In: La Santa Croce di Lucca, il Volto Santo. Storia, tradizioni, immagini , proceedings of a congress held in Lucca, 2003, p. 115-130
This paper focuses on the ways in which the most important cult-image in Medieval Lucca, the so-called "Volto Santo" (holy face) came to be regarded by contemporary viewers as a true-to-life image of Christ, sculpted by the Pharisee Nicodemus. The paper emphasizes also the connection with the liturgical tradition of the Passio ymaginis feast on November 9 and its literary and ritual framework.
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In: Codex Aquilarensis, 2013, vol. 29, p. 15-21
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In: Exhibition Catalogue Persone. Ritratti di gruppo da Van Dyck a De Chirico, 2003, p. 65-67
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In: Rivista critica del diritto privato, 2013, vol. 31, no. 1, p. 123-138
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In this paper we have examined the scale and cost efficiency of Italian and Swiss regional bus companies. For this purpose, we have used the estimation of a frontier cost model using a fixed effect approach. Two translog cost frontier models were specified and estimated using panel data. The first model was estimated for a sample of 58 Italian bus companies, whereas the second model was estimated...
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In: Semicerchio : rivista di poesia comparata, 2009, vol. 40, no. 1, p. 59-71
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In: Bollettino d’arte, 1994, vol. VI, no. 79, p. 73-92
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In: Sistemi intelligenti, 2012, vol. 3, p. 481-502
This paper sets out to analyze the role that argumentation may play in dispute resolution, in particular within the practice of dispute mediation. The focus is on the complex interplay of different argumentative discussions which are necessary for the parties to personally handle and possibly solve their conflict. This contribution focuses in particular on the mediator's role in a...
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In: Arti e storia nel Medioevo. Volume I : Spazio Tempo Istituzioni, 2002, p. 631-700
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In: L’artista a Bisanzio e nel mondo cristiano-orientale, proceedings of the international congress held in Pisa, Scuola Normale Superiore, 21-22 novembre 2003, 2007, p. 177-209
The present papers shows that, against the popular view of the Byzantine artist as a pious artisan subjected to the authority of the Church, a number of Byzantine craftsmen sympathized for and were involved in heterodox religious behaviours and heretic movements. The paper includes examples from late Antiquity until the Middle- and Late Byzantine periods.
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