Pub Date : 2020-01-08DOI: 10.5772/intechopen.86200
A. Marcone
Late Antiquity as a period has a complex history with moments when the issues pertaining to it seem to intensify. One of these was without a doubt the aftermath of World War I and reached its apex in 1923 during the International Congress of Historical Sciences in Brussels. The tragic events that had shaken Europe had a deep impact on historiography. In the aftermath of World War II, this trend was reversed on account of a progressive change of perspective and sensibility. In the last decades the favored epithets applied to Late Antiquity were “transformation”, “change”, “transition” and “evolution”. The idea of a “long” Late Antiquity has eventually superseded the previous discourse on when and why the Roman Empire declined. Instead of a caesura, the historical continuum, the longue durée, is stressed. The continuities between Christian Rome, Sasanian Iran, and Islam are being explored. Late Antiquity has become a popular subject of a historical research that is characterized by a wide variety of methods and a paradigm shift.
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Pub Date : 2020-01-08DOI: 10.5772/intechopen.90441
H. Lopes, I. Almeida, Maria de Fátima Rosa
“The landscape of my days appears to be composed, like mountainous regions, of varied materials heaped up pell-mell. There I see my nature, itself composite, made up of equal parts of instinct and training. Here and there protrude the granite peaks of the inevitable, but all about is rubble from the landslips of chance (...) [1].
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Pub Date : 2020-01-08DOI: 10.5772/intechopen.85867
M. Riberi
Opera seria had always chosen its settings and characters from classical antiquity drawing on Greek mythology, the histories of Livy and Suetonius, the Aeneid , Plutarch’s Lives , and Ovid’s Metamorphoses . In the second half of the eighteenth century, however, this world was given a new lease of life, separated from contemporary matters by an ever-decreasing division, across which it seemed almost possible for modern ideas to join hand with antiquity. In this context, the virtue of clemency is often represented on many levels in Mozart’s operas, and in particular in La Clemenza di Tito (1791). The main purpose of La Clemenza di Tito is the creation of an esthetic and neoclassical vision that introduces an enlightened interpretation of the virtue of clemency into the absolutistic context. Demonstrating the ability to forgive, and setting his own needs aside to accommodate his subjects, Tito is an enlightened ruler, who is both morally irreproachable and sensitive. By forgiving and preserving his subjects, the enlightened ruler allows them to become enlightened themselves.
系列歌剧总是从古希腊神话、李维和苏托尼乌斯的历史、《埃涅阿斯纪》、普鲁塔克的《生活》和奥维德的《变形记》中选择背景和人物。然而，在18世纪下半叶，这个世界被赋予了新的生命，被一条日益缩小的分界线与当代事物分开，在这条分界线上，现代思想几乎有可能与古代思想结合在一起。在这种背景下，宽容的美德在莫扎特的歌剧中经常在许多层面上得到体现，尤其是在《铁托的宽恕》(1791)中。La Clemenza di Tito的主要目的是创造一种美学和新古典主义的视野，将仁慈的美德引入到专制主义的语境中。铁托表现出宽恕的能力，并把自己的需要放在一边，以适应他的臣民，他是一个开明的统治者，在道德上无可指责，又很敏感。通过宽恕和保护他的臣民，开明的统治者让他们自己变得开明。
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Pub Date : 2019-09-27DOI: 10.5772/intechopen.86301
R. Giusto
The paper deals with the theme of the re-use of the public architectural heritage in reference to three monumental buildings of the city of Naples different by type, of which the conversion is under-way for collective and social purposes. In particular, the cases of the Royal Hospice for the poor (Reale Albergo dei Poveri)— intimately connected with the monumental complex of San Michele a Ripa Grande in Rome—of Palazzo Fondi and of the church of the Saints Cosma e Damiano are examined. These interventions can constitute reference models in terms of reusing public buildings returned to their renewed social and educational function, able to actively promote urban regeneration of the surrounding area. “There is an antiquity that is stratified in ourselves and that must be considered as a premise and condition of all our becoming. Now, we can say that our psychologi-cal stratification finds its testimony, [...], or its reflection in that of the ancient center. Thus the true and most intimate reason for our love for the testimonies of the past arises precisely from this identification and not from an extrinsic satisfaction towards unrepeatable images. Therefore [...] the city needs to preserve the memory of itself as the individual man needs it” [1]. sensible relate to re-articulation of presents themes of mobility, in general access to and immaterial resources present in
本文讨论了公共建筑遗产再利用的主题，参考了那不勒斯市三座不同类型的纪念性建筑，这些建筑正在进行集体和社会目的的转换。特别是，皇家穷人收容所(Reale Albergo dei Poveri)的案例-与罗马的圣米歇尔Ripa Grande纪念性建筑群密切相关- Palazzo Fondi和圣徒Cosma e Damiano教堂进行了审查。这些干预措施可以构成参考模型，使公共建筑重新恢复其更新的社会和教育功能，能够积极促进周边地区的城市更新。“在我们身上有一种分层的古老，它必须被视为我们所有人成长的前提和条件。现在，我们可以说我们的心理分层找到了它的证据，[…]或它在古代中心的倒影。因此，我们对过去的见证的热爱的真实和最亲密的原因正是来自这种认同，而不是来自对不可重复的图像的外在满足。因此[…城市需要保存自身的记忆，就像个人需要它一样”[1]。感性涉及到重新衔接的流动性，一般访问和非物质资源存在的主题
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Pub Date : 2019-04-03DOI: 10.5772/INTECHOPEN.85388
André Patrício
Since the discovery of the now well-known and preserved examples of furniture found in several per-djet of ancient Egypt’s Old Kingdom (c. 2686–2160 BCE) and New Kingdom (c. 1550–1069 BCE) it was possible to analyze in detail each object uncovered, revealing how it was built, the composing materials, the techniques that maintained it together and other elements present in its composition. The most interesting fact for this study is that, upon analysis, there seems to be interesting similarities between construction techniques used to assemble both ancient furniture and the ones used nowadays for the same purposes. To test the hypothesis, this paper is focused in three particular objects, the Solid Ebony Chair of Tutankhamun JE 62033, from KV62, and the Chairs of Hetepheres MFA 38.957 and JE 53263 , from G7000X, -a much older chair- and analyses its structures, the materials and techniques used to assemble them, the similarities and dissimilarities, if any, between these two examples and to see if the is any correlations with them and their analog structures built three and a half millennia later, in our current days.
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