Milan

« Un monde d’argent. Le difficile financement milanais de la coûteuse paix de Fribourg (1516-1519) », dans Alexandre DAFFLON, Lionel DORTHE et Claire GANTET (dir.) Après Marignan. La paix perpétuelle entre la France et la Suisse. Actes des colloques (Paris, 27 septembre / Fribourg, 30 novembre 2016), Mémoires et Documents publiés par la Société d’Histoire de la Suisse Romande, 4e série, t. XIV,  2018, p. 229-246.

Résumé : Arme décisive de la victoire et du maintien de la paix, l’impôt peut mettre cependant en péril le fragile consensus politique. Un des buts annoncés de la paix de Fribourg était de protéger le duché de Milan redevenu français après Marignan de toute nouvelle descente des carrés suisses. Or, le roi paie la sécurité de ses frontières au prix fort : un million de ducats doublé de 50 000 ducats de pensions annuelles aux cantons et à des particuliers. Mon article tend à montrer comment la sécurisation du duché de Milan par la paix de Fribourg a largement contribué à fragiliser le consensus politique autour de la domination royale en Milanais. Afin de couvrir le coût de la paix, il apparaît légitime au pouvoir royal que les Lombards contribuent à l’effort financier (communes, élites marchandes, feudataires, artisans, peuple manouvrier, paysans, mais excepté le clergé jouissant du privilège d’exemption). Trois traites à chaque premier 1er janvier des années 1517, 1518 et 1519 sont prévues pour honorer l’accord. C’est à chaque fois l’occasion d’étudier de façon précise les tensions qui se firent jour au moment des négociations.

Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad? À travers les expositions universelles récentes et passées et plus particulièrement les expositions de Milan 2015 et de Port-au-Prince 1949, nous rappelons que cette pratique touristique du voyage d’agrément dans une grande ville remonte au XIXe siècle, elle accompagne les origines de notre tourisme moderne, tout en devenant un instrument de géopolitique et de marketing touristique de première importance pour les villes et les pays hôtes. Les expositions peuvent être considérées comme un levier urbanistique, mais aussi un moyen de faire voyager et de comprendre notre monde à travers un système de représentation des identités locales et mondiales proposant toujours une mise en valeur de la découverte scientifique et de l’expérience culturelle à travers les pavillons nationaux. Ces manifestations géantes reposent sur une mise en scène et en récit à partir d’un thème universel questionnant généralement le concept du développement durable et de l’attractivité touristique renouvelée de la destination. Notre analyse porte sur la plus récente des expositions universelles et une exposition oubliée appartenant à l’aire culturelle des caraïbes permettant de dégager trois dynamiques associant le tourisme de méga-événement et l’utopie des voyages initiatiques, à savoir : les expositions universelles se réinventent et retrouvent un certain succès de fréquentation impliquant une redéfinition des champs et des usages d’une utopie contrariée. Faire voyager est un acte à la fois scénographique et symbolique à travers le pavillon impliquant des artifices et des déclinaisons de plus en plus numériques, la quête de cette pratique durable du voyage se confronte à son héritage et à son souvenir à différentes échelles et temporalités. Through the recent and past universal exhibitions and more particularly the world’s fair of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries. Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. These giant events are based on a staging and narrative based on a universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Our analysis focuses on the most recent of the universal exhibitions and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia; to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities. A través de las exposiciones universales recientes y pasados y, especialmente, la Feria de Milán en 2015 y Puerto Príncipe en 1949, recordamos que esta práctica de turismo de viaje de placer a una gran ciudad se remonta al siglo XIX, que acompaña a los orígenes de turismo moderno, mientras que convertirse en un instrumento geopolítico y comercialización del turismo de las principales ciudades y países anfitriones. Las exposiciones pueden considerarse una palanca urbana, sino también una manera de viajar y entender nuestro mundo a través de un sistema de representación de las identidades locales y globales que todavía ofrece el desarrollo de los descubrimientos científicos y la experiencia cultural a través pabellones nacionales. Estas manifestaciones gigantes basados en una puesta en escena y la narrativa de un tema universal en general, cuestionando el concepto de desarrollo sostenible y renovada atractivos turísticos del destino. Nuestro análisis se centra en las últimas exposiciones universales y una exposición olvidado que pertenecen a la zona cultural del Caribe para identificar tres dinámico entre el turismo mega-evento y la utopía de los viajes iniciáticos, a saber: las exposiciones universales reinventar y encontrar un cierto éxito de asistencia que implica una redefinición de campos y utiliza una utopía alterada, para viajar es un acto tanto teatral y simbólico a través del pabellón y declinaciones cada vez más digitales, las la búsqueda de este viaje práctica sostenible se enfrenta a su artificialidad y su memoria en diferentes escalas y marcos de tiempo. Index géographique : Europe, Caraïbes, Italie, Haïti, France, Milan, Port-au-Prince, New York, Osaka Mots-clés : exposition universelle, utopie, tourisme, architecture, urbanisme Palabras claves : expo, utopía, turismo, arquitectura, urbanismo Keywords : world’s fair, utopia, tourism, architecture, city-planning Patrice Ballester, Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad?, Études caribéennes 37-38, Août-Décembre 2017 Tourismes, voyages, utopies, pp.1-26.

Nell’effervescente contesto culturale del secondo XIX
secolo, la coscienza nazionale dell’Italia unifi cata riscopriva
la propria identità storica e le radici artistiche; si
incrementavano i cantieri di scavo archeologico e di
ripristino architettonico: fra i più emblematici quello di
Sant’Ambrogio a Milano. In quest’orizzonte, l’ingegnere
francese Fernand de Dartein (1838-1912) redigeva l’Étude
sur l’architecture lombarde et sur les origines de l’architecture
romano-byzantine, prima e colossale indagine sul
romanico in Lombardia, e svolgeva i suoi sopralluoghi
alla basilica, documentati da schizzi, disegni e planches
acquerellate preparatorie alle incisioni. A cent’anni dalla
morte dello studioso francese, questa ricerca ne ricostruisce
l’indagine e riesamina alcune questioni problematiche,
cronologiche e strutturali, riconsiderando come la
basilica di Sant’Ambrogio nell’Ottocento abbia avuto
nuova vita e sia diventata la basilica che oggi conosciamo.

The paper looks at the fashion industry in Milan, where, as in other cultural industries, entrepreneurs
and professionals rely on their networks for the exchange of information, the building of reputation, ac-
cessing critical resources and many other crucial activities. Recently, research has been done about how
actors access networks, emphasising the role of social and cultural capital, stressing how inequalities
are reproduced and highlighting dynamics of exclusion. What is less explored are actors’ strategies to
exploit the potential of networking. With this aim, the paper investigates the dynamic positioning of fashion
professionals in the fashion system of Milan by using Bourdieu’s concept of field of cultural production.
Key questions concern actors’ strategy in using and combining their social, cultural and economic capital
in order to gain better positioning in the system and therefore gain success. In depth interviews and his-
tories of professional life of fashion designers constitute the basis of the empirical investigation. Empirical
results show that the notion of field enriches our understanding of local organisation of creative workers.

Catalogue of the Carolingian coins from Louis II to Berengar II with Adalbert the collection of Vittorio Emanuele III di Savoia, king of Italy, currently kept at the Museo Nazionale Romano.
This volume presents the coins formerly assigned to the mint of Milan, also including those that now can be attributed to other mints (e.g. Venice, Pavia, Verona, Saint-Martin de Tours, ...)

Differently from what (until the results of the Infinito operation) was the common feeling, the city of Milan shows a high rate of mafia presence, particularly in its province. The roots of this phenomenon start from the second half of the last century, to then develop without apparent interruptions until the first decade of the new millennium.

What is presented here is the translation of the non-summarized version of the research I carried out on Milan for the report, commissioned by the Region, on the presence of organized crime in Lombardy. The report for the Region was coordinated by the Director of the Organized Crime Observatory (CROSS) Nando dalla Chiesa, with the collaboration of the researchers Federica Beretta, Filippo Franceschi, Filomena De Matteis, Marzia Innocenti, Mattia Mercuri, Pierpaolo Farina, Samuele Motta and Thomas Livraghi.

This document focuses on describing, from a historical point of view, the establishment of organized crime in Milan and in its provincial cities, it also defines changes in the method and activities of these organizations and elaborates a hypothesis on the effectiveness of the their colonization process.

For this research, was used the work of various authors and various sources (judicial, essay, journalism, etc.) and, when possible, the data were analyzed and summarized in infographics that deal with the reality of the phenomenon from a more quantitative point of view.
It should however be taken into account that the information and data presented in this report are to be considered reliable only until January 2018.

Viaggio bibliografico sul patrimonio documentario dell'azienda municipale AEM di Milano, azienda che ha documentato fin dall'inizio del Novecento i cambiamenti del territorio milanese e lombardo passando dai gasometri dell'area Bovisa alle Centrali idroelettriche della Valtellina.

"Questo libro racconta con tratto sintetico ed elegante la storia, ancora sostanzialmente tutta inedita, di un generoso atto di fede nell’architettura e di una strenua lotta personale perseguita con esclusiva dedizione alla causa fino all’auspicato suggello della Grande Opera (e della propria stessa vita). È questo il primo tentativo sistematico di rilettura sulle fonti dirette d’archivio della grande avventura milanese di Giuseppe Mengoni (1829-1877). Complessi e concorrenti sono i fattori, qui attentamente riletti, che concorrono, nel corso di oltre un quindicennio, alla realizzazione della piazza e della Galleria: dai mutevoli condizionamenti politici e dalle determinanti opzioni economiche, alle avanzate scelte tecnologiche e di organizzazione del cantiere, all’incredibile intreccio di storie umane e di conflitti emotivi, alle discussioni - subito insorte - sui necessari restauri, fino alla  discutibile gestione dei problemi di conservazione di questa singolare eredità materiale in cui si rispecchia la vita quotidiana della città.
(Marco Dezzi Bardeschi)

"

This article analyses the relation between curatorial practice and political theory, through a recuperation and proposal of the philosophical work of Greek-French philosopher Cornelius Castoriadis. In it, I will isolated the terms the radical imaginary and the radical imagination, and argue that their relation to curatorial practice is exemplified in the politics of cultural spaces that use autonomous social organisation as their means for artistic production. In his writings, specifically in his manuscript The Imaginary Institution of Society, Castoriadis uses the terms to describe the capacity of socialized human beings to rethink and criticize social structures, and sees the radical imaginary and the radical imagination as means of a radical social transformation towards autonomy, or rather towards autonomous social organisation. Within this framework, this article proposes a historical parallelism between three self-organised platforms for art and activism from Milan, such as Laboratorio di Comunicazione Militante, Isola Art Centre, and MACAO, arguing that they are three cases in which autonomous social organisation is a means for artistic and curatorial production. This historical parallelism, constructed around the concepts of the radical imaginary and the radical imagination, demonstrates how the work of Castoriadis is a valuable resource for contextualising and analysing processes politicization of artistic, curatorial and cultural practices. Based on his writings, this article wants to also highlight the importance of autonomous social organisation as a functional framework capable unpacking the complexity of the relation between artistic, curatorial and cultural practices and political and social activism.

Catalogue of the coins of Milan in the collection of Vittorio Emanuele III di Savoia, king of Italy, currently kept at the Museo Nazionale Romano. This volume presents the coins formerly assigned to the mint of Milan, also including those that now can be attributed to other mints (e.g. Venice)

This is a slightly expanded version of the paper given at the conference "Music, Body, and Stage: The Iconography of Music Theater and Opera" (New York, 11–14 March 2008) and published in Music in Art 34 (2009), 153–64. For another study of this print see Alessandra Mignatti, "Scena teatrale con ritratto e sonetto per la cantante Violante Vestri, Apamia in Tigrane, Regio Ducal Teatro, Carnevale 1750," in Festa, rito e teatro nella "gran città di Milano" nel Settecento, ed. Francesco Barbieri, Roberta Carpani, and Alessandra Mignatti (Studia Borromaica 24), 2010, 948–55. The system of sexual commerce within which Violante Vestri operated is explored in greater depth in Nina Kushner, Erotic Exchanges: The World of Elite Prostitution in Eighteenth-Century Paris (Ithaca, NY, 2013). On the circumstances of Vestri's marriage, see Cheryll Duncan, Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London (Abingdon, 2020), chapter 2. Keywords: Violante Vestri (Vestris), Marc'Antonio dal Re, Tigrane,  Giuseppe Carcani

The repertoire of Milanese Motetti missales has often aroused interest among scholars from an historical point of view, while there are surprisingly few analytical investigations concerning this corpus. The case of Franchino Gaffurio (1451-1522), surely one of the most prominent figures of the Milanese scene, is particularly striking: paradoxically, the importance of his contributions as a theorist and author of treatises has almost completely obscured his role as a composer. This article presents a first attempt to delineate Gaffurio’s motet style. Some of his motets in Librone 1 of the Veneranda Fabbrica are considered, examining the texts he choose to set, and giving special attention to the formal solutions he adopted, as well as to issues of intertextuality pointing both inside and outside his oeuvre (Ockeghem, Josquin). A number of questions concerning both the Gattungsgeschichte of the motet and the personal style of the first native Italian composer of the Renaissance are pondered.

Applicando la nozione di «lotta sulla geografia», formulata da Edward W. Said, il contributo ricostruisce la fisionomia duplice della Milano descritta nel romanzo di Elio Vittorini "Uomini e no": luogo al contempo apocalittico (se occupata dai nazisti) e utopico (se palcoscenico della lotta di liberazione partigiana).

Nel 1920, dopo due decenni di polemiche sull’opportunità di un finanziamento comunale, il sindaco di Milano Emilio Caldara pose le condizioni per trasformare il Teatro alla Scala in un’istituzione culturale pubblica. La Scala avrebbe potuto godere di una sovvenzione munici-pale solo a fronte di un suo maggiore impegno nei confronti dei «bisogni culturali» della classe lavoratrice. Fu in quest’ottica che venne formalizzata la collaborazione con il Teatro del Popolo, una grande sala di proprietà della Società Umanitaria e destinata all’organizzazione di manifestazioni culturali per il proletariato milanese. Il nuovo statuto dell’Ente Autonomo (1921) imponeva ora alla Scala di «organizzare spettacoli e concerti nel Teatro del Popolo, perché ciò po[tesse] contribuire al lustro del Teatro e dell’Arte italiana».

Se la collaborazione tra Scala e Teatro del Popolo si mantenne assai vitale fino agli anni della seconda guerra mondiale, i rapporti si diradarono dopo il conflitto, interrompendosi del tutto nel 1956. Da un lato, gli elevati costi di gestione rendevano poco conveniente il coinvolgimen-to della Scala nella stagione musicale del Teatro del Popolo. Dall’altro, la Società Umanitaria si era resa conto che la forma tradizionale del concerto aveva ormai perso la sua presa sui ceti meno abbienti, e che sarebbe stato necessario adottare nuovi e più efficaci strumenti per promuovere presso un pubblico ‘popolare’ una vera diffusione della musica d’arte. A partire dallo studio del materiale conservato presso gli archivi storici del Teatro alla Scala e della So-cietà Umanitaria, il mio intervento si propone di chiarire quali furono le dinamiche che porta-rono all’interruzione dei rapporti tra questi due enti, e di mettere in luce le strategie che la Scala approntò negli anni successivi per proseguire nel suo compito di «diffondere l’educazione artistica in tutte le classi sociali».

Catalogue of the Carolingian coins of Charlemagne, Louis the Pious and Lothar I in the collection of Vittorio Emanuele III di Savoia, king of Italy, currently kept at the Museo Nazionale Romano.
This volume presents the coins formerly assigned to the mint of Milan, also including those that now can be attributed to other mints (e.g. Venice, Orléans, Melle Dax, Sens, ...).

Though Matteo Visconti (1250-1322) is now the most obscure of the twelve Visconti lords who ruled Milan, he launched the enduring cultural strategy that justified the Visconti right to rule. Its hallmark consisted in seizing preexisting objects and monuments, inventing or embroidering their historical associations, and then recasting these artifacts in new terms that asserted the nobility of the Visconti house and promoted its sovereignty. This essay examines that practice, through analysis of the artifacts that most vividly embody this neglected aspect of Matteo’s cultural program: a trove of precious objects from the treasury of San Giovanni in Monza—the palatine church founded in the seventh century by the Langobard Queen Theodelinda—and the enigmatic sculpted lunette above the main portal of the church, whose reconstruction Matteo sponsored beginning in 1300. After retrieving the treasure from pawn, where it had been placed by his political rivals, Matteo conceived a strategy to reconstitute the meaning of the treasury’s religious objects. When depicted on the new lunette alongside Queen Theodelinda and her royal descendants, the objects became simultaneously devout offerings to San Giovanni, Theodelindan relics, and Langobard regalia. By emulating the queen’s veneration of Langobard patron saint John, building in the saint’s name, and enriching his church, Matteo transformed San Giovanni’s treasures into a vehicle for the aggrandizement of his lineage and positioned himself and his sons not only as worthy lords of Milan, but as the Lombard crown’s sole legitimate claimants.

"""""During Mussolini’s fascist regime, the Atlante internazionale del Touring Club Italiano – produced in Milan (1927-1938) and widely recognised far beyond the borders of Italy – included among its plates two maps of European ethnic groups. The makers of the TCI’s atlas passed on to us a specific approach to determine the kind of collective that ought to be considered an ethnic group.
The enigmatic second reprint of the fifth edition (1938) was inexplicably not accompanied by the symbolic features required by the fascist authorities, but, after World War II started, the new version of the “Europa etnografica” map – on a 1:12.000.000 scale – clearly showed the changes that occurred in the political context.
Link:
http://www.j-reading.org/index.php/geography/article/view/57/50"""""

Rassegna di fonti utili per la storia dello sport presenti all'interno dell'Archivio di Stato di Milano: contiene le trascrizioni di molti documenti.

Sommario:
A. Inaugurazione del nuovo campo di via Goldoni per l’Inter (1912)
B. L’attività della Federazione Italiana Atletica Femminile (FIAF) (1925/1926).
C. La repressione della Società Ciclistica “Sempre Uniti” di Affori (1926)
D. Gli attacchi degli Arditi alla Canottieri Milano (1926)
E. Inaugurazione del nuovo stadio di San Siro (1926)
F. La repressione della sezione dell’UOEI di Greco (1926)
G. Inquadramento della Canottieri Olona (1929)
H. Arpinati e gli olimpionici a Milano (1932)
I. La trasferta dei cestisti estoni (1933)
L. L’inaugurazione del labaro fascista del Dopolavoro dell’Ambrosiana-Inter (1933)
M. Le polemiche per nuovo stadio di Milano (1933)
N. L’informativa sui soci dello Sci Club A (1934)
O. L'Associazione Calcio Femminile (1948)