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Veridizione e Verità nel Racconto di Luca

100%

Crimella M.

The Biblical Annals

2017

vol. 7

issue 2

235-250

The article proposes the two itineraries inside the Gospel of Luke. The first one is gnoseologic as it tries to illumine the process of veridiction brought about by the narrative itself, according to the narrative pact established by Luke (cf. Luke , - ). Here, the reader is called to a continuous interpretative exercise with respect to the person of Christ who is presented first in the Infancy narrative and then in the course of his ministry. The second itinerary belongs to the “reception history” and it’s connected with the search for Jesus (ζητέω). It regards the anthropological turn, stemming from the same disclosure of the historical figure of the Nazarene, the turn that leads to the manifestation of God’s truth.

The article proposes the two itineraries inside the Gospel of Luke. The first one is gnoseologic as it tries to illumine the process of veridiction brought about by the narrative itself, according to the narrative pact established by Luke (cf. Luke 1,1-4). Here, the reader is called to a continuous interpretative exercise with respect to the person of Christ who is presented first in the Infancy narrative and then in the course of his ministry. The second itinerary belongs to the “reception history” and it’s connected with the search for Jesus (ζητέω). It regards the anthropological turn, stemming from the same disclosure of the historical figure of the Nazarene, the turn that leads to the manifestation of God’s truth.

L’arredamento dell’Ambasciata d’Italia a Varsavia. Nuove acquisizioni documentarie

80%

D'Agostino A.

Biuletyn Historii Sztuki

2023

vol. 85

issue 1

117-144

The present essay, aimed at reconstructing the history of the works of art which furnish the Italian Embassy in Warsaw, originates from the study of archival documents from the STRP Fund (formerly the Technical Service of Patrimonial Reconnaissance) kept at the General Directorate of Archaeology Fine Arts and Landscape of the Ministry of Culture (MIC). The fund consists of the documentation, mostly unpublished, produced by the Technical Service, which was created in 1993 as a Commission, conceived by Minister Alberto Ronchey, with the aim of taking a census of cultural assets granted in external storage by state museums to entities in Italy and abroad, which in 1995 had been transformed into a Service reporting directly to the General Secretariat of the Ministry itself but was suspended in 2003. The last patrimonial reconnaissance was carried out at the Italian Embassy in Warsaw twenty-one years ago and since then no more checks have been done. Therefore, in addition to analyzing the history of the works of art chosen to furnish the Embassy since 1922, the essay updates the data and gives new interpretations on the events that, both before and after the 2nd World War, led to its furnishing; moreover, it is meant to be a food for thought regarding the protection of Italian artistic heritage which since the first decades of the last century until the present has been in external storage without due control.

Il presente lavoro, volto a ricostruire la storia dell’arredamento dell’Ambasciata d’Italia a Varsavia, ha origine dallo studio dei documenti d’archivio del Fondo STRP (ex Servizio Tecnico di Ricognizione Patrimoniale) conservato presso la Direzione Generale Archeologia Belle Arti e Paesaggio del Ministero della Cultura (MIC). Il fondo è costituito dalla documentazione – perlopiù inedita – prodotta dal Servizio Tecnico, nato nel 1993 come Commissione, voluta dal Ministro Alberto Ronchey, con l’obiettivo di censire i beni culturali concessi in deposito esterno dai musei del demanio ad enti in Italia e all’estero. Nel 1995 la Commissione fu trasformata in Servizio alle dirette dipendenze del Segretariato Generale del Ministero stesso ma nel 2003 venne sospeso. Ben ventuno anni fa fu effettuata l’ultima ricognizione patrimoniale presso l’Ambasciata d’Italia a Varsavia e da allora più nessun controllo è stato fatto. Pertanto, questo lavoro, oltre ad analizzare la storia delle opere d’arte scelte per arredare l’Ambasciata fin dal 1922, ne aggiorna i dati e dà nuove interpretazioni sulle vicende che, sia prima che dopo la Seconda Guerra Mondiale, portarono al suo arredamento; inoltre, vuole essere uno spunto di riflessione sulla tutela di quel patrimonio artistico italiano che ancora oggi, fin dai primi decenni del secolo scorso, si trova in deposito esterno senza i dovuti controlli.

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Veridizione e Verità nel Racconto di Luca

L’arredamento dell’Ambasciata d’Italia a Varsavia. Nuove acquisizioni documentarie