Podcasts about San Giorgio

Il funerale si terrà domani mattina alle 10.30 nella chiesa del paese di residenza del 27enne morto nella notte tra lunedì e martedì al San Bortolo. Da sabato si trovava ricoverato nel reparto di rianimazione, in condizioni critiche dopo l'uscita di strada avvenuta alle 17.50 di quel giorno tra le colline breganzesi, a San Giorgio di Perlena. Lascia la madre e tre fratelli

Andrea Minuti"Il cuore della montagna"In cammino nelle ApuaneKellermann EditorePrefazione di Paolo CiampiDisegni di Maria Efisia Schirruwww.kellermanneditore.itDisponibile in anteprima al Salone del libro di Torino, presentazione con l'autore domenica 18 maggio, ore 19, stand Regione Toscana (pad. Oval)  Un viandante in cammino nelle Apuane, in Garfagnana, racconta i luoghi che attraversa: i boschi che da sempre nutrono e riparano, i borghi quasi del tutto abbandonati, cave, rupi, un antico eremo... e qui si imbatte in un'antica storia. Nella notte tra il 6 e il 7 gennaio del 1598, un violento terremoto scuote il monastero di San Giorgio; al diradarsi della polvere, una nuova, oscura montagna si erge inattesa. Un giovane monaco, abile disegnatore, viene incaricato di scendere a valle per ritrarre questa misteriosa apparizione, nella speranza di comprenderne la natura. A partire da questa novella suggestiva, l'autore offre una profonda riflessione sulla bellezza del cammino, ma anche sulla fragilità ambientale e sociale delle aree interne. Emergono temi cruciali come l'abbandono, il rischio sismico, le conseguenze dello sfruttamento delle risorse naturali, invitando il lettore a meditare sul delicato equilibrio tra uomo e montagna, tra passato e presente. La montagna nera, sorta improvvisamente dalle viscere della terra, diviene così una potente metafora delle vulnerabilità che minacciano questi territori. ndrea MinutiPisano, classe 1989, si laurea in Teatro allo IUAV di Venezia, specializzandosi in Etnologia e antropologia sociale all'EHESS di Parigi. Scrive racconti e novelle che affrontano diverse tematiche: le tradizioni popolari, il rapporto tra l'uomo e l'ambiente, l'ecologia, la montagna, utilizzando uno sguardo antropologico. Vive a Parigi.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itùDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

E' ancora in pericolo di vita in rianimazione all'ospedale di Vicenza, il motociclista 27enne di Cartigliano uscito di strada sabato pomeriggio con la sua Honda lungo la strada provinciale che da San Giorgio di Perlena porta a Fara. Si era schiantato contro il guardrial.

Con l'aiuto di Dio, Prometto ...Ad 80 anni dalla LIBERAZIONE di Roma e dell'Italia, lo scorso 24 Aprile abbiamo pronunciato ancora la nostra Promessa, ispirati dall'esempio di San Giorgio.Ascoltiamo di seguito l'intervento di Ivan Yahora (scout ucraino di Plast), le parole degli Adulti Scout del Masci Lazio Vincenzo Saccà e Mario Canuzzi (Segretario Regionale) e l'omelia del Cardinale Gianfranco Ravasi.Dalla Chiesa di San Giorgio in Velabro, simbolo della "Giungla Silente" romana, Buona Strada a tutti!

In dieser Folge entführen wir dich in die bezaubernde Stadt Mantova, einen wahren Geheimtipp im Norden Italiens, der mit seiner reichen Geschichte und kulinarischen Vielfalt begeistert. Stell dir vor, wie du über eine malerische Brücke fährst, das beeindruckende Castello di San Giorgio in der Ferne erblickst und schließlich unter den majestätischen Arkaden des Palazzo Ducale stehst – ein Ort, an dem Gotik, Romanik und Barock aufeinandertreffen und die Geschichten von Adelsfamilien und Künstlern lebendig werden. Gemeinsam schlendern wir durch die lebhaften Gassen, vorbei an prächtigen Kuppeln und kunstvollen Fresken des Doms, während wir in die spannende Geschichte der Familie Gonzaga eintauchen, die Mantova zu einer Perle der Renaissance gemacht hat. Du wirst den Charme des Piazza Sordello spüren, wo sich geschäftige Cafés und Boutiquen mit historischem Flair vermischen, und vielleicht kannst du schon die Eleganz des Teatro Bibiena erahnen, in dem einst Mozart musizierte. Doch Mantova ist nicht nur eine Stadt für Geschichts- und Kulturbegeisterte – sie ist ein Paradies für Genießer. Lass dich von uns inspirieren, die regionalen Köstlichkeiten zu probieren, einen Aperitivo in der goldenen Abendsonne zu genießen und die berühmten Weine dieser Region zu entdecken. Mantova ist eine Stadt, die dich mit ihrer Atmosphäre und ihrem unaufdringlichen Zauber umhüllt und immer wieder zurückrufen wird. Hör rein und lass dich verführen, deine nächste Reise zu planen – vielleicht wird Mantova auch dein neues Lieblingsziel. Und vergiss nicht, den Podcast zu abonnieren, damit du kein weiteres Abenteuer verpasst! ************************************************ Abonniere jetzt den Podcast bei Spotifyund verpasse keine Folge mehr! Mehr findest du auch auf den Social-Media-Kanälen Facebook Youtube Instagram Feinschmeckertouren ************************************************

https://weekly52.de/weekly/399 Heute geht‘s mit Frank Fischer nach Venedig. Gregor Nick war zusammen mit ein paar Leuten von Falk Frassas Freundeskreis „Fotografie tut gut“ auf Fotoreise in der Lagunenstadt. Freut euch auf Live-O-Töne mit spannenden Geschichten vom Fischmarkt, dem 92-jährigen Entenjäger, einem Glasorgel-Konzert und den Legenden vom bunten Burano in den Outtakes. PS: Es tut mir leid, dass die Ambient Live-Töne leider sehr leise sind

"Il 19 ottobre, a Roma, si è tenuta la XVII Giornata delle associazioni di volontariato impegnate in Terra Santa, sul tema “Cristiani in Terra Santa. Quale destino?”. Alla vigilia della canonizzazione dei “Martiri di Damasco”, l'appuntamento di quest'anno è stato l'occasione per una riflessione sul significato del martirio nella storia della Chiesa, nell'esperienza di Francesco d'Assisi e nella vita dei cristiani in Terra Santa."CollegamentoAll'evento ha partecipato la Compagnia di San Giorgio con il suo Presidente Angelopiero Bafundi.Nell'episodio potete ascoltare l'intervento di fra Francesco Patton, Custode di Terra Santa.

Immerse yourself in La Dolce Vita as the CP7 Boys talk to Mo Coppoletta, an avid De Bethune collector, tattoo artist and designer, as well as the man and mind behind Italy's newly launched and stylish independent watch brand, Gagà Laboratorio. Joining us from Verona in Italy, London-based Mo's passion for style and flair in his debut watch, the Labormatic, is there for all to hear, but it's his quest for the finest quality that only a good watch can have, that will win you over in this show. Like the great movie La Dolce Vita's director, Frederico Fellini, he shares that  “Sweet Life” passion for making sure that feeling good is a priority, with watches and just about anything meaningful to us as individuals in life, and to never compromise that feeling. You will get a sense of how he puts his heart and soul into everything he does, especially when designing the Labormatic. Design is one of the most important qualities of a watch, particularly in the creative independent watchmaking space, and we get to hear about the incredible design influences behind both versions of the new Gagà Laboratorio Labormatic, the Cinquanta and the Bauhaus. Discover how they are based on 1950s Milanese-inspired industrial designs, stylish Italian scooters,  Smeg kitchen appliances, the Porsche 356 and surprisingly San Giorgio fans! Listen in as we unravel many strands of these 20th century design icons from the 50s and 60s in the DNA of this remarkable watch. The boys first saw this watch at Geneva Watch Days 2024 and immediately felt compelled to talk to the man behind the vision, so buckle up and enjoy the ride as we revel in an Italian and CP7  “settimo cielo”.Don't forget to check out the show notes on our website to add a visual experience at:www.chronopassion7.com or at our Instagram @chrono_passion_7.Intro-Outro Music Credit "The Attic Is For Work" By Streamer Music Group - Copyright Free Music

Riflessione di don Luigi Maria Epicoco presso la Parrocchia Sant'Antonio di Padova a San Giorgio a Cremano (NA) il 15/06/2023. --- Send in a voice message: https://podcasters.spotify.com/pod/show/esercizi-spirituali/message

NAPOLI (ITALPRESS) - "Siamo molto contenti che abbia cominciato a prendere corpo la battaglia contro l'autonomia differenziata. Quando stavamo a Roma, il 16 febbraio di quest'anno, eravamo un po' da soli a combattere ad essere sinceri: adesso stiamo cominciando a capire che qui è in gioco l'unità d'Italia, il destino del Sud, perché se va avanti questa ipotesi di autonomia differenziata diventeranno complicati gli anni a venire per le giovani generazioni". Lo dice il presidente della Regione Campania, Vincenzo De Luca, parlando con i giornalisti a Napoli a margine della XXIV edizione del Premio Massimo Troisi, in programma a San Giorgio a Cremano dal 24 al 29 giugno. xc9/tvi/gtr

NAPOLI (ITALPRESS) - "Siamo molto contenti che abbia cominciato a prendere corpo la battaglia contro l'autonomia differenziata. Quando stavamo a Roma, il 16 febbraio di quest'anno, eravamo un po' da soli a combattere ad essere sinceri: adesso stiamo cominciando a capire che qui è in gioco l'unità d'Italia, il destino del Sud, perché se va avanti questa ipotesi di autonomia differenziata diventeranno complicati gli anni a venire per le giovani generazioni". Lo dice il presidente della Regione Campania, Vincenzo De Luca, parlando con i giornalisti a Napoli a margine della XXIV edizione del Premio Massimo Troisi, in programma a San Giorgio a Cremano dal 24 al 29 giugno. xc9/tvi/gtr

18）羅10:1-21  新約選民──基督信徒宣示自己的信仰。 1弟兄們！我心裡所懷的切望，向天主所懇求的，就是為使我的同胞獲得救恩。2我可以為他們作證：他們對天主有熱心，但不合乎真知超見，3 因為他們不認識由天主而來的正義，企圖建立自己的正義，而不順從天主的正義：4 因為法律的終向是基督，使凡信他的人獲得正義。5關於出自法律的正義，梅瑟曾寫過：『遵守法律的人，必因法律而生活。』6 但是，出自信仰的正義卻這樣說：『你心裡不要說：誰能升到天上去？』意思是說：使基督從那裡下來；7 也不要說：『誰能下到深淵裡去？』意思是說：把基督從死者中領上來。8 正義到底說了什麼？她說：『天主的話離你很近，就在你的口裡，就在你的心中。』這就是指我們關於信仰的宣講。9如果你口裡承認耶穌為主，心裡相信天主使他從死者中復活起來了，你便可獲得救恩，10 因為心裡相信，可使人成義；口裡承認，可使人獲得救恩。11 經上又說：『凡相信他的人，不至於蒙羞。』12 其實，並沒有猶太人與希臘人的區別，因為眾人都有同一的主，他對一切呼號他的人都是富有慈惠的。13 的確，『凡呼號上主名號的人，必然獲救。』14但是，人若不信他，又怎能呼號他呢？從未聽到他，又怎能信他呢？沒有宣講者，又怎能聽到呢？15 若沒有奉派遣，人又怎能去宣講呢？正如所記載的：『傳佈福音者的腳步是多麼美麗啊！』16然而並不是所有的人都服從了福音。依撒意亞曾說過：『上主，有誰相信了我們的報道呢？』17 所以信仰是出於報道，報道是出於基督的命令。18 但我要問：難道他們沒有聽過嗎？一定聽過了。『他們的聲音傳遍普世，他們的言語達於地極。』19 但是我再問：難道以色列人不明白嗎？首先梅瑟說過：『我要以那不成子民的人，激起你們的妒火；以愚昧的民族，惹起你們的怒氣。』20繼而依撒意亞也放膽說：『未曾尋找我的人，找到了我；對未曾訪問我的人，我顯現了。』21 但關於以色列人卻說：『我整天向悖逆違抗的民族，伸出我的手。』 ❖以色列民因絆腳石而跌倒的悲慘命運（9:32），使保祿傷心至極（9:1-2）。他在本章中向基督徒大聲疾呼（「弟兄們」）。首先強調他是如何地愛護自己的同胞，然後證實他們的背信不忠是不能辭其咎的。他的論證是用了修辭學上的漸進法（climax）敘述的：1）猶太人不肯承認由信德來的正義，是因為他們順從了自己所謂的正義（3-4）；2）梅瑟自己不但宣傳了由法律來的正義，而且也宣傳了那普及於猶太人和外邦人由信德而來的正義（5-13）；3）以民實在該認識這端道理，因為有基督的宣講員早已宣佈了這端道理。所以以民現在的不信，完全是由於他們拒絕天主賜給他們的信德的正義（14-21）。 ❖「弟兄們！我心裡所懷的切望，向天主所懇求的，就是為使我的同胞獲得救恩。我可以為他們作證：他們對天主有熱心，但不合乎真知超見」（1-2a）── 保祿對自己的同胞仍懷一片熱誠的「切望」，並以自己作宗徒的身份在天主台前為他們祈禱（哥2:1；羅15:30等），懇求天主賞賜他們獲得救恩。他知道自己的同胞對天主不是沒有敬拜的熱心，可惜是盲目的，他自己在歸化前也有這盲目的熱心（迦1:14；宗22:3），因而迫害了基督的教會（迦1:13；宗22:4）；這種熱心「不合乎真知超見」（2）。「真知超見」在此是指對天主拯救人類計劃的知識，這樣的知識正反對那由於研究法律而來的知識。 ❖「因為他們不認識由天主而來的正義，企圖建立自己的正義，而不順從天主的正義：因為法律的終向是基督，使凡信他的人獲得正義」（2b-4）── 不幸以民因著這種「不合乎真知超見」的熱心，認不出天主的正義（3:21-31），即那由信德而來的正義。反專心一致去「企圖建立自己的正義」，就是說只願意依靠自己的功行而達到成義的目的；換句話說，就是他們要照自己的意思，而不照天主的意思與天主和好。因此，實際上他們沒有順從天主給人規定的成義的方法 ── 信德。本來天主的這種方法，為研究法律的以民不該是一種解決不了的問題，因為「法律的終向」（te,loj - telos），原來就是基督（4）；一切信仰者因著基督，都可獲得正義（3:21-27）。「終向」一詞也可譯作「完成」，好像是說基督一降世為人，梅瑟的法律便該終止。 ❖「關於出自法律的正義，梅瑟曾寫過：『遵守法律的人，必因法律而生活』」（5）── 在梅瑟五書內載有兩樣種得正義的方法：一是靠功行，一是靠信德。關於第一點，肋18:5這樣記載說：「遵守法律的人，必因法律獲得生命。」但試問究竟有沒有遵守的人呢？伯多祿在耶路撒冷的宗徒會議上說道：「現今你們為什麼試探天主，在門徒的頸項上，放上連我們的祖先和我們自己都不能負荷的軛呢？」（宗15:10）這話暗示從來沒有人能完全「遵守法律」。保祿向迦拉達人（參見迦3:10-14）有如在本書信第7章內詳細地解釋了梅瑟的法律，說它雖然在本質上是聖善的，但實際上卻成了使人犯罪的因由，因為它只告訴人當行何事，卻不能給人行那事的力量，可見遵守法律不能是得正義的方法。 ❖「出自信仰的正義卻這樣說：『你心裡不要說：誰能升到天上去？』意思是說：使基督從那裡下來；也不要說：『誰能下到深淵裡去？』意思是說：把基督從死者中領上來」（6-7）──照保祿的看法，梅瑟也提出了第二種得正義的方法，即申30:12-14所記載的「出自信仰的正義」（6；參閱申30:11）。保祿引這段經文，並非要用來證明人因信仰能得正義，而是借此來發揮自己的想法，這種引經方式是猶太經師愛用來措題發揮的，也是大家所接受的。 尤其是申30:14「這話離你很近，就在你口裡，就在你心裡，使你遵行。」他在這句話中發現了一層更深的意義，他在「這話」（to. r`h/ma - to rhēma || rb'D"h; - haddavar）二字上看到了降生為人的聖言（o` lo,goj - ho logos）──耶穌基督。他一發現了這高深的道理，就把「誰能為我們渡到海外」（申30:13）改作「誰能下到深淵裡去？」並且從《申命紀》此處的經文只徵引了合乎基督神學的語句。保祿更將「出自信仰的正義」人格化了，因而說「出自信仰的正義卻這樣說⋯⋯」，好像說：我的法律不像梅瑟的法律那樣難守，所以你不要說：誰能升到天上去，誰能下到深淵去（升天和下深淵本是非人力所能辦到的事）。其實，基督既然降生為人，死而復活，光榮升天，──「下到深淵」及「升到天上」──所以我的法律並不難守，因為降生為人的聖言，把他的法律已寫在你的心中了（耶31:33）。他不但指給你當遵守的規則，而且還賜給你遵守那規則的力量。這法律就是降生為人的聖言的「話」，那使人發生信仰的話，即耶穌在世的言行，也就是宗徒們所傳佈的福音。 ❖「天主的話離你很近，就在你口裡，就在你心中」（8）── 保祿引用梅瑟在《申命紀》的話，指出「由信德而來的正義」（申30:12-14，見申30:6; 16:20），是人獲得成義的唯一方法，而且這成義方法並不很難，並非要人「升到天上」，「或下到深淵」（羅10:6,7），因為基督已降生成人，死後復活，光榮升天，已把他的「話」寫在人的心中（耶31:33）。所以「這話離你很近」，但必須發自「心中」，並且「口裡」宣認，才能使人成義。 ❖「耶穌是主」（9）── 宗徒們所傳佈的福音是：因信德眾人都能獲得正義，都能與天主和好，都能獲得救恩。信德的對象可用一句簡單的話表示出來：即「耶穌是主」。這句話想必是當日基督徒在領洗時，用作證明自己信仰的一個誓詞。天主聖父因叫聖子耶穌從死者中復活，就顯明並證實了他是「主」（ku,rioj - kyrios），他具有天主性（1:4；宗13:33等）。所以，我信「耶穌是主」一語，差不多就是說：「我信耶穌是天主聖子。」這個信仰不但該深藏於心內，也該表現於口中，即信仰與生活不能彼此相反，也不能彼此分離。 ❖ 「天主使耶穌從死者中復活起來」（9）──這就是新約子民——教會的信仰，而最能表達出這信仰的話莫過於「承認耶穌是主」的宣信。信仰發自人的心中，即「心裡相信」，更要宣之於口，即「口裡承認」（10）。宣信的場合是在信仰團體內，由此達於全世界，因為「眾人都有同一的主」（12）──耶穌。 ❖「凡相信他的人，不至於蒙羞」（11）── 保祿在《羅馬書》中兩次引用了同一經文：「看，我在熙雍按放了一塊絆腳石，一塊使人絆跌的磐石；相信他的人，不至蒙羞」（羅9:33; 10:11；參看依28:16）。他採用了希臘譯本（LXX），當中的「不至蒙羞」（ouv mh. kataiscunqh/| - ou mē kataischunthē）的希伯來文是「必不動搖」（vyxiy" al{ - lo' yaḥish）。 ❖「凡呼號上主名號的人，必然獲救」（13）── 保祿引用岳厄爾先知說的「凡呼號上主名號的人，必然獲救」那句話（岳3:5），貼在耶穌身上，可說是恰當極了。耶穌被稱為「主」（ku,rioj - kyrios），與舊約中稱天主為「主」或「上主」（yn"doa] - 'adonay = LXX: ku,rioj）是同一用詞。如今，呼號耶穌的名，與舊約時代呼號上主之名無異；只有藉著耶穌，天主聖父才恩待我們，才拯救我們（若1:16；弗1:3-14）。 ❖「人如果不信他，又怎能呼號他呢？從未聽過他，又怎能相信他呢？沒有宣講者，又怎能聽到呢？如果沒有奉派遣，人又怎能去宣講呢？」（14-15a）── 宗徒們奉派傳佈了「信仰的宣講」（8），即「關於信仰的福音」。但結果「並不是所有的人（指猶太人）都服從了福音。」如此結果，該由誰去負責呢？自然應該由猶太人自己負責，因為梅瑟的法律早已講明：人只能因信仰得正義（3-13），而耶穌的宗徒們也實在宣傳了這信仰的正義（14-21）。再者，為叫人服從信仰（1:5）該具備以下所應有的條件：應該有如依52:7所說的「傳布福音者的腳步，是多麼美麗啊！」這些傳佈福音者，應該是正式奉派遣的；並且奉派遣的也應該宣講福音；事實上這些條件，都一一滿全了，以色列仍不肯信從，他們是應該負上責任的。 ❖「信仰是出於報道，報道是出於基督的命令⋯⋯難道他們沒有聽過嗎？」（16-18）── 猶太人所以不信宗徒們宣講的福音，可說是他們碰到了絆腳石，即碰到了被釘於十字架的耶穌（格前1:23）。他們的不信，依撒意亞已預言過了：「上主，有誰相信了我們的報道呢？」（依53:1）；先知的預言是描述耶穌的苦難聖死；換句話說，這「上主僕人的詩歌」是在講述「十字架的絆腳石」（scandal of the cross；迦5:11）。從保祿直到如今兩千年來，被釘在十字架的耶穌，仍是猶太人的絆腳石。「信仰是出於報道，報道是出於基督的命令」（17），但不管「宣講」也好，「命令」也好，這種報道猶太人一定是聽到了，因為宗徒們「的聲音傳遍普世；他們的言語達於地極」（18；詠19:5）。保祿引用聖詠的話來證明福音的傳佈。這話在那聖教初興的時期，不免有些誇大，但由我們今日所見，確是這樣實現了。以色列人肯定聽到了福音的報道，這是毫無疑問的，由「難道以色列人不明白麼」（19）一句可以證明。他們不明白的原因何在呢？保祿立時就引用梅瑟的話來解釋：「我要以那不成子民的人，激起你們的妒火；以愚昧的民族，惹起你們的怒氣」（申32:21）。天主為懲罰以民的背信不忠，捨棄了他們，選擇了外教的人民——不成子民的——當作自己的民族，外教人歸向了天主必要惹起以民的嫉視，這樣他們便漸漸地痛改前非重新歸回天主的懷抱。 ❖「依撒意亞也放膽說：『未曾尋找我的人，找到了我；對未曾訪問我的人，我顯現了。』但關於以色列人卻說：『我整天向悖逆違抗的民族，伸出我的手』」（20-21）── 保祿依照猶太經師的習慣，先徵引法律書（申32:21），然後再徵引先知書（依65:1-2）的證據。他此處根據希臘通行本，按原文依65:1-7是天主向以民的祈禱（依64）的答覆。天主回答他們說：他本來是可以找得到的，尋得著的，並且他親自接近那些不稱呼自己聖名的民族，向他們「伸手」，表示願意收納他們，寬恕他們；但是以色列人卻背叛天主，只顧隨從自己的私念，走自己的邪路。此處保祿把依65:1貼在外邦人身上，把依65:2貼在以色列人身上。他這樣作是因為1）在希臘譯文：「訪問我的人」的「人」字譯作「民族」（e;qnoj - ethnos），而「悖逆違抗的民族」的「民族」譯作「人民」（lao,j - laos）。一般學者的解釋都以 ethnos是指外邦人，laos是指選民。2）因為保祿當時外邦人的環境，與依撒意亞時代選民的環境相同。外邦人直到新約時代，從未尋找過天主，也從未訪問過天主，但現今他們卻找到了，因為他們接受了那「關於信仰的宣講」；以民竟然拒絕那「關於信仰的宣講」，仍是背叛違抗。總而言之，在天主那方面，顯示了無限的仁慈：「我整天……伸出我的手，」在以色列人那方面，卻顯示無比的頑梗：「悖逆違抗的民族。」 ❖ 1729年建於相傳大額我略教宗故居的小聖堂（San Giorgio della Divina Pietà），與提伯河（River Tiber）對岸的猶太會堂相對。為了勸說猶太人歸依基督，堂門上方放了一幅基督伸開雙手釘於十字架上的苦像，並以拉丁文和希伯來文寫上依65:2-3的話：「我整天向悖逆違抗的民族，伸出我的手。這民族時常在我面前惹我發怒。」（Expandi manus meas tota die ad populum incredulum, qui graditur in via non bona post cogitationes suas, populus qui ad iracundiam provocat me ante faciem meam semper.） 提伯河（River Tiber）岸的小聖堂（San Giorgio della Divina Pietà） 羅馬猶太會堂Tempio Maggiore

La Spezia grada similitudes con Ferrol porque es una ciudad portuaria en Italia. Su arsenal marítimo (que data del 1800) y el Museo Tecnico Navale (que incluye modelos de buques e instrumentos de navegación) atestiguan el patrimonio marítimo de la ciudad. En lo alto de una colina, el castillo de San Giorgio alberga un museo arqueológico con artefactos que datan desde la Prehistoria hasta el Medievo. Cerca de dicha zona, en un antiguo convento, el museo Amedeo Lia posee una colección de pinturas, esculturas de bronce y miniaturas iluminadas. Allí tambien esta el centro de Centro de Investigación e Experimentación Marítima da OTAN en donde estuvo trabajando durante los 3 meses que duró su estancia

XXVII EDIZIONE DEL FESTIVAL MAGGIO ALL'INFANZIAAL TEATRO KISMET L'ESITO LABORATORIALECOME SE NIENTE FOSSE30 maggio 2024 – strada San Giorgio martire 22F, BariGli alunni del laboratorio di formazione teatrale del Teatro Kismet in scena il 30 maggio nel nuovo appuntamento del festival Maggio all'infanzia.Giovedì alle ore 21 l'Opificio per le arti di Bari ospita Come se niente fosse, esito del Kismet Lab Essere (pronti) è tutto, curato da ottobre da Lello Tedeschi negli spazi del teatro. Lo spettacolo è tratto dal libro ‘ Il grido' di Antonio Moresco, un testo che “parla di noi – racconta Tedeschi - Del nostro tempo. Delle oscurità del nostro tempo. Della cieca e disinvolta violenza con cui stiamo perseguendo la possibile estinzione della nostra specie, che procede, citando lo stesso Moresco, come “aggrappata alla coda di un cavallo che galoppa a perdifiato verso il precipizio” e va avanti come se niente fosse. È un'analisi spietata della nostra condizione e voce per un tentativo di rivolta, un appello all'umanità, un'invocazione a cercare forme nuove per uscire dalla trappola di questo suicidio di specie in atto, “perché, come dice Einstein, non è possibile risolvere un problema con le stesse modalità di pensiero che l'hanno creato””.Ne emerge una messinscena corale che si esprime con varie tonalità - grottesche, drammatiche, liriche - in cui i personaggi si rivolgono ai propri simili, con lucida ironia, in una sorta di comizio collettivo sui rischi di autodistruzione in atto, ciascuno su un piccolo scranno portatile, tutti armati, spesso, di idioti sorrisi da selfie, “cisssssssss”..., a ricordarci che nonostante tutto andiamo avanti come se niente fosse, e “che se qualcuno, per farsi un'idea della natura della nostra specie, guarderà i ritratti e le foto che abbiamo lasciato, penserà che eravamo una specie perennemente felice, oppure, se vorrà andare un po' più a fondo, che da un momento all'altro la nostra specie è diventata ebete...”.L'appuntamento è a ingresso libero fino a esaurimento posti. Per informazioni si può chiamare il numero 335 805 22 11 (botteghino Teatro Kismet).Il Festival è organizzato da Fondazione SAT Spettacolo Arte Territorio, con il sostegno del Ministero della Cultura, della Regione Puglia, dei Comuni di Bari, Martina Franca, Molfetta, Monopoli e Ruvo di Puglia, e della Camera di Commercio Bari, Teatro Pubblico Pugliese, Istituto Culturale Coreano in Italia e Kofice (Fondazione Coreana per lo scambio culturale internazionale). Con il patrocinio e il sostegno del Garante dei diritti del minore e del Garante dei diritti delle persone con disabilità della Regione Puglia.In collaborazione con il Teatro stabile d'innovazione ragazzi Le Nuvole di Napoli e con Casa dello spettatore di Roma, Casa del contemporaneo, TRIC Teatri di Bari, Cooperativa Kismet, Assitej Italia (Associazione internazionale di teatro per bambini e giovani), TRAC rete delle residenze teatrali pugliesi, ARPA Puglia, Conservatorio di Musica ‘Nino Rota' di Monopoli, Pro loco di Martina Franca. Il festival rientra nella rete di Italiafestival ed EFA European Festivals Association (nell'ambito del progetto Effe Label).Tutte le informazioni e il programma aggiornato sul sito www.maggioallinfanzia.it.

Piero San Giorgio, théoricien francophone de la collapsologie a été durant 20 ans spécialisé dans l'industrie high-tech & responsable des marchés émergents d'Europe de l'Est, Moyen Orient et Afrique. En 2005, il prend conscience des catastrophes à venir, il se prépare depuis à l'effondrement de l'économie mondiale qu'il pressent démarrer entre 2020 et 2022, et étudie les moyens d'y survivre.

TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7792IL CAVALIERE PERFETTO, EROE NAZIONALE DEL PORTOGALLOCombattente devotissimo alla Madonna, Nuno Alvares de Pereira decise di ritirarsi in un convento carmelitano e ai funerali era già acclamato come santodi Rino CammilleriÈ singolare come due nazioni tendenzialmente pacifiche come la Svizzera e il Portogallo abbiano per eroe nazionali due guerrieri. La singolarità si accresce nella Svizzera calvinista, che ha come padre della Patria non solo un combattente ma addirittura un santo cattolico, San Nicola di Flue. E pure il Portogallo ha un Santo, Nuno Alvares de Pereira, canonizzato nel 2009 da Benedetto XVI. Allo svizzero, che dopo le gesta belliche si ritirò in eremitaggio e visse per quarant'anni di sole ostie, abbiamo dedicato a suo tempo una puntata. Oggi parleremo del portoghese, che già al funerale era acclamato come: "o santo Condestàvel", "il Conestabile Santo" (Conestabile era il titolo del comandante supremo delle armate). Nato il 24 giugno 1360 a Cernache do Bomjardim, era figlio illegittimo di un cavaliere di San Giovanni (odierni di Malta), fra Álvaro Gonçalves Pereira, che era pure priore e, ovviamente nobile d'alto rango. Anche la madre, Dona Iria Concalves do Carvalhal, era una gran dama, e a quel tempo la castità non era considerata un problema da perderci il sonno (e l'aborto era escluso a priori).AL COMANDO DELL'ESERCITOLe entrature del padre a Corte ottennero un decreto reale di legittimazione, così il tredicenne Nuno poté diventare paggio della regina Leonor e ricevere un'educazione da cavaliere. Dopo l'investitura, a sedici anni il padre lo accasciò in un ottimo partito, la giovane, bella e soprattutto ricca vedova dona Leonor de Alvin. I due sposi ebbero tre figli, due maschi e una femmina. Sopravvisse solo quest'ultima, Beatriz che poi andò in moglie ad Alfonso, Duca di Braganca e figlio del re Joao I. Da questa unione partì la dinastia reale portoghese di Bracanca. Nel 1383 morì Ferdinando senza eredi maschi, per cui la corona passò al fratello Joao. Ma il defunto Fernando aveva una figlia che aveva sposato il re di Castiglia, il quale si affrettò a reclamare per sé la corona portoghese. Naturalmente fu guerra e il nostro Nuno ebbe il comando supremo dell'esercito. Erano tempi in cui il comandante in carica non stava a dirigere le operazioni al sicuro su un'altura ma si spendeva personalmente in prima fila. E Nuno non si faceva pregare. Lo si vide in diverse battaglie e, fin dal giorno in cui le navi castigliane si presentarono di sorpresa davanti a Lisbona, che non era ancora capitale ma aveva già un porto di grande importanza. Nuno riuscì a riunire di fretta solo sessanta uomini e pochi cavalieri, mentre una forza di duecentocinquanta nemici si apprestava a sbarcare.PRATICAVA IL DIGIUNOI portoghesi, intimoriti, esitavano, ma Nuno si lanciò all'attacco con pochi compagni. Un colpo di lancia gli abbatté il cavallo e lui rimase intrappolato sotto l'animale. Ma anche da quella scomoda posizione si difendeva spada in mano contro una forma di castigliani. Fu il vedere il loro comandante in grave pericolo a far decidere i portoghesi rimasti a distanza. Dimentichi degli inferiorità numerica si proiettarono nel soccorso e la giornata fu loro: I castigliani, investiti da quelle furie, si affrettarono a reimbarcarsi lasciando sul terreno parecchi uomini. La guerra continuò fino al 1385, quando nella storica Battaglia Aljubarrota il Conestabile di Portogallo sconfisse definitivamente i castigliani e salvò l'indipendenza del Regno. La vittoria, quantunque l'esercito portoghese fosse più ridotto rispetto a quello Castigliano, fu così netta che il nemico venne inseguito fin dentro alla Castiglia e schiacciato a Valverde. Il giorno di Ajubarrota era la vigilia dell'Assunta. Il giorno prima, l'esercito in marcia provenendo da Tomar passò per Fatima. E qui, in località Cova di Iria, si vide lo straordinario spettacolo dei cavalli fermarsi e inginocchiarsi. Nuno, infatti era devotissimo alla Madonna. In Suo onore praticava moderato digiuno, compatibilmente con le esigenze belliche, nei giorni di mercoledì, venerdì e nelle vigilie delle feste mariane.MESSA OGNI MATTINAOgni mattina assisteva alla Messa e sul suo stendardo campeggiavano il Crocifisso, la Vergine, San Giorgio e Santiago. Di tasca sua erigeva chiese e monasteri, tra cui il Carmelo di Lisbona e la chiesa di Santa Maria da Vitòria di Batalha. Poco dopo la fine della guerra morì sua moglie e lui, malgrado le insistenze della corte, non volle prenderne un'altra. Impiegò la maggior parte dei suoi beni per soccorrere i reduci della guerra, in un tempo in cui l'assistenza e la pensione dipendevano totalmente dalla buona volontà dei signori. Nel 1423 lasciò loro tutto quel che gli restava e si chiuse nel convento carmelitano che aveva fondato. Avrebbe voluto sceglierne uno lontano per esservi dimenticato, ma don Duarte, figlio del re, glielo proibì: la situazione politica non era ancora assestata e il Portogallo poteva avere bisogno della sua esperienza in qualunque momento. Prese voti come fra Nuno de Santa Maria e per umiltà vuole restare per sempre un semplice frate. Nello stesso convento c'era anche uno che era stato ai suoi ordini e che adesso era sacerdote. Quando lo incrociava, Nuno si inchinava a baciare un lembo della sua tonaca. Si dedicò alla mensa quotidiana dei poveri che lui stesso aveva organizzato e nei locali della quale assisteva e serviva i più sfortunati. Morì il giorno di Pasqua, il 1° aprile del 1431, e subito il popolo pianse il suo "santo Conestabile". Era un popolo, ahimè, di indole diversa da quello che seicento anni dopo accompagnò le sue reliquie nella traslazione in chiesa. Erano i primi anni sessanta del secolo scorso e l'urna d'argento che conteneva le sue ossa fu rubata e non se ne seppe più nulla.MORÌ DURANTE LA PASSIONESul letto di morte volle venire ad abbracciarlo il re, quello stesso che, da Gran Maestro dell'Ordine di Aviz, lo aveva creato Conestabile. Rese l'anima mentre gli leggevano la Passione, nell'istante in cui scandivano le parole: "Ecco tua Madre". Così passò al cielo Nuno Alvares di Pereira, Conte di Arraiolos, di Barcelos e di Ourém, Gran Conestabile di Portogallo. La sua tomba venne distrutta durante lo spaventoso terremoto che rase al suolo Lisbona nel 1755, evento che servì a Voltaire come esempio per dimostrare che se Dio esisteva non era affatto buono: La sfortunata traslazione finale, come abbiamo visto, finì con un furto sacrilego. Cosa attrasse la cupidigia dei ladri? L'urna d'argento? La commissione di qualche ricco collezionista? In ogni caso, la fede del 1961 non era più quella del XIV secolo. E non si era che agli inizi. Ero appena laureato e fresco di conversione quando un amico scoprì sulla bancarella di un mercatino antiquario una serie di piccole e artistiche teche contenenti reliquie. Le ricomprò tutte e non ci fu difficile risalire alla chiesa cittadina da cui erano state tolte. E al parroco, più noto per le sue attività di saggista, che non faceva mistero di preferire a quelle di officiante. Già: frammenti infinitesimi di vecchie ossa, di valore inferiore alle scatole che li contenevano. Che vuoi che sia? Ma sì, vendiamo tutto e magari diamone il ricavato ai poveri. Nello spirito (?) del Concilio.

Puntata numero 499 di Border Nights - La Notte ai confini, in onda ogni martedì alle 22 su Web Radio Network (www.wrnradio.eu). Primo ospite Piero San Giorgio, il tema sarà come sopravvivere al collasso economico. Nel secondo spazio con noi Aldo Procida con il quale torneremo a parlare degli insegnamenti del Cerchio Firenze 77. Paolo Franceschetti dialogherà con Michela Salotti mentre Tom Bosco sarà in compagnia di Antonello Lupino. Con la partecipazione di Maestro Di Dietrologia.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/border-nights--654467/support.

Attimi di panico nel pomeriggio per 17 cavalli, compresi 4 puledri, fuggiti da una stalla al confine con San Giorgio di Perlena. La fuga si è conclusa senza danni in pianura, grazie all'intervento anche di un esperto e dei carabinieri forestali

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

Il Genoa riprende ad allenarsi in vista della partita contro il Cagliari, nella quale indosserà una maglia che celebra San Giorgio e la città di Genova. Lunga intervista concessa dall'amministratore delegato rossoblú, Andres Blazquez, ai microfoni di CaughtOffside. Buoncalcioatutti!

Piero San Giorgio est un auteur survivaliste suisse connu notamment pour son livre "Survivre à l'effondrement économique", paru en 2011. Son nouveau livre "Survivre à la peur (Tome 1)" sorti en mars 2024 est disponible partout : https://www.piero.com/Épisodes recommandés :#149 Stéphane Édouard - Comment se bâtir un mental et une résilience à toute épreuve#157 Frédéric Delavier - Vers le progressisme ?#211 Vol West - Dans la peau d'un survivalisteRecevoir La Lettre Biomécanique :https://biomecaniquepodcast.com/Lettre Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Il Masci presenta il webinar per la Giornata Mondiale del Pensiero 2024: il nostro futuro di PACE, sogno o progetto?Dopo il webinar 2023 dedicato ai Fratelli ed alle Sorelle dell'Ucraina, che sono sempre al centro del nostro cuore (come sentirete durante la trasmissione) quest'anno il focus è stato sulla Terra Santa. Potrete ascoltare Fra Alberto Joan Pari, responsabile del dialogo interreligioso ed ecumenico per la custodia di Terra Santa, nonché direttore del Magnificat, una scuola francescana di alta formazione musicale, a Gerusalemme, frequentata da oltre 200 ragazze e ragazzi di diverso credo.Inoltre, Carlo Bertucci (segretario internazionale) e Giorgio Zaccariotto (responsabile della Pattuglia Pace) dialogheranno con Scout che hanno esperienza di Campi in Terra Santa: Angelopiero Bafundi della Compagnia di San Giorgio e Mariella Del Genio, magister della Comunità Roma 23 - MASCI LAZIO.Infine Andrea Padoin ci ricorda come possiamo attivarci, anche quest'anno, per accogliere in Italia i nostri Fratelli e Sorelle dell'Ucraina.Buon ascolto!!! e sempre Buona Strada!!!

La Compagnia di San Giorgio (https://www.sangiorgiocomp.org/) si ritrova online per programmare le attività del suo futuro a breve-medio termine con Don Alessandro Mantini.Buona strada a tutti!---Per "costruire" un profilo di Don Alessandro vedi:queste due pagine web dell'Università Cattolica del Sacro Cuore - Roma (1, 2) e questa scheda dal sito web della Diocesi di Roma (https://www.diocesidiroma.it/phpenti/persona/?id=17398)

(CHIEDO SCUSA IN ANTICIPO PER ALCUNI PROBLEMI AUDIO)Come si è formata la centenaria monarchia zarista? Come si sviluppò territorialmente la Russia fino a divenire lo stato più esteso del mondo? E in che modo viveva la gente sotto il dominio autocratico degli zar? L'esercito imperiale era una forza potente e combattiva? Queste sono solo alcune delle domande a cui cercherò di rispondere nel corso di questo nuovo episodio speciale, il secondo della rubrica dedicata ai paesi belligeranti nel corso della Grande Guerra.Seguimi su Instagram: @laguerragrande_podcastScritto e condotto da Andrea BassoMontaggio e audio: Andrea BassoFonti dell'episodio:Franco Cardini, Sergio Valzania, La scintilla: da Tripoli a Sarajevo. Come l'Italia provocò la Prima Guerra Mondiale, Mondadori, 2014 François-Xavier Coquin, La Révolution russe manquée, Éditions Complexe, 1985 Cosacchi, Treccani Aldo Ferrari, La Russia degli zar, Pelago, 2022 Georgij Gapon, Les Mémoires du Pope Gapone, 1906 Matthew Gault, Ukraine Is Successfully Using a 140-Year-Old Machine Gun Against Russia, Vice, 2023 Peter Hart, La grande storia della Prima Guerra Mondiale, Newton & Compton, 2013 Ivan III, Treccani Ivan IV, Treccani Fabio Levi, Dodici lezioni sugli ebrei in Europa. Dall'emancipazione alle soglie dello sterminio, Zamorani, 2003 Chris McNab, Il grande orso in guerra, LEG, 2022 Scott W. Palmer, Science and Technology (Russian Empire), 1914-1918 Online, 2014 Nicholas Riasanovsky, Storia della Russia, 2004 Hans Rogger, La Russia pre-rivoluzionaria, 1881-1917, Il Mulino, 1992 Russia before the 1917 Revolution, di Indy Neidell, 2017 Schiff, Jacob Henry, Dictionary of American Biography Barbara Tuchman, The Guns of August, 1962 World War Zero - The Russo Japanese War 1904-1905, di Jesse Alexander, 2022In copertina: bandiera ufficiale dell'Impero Russo adottata dallo zar Nicola II nel 1914. Il tricolore russo venne creato da Pietro il Grande nei primi del '700 ispirandosi ai colori dell'Olanda, paese nel quale aveva vissuto per qualche tempo. Nel corso dell'800 i colori russi divennero anche colori panslavi. Al tricolore, Nicola II unì anche lo stemma imperiale, con l'aquila bicite (retaggio dell'Impero Romano d'oriente), lo stemma di Mosca con San Giorgio che uccide il drago, e gli stemmi degli altri possedimenti dei Romanov.

MEDIO ORIENTE, LA GUERRA SI ALLARGA con Francesco Strazzari docente relazioni internazionali alla Scuola Superiore Sant' Anna di Pisa - POLITICA, LE DECISIONI CHE ASPETTANO ELLY SCHLEIN con Daniela Preziosi giornalista di Domani in diretta dal seminario di Gubbio - “CLIMITOLOGIE”, LA NUOVA RUBRICA DEL VENERDI SULLE BUFALE PER NEGARE IL CAMBIAMENTO CLIMATICO Sara Milanese con la redazione del Giusto Clima ci parla della tesi secondo cui le rinnovabili non bastano a garantire il fabbisogno energetico - GLI OTTANT'ANNI DELLA DEPORTAZIONE ALLA TOSI DI LEGNANO, LE COMMEMORAZIONI con Beppe Viganò e Roberto Mezzenzana presidente Anpi di San Giorgio su Legnano ed ex dipendente della Franco Tosi autore del libro “I deportati della Franco Tosi”. In studio Lorenza Ghidini, in redazione Massimo Alberti

Nadia Battocletti, ci racconta il suo argento ai Campionati Europei di Cross (corsa campestre) che si sono svolti a Bruxelles domenica scorsa. Una corsa nel fango che ha esaltato il suo carattere. È la prima volta, in ventinove edizioni degli europei di cross, in cui un’azzurra va sul podio assoluto.Il suo 2024 si aprirà, come da tradizione, con il Campaccio, a San Giorgio su Legnano (Mi) il 6 gennaio e una gara di 10km il 14 gennaio. Poi lo sguardo volgerà verso gli Europei di Roma e le Olimpiadi di Parigi.Nadia Battocletti nel 2023 ha siglato a Londra il nuovo record italiano sui 5000m che resisteva da 27 anni, portandolo a 14’41’’30. Poi ha fatto suo anche il primato italiano sui 10km 31’35’’ e infine, all’esordio sui 10.000 m ha sfiorato di 85 centesimi il primato italiano di Maura Viceconte. Bloccando il cronometro sui 31’06’’42.Nella seconda parte il coach Fabio Vedana risponde alle domande degli ascoltatori in tema di corsa e allenamento.Infine, come contenuto extra per la versione podcast del programma Rosario Palazzo, direttore del magazine Runner's World ci racconta che a livello mondiale negli ultimi 30 anni il tempo medio correre una maratona è aumentato di oltre 40 minuti.

Diego Marani"A Trieste con Svevo"La nave di Teseowww.lanavediteseo.eu“Questo libro racconta il viaggio che ho compiuto alcuni anni fa sulle tracce di Italo Svevo in una Trieste scomparsa ma ancora rintracciabile. La sua trama si sovrappone a quella dei personaggi sveviani e forma una storia che è come un'infilata di stanze. Quelle di un museo, di una scuola chiusa per le vacanze, di una fabbrica dismessa, di un grande appartamento vuoto della città vecchia sul cui parquet sconnesso scorrono le ombre dei personaggi che li hanno abitati e con la stessa velocità delle ore passano gli anni. Perché a Trieste il tempo ha una sua consistenza propria: si accumula come in un lavandino ingorgato, rischia di traboccare, poi di colpo qualcosa lo stura e interi decenni colano via in un fiotto. Finché un altro ingorgo si forma e tutto ricomincia. In uno di questi ingorghi sono rimasto intrappolato anche io, che frequento Trieste da ormai quarantacinque anni. Il lettore troverà così in queste pagine, assieme agli eroi sveviani, personaggi di quella triestinità eterna che nutrono lo spirito letterario della città e che per questo non appartengono a un tempo definito ma silenziosamente si riproducono in ogni epoca immortali.” (Diego Marani)Diego Marani è nato a Ferrara nel 1959. È direttore dell'Istituto italiano di cultura di Parigi ed è stato per lungo tempo funzionario dell'UE, dove si è occupato di lingue e di diplomazia culturale. Inventore della lingua-gioco Europanto, ha pubblicato L'ultimo dei vostiachi (2002), A Trieste con Svevo (2003), L'interprete (2004), Il compagno di scuola (2005, premio Cavallini), Come ho imparato le lingue (2005), Enciclopedia tresigallese (2006), La bicicletta incantata, pubblicato in cofanetto con il film di Elisabetta Sgarbi Tresigallo, dove il marmo è zucchero (2007), L'amico delle donne (2008), Il cane di Dio (2012), Lavorare manca (2014). Per La nave di Teseo sono usciti Vita di Nullo (2017), Il ritorno di San Giorgio (2019), La città celeste (2021) e la nuova edizione di Nuova grammatica finlandese (2022), romanzo tradotto in quindici lingue, vincitore tra gli altri del premio Grinzane Cavour 2001 e dell'Oxford-Weidenfeld Translation prize 2012.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Premiati alla Pieve di San Giorgio in Valpolicella gli interpreti del tema “Radici e Prospettive” approfondito nel corso del 42° Premio Masi: il Premio Masi Civiltà Veneta al lessicografo Mario Cannella, al “Nobel dell'acqua” Andrea Rinaldo e a Stevanato Group, storica azienda veneziana produttrice leader di contenitori di vetro per medicinali; il Premio Internazionale Masi Civiltà del Vino agli autori di manga giapponesi Yuko e Shin Kibayashi; il Premio Internazionale Grosso d'Oro Veneziano alla regista iraniana Rakhshan Banietemad. Dopo la firma della storica botte di Amarone nelle cantine Masi i vincitori del premio, accompagnati dalla Presidente di Fondazione Isabella Bossi Fedrigotti, dal Vicepresidente Sandro Boscaini e dal Segretario Marco Vigevani, si sono recati nel borgo di San Giorgio per la cerimonia ufficiale nell'omonima pieve romano-barbarica (VII sec.) che domina un paesaggio fatto di vigne terrazzate fino al Lago di Garda.

di Matteo B. Bianchi |In questa puntata pienamente autunnale di Copertina andiamo a conoscere gli appassionati librai di Casa Naìma, libreria di San Giorgio del Sannio, in provincia di Benevento; continuano poi le esplorazioni del mondo delle riviste indipendenti con Francesca Spiller, fondatrice a Milano di Reading Room, una delle pochissime librerie italiane dedicate esclusivamente ai magazine. Per finire, l'esimio collega podcaster Massimo Temporelli e l'autrice e sceneggiatrice Alice Urciuolo ci danno i loro personali consigli di lettura.LIBRI CONSIGLIATI IN QUESTA PUNTATA:L'ULTIMA COSA BELLA SULLA FACCIA DELLA TERRA di Michael Bible, AdelphiLA CANZONE POPOLARE di Nicholas Mathieu, MarsilioMADRE di Goldie Goldbloom, PlaygroundDomenico Cosentino e Flavia Peluso della libreria Casa Naìma di San Giorgio del Sannio in provincia di Benevento ci hanno consigliato:LETTERE ALL'INNAMORATA di Thierry Metz, Il Ponte del SaleC'É QUALCOSA DI Più NOIOSO CHE ESSERE UNA PRINCIPESSA ROSA di Raquel Díaz Reguera, SettenoveTRILOBITI di Breece D'J Pancake, MinimumfaxFrancesca Spiller della libreria di riviste Reading Room a Milano ci invita a scoprire la rivista QUANTO MAGAZINEMassimo Temporelli ci ha consigliato la lettura di:MACCHINE COME ME di Ian McEwan, EinaudiInfine la sceneggiatrice scrittrice Alice Urciuolo ci ha raccontato in anteprima:BLUETS di Maggie Nelson, nottetempo

In 1562, Veronese was commissioned to paint a massive painting of the “Wedding Feast at Cana” to adorn the end wall of the refectory of the Benedictine monastery of San Giorgio in Venice, Italy. What he produced was an extraordinary impression of typical Venetian revelry in the late 16th century with more than 100 figures participating in the great feast.

Financial Centres Of The World 2023: A Gem Of Opportunities, From Past To Future Genoa is a vibrant city with a harbour on the Mediterranean sea and a rich historical significance in the world of finance. The Bank of Saint George (Banco di San Giorgio) was founded in Genoa in 1407 and is considered the world's first public modern bank. In the same year the first insurance company in the world, known as the "Casa di San Giorgio”, was established. Genoa and England share St George's Flag, symbolising a rich shared history between the two. Today Genoa is an important economic hub in Italy with a diverse range of industries including shipping, manufacturing, finance, and tourism. With a €7.5 Billion investment planned in infrastructure, including the new “waterfront” reimagined by the Genoese international architect Renzo Piano, transport networks, port logistics, shipping, and urban development, Genoa is able to attract business and contribute to economic growth, creating investment opportunities. Creating a Greater City Area consisting of Genoa, Milan, and Turin could potentially have a significant economic impact and contribute to the second largest GDP of the Eurozone, with a target to be the largest in the future. This webinar is part of our "Focus On" series, where we look at financial centres from around the world. For more information on this webinar see the event page here: https://fsclub.zyen.com/events/past-events/genoa-a-gem-of-opportunities-from-history-to-future/ Interested in watching our webinars live, or taking part in the production of our research? Join our community at: https://bit.ly/3sXPpb5

Il Sindaco di Alessandria Giorgio Abonante ci presenta il Festival San Giorgio in partenza il 23 giugno

Sei alla ricerca di un percorso nel cuore di Roma? In questo nuovo episodio lungo il rione Ripa, Danila Fruci ti racconterà storia e curiosita di due gioielli medievali: Santa Maria in Cosmedin e San Giorgio al Velabro. Questa passeggiata medievale ti farà scoprire un'area ricca di leggende e miti, arte e storia. Segui la traccia pensata per te e passa una giornata che ti porterà dalla celebre Bocca della Verità fino ai pressi dell'Arco di Giano. Our Podcast music was provided by The Podcast Host and Alitu: The Podcast Maker app.

San Giorgio Canavese, Piemonte, 1832: una belva si aggira per i campi e le bambine iniziano a sparire. Abbiamo un serial killer che, spinto da pulsioni sessuali incontrollabili, seminerà il terrore nella piccola cittadina ai piedi delle Alpi Graie: è la storia di Giorgio Orsolano.

Radioimmaginaria MilanoPodcastCiao a tutti amici immaginari! Oggi siamo a Cormano, al parco della Balossa per festeggiare San Giorgio insieme agli scout e ad ARI; l'Associazione Radioamatori Italiani. In questa puntata abbiamo intervistato alcuni capi scout e Matteo La Torre; manager di ARI e capo scout. Restate connessi!www.radioimmaginaria.it

Radioimmaginaria MilanoPodcastCiao ragazzi! Oggi siamo a Cormano al San Giorgio, un ritrovo con 800 scout provenienti da tutta la provincia di Milano. Qui i ragazzi hanno fatto un sacco di workshop tra cui quello della ARI (Associazione Radioamatori Italiani) nel quale siamo riusciti ad infiltrare Alessandro insieme alle Puma. Dopo abbiamo intervistato anche Sara, un capo scout, e le Andromeda che ci hanno raccontato come funziona il mondo degli scout. Ascoltateci!www.radioimmaginaria.it

Una preziosa copia degli Statuti dell'Ordine della Giarrettiera, il più antico ordine cavalleresco inglese, è ben conservata in un mazzo dell'Archivio di Stato di Torino, e sono la testimonianza di una delle tante possibili storie che, se realizzate, avrebbero cambiato – e non poco – la storia del nostro continente.La preziosa copia manoscritta degli Statuti viene donata ad Emanuele Filiberto quando viene creato cavaliere, il 6 novembre 1554. Gli archivi inglesi conservano un elenco preciso dei gioielli e dei documenti inviati a Emanuele Filiberto: innanzitutto il grande collare dell'ordine, due pendenti con San Giorgio (protettore dell'Ordine), la Giarrettiera, il manto, la veste di velluto e, infine, gli Statuti dell'Ordine. La nomina però era solo la prima parte di una strategia politica più ampia, tessuta dall'imperatore Carlo V e dal ministro Antoine de Granvelle. Una strategia che mirava a portare il duca di Savoia se non sul trono inglese, almeno assai vicino ad esso.Storiainpodcast pubblica la serie “L'impossibile e l'improbabile. Cinque storie di casa Savoia”, realizzata dall'Archivio di Stato di Torino, diretto da Stefano Benedetto. Che cosa è un archivio? Se ne possono dare tante definizioni ma per uno storico è un luogo in cui si raccolgono, si conservano, si tramandano tante, tantissime storie. Il semplice fatto però che una storia sia presente nei documenti d'un archivio non significa che sia vera. Gli archivi pullulano, infatti, di progetti mai realizzati, di racconti di fatti mai avvenuti, di storie tanto fantasiose da non esser credibili nemmeno per chi le ha scritte, di speranze mai divenute concrete, ma non per questo meno sentite.Andrea Merlotti – storico, dirige il Centro studi del Consorzio delle Residenze Reali Sabaude – racconta per l'Archivio cinque storie di Casa Savoia, accompagnato dalle musiche di Marco Robino (Architorti).A cura di Francesco De Leo.https://storiainpodcast.focus.it - Canale I Savoia------------Storia in Podcast di Focus si può ascoltare anche su Spotify http://bit.ly/VoceDellaStoria ed Apple Podcasts https://podcasts.apple.com/it/podcast/la-voce-della-storia/id1511551427.Siamo in tutte le edicole... ma anche qui:- Facebook: https://www.facebook.com/FocusStoria/- Gruppo Facebook Focus Storia Wars: https://www.facebook.com/groups/FocuStoriaWars/ (per appassionati di storia militare)- YouTube: https://www.youtube.com/user/focusitvideo- Twitter: https://twitter.com/focusstoria- Sito: https://www.focus.it/cultura

Welcome to Episode 1346; part of our new Italian wine interview series set in Dusseldorf, Germany. Today Joy Livingston interviews some representatives of the Grignolino Consorzio (the Monferrato Casalese Consorzio)! Stevie Kim and her team travelled to Dusseldorf, Germany this March to collaborate with ITA, the Italian Trade Agency. ITA was organizing some incredible Masterclasses featuring the best wines Italy has to offer. Each masterclass was led by the Master Sommelier Eros Teboni (awarded Best Sommelier Worldwide in 2018), and they wanted us there to document the amazing 3 days! Tune-in each Thursday as we bring you the great interviews that unfolded over the course of 3 days. More about today's guests: Established in 2016, the Consortium brings together 62 producers of Monferrato Casalese, as well as three wineries (Serralunga di Crea, San Giorgio and Lu) and deals with the protection, promotion and enhancement of Grignolino del Monferrato Casalese DOC, Barbera del Monferrato Superiore DOCG, Rubino of Cantavenna doc and Gabiano doc. In September 2018, the Consortium received recognition from the Ministry of Agricultural and Food Policies to carry out its functions in relation to the listed wines. Executive President Claudio Coppo Directors Mirko Carzino, Fabio Saravesi, Francesca Accornero, Costantina Sbarato, Giacomo Cattaneo Adorno, Elena Novarino, Savino Tondo Find out more by visiting: https://vinimonferratocasalese.it/il-consorzio/ More about the interviewer: Joy Livingston is the Producer of Italian Wine Podcast. Narrator extraordinaire and Scienza whisperer Joy Livingston has been known to edit the occasional book from time to time. When Joy is not busy Producing the podcast she is also working hard on the Mamma Jumbo Shrimp YouTube channel where many of the interviews stream on video! Let's keep in touch! Follow us on our social media channels: Instagram @italianwinepodcast Facebook @ItalianWinePodcast Twitter @itawinepodast Tiktok @MammaJumboShrimp LinkedIn @ItalianWinePodcast If you feel like helping us, donate here www.italianwinepodcast.com/donate-to-show/ Until next time, cin cin!

A couple days late but no fools fewer, it's the first April-sode of the season. Al takes Dee on a circuitous route through ancient history to the modern day, feasting on mushrooms, spaghetti and blaspheming scholars. Plus, a local ad for the tops in our audience. Main Ad: https://youtu.be/q-ZtGoXkI58 Local Ad: https://youtu.be/Q5sc9JByYgA Sources: https://www.adcreeps.gay/sources-1/312-sangiorgio

Era nato il 19 febbraio a San Giorgio a Cremano, nel Napoletano. Dalla “Smorfia” al “Postino”, sempre con uno slancio vitale proprio solo dei bambini e dei poeti.

Next up in our tour of Vittore Carpaccio is “Saint Augustine in His Study.” Carpaccio was a specialist in creating series of huge paintings designed to hang in sequence to tell the story of a saint or other Biblical story and “St. Augustine” is one of these.  We'll find out how an unexpected visitor told the saint to get over himself, how Carpaccio created an immersive media experience in a Venetian meetinghouse, and how a dog beat out a weasel for a role in this scene.  SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode music is “Sheep May Safely Graze - BWV 208” and “Lone Harvest”  by Kevin MacLeod  https://incompetech.com/music/royalty-free/music.html. Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Exhibition information  https://www.nga.gov/exhibitions/2022/carpaccio-renaissance-venice.html Artwork information Vittore Carpaccio: Master Storyteller of Renaissance Venice by Peter Humphrey et al. New Haven: Yale University Press, 2022. St. Augustine bio https://www.britannica.com/biography/Saint-Augustine Scuola di San Giorgio degli Schiavoni tour (starts at 4:55) https://aur.edu/dalmatian-school-venice-professor-jason-cardone Words of Jerome to Augustine (Requires JSTOR login) Roberts, Helen I. “St. Augustine in ‘St. Jerome's Study': Carpaccio's Painting and Its Legendary Source.” The Art Bulletin 41, no. 4 (1959): pg 292. https://doi.org/10.2307/3047853. Post comments or questions at alonglookpodcast.com

Diego Marani"L'uomo che voleva essere una minoranza"La nave di Teseohttps://www.lanavediteseo.eu/Rodolfo fa il barbiere da quando ha quattordici anni. Dei suoi amici, nessuno saprebbe dire che cosa davvero lo appassioni. Per la moglie è un uomo tranquillo, abitudinario, conformista. Non tifa una squadra, ma si accoda al coro di chi tifa più forte. Non ha un'opinione, ma si lascia influenzare dal giudizio altrui. Si sente parte di una maggioranza informe e rumorosa che lo protegge dall'obbligo di avere una volontà. Tutto questo un giorno non gli basta più. Decide di provare il brivido di smarcarsi da tutti e di entrare a far parte di una minoranza.Inizia dalle minoranze linguistiche, sceglie l'esperanto e si mette a studiarlo. Ma nel piccolo paese di provincia in cui abita è inevitabilmente l'unico che lo parla. Avvilito, solo, decide allora di provare con le minoranze religiose. Ma, quando cerca di integrarsi nella prestigiosa comunità ebraica di Ferrara, subisce una cocente delusione. Prova anche la via dell'invalidità fisica, ma finisce un'altra volta contro un muro. Di delusione in delusione, Rodolfo non si arrende e continua la sua lotta per emergere dal mucchio. Fino all'inaspettato, sorprendente finale.L'uomo che voleva essere una minoranza è un romanzo-pamphlet che esplora con grazia e ironia temi sensibili e nevrosi del nostro presente.Diego Marani è nato a Ferrara nel 1959. È direttore dell'Istituto italiano di cultura di Parigi ed è stato per lungo tempo funzionario dell'UE, dove si è occupato di lingue e di diplomazia culturale. Inventore della lingua-gioco Europanto, ha pubblicato L'ultimo dei vostiachi (2002), A Trieste con Svevo (2003), L'interprete (2004), Il compagno di scuola (2005, premio Cavallini), Come ho imparato le lingue (2005), Enciclopedia tresigallese (2006), La bicicletta incantata, pubblicato in cofanetto con il film di Elisabetta Sgarbi Tresigallo, dove il marmo è zucchero (2007), L'amico delle donne (2008), Il cane di Dio (2012), Lavorare manca (2014). Per La nave di Teseo sono usciti Vita di Nullo (2017), Il ritorno di San Giorgio (2019), La città celeste (2021) e la nuova edizione di Nuova grammatica finlandese (2022), romanzo tradotto in quindici lingue, vincitore tra gli altri del premio Grinzane Cavour 2001 e dell'Oxford-Weidenfeld Translation prize 2012.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

Inizieremo la prima parte del nostro programma con alcune delle principali notizie di questa settimana. In primo luogo, parleremo della nomina, cerimoniata martedì dal Re Carlo III, di Rishi Sunak alla carica di Primo Ministro della Gran Bretagna. Commenteremo poi il notevole successo che i Paesi europei hanno raggiunto nel riempire al 95% i depositi di stoccaggio di gas naturale, entro la scadenza del 1° novembre, superando l'obiettivo originario dell'80%. Quindi, discuteremo di un recente studio pubblicato sulla rivista Nature che indica come alcune mutazioni genetiche che hanno aiutato alcuni individui a sopravvivere alla peste nera nel 1348, sono collegate a determinate malattie autoimmuni che colpiscono i loro discendenti ancora oggi. Infine, commenteremo l'onorificenza dell'Ordine di San Michele e San Giorgio che la principessa Anna ha conferito all'attore Daniel Craig - lo stesso onore concesso al suo personaggio James Bond - in riconoscimento al suo eccezionale contributo al cinema e al teatro.    Nella seconda parte del nostro programma, Trending in Italy, parleremo di alcuni audio pubblicati da LePresse, nei quali Silvio Berlusconi dice di aver ristabilito i rapporti con Vladimir Putin, facendo anche una ricostruzione sconclusionata delle responsabilità del Cremlino nell'invasione dell'Ucraina. Discuteremo infine della straordinaria impresa sportiva dell'italiano Filippo Ganna, che ha stabilito di recente il nuovo record dell'ora nel ciclismo. - Il Re Carlo III incarica Rishi Sunak di formare il prossimo governo britannico - Impianti di stoccaggio del gas in Europa riempiti al 95%. E sta arrivando altro gas - I sopravvissuti alla peste nera hanno sviluppato una mutazione genetica protettiva - Daniel Craig riceve la stessa onorificenza di James Bond - Gli audio di Silvio Berlusconi su Putin e la Guerra in Ucraina - Filippo Ganna segna uno storico record di velocità

Episode 117In Episode 117 of The Big Cruise Podcast. Chris brings us Maritime History / Listener Question from Sydney harbour as he embarks Coral Princess. Meanwhile Leighton jumps into the hot seat to discuss the latest Cruise News from around the world. Including news from Holland America Line, P&O Australia, Carnival, Viking, Paul Gauguin, Ponant & Uniworld.Thanks to Leighton for helping out with Cruise News this week... Watch out Chris...Support the showListen, Like, Subscribe & Review on your favourite podcast directory. Share the podcast with someone you think will enjoy the show Buy Me A Coffee – This podcast is only possible thanks to our supporters, simply buying a coffee keeps us on air. It is just like shouting your mate a coffee, and we consider our listeners close mates. https://bit.ly/2T2FYGX Sustainable Fashion – choose a TBCP design or design your own… all using organic cotton, green energy and zero plastic https://bit.ly/32G7RdhThrowback to the archivesEp 27 – Robin West – Expedition LeaderEP27 – Robin West (Seabourn Expeditions), Maritime History & Cruise News – The Big Cruise PodcastCruise NewsHolland America Line's Special 150th Anniversary Crossing is a Celebration of the Brand's JourneyExclusive musical piece composed for Lincoln Center Stage, collector's menu covers, culinary surprises, special gifts and more highlight the voyageAs Holland America Line prepares for its 150th Anniversary in 2023, the cruise line is kicking off a year of celebrations with a special transatlantic crossing in October. Primed to recreate a bygone era of ocean travel through Holland America Line's history, guests on board the voyage are in for a journey from past to present with special events, activities, and commemorative keepsakes.Departing Oct. 15, 2022, from Rotterdam, the Netherlands, to New York City aboard Rotterdam, the voyage retraces Holland America Line's first cruise back in 1872 aboard Rotterdam I. Guests will see the brand's history come alive through onboard enrichment programming, memorable culinary experiences and exclusive entertainment.Exclusive Lincoln Center Piece Composed for AnniversaryA highlight of the crossing will be a performance of a musical piece by Emmy Award-winning producer and Emmy-nominated composer Steven Schoenberg, written exclusively for Holland America Line's anniversary to accompany a special short film about the cruise line's journey. The composition will be performed by a 25-piece ensemble of former Holland America Line's Lincoln Center Stage musicians. The piece will debut on board Oct. 26 in New York on World Stage.During the sailing, guests also will be entertained by Dutch sensation Tiny Little Big Band, bringing their unique sound of jazz and soul with a hint of swing, along with the ship's Music Walk entertainment featuring BB King's Blues Club, Billboard Onboard, Lincoln Center Stage and Rolling Stone Rock Room.  Culinary Delights an Ode to Dutch HeritageEvery evening in the Main Dining Room, menus will showcase Holland America Line's 150-year history with a Classic Entrée reminiscent of a dish served as early as the 1920s. Guests can choose from selections including Royal Rib of Beef a la Medicis, Holland Duckling Port Wine Sauce and Artic Char a la Normande.A special 150th Gala Menu one evening in the Dining Room will be a memorable collection of dishes, with every option — from appetizers to desserts — from a previous Holland America Line voyage. The menu is designed to evoke a feeling of days gone by and features a keepsake cover that guests can take home.At least once during the voyage as a pop-up experience in Tamarind, guests can indulge in a Rijsttafel — a Dutch word that translates to “rice table” — with side dishes served in small portions, accompanied by rice prepared in several different ways. The Dutch adapted the Indonesian tradition so they could enjoy a wide array of dishes at a single sitting with an abundance of flavors and textures.The toasting continues with a “Throwback Happy Hour” that will roll back time and feature drinks priced to when the brand began, as low as 25 cents. Guests who want to learn about wine can join Holland America Line Vice President of Dining and Beverage Operations Anthony Stice for wine tastings and surprises around the ship.Additional culinary delights in honor of Holland America Line's 150th Anniversary include a special Dutch High Tea, Dutch station in Lido Market that features traditional sweet and savory items, one Dutch-themed lunch with classic Dutch items and one Indonesian-themed lunch, both in Lido Market.Enrichment and Activities Bring History to LifePresentations reliving the history and roots of the company will be offered by Bill Miller, maritime historian, and Holland America Line authority, while Dr. Jennifer Foray, professor of history at Purdue University, will deliver lectures on Dutch history.Origin Story, a staple on every Holland America Line cruise, is visual telling of the company's history from founding through present day. The presentation is offered in World Stage with 270-degree wraparound LED screens that envelop the audience in an emotional journey that includes incredible, historical images.­­­­­­­­­­­­­Holland America Line's 75th Anniversary Season in the Great Land Comes to an EndFollowing a full season of 107 cruises and Cruisetours aboard six ships, Holland America Line set sail from Alaska for the last time this year with Eurodam and Koningsdam completing a final port visit at Ketchikan yesterday, Thursday, Oct. 6, before ending at Seattle, Washington, and Vancouver, British Columbia, Canada, respectively on Saturday.P&O Cruises Returns to Noumea as Cruising Resumes in New CaledoniaThe resumption of cruising in the South Pacific is gaining momentum, with P&O Cruises Australia's Pacific Explorer today becoming the first cruise ship to return to New Caledonia.Pacific Explorer sailed into Noumea this morning for a historic overnight stay following the reopening of New Caledonia's maritime borders to cruise tourism.The call is the latest in a series of milestones for P&O's flagship, which was the first cruise ship to return to Australia in April this year, as well as the first ship to visit New Zealand and Fiji in August.Ships from across Carnival Australia's family of brands will make more than 20 visits to New Caledonia over the remainder of 2022, with more than 150 calls scheduled for 2023.Light Camera & Action on Carnival Celebration With a ship as expansive and exciting as Carnival Cruise Line's new Carnival Celebration, there will be countless ways to celebrate with never-before-seen live entertainment.From new main production shows and aerialist acts to game shows, parties and events, the ship's new unique offerings have been designed to be as much celebrations as they are performances, with elevated and engaging presentations, upbeat vibes, energetic music, playful choreography, colourful scenes, and tons of fun.Highlights from the new Playlist Productions and Center Stage offerings include:The Most Magnificent Circus – a story of celebrating self-discovery and acceptance will unfold to reimagined popular hits as a big-top circus comes to life. Taking talent to new heights – literally – wire-rigged performers will showcase their skills leaving the stage behind to soar above and beyond the audience, creating action in every direction. Guests will adventure through a fully immersive theatrical circus experience as the most extravagant aerialist show in the fleet uses all of the ship's high-flying capabilities to the max, with mesmerizing trapeze, chair, chandelier, hoop, ladder and mirror aerial performances throughout.Colour My World – An Indie Rock and Pop Love Story – romance will be in the air as a popular artist and his assistant go on a journey of love through art and colour. The artistic love story will blend fun dance styles such as street jazz, hip-hop, musical theatre and ballet with the best songs from indie rock and pop genres. Combining different mediums of art to create a visually captivating experience, this vibrant and colourful show will feature live painting on stage with music and choreography to match. Visual Symphony (starting in December) – as the name suggests, this innovative show will use Celebration Central's 16 massive moving LED screens, lasers and classical rock music to create a high-tech visual masterpiece. Pushing the boundaries of theatrical performances, the show will take full advantage of the cutting-edge technology and special effects in the zone's three-deck-high space. As the LED walls' content is synced with the choreographed lighting designs, the elevated multimedia experience will deliver an extraordinary live performance.Rio Carnival (starting in May) – coming soon, this vibrant and high-energy Brazlian extravaganza will have guests moving their hips in a parade and celebration of music and dance as the cast performs authentic samba, bossa nova, marchinha, batudada, forro, carimbo and capoeira to some of the most famous Latin pop songs of all time in both in Portuguese and English.In addition to Family Feud Live, Deal or No Deal and the Love and Marriage game shows, some of the new offerings will include:What's Age Got to Do With It – in this question and answer trivia show for fun of all ages, one parent and child will have to prove they are the best family duo.Cash Bash – in partnership with the casino team, guests can win cash prizes as they compete in Fun Squad challenges and interactive activities.Guess That Grove – guests will have to listen up and get ready to move as they show off their knowledge of iconic tunes and groovy dance skillsSpace Cruisers Program to Debut on Carnival Celebration this NovemberIn celebration of World Space Week, Carnival Cruise Line announced today that it is partnering with Kennedy Space Center Visitor Complex to launch a children's space program with activities inspired by NASA science, which will debut on Carnival Celebration this November.As part of Camp Ocean's science and discovery programming, the credible Space Cruisers curriculum supported by NASA is designed to be as educational as it is fun and will enable children of all ages to explore the universe and our home planet in an array of hands-on and one-of-a-kind learning experiences. Children will be able to complete “missions” (activities) to earn a special, themed mission patch representative of the program.A summary of the Space Cruisers programming can be viewed here. Highlights include:Optimal Orbit (ages 2-8) – learn the pull of gravity and how planets, satellites and other objects move through space in a hands-on experience with a giant trampoline.Design Your Own Mission Patch (ages 6-11) – join the long-standing tradition among astronauts and design your own take-home mission patch to tell your story.Space Cruisers Rocket Workshop (ages 6-11) – follow in the footsteps of NASA's talented engineers and build your own paper rocket to fly high to the sky.Mars Base Connect (family-friendly) – explore the steps it takes to build a Mars base and come together with family members to create your own.ASTRO! (family-friendly) – call out constellations as they're displayed on a unique star projector in a space-themed BINGO game for the chance to win special giveaways.The program will debut on Carnival Celebration when it sets sail on its inaugural voyage from Miami this November, and will then be rolled out to the Space Coast with Mardi Gras in Port Canaveral in time for the holiday season. Various activities from the program will later go fleetwide in time for spring break.Freshly refurbished Le Ponant hoists sails againPONANT's iconic three-masted sailing yacht Le Ponant, which was the founding ship where the PONANT story began, has undergone a major renovation ahead of her voyage to Australia to set sail for her inaugural Kimberley season in 2023.After several months undergoing renovation at the San Giorgio del Porto yard in Italy, the yacht offers a remarkably private setting and has been entirely updated with cutting edge eco-responsible innovations. After an exclusive collection of itineraries in the Mediterranean, Le Ponant will spend the winter in the Seychelles before arriving in Australia in April 2023.The newly imagined Le Ponant is an invitation to go sailing whilst recharging the batteries on voyages that respect the world around, where privacy and exploring with others go hand in hand with eco-responsibility.When luxury and privacy combine with the magic of travel and eco-responsible navigationThirty years after her launch, Le Ponant has been transformed to provide guests with a unique travel experience. After undergoing a complete renovation, the ship now accommodates just 32 guests with a 1:1 passenger to crew ratio. The sleek, refined layout was designed by the Studio Jean-Philippe Nuel and Sterling Design International to create a sense of luxury, privacy and tranquillity that makes guests feel as if they are on their own private sailing yacht.The 4 passenger decks provide 16 spacious staterooms including a 60m2 Owner's Suite on the upper deck ‘Zephyr' with a private balcony. The common areas have been refitted to allow guests to fully enjoy the panoramic gastronomic restaurant; to re-energise in the spa, wellness area or gym; or relax in the sun lounge area in an ambiance of quiet contemplation.In line with the company's policy, Le Ponant reflects an ongoing commitment to a more responsible tourism. The sailing ship is equipped with all the latest technologies to optimise emissions reduction: connecting to electricity grids where available in ports, using the sails, an innovative SCR filter system to eliminate fine particles and cut nitrogen oxide emissions by 90%, sorting waste and latest generation wastewater treatment. Every guest experience has been thought through to help protect the environment and heritage, such as non-motorised water sports and individual or small-group landings at ports of call with the focus on local heritage.Uncrowded, Le Ponant offers guests the ultimate luxury invitation to enjoy authentic experiences and moments of rare privilege close to nature, under sail as the preferred mode of travel. On board, an expedition leader and naturalist guides share their unrivalled knowledge as they discover unusual treasures at sea and during ports of call. In addition to exclusive activities, on board and off, guests enjoy exquisite cuisine based on locally sourced ingredients.Aboard Le Ponant, every detail has been included to offer a timeless experience; a voyage that awakens the senses within a bubble of exploration at its most authentic.Viking Celebrates 25th Anniversary in Amsterdam Viking marked the company's 25th anniversary with a historic celebration in Amsterdam. To commemorate the milestone, for the first time ever, three classes of Viking ships—a river ship, an ocean ship and the company's newest expedition vessel, the Viking Polaris—met in Amsterdam and sailed in a special convoy to IJmuiden, Netherlands. Participating in the convoy with the Viking Polaris were the Viking Longship, the Viking Mani, and the ocean vessel, the Viking Mars.During the Amsterdam event, Viking also named the Viking Polaris and her identical sister ship, the Viking Octantis®, which is currently sailing her inaugural season in the Great Lakes. Both ships will spend the Austral summer in Antarctica, before travelling north to the Great Lakes for a series of voyages during spring and summer.Viking's 25th anniversary celebration in Amsterdam is the most recent event during a milestone year in which the company has also welcomed to its fleet eight new Viking Longships on the rivers of Europe and new purpose-built vessels on the Mekong, Nile and Mississippi rivers. By the end of 2022, two new, identical ocean ships will have also joined Viking's fleet. Earlier this year, Viking was named the #1 Ocean Line and #1 River Line in Travel + Leisure's 2022 “World's Best” Awards, in which the company became the first cruise line ever to top both categories in the same year. Viking is also rated #1 for both rivers and oceans by Condé Nast Traveler, making it the first cruise line to ever simultaneously earn #1 in its categories from both publications. Additionally, Viking has published a new video about the company's history and some of the key partners who have contributed to its success, which was shared on board all Viking ships today as part of the 25th anniversary celebration.Paul Gauguin Cruises opens sales for 2024A unique opportunity awaits to explore the paradise isles and sunny shores of Polynesia as Paul Gauguin Cruises launches sales for its 2024 small-ship cruises with 33 sailings to 7 destinations, including 2 new itineraries crafted by the company's destination experts.The various itineraries for 2024 centre on water sports including swimming, scuba driving, kayaking, paddle boarding and snorkelling, discovering local traditions and visiting UNESCO World Heritage sites. Aboard Le Paul Gauguin, attentive service and fine cuisine take inspiration from the Polynesian lifestyle. Combining this with privileged moments such as a traditional Polynesian barbecue on Motu Mahana off the protected Taha's Island.Uniworld's New 2023 ItinerariesUniworld Boutique River Cruises announces brand-new mystery cruise itineraries in Europe, as well as enhancements to its Exotics Collection for 2023, with the launch of its first Cruise and Rail journey in India and a new itinerary in Egypt as part of its family-focused Generations Collection.2023 Mystery ItinerariesBack by popular demand, in 2023, Uniworld will launch two brand-new mystery cruise itineraries across Europe. Departing on June 18, 2023, the first 10-day mystery cruise will be a roundtrip sailing along iconic rivers throughout Amsterdam, Netherlands. On July 7, 2023, the second 10-day mystery cruise will be hosted by Uniworld president and CEO Ellen Bettridge, and will start in Nice, France and end in Lyon, France. On-trip excursions, special events, and overall itineraries will remain a complete mystery to cruise passengersCruise & Rail: The Sacred Ganges & the Maharajas' ExpressFollowing the success of the inaugural season of its Cruise and Rail itinerary in Europe, Uniworld is teaming up with Maharajas' Express to offer a new 16-day immersive journey through India. The trip combines seven nights' sailing in supreme comfort aboard the Ganges Voyager II from Kolkata, with a 7-night luxury private train journey through the Golden Triangle and Rajasthan to Mumbai, spending an additional two nights in Oberoi Hotels in New Delhi and Mumbai.Unmissable icons such as the Taj Mahal, Amber Fort and Ranthambore National Park – home to one of the world's largest populations of Bengal Tiger – are included alongside more local encounters, stopping at smaller temples and villages along the way. The itinerary also features four MAKE TRAVEL MATTER® Experiences including learning about the art of making ornamental brass objects at an artisan workshop in Matiari and a visit to local NGO Calcutta Rescue, which serves the area's underprivileged children.Departing on October 28th, 2023.Egypt Generations sailingsDeparting on December 16th, 23rd, & 30th, 2023, Uniworld's new dedicated Generations departures will introduce guests of all ages to Egypt's ancient wonders, vibrant capital and welcoming people. Combining seven nights aboard the all-suite River Tosca sailing round-trip from Luxor with a four night land stay at The Nile Ritz-Carlton Hotel in Cairo, the trip mirrors the popular 12-day Splendors of Egypt and the Nile itinerary, with additional experiences aimed at keeping the whole family entertained.Alongside must-sees such as the Pyramids of Giza, Valley of the Kings and Temples of Karnak, Luxor and Hatshepsut, activities include taking part in a family-friendly football match with local children and some of the ship's crew, sand dune boarding and a swim in the Nile, exploring the river by bike and traditional felucca, and a behind-the-scenes visit to the Captain's wheelhouse.Image Credit: Le ponant, Ponant Cruises.And moreJoin the show:If you have a cruise tip, burning question or want to record a cruise review get in touch with us via the website https://thebigcruisepodcast.com/join-the-show/ Guests: Chris Frame: https://bit.ly/3a4aBCg   Chris's Youtube: https://www.youtube.com/c/ChrisFrameOfficialPeter Kollar: https://www.cruising.org.au/Home Leighton Schembri: https://bit.ly/3elmhbWListen & Subscribe: Amazon Podcasts: https://amzn.to/3w40cDcApple Podcasts: https://apple.co/2XvD7tF Audible: https://adbl.co/3nDvuNgCastbox: https://bit.ly/2xkGBEI Google Podcasts: https://bit.ly/2RuY04u I heart Radio:  https://ihr.fm/3mVIEUASpotify: https://spoti.fi/3caCwl8 Stitcher: https://bit.ly/2JWE8Tz Pocket casts: https://bit.ly/2JY4J2M Tune in: https://bit.ly/2V0Jrrs Podcast Addict: https://bit.ly/2BF6LnE Hosted on Acast. 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Ogni anno, moltissime persone visitano il Bel Paese, attratti dalle bellezze storiche e naturali che lo contraddistinguono. Se parliamo di località marittime, però, i turisti tendono a visitare il bellissimo sud Italia, ignorando le piccole gemme del nord - tra queste troviamo La Spezia, una città portuale situata in Liguria, ma a pochi chilometri dal confine con la bellissima Toscana. Proprio perché poco conosciuta dai turisti, abbiamo deciso di dedicare l'articolo di oggi a questa città (a nostro parere) sottovalutata. 5 COSE IMPERDIBILI A LA SPEZIA In questo articolo vi portiamo con noi alla Spezia, dove abbiamo deciso di passare una giornata. Se anche voi volete fare una “gita fuori porta” in questa bellissima cittadina, allora dovreste assolutamente provare queste 5 cose di cui sto per parlarvi...! 1 - IL MARE Si tratta di una città di mare in Italia, quindi è d'obbligo fare una passeggiata sul lungomare! Se volete percorrere il lungomare spezzino, infatti, potete fare una camminata lungo Passeggiata Morin, un percorso che si sviluppa lungo tutta l'area di attracco di navi e barche, tra due file di palme, e che affaccia su un panorama mozzafiato. Non mancano le panchine per riposarsi all'ombra delle palme, e spazi verdi - se siete amanti dei fiori come me, questo sarà il vostro luogo preferito della città! Dalla zona portuale potete fare tranquillamente delle escursioni in barca verso le destinazioni turistiche vicine (e più gettonate), come Porto Venere, le Cinque Terre, Lerici, le isole del golfo - che, fra l'altro, sono patrimoni dell'UNESCO! In alternativa potete provare le specialità di mare nei ristoranti e nei localini qui vicino, ma anche solo passeggiare tra le palme e i ponti vi permetterà di ammirare panorami incredibili! Non so a voi, ma a me piace tanto un bel panorama con mare, barche, colline, fiori e palme! Un bel mix, non trovate? 2 - IL CIBO Dopo una lunga passeggiata, probabilmente vi verrà un languorino e dovrete cercare un posto in cui mangiare. Noi vi consigliamo di mangiare cose che si possono trovare solo qui e scegliere un locale tipico per mangiare le specialità della Liguria: la focaccia, vuota o ripiena, o addirittura con il formaggio fresco; il pesto (che, nel nostro caso, era nella focaccia); oppure la farinata di ceci (tipica sia della trazione ligure che toscana). Troppi carboidrati? Beh, siamo pur sempre in Italia…! Tra le altre specialità ligure che troverete con molta facilità alla Spezia ci sono anche i fiori di zucca ripieni e le torte di verdura, oltre agli sgabei e ai testaroli. Se invece volete provare qualche piatto tipico a base di pesce, potete assaggiare lo stoccafisso in umido con patate e olive, o i "muscoli" (cozze ripiene). Da buoni italiani, il nostro pranzo è terminato con un caffè e un pasticcino - il tutto nella bellissima piazza Verdi, che fa da sfondo alla fighissima installazione di archi con acqua e specchi progettata dall'artista francese Daniel Buren. 3 - GLI ASCENSORI Siate sinceri: avete mai visto una città… con gli ascensori? No, non nei palazzi, ma proprio nel bel mezzo della città! Ebbene, noi non li avevamo mai visti prima di visitare La Spezia. Lasciate che vi spieghi meglio: la città si estende su più livelli (tra mare e monti), quindi salire e scendere a piedi per le scale, magari più volte al giorno, può risultare difficile, e per questo la città ha installato dei comodissimi ascensori - che tra l'altro sono panoramici - a disposizione dei cittadini e dei turisti. Potete usufruirne in maniera completamente gratuita! Figo, no? Si tratta di due ascensori inclinati, che collegano il castello di San Giorgio a due punti più in basso - per questo motivo vengono chiamati "Ascensori di San Giorgio": uno ha la stazione a valle in via XX Settembre e la stazione a monte in via XXVII Marzo, di fronte all'ingresso del Castello, mentre l'altro collega via XX Settembre con via dell'indipendenza.

Stefano Karadjov"Geronimo Stilton. Brescia Musei Adventures"Fondazione Brescia Musei https://www.bresciamusei.com/Notizia stratopica per tutti i piccoli fan di Geronimo Stilton: in esclusiva mondiale, dal 15 dicembre, il topo giornalista più amato dai bambini di tutto il mondo arriva nei musei di Brescia per un'avventura da far frullare i baffi per l'emozione! Per la prima volta in assoluto, Geronimo Stilton sarà protagonista di un'app-game museale dedicata ai bambini a partire dai 6 anni dal titolo Geronimo Stilton. Brescia Musei Adventures, promossa da Fondazione Brescia Musei in collaborazione con Atlantyca Entertainment e con il sostegno di Fondazione Cariplo. Un progetto che vede per la prima volta una fondazione culturale, la Fondazione Brescia Musei, cimentarsi nel mondo del gaming con Geronimo Stilton ed applicarlo ad un contesto museale complesso, come quello gestito dalla Fondazione stessa. Saranno infatti quattro le sedi coinvolte: il Museo di Santa Giulia, la Pinacoteca Tosio Martinengo, Brixia. Parco archeologico di Brescia Romana e il Museo Luigi Marzoli, per le quali sono stati ideati e declinati tre percorsi unici ed originali, redatti in collaborazione tra i Servizi Educativi della Fondazione e Atlantyca Entertainment, con protagonista il fenomeno globale con 175 milioni di libri venduti in tutto il mondo e 3 serie animate coprodotte con Rai Fiction e distribuite in oltre 130 paesi. Nato da un'idea di Elisabetta Dami, Geronimo, pubblicato in Italia da Edizioni Piemme-Mondadori Libri, entra per la prima volta nelle sale di un museo con un progetto innovativo e trasversale di public engagement in cui la Fondazione Brescia Musei ha deciso di investire per raccontare le proprie collezioni, attraverso l'uso di device familiari al giovane pubblico, nativo digitale. Basteranno uno smartphone o un tablet per prendere parte alle tre emozionanti avventure nel Museo di Santa Giulia con il suo Parco Archeologico e con la nuova casa della Vittoria Alata nel Capitolium, alla Pinacoteca Tosio Martinengo e al Museo “Luigi Marzoli” con un compagno d'eccezione: il topo giornalista che riesce sempre a cavarsi dai guai con intelligenza, l'aiuto degli amici e un pizzico di fortuna. Grazie alla app, la visita museale dei giovani visitatori sarà ancora più stimolante e memorabile perché verrà amplificata da un'esperienza digitale di qualità, innovativa e fresca, capace di dialogare con i bambini attraverso gli strumenti per loro più consueti e riconoscibili. Così, tra amuleti, anfore, dipinti e armature, Geronimo guiderà i suoi giovani compagni di avventura alla scoperta della storia dei musei e del loro patrimonio con l'utilizzo della realtà aumentata che trasformerà alcuni pezzi del museo in immagini 3D da osservare, rigirare e ingrandire per carpirne fino al più piccolo dettaglio.«Con il lancio della nostra prima app-game, proseguiamo sulla strada dell'innovazione digitale, già da tempo avviata con progetti di didattica integrata ribadendo l'impegno educativo nei confronti delle nuove generazioni di nativi digitali – dichiara Francesca Bazoli, presidente di Fondazione Brescia Musei. Abbiamo scelto Geronimo Stilton come ambasciatore del nostro patrimonio per lo straordinario ascendente che ha sui più piccoli e per la facilità con cui tutti possono identificarsi con il personaggio». Il progetto – vincitore del bando “Per la cultura” di Fondazione Cariplo per il rilancio delle attività culturali dopo l'emergenza sanitaria – accoglie e sperimenta linguaggi contemporanei con un'applicazione interattiva e ludo-educativa: edutainment e gamification sono i principi ispiratori dell'app, che stimola le piccole visitatrici e i piccoli visitatori ad apprendere attivamente attraverso il linguaggio che meglio conoscono, quello del gioco. «Gli obiettivi sono molteplici – afferma Stefano Karadjov, direttore della Fondazione. Oltre alla conservazione e alla custodia del patrimonio, si mira a incoraggiare la precoce e costante educazione al patrimonio, in un percorso di crescita culturale e civile, personale e collettiva, che aiuti a vivere meglio, stimolando fantasia, creatività e conoscenza. A questo scopo contribuiscono i Servizi educativi della Fondazione che, grazie alla loro esperienza, hanno avuto un ruolo fondamentale nella creazione dei contenuti dell'app, nelle scelte artistiche, nell'analisi e nella selezione dei materiali museali».Nel Museo di Santa Giulia in “Geronimo Stilton alla ricerca del medaglione perduto” i bambini andranno in missione per conto di Geronimo. L'obiettivo sarà trovare un prezioso medaglione custodito nel museo, ma per raggiungerlo occorrerà prima recuperare diversi oggetti, seguendo le impronte del Direttore dell'Eco del Roditore che daranno l'avvio al percorso in museo. Strada facendo smartphone e tablet, moderne lenti di ingrandimento, permetteranno di inquadrare i simboli a forma di formaggio dietro i quali si celano domande e indovinelli, che compariranno automaticamente sullo schermo. Trovate le risposte giuste, superate le sfide e giunti all'ultimo misterioso oggetto, si sarà nominati “scopritori di tesori” e si riceverà in premio un cappello virtuale da “esploratori del tempo”. L'ultimo invito di Geronimo sarà di spostarsi nel Parco archeologico per concludere l'esperienza davanti alla meravigliosa Vittoria Alata, dove la nostra guida d'eccezione svelerà i segreti di questa preziosissima scultura.“Geronimo Stilton, un'avventura a colpi di pennello” attende i piccoli bocconcini di grana alla Pinacoteca Tosio Martinengo: un temporale ha appena rovinato il dipinto che Geronimo aveva realizzato per il suo ufficio e toccherà ai bambini, app alla mano, aiutarlo a ritrovare tra i capolavori esposti alla Pinacoteca gli stessi elementi che aveva inserito nel suo quadro. Gioiosa e istruttiva occasione per muoversi tra le sale del museo e ammirare i preziosi dipinti lì custoditi: da San Giorgio e il drago alla Cena in Emmaus, dalla Pala Rovelli del Moretto ai Pitocchi di Giacomo Ceruti, passando per il Ritratto di gentiluomo di Moroni e straordinarie sculture come La notte di Thorvaldsen e il Laocoonte di Ferrari. Quando apparirà sullo schermo una “penna stilografica”, premio per la buona riuscita della ricerca, vorrà dire che il gioco si è concluso con successo!Nel Museo Luigi Marzoli in “Geronimo Stilton una giornata da cavaliere” i bambini faranno un tuffo nel mondo medievale per aiutare Geronimo a trovare tutti i pezzi di un'adeguata armatura per poter partecipare alla giostra dell'anello. Attraversando le sale dell'imponente Mastio visconteo del Castello, tablet alla mano, i bambini, scopriranno quali erano le parti che componevano un'armatura e come era decorata, come vedevano i cavalieri attraverso le piccole aperture dei loro elmi, quali erano le prove che un giovane doveva superare per diventare cavaliere, come era bardato il suo cavallo e tantissime altre curiosità stratopiche. Il percorso si concluderà nella sala delle armature di lusso, dove Geronimo troverà un prestigioso scudo e ogni partecipante potrà decorarne virtualmente uno a suo piacimento.Stare insieme, giocare e confrontarsi con gli altri aiuta l'individuo fin dalla più tenera età a formare la propria identità e rafforza il senso di appartenenza a una comunità, anche piccola come un gruppo di amici o una classe. Imparare collettivamente divertendosi, in un luogo privilegiato di incontro con l'arte e con la storia, come è un museo, è proprio l'intento dell'app, che entra anche nelle scuole. Attraverso la LIM, la lavagna interattiva multimediale, sarà possibile accedere a contenuti speciali direttamente nelle aule: un assaggio dell'esperienza che i bambini potranno vivere in presenza dopo mesi di didattica a distanza. Ma le novità non finiscono qui: Geronimo parla anche inglese. Si potrà quindi scegliere la versione dell'app per una lezione stratopica in lingua straniera. «Grazie alla sua capacità di trasmettere in maniera divertente valori positivi e contenuti educativi, da sempre Geronimo Stilton si è fatto portavoce di progetti e realtà culturali nel mondo dei bambini. Rendendoli stimolanti e accoglienti, Geronimo fa in modo che anche i temi più ricchi e complessi diventino interessanti, trasformandosi in un prezioso ponte di condivisione tra il mondo degli adulti e quello dei bambini. Per questo è un mediatore museale ideale e in questo caso la sua missione viene resa ancora più speciale grazie a una app fortemente innovativa e unica nel suo genere» dichiara Claudia Mazzucco, CEO di Atlantyca Entertainment, la società che gestisce i diritti editoriali internazionali nonché quelli di animazione e di licensing per tutto il mondo di Geronimo Stilton.L'applicazione, sviluppata in collaborazione con Way Experience, è disponibile gratuitamente per smartphone su AppStore e PlayStore. I percorsi saranno disponibili così sia attraverso i propri device personali, sia utilizzando tablet e cuffie messi a disposizione senza costi aggiuntivi dalla Fondazione Brescia Musei presso le biglietterie delle varie sedi museali (sempre igienizzati prima e dopo ogni utilizzo). L'app è disponibile in lingua italiana, in lingua inglese e con sottotitoli. Come direbbe Geronimo Stilton… un'esperienza stratopica per un divertimento garantito al formaggio!IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Originale, versatile, per tutti. Ha accompagnato la storia d'Italia dall'immediato Dopoguerra: la Vespa compie 75 anni e ha ancora molta strada davanti. Il 23 aprile è anche la Giornata mondiale del libro e a Barcellona coincide con la grande festa popolare di San Giorgio, dove i libri vengono scambiati con rose. Ma le Ramblas quest'anno non possono essere affollate come al solito, a causa della pandemia e delle restrizioni al turismo. Per chi vuole viaggiare utilizzando la formula dell'affitto breve, il rischio di perdere caparra o intero importo a causa del coronavirus è alto. Ecco perché il mercato ha studiato nuove formule assicurative e clausole di salvaguardia per inquilini e proprietari.

From Genova: The city rebuilt the Morandi bridge that collapsed in August 2018. Renamed the San Giorgio bridge, since the inauguration in August 2020, the city has come together for this new era of history as we emerge from the pandemic. The guests discuss cultural ties between Italy and the US, and they highlight the pioneering museums, Wolfsoniana (Genova) and Wolfsonian-FIU (Miami) together with the Amici di Palazzo Ducale, that advance cultural bridges. Guests: The Honorable Marco Bucci, mayor of the city of Genova, joining from Italy and Mr. Micky Wolfson, founder of the Wolfsonian-FIU and Wolfsoniana Museums, joining from Miami, Florida.

A new podcast every day of Lent.  Join us in Rome as we focus on the Lenten Station Church of the day.