
Il primo e il secondo rococò: arte e spazio digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
The usual connection of rococò style with the French kingdom was strongly put under debate after the development of this style in Lombardy, Erblände and Bavaria in the very first years of the XVIIIth century, within an already accomplished rocaille civilization, which was a main product of lake artists such as Diego Carloni di Scaria. The civilization that has been sometimes called Barocchetto is in reality a conceptual revolution in comparison with Baroque, even if it maintains almost all its shapes; it is the civilization of the comfortable, of the luxurious, of the miniaturized, of the graceful in opposition to the civilization of the grand. Arcadia and Muratorismo, this period’s two big ideological parameters, are the basis of the idea of art seen as a redemption, as a retrieval of nature; and in the same time of the idea of religion strict in its ethical contents but tolerant in its dialogue with the world. The result are environments which thoroughly modify the baroque space: an abundance of sophisticated but comfortable furniture, and an attempt to recover an unobtrusive dialogue with nature (the ‘romantic’ garden, already present in the XXVIIIth century). The coincidence of the three periods of Rococò with the Wars of Successions is impressive: the Spanish one, concerning the Lombard- middle- European world; the Polish one, under the sign of the French predominance; the Austrian one, characterized by the coming back of the Lombard-middle-European supremacy, a revival of the roman superiority, and the refined strategies of Benedict XIV Lambertini, a great ‘muratoriano’.
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Lo spazio dei giardini nel Settecento come spazio teatrale. L’esempio del Nymphenburg a Monaco di Baviera digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
Nymphenburg castle was born as an Italian style villa, namely a summer residence, after the wish of Princess Adelaide of Savoy, mother of Maximilian II Emanuel, and it was built by Italian Architects (Antonio Barelli, Enrico Zuccalli and Antonio Viscardi). Starting from 1715, when Prince Maximilian II Emanuel came back to Munich from his exile in France, the park next to the castle was enriched with plastic decorations, with the building of three original castles (Pagodenburg, Badenburg, Amalienburg) and with the Magdalenenklause. For this reason the garden architect Dominique Girard, disciple of Le Nôtre was called from Paris. The purpose of this article is to reconstruct the baroque genesis of Nymphenburg gardens and to explain the theatrical elements in line with the complex court ceremonial of Maximilian II Emanuel, the founder and true director of the garden decoration. We will see how the Nymphenburg gardens, expression and concrete realization of the XVII century ‘Bequemlichkeit’, propose a life pattern essentially intended as comfortable living (large spaces and gardens) and as contact with nature mediate by fantasy (architecture and botanic). In order to understand the planning criterions on which is based the creation of the theatrical scenery of Nymphenburg gardens, we will look into the ideology of its inspirer. Prince Maximilian II Emanuel pursued ambitious political objectives, and he needed to publicly show his expectations of power and glory. These expectations were expressed through a hyperactivity in the building of castles and suburban villas such as Schleissheim and Nymphenburg and through the design and preparation of magnificent gardens, in line with the theatrical and representative rococo spirit. One of the greatest landscapists of the XVIIIth century, Venetian Bernardo Bellotto, during his continuous roving among European courts, dedicated a wonderful view to Nymphenburg castle, which shows well the theatrical use of garden space, where natural elements are artfully arranged for the pleasure of our sight and for the comfort (‘Bequemlichkeit’) of the court’s life.
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I nuovi spazi della vita e della ritualità di corte a Varese. I soggiorni di Francesco III d’Este duca di Modena (1765-1780) digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
The feoffment of Varese to Francesco III of Este, duke of Modena (Modena, 1698 - Varese, 1780), in 1765, by the Hapsburg government, was caused by the political and diplomatic instances connected with Empress Mary Theresa of Austria’s aims of imperial hegemony on the Italian peninsula. The feoffment had profound consequences on the redevelopment of the urban plan of the city and on the creation of new barycentres. Although the duke’s permanence lasted only about fifteen years and the presence of a princely residence and of a court (unique in the history of the town), with needs linked to the celebration of the dynastic protocol, was essentially seasonal, they caused long lasting transformations. They were mainly buildings, having a consequent impact on the landscape of a traditionally commercial town, which, during the XVIIIth century, was becoming a privileged place of vacation of a significant part of the patriciate of Milan. The structure of Varese, which was previously characterized by some reference areas connected with the presence of churches, such as St. Vittore’s collegiate church and the Sacred Mount, was completely modified by a new dialectic : the relation between the Este Palace, built in a peripheral area, and the seasonal residences of aristocracy, which was linked to Francesco III, duke of Modena, who loved the hilly areas around the town, called ‘castellanze’.
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Teatralità, spazio e arredamento rococò. L’esempio della famiglia Verri digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
The essay describes the relation between space and furnishing through the exemplification of the most suggestive residencies of the Verri’s family, commissioned by count Gabriel between 1749 and 1768: The living room painted by the Galliaris at Biassono, The hall painted by Grechetto, and Corneliani’s ‘Grass juice’ paintings in the palace of Milan. We should add the family’s chapel in the Shrine of Ornago, planned and painted by Corneliani. The Verri family’s characters find their aesthetic expression not only in the paintings on the walls, but mainly in the choices of furniture, representing their evolution during almost one century.
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Giochi di figure e d’ombre nel secolo dei Lumi. Note su alcune visioni del Settecento teatrale digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
The idea of a ‘theatre-in-form-of-a-painting’ reveals itself as a useful key of access to the comprehension of the XVIIIth century theatre and, particularly, of its ways of diffusion and of its capability to penetrate the imagery of its age. Many iconographic evidences can be considered as reliable documents of a theatre recorded in the memory of the audience. This essay describes the exchange modalities between the theatrical and the artistic experiences, and it finds many possibilities of encounter: the memory (more or less direct) of the shows, the circulation of images with theatrical subjects, the transposition on stage of thematic and atmospheres inspired to the dramaturgy of the period and – above all – the building of the painting following dramatic modalities.
€ 6.00
Dalla quadratura alla scenografia. Riflessioni sul ‘teatro’ dei Bibiena digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
The essay analyses the relation between the angle shot technique conceived by the Bibienas and the squaring shot technique. Squaring shooting and scenography can be considered ‘similar systems’which make the show view an analogous experience to that of the architectural view. The angle scene introduces a fracture in the traditional view of the Italian theatre. It privileges an ‘external perspective’ changing the ‘viewpoint’ and connecting the real environments to the fictitious ones in a dynamic, perceptive union.
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Un ‘luogo’ d’incontro tra le arti. Interpretazione e simbologia dello spazio scenico nella trattatistica settecentesca digital
format: Article | COMUNICAZIONI SOCIALI - 2006 - 2. Immagini dello spazio e spazio della rappresentazione. Percorsi settecenteschi fra arte e teatro
Year: 2006
During the XVIIIth century, the scenic space is defined as a meeting place of the various artistic languages and seat of the debate on the persuasive and illusory nature of the play. The reflection often takes its origin from the pictorial metaphor and it has an encyclopaedic and multidisciplinary approach, involving the meeting of practical and theoretic problems. In an omnicomprehensive viewpoint of the theatrical event, the material and dramatic components of the representation are subject to a deep review. The renewed theatricality reveals the symbolic value of the scenic place by pushing it progressively towards the ‘reproduction’ of reality.
€ 6.00
COMUNICAZIONI SOCIALI - 2006 - 3. Spazi sensibili. Pubblicità, comunicazione e ambiente urbano digital
format: Digital issue
Year: 2006
Numero tre del 2006 della rivista "Comunicazioni Sociali"

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