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2024 •
學界習稱為楚卜筮祭禱簡的墓葬文獻是一类完全因為現代考古發掘而重现 于世的戰國中晚期楚文化區特有的卜筮祭禱記錄。從 1965年在湖北荊州望山 M1號墓出土的第一批卜筮祭禱簡開始,截止至 2023 年上半年,明確有卜筮祭禱簡出土的楚地墓葬已達 16座,其中15 座位於今湖北省境內(亦暨戰國中晚期楚國政治和文化核心區)。目前,湖北境內出土楚卜筮祭禱簡的墓葬,按發掘時間先後,主要有望山M1號墓(1965)、天星觀 M1號墓(1978)、包山 M2號墓(1986-1987)、秦家嘴 M1、M13、M99號墓(1986-1987)、丁家嘴M2號墓(2009)、嚴倉M1號墓(2009-2010)、望山橋M1號墓(2013-2015)、唐維寺 M126 號墓(2019)、熊家湾 M43 號墓(2019)、和彭家湾M183、M264 號墓(2020-2021)。這類考古發現的筮祭禱記錄對我們理解和重建戰國時期楚地的宗教信仰世界和社會生活有重要的史料價值,有必要對它們進行校注和翻譯(白話文和英文)。為方便國內外的讀者對照使用,本書分為兩部分,第一部分為湖北出土楚卜筮祭禱簡的中文校註包括白話文翻譯,第二部分為卜筮祭禱簡原文的全文英文翻譯。
2022 •
This unique volume focuses on religion and spirituality, along with rituals, practices and symbols, discussed and analysed from a semiotic perspective. It covers both cognitive and social dimensions of religious practices and beliefs, various aspects of spirituality, multiple forms of representation, as well as spheres of religious beliefs and practices. The volume is an outcome of the Signum-Idea-Verbum-Opus project initiated by Umberto Eco’s keynote address during his visit at the University of Łódź in 2015. More theoretical insights and further explorations into contemporary semiosphere can be found in Current Perspectives in Semiotics: Signs, Signification and Communication and Current Perspectives in Semiotics: Texts, Genres and Representations, published by Peter Lang.
Documenta Vaticana historiam Montis Nigri spectantia I. Vatikanski dokumenti o istoriji Crne Gore I.
Le relazioni „ad limina” dei vescovi di Cattaro alla Santa Sede (1592-1708). Izvještaji „ad limina” kotorskih biskupa Svetoj Stolici (1592.-1708.)2022 •
2016 •
The concept of 'uneven and combined development' was originally coined by Leon Trotsky to theorise Tsarist Russia's distinctive experience of modernity and revolution. But it has re-emerged over the last decade or so as a burgeoning research programme within International Relations (IR) and historical sociology. It has been critically and creatively deployed in two main areas: the provision of a sociological foundation to international theory overcoming the chronic schism between ‘sociological’ and ‘geopolitical’ modes of enquiry; and, relatedly, in superseding prevailing Eurocentric approaches in the social sciences.This volume is the first to provide a sustained reflection on the idea of uneven and combined development as the intellectual basis for a non-Eurocentric social theory of ‘the international’. It does so through a series of empirically rich and theoretically informed analyses of socio-historical change, political transformation, and intersocietal conflict over the longue durée. The volume thereby aims to demonstrate the unique potentials of uneven and combined development in overcoming IR and historical sociology’s shared inability to theorize the interactive and multilinear character of development.
Bartolomeo Bezzi (1851-1923). Un protagonista dimenticato dell'arte italiana tra Ottocento e Novecento - giornata di studi - Fucine di Ossana, 26 agosto 2023
Incontri improbabili: Bartolomeo Bezzi, Andrea Mantegna e Francesco GuardiL’intervento segnala e approfondisce due episodi finora sconosciuti della biografia di Bartolomeo Bezzi, entrambi legati al suo interesse per la pittura antica. Nel settembre del 1901 sulla stampa italiana compare la notizia del ritrovamento di un dipinto su tavola del XV secolo raffigurante Cristo deposto, nel quale il pittore trentino ravvisa “senza alcun dubbio” la mano del Mantegna. La tavola viene esposta al pubblico per due soli giorni a Milano nella sede della Società Permanente e subito dopo Bezzi ne propone la vendita, senza successo, alla National Gallery di Londra. Lo stesso anno l’artista dona al Museo Poldi Pezzoli di Milano un piccolo dipinto a tempera attribuito a Francesco Guardi: l’opera si conserva oggi nelle collezioni del Castello Sforzesco, dove venne trasferita nel 1902 su istanza dello storico dell’arte Gustavo Frizzoni, che ne riconobbe l’appartenenza a una serie di capricci donata in precedenza al museo civico milanese dal pittore Ludovico Pogliaghi. A distanza di oltre un secolo, queste scoperte di Bezzi nell’ambito dell’arte antica ci appaiono piuttosto improbabili: nel primo caso l’attribuzione a Mantegna venne immediatamente messa in dubbio in una cronaca anonima comparsa sull’autorevole periodico “Rassegna d’arte”; nel secondo caso l’opera è stata da tempo espunta dal catalogo di Francesco Guardi ed è attualmente assegnata dubitativamente al figlio Giacomo. I due episodi rivelano tuttavia un risvolto inedito della personalità di Bezzi e attestano il suo coinvolgimento, sia pure marginale, nelle dinamiche del collezionismo e del mercato antiquariale di primo Novecento.
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