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  • Il Capitale Culturale: Studies on the Value of Cultural Heritage

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Manlio Rossi Doria;

    Manlio Rossi Doria, Considerazioni sull’avvenire della montagna meridionale / Thoughts on the future of the southern mountains, «la Bonifica», numero speciale “La montagna tra povertà e sviluppo”, Roma, XXII, n. 11-12, novembre-dicembre 1968, pp. 885-889. Translation by Kosmos Traduzioni, Reggio Emilia. Il Capitale culturale. Studies on the value of cultural heritage, N° 19 (2019): The management of cultural heritage and landscape in inner areas

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.13138/2039-...
    Article . 2019
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.13138/2039-...
      Article . 2019
      License: CC BY SA
      Data sources: Datacite
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    Authors: Frederick Antal;

    Il classico è un estratto di un articolo di Frederick Antaldel 1932, Über museen in der Sowjetunion, apparso solo nel 1973 in «Kritische Berichte», nn. 2-3. La traduzione italiana si trova in L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204. The classis is an excherpt from a paper of Frederick Antal, Über museen in der Sowjetunion (1932) published in 1973 in «Kritische Berichte», nn. 2-3. The Italian translation is on L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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    Authors: Stefano Della Torre;

    Il testo discute i risultati del progetto CHERIE negli scenari post-pandemia. The text discusses the results of the CHERIE project in post-pandemic scenarios.

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    Authors: Dante Di Matteo; Giacomo Cavuta;

    This paper constitutes an exploratory study about the possible relationships between Inner Areas and World Heritage Sites in Italy. For each pilot project area individuated by SNAI, it was designed a potential tourism gravitational basin, by taking into account the average yearly overnights of all the neighbouring provinces with WHS endowments, for the 12-years period 2005-2016. General results show that the central-northern pilot areas are more willing to intercept cultural heritage flows, while the majority of southern areas are significantly far from possible convergences with UNESCO place markers. Descriptive statistics and synthetic cartographic representation of potential tourism gravitational basins are provided, policy implications are discussed. Questo lavoro costituisce uno studio esplorativo circa le possibili relazioni tra Aree Interne e Siti del Patrimonio UNESCO in Italia. Per ciascuna delle aree del progetto pilota individuate dalla SNAI è stato disegnato un potenziale bacino gravitazionale di utenza turistica, prendendo in considerazione la media annuale delle presenze turistiche delle province confinanti e aventi sul proprio suolo almeno un sito UNESCO, per un periodo di 12 anni dal 2005 al 2016. I risultati generali mostrano che le aree pilota del centro-nord Italia sono più predisposte ad intercettare flussi turistici culturali, mentre la maggior parte delle aree del sud sono significativamente distanti da possibili convergenze con i marcatori territoriali dell’UNESCO. Si forniscono le statistiche descrittive e una rappresentazione cartografica sintetica dei potenziali bacini gravitazionali, si discutono inoltre le principali implicazioni politiche. Il Capitale culturale. Studies on the value of cultural heritage, N° 19 (2019): The management of cultural heritage and landscape in inner areas

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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    https://doi.org/10.13138/2039-...
    Article . 2019
    License: CC BY SA
    Data sources: Datacite
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      https://doi.org/10.13138/2039-...
      Article . 2019
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    Authors: Stefano Consiglio; Marco D’Isanto; Fabio Pagano;

    già in atto nel governo strategico dei servizi pubblici e privati. La profonda trasformazione dello scenario di riferimento ha messo in crisi non soltanto il modello di sostenibilità, ma anche il modello di gestione e organizzativo delle organizzazioni culturali. I fattori di cambiamento imposti dalla pandemia hanno invece enfatizzato i vantaggi del modello delle partnership pubblico private (PPP). Lo scopo di questo contributo è di illustrare le caratteristiche di questo modello evidenziando da un lato le sue specificità e dall’altro di analizzare il ruolo delle organizzazioni ibride culturali di comunità con i quali i soggetti pubblici avviano processi di collaborazione. Il lavoro include anche la presentazione di un caso di studio rappresentato dal Parco archeologico dei Campi Flegrei che nel corso del 2019 ha avviato una sperimentazione di PPP. In the cultural sector, as in other sectors, the coronavirus pandemic has represented an acceleration factor of some processes already in progress in the strategic governance of public and private services. The deep transformation of the reference scenes has undermined not only the sustainability model, but also the management and organizational model of cultural organizations. The factors of change, that have been imposed by the pandemic, have instead emphasized the advantages of the public-private partnership model (PPP). The purpose of this contribution is to illustrate the characteristics of this model by highlighting its specificities and at the same time to analyze the role of hybrid cultural community organizations with which the public entities initiate collaboration processes. The work contains the presentation of a case study represented by the Phlegraean Fields Archaeological Park which in 2019 launched a PPP experimentation.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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    Authors: Glenda Galeotti;

    The growing interest in the impact assessment of cultural heritage has generated a diversity of approaches often focusing mainly on the economic dimension. However, if we consider the cultural heritage as a common and relational good, any activity aimed at promoting its educational, social and economic values needs to produce benefi ts for the community in which the good is located. Therefore, we must necessarily resort to other concepts and tools for measuring the impact of valorisation activities of cultural heritage on community well-being. We must also consider the value for community members. This article illustrates a qualitative research carried out through a case study with the direct involvement of local stakeholders (multi-stakeholder approach). This introductory study is part of a wider research program that the author is currently developing. In accordance with the Quality of Life studies, the main result of the research is the defi nition of elements useful to the impact assessment produced by the valorisation of cultural heritage, in terms of well-being of local communities. Il crescente interesse nella valutazione di impatto del patrimonio culturale ha generato una diversità di approcci, spesso incentrati sulla dimensione economica. Se però si considera il patrimonio culturale come bene comune e relazionale, qualsiasi attività volta a promuovere il suo valore educativo, sociale ed economico deve essere in grado di produrre benefi ci per la comunità in cui il bene si trova. È necessario, dunque, ricorrere a concetti e strumenti in grado di misurare l’impatto delle attività di valorizzazione del patrimonio sul benessere della comunità locale, considerando anche il valore attribuitogli dalla stessa. Questo articolo illustra una ricerca qualitativa realizzata attraverso un caso di studio con il coinvolgimento diretto degli attori locali (approccio multi-stakeholder). Si tratta di uno studio introduttivo ad un percorso di ricerca più ampio e articolato che l’autrice sta sviluppando. In accordo con gli studi sulla Qualità della Vita, il principale risultato della ricerca è la defi nizione di elementi utili alla valutazione dell’impatto prodotto dalla valorizzazione del patrimonio culturale in termini di benessere della comunità locale. Il Capitale culturale. Studies on the value of cultural heritage, No 14 (2016): Musei e mostre tra le due Guerre

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    https://doi.org/10.13138/2039-...
    Article . 2016
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    Data sources: Datacite
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    Authors: Elisa Debenedetti;

    Dal 1818 al 1820 Mollari è ingegnere capo della Delegazione di Pesaro e Urbino, occupandosi dei porti-canale di Fano, Pesaro e Senigallia. Dopo una valutazione, per le tre località, dei principali progetti sei e settecenteschi e di quelli del periodo francese, ci si rende conto che dal 1819 sono i disegni di Angelo Pistocchi, principale aiuto del Nostro, a rivestire la maggiore importanza. A Pesaro i lavori del “piano” mollariano proseguiranno fino al 1825 suddividendosi tra lo stesso Pistocchi e l’“aggiunto” Giuseppe Costantini; mentre a Senigallia le piante del primo mostrano l’andamento del porto-canale inserito nel vivo della città. La maggior parte dei fogli, sottoscritta dal Mollari, è accompagnata da relazioni sue proprie, dell’ispettore Brandolini, dei membri del Consiglio d’arte, del Tesoriere e del Camerlengo: fra questi spiccano gli autografi per il Porto di Senigallia e per il Torrente che scorre sotto il Castello di Frontale, ove si costruirà un mulino, da porsi all’inizio del mandato pesarese. From 1818 to 1820 Mollari is head Engineer of the Pesaro/Urbino Delegation, engaged in the canal harbours of Fano, Pesaro and Senigallia. After having analyzed some important 17th and 18th century projects plus those of the French era for these three districts, he realizes that from 1819 Angelo Pistocchi’s drawings are the best and those that suit the case. Mollari’s “work plan” between Pistocchi and his “deputy” Giuseppe Costantini proceed up until 1825 in Pesaro; whereas in Senigallia, Mollari’s urban map shows the route taken by the canal harbour in the heart of the city. The major part of the documents, signed by Mollari, are accompanied by his own statements, by those of Brandolini the inspector, by the Art Council’s members, by the Treasurer and the Camerlengo: among these the autographed ones stand out for the Senigallia Port and for the Stream running under the Frontal Castle, where a mill will be built, to be done at the beginning of the Pesaro mandate.

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    Authors: Giovanna Brambilla;

    Quindici anni dopo la Convenzione sul valore dell’eredità culturale per la società (Faro 2005), nel pieno delle conseguenze della pandemia , di fronte a un cambiamento di paradigma che già mostra i suoi effetti in campo sociale, economico e culturale, possono i musei essere la spina dorsale di una riprogettazione che metta al centro le persone, le comunità di eredità, ponendosi come obiettivo non un ritorno allo status quo, ma un salto metodologico e operativo vissuto all’interno di una rete di luoghi, persone e istituzioni? Utilizzando la Convenzione di Faro come un sestante nella notte, orientandosi avendo come punti di riferimento i professionisti museali, la scuola e gli interlocutori del territorio, insieme alla collettività, il saggio si propone di suggerire possibili strategie che scavalchino la provvisorietà di una fase 3 per pensare a una fase 4 del mondo della cultura. Fifteen years after the Convention on the Value of Cultural Heritage for Society (Faro 2005), in the middle of the Covid-19 pandemic consequences, our community is facing a paradigm shift, whose far-reaching implications are already evident in the social, economical and cultural fields. In this context, might museums be the backbone in the planning of a redesign which puts people and the heritage community at its very core, with the aim of a methodological leap, avoiding the target of a throwback? May this be possible inside a network among places, people and institutions? Considering the Faro Convention as a sextant into the night, imagining the museum workers , schools and communities representatives as our cardinal points, this essay seeks to suggest some potential strategies that could overcome the so-called phase 3 to plan phase 4 of the cultural word.

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    Authors: Massimo Montella;

    Nota riservata per l'assessore

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    Authors: Angela Maria La Delfa;

    The Revelations of Saint Bridget of Sweden were widespread beginning in the first decade that followed the death of Bridget. In those years, the exchanges among Italy, France and Flanders favored the circulation of the writings and models of the first Brigittine iconography. A testimony of this is found in the miniatures with the Nativity, the Coronation of the Virgin and the Fall of the Rebel Angels in the Très Riches Heures of the Duc of Berry. The aim of the article is to prove that the Brigittine literature was well known by the Limbourg brothers but also that of explaining the reasons of this interest. Through the systematic study of the sources and the identification of the context that favored interest in Bridget’s work, the article shows how the Limbourgs understood the potential of this new visionary material and paved the way for other representations by Flemish artists of the first generation inspired by the Revelations like those of Robert Campin. Le Rivelazioni di Brigida di Svezia furono diffuse a partire dal primo decennio che seguì la morte della santa. In quegli anni, gli scambi tra Italia, Francia e Fiandre favorirono la diffusione degli scritti e dei modelli della prima iconografia brigidina. Testimoniano ciò le miniature con la Natività, l'Incoronazione della Vergine e la Caduta degli angeli ribelli contenute nelle Très Riches Heures del duca di Berry. Lo scopo dell'articolo è quello di dimostrare che la letteratura brigidina era ben nota ai fratelli Limbourg, ma anche quello di spiegare le ragioni del loro interesse. Attraverso lo studio sistematico delle fonti e l'individuazione del contesto che ha favorito l'interesse per l’opera di Brigida, l'articolo mostra come i Limburg abbiano compreso il potenziale di questo nuovo materiale visionario e spianato la strada per altre rappresentazioni di artisti fiamminghi della prima generazione ispirate alle Rivelazioni come quelle di Robert Campin.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Manlio Rossi Doria;

    Manlio Rossi Doria, Considerazioni sull’avvenire della montagna meridionale / Thoughts on the future of the southern mountains, «la Bonifica», numero speciale “La montagna tra povertà e sviluppo”, Roma, XXII, n. 11-12, novembre-dicembre 1968, pp. 885-889. Translation by Kosmos Traduzioni, Reggio Emilia. Il Capitale culturale. Studies on the value of cultural heritage, N° 19 (2019): The management of cultural heritage and landscape in inner areas

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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    https://doi.org/10.13138/2039-...
    Article . 2019
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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      https://doi.org/10.13138/2039-...
      Article . 2019
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Frederick Antal;

    Il classico è un estratto di un articolo di Frederick Antaldel 1932, Über museen in der Sowjetunion, apparso solo nel 1973 in «Kritische Berichte», nn. 2-3. La traduzione italiana si trova in L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204. The classis is an excherpt from a paper of Frederick Antal, Über museen in der Sowjetunion (1932) published in 1973 in «Kritische Berichte», nn. 2-3. The Italian translation is on L. Binni, G. Pinna (1980), Museo. Storia e funzioni di una macchina cultrale dal Cinquecento a oggi, Milano: Garzanti, pp. 197-204.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Stefano Della Torre;

    Il testo discute i risultati del progetto CHERIE negli scenari post-pandemia. The text discusses the results of the CHERIE project in post-pandemic scenarios.

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    Authors: Dante Di Matteo; Giacomo Cavuta;

    This paper constitutes an exploratory study about the possible relationships between Inner Areas and World Heritage Sites in Italy. For each pilot project area individuated by SNAI, it was designed a potential tourism gravitational basin, by taking into account the average yearly overnights of all the neighbouring provinces with WHS endowments, for the 12-years period 2005-2016. General results show that the central-northern pilot areas are more willing to intercept cultural heritage flows, while the majority of southern areas are significantly far from possible convergences with UNESCO place markers. Descriptive statistics and synthetic cartographic representation of potential tourism gravitational basins are provided, policy implications are discussed. Questo lavoro costituisce uno studio esplorativo circa le possibili relazioni tra Aree Interne e Siti del Patrimonio UNESCO in Italia. Per ciascuna delle aree del progetto pilota individuate dalla SNAI è stato disegnato un potenziale bacino gravitazionale di utenza turistica, prendendo in considerazione la media annuale delle presenze turistiche delle province confinanti e aventi sul proprio suolo almeno un sito UNESCO, per un periodo di 12 anni dal 2005 al 2016. I risultati generali mostrano che le aree pilota del centro-nord Italia sono più predisposte ad intercettare flussi turistici culturali, mentre la maggior parte delle aree del sud sono significativamente distanti da possibili convergenze con i marcatori territoriali dell’UNESCO. Si forniscono le statistiche descrittive e una rappresentazione cartografica sintetica dei potenziali bacini gravitazionali, si discutono inoltre le principali implicazioni politiche. Il Capitale culturale. Studies on the value of cultural heritage, N° 19 (2019): The management of cultural heritage and landscape in inner areas

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.13138/2039-...
    Article . 2019
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.13138/2039-...
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Stefano Consiglio; Marco D’Isanto; Fabio Pagano;

    già in atto nel governo strategico dei servizi pubblici e privati. La profonda trasformazione dello scenario di riferimento ha messo in crisi non soltanto il modello di sostenibilità, ma anche il modello di gestione e organizzativo delle organizzazioni culturali. I fattori di cambiamento imposti dalla pandemia hanno invece enfatizzato i vantaggi del modello delle partnership pubblico private (PPP). Lo scopo di questo contributo è di illustrare le caratteristiche di questo modello evidenziando da un lato le sue specificità e dall’altro di analizzare il ruolo delle organizzazioni ibride culturali di comunità con i quali i soggetti pubblici avviano processi di collaborazione. Il lavoro include anche la presentazione di un caso di studio rappresentato dal Parco archeologico dei Campi Flegrei che nel corso del 2019 ha avviato una sperimentazione di PPP. In the cultural sector, as in other sectors, the coronavirus pandemic has represented an acceleration factor of some processes already in progress in the strategic governance of public and private services. The deep transformation of the reference scenes has undermined not only the sustainability model, but also the management and organizational model of cultural organizations. The factors of change, that have been imposed by the pandemic, have instead emphasized the advantages of the public-private partnership model (PPP). The purpose of this contribution is to illustrate the characteristics of this model by highlighting its specificities and at the same time to analyze the role of hybrid cultural community organizations with which the public entities initiate collaboration processes. The work contains the presentation of a case study represented by the Phlegraean Fields Archaeological Park which in 2019 launched a PPP experimentation.

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    Authors: Glenda Galeotti;

    The growing interest in the impact assessment of cultural heritage has generated a diversity of approaches often focusing mainly on the economic dimension. However, if we consider the cultural heritage as a common and relational good, any activity aimed at promoting its educational, social and economic values needs to produce benefi ts for the community in which the good is located. Therefore, we must necessarily resort to other concepts and tools for measuring the impact of valorisation activities of cultural heritage on community well-being. We must also consider the value for community members. This article illustrates a qualitative research carried out through a case study with the direct involvement of local stakeholders (multi-stakeholder approach). This introductory study is part of a wider research program that the author is currently developing. In accordance with the Quality of Life studies, the main result of the research is the defi nition of elements useful to the impact assessment produced by the valorisation of cultural heritage, in terms of well-being of local communities. Il crescente interesse nella valutazione di impatto del patrimonio culturale ha generato una diversità di approcci, spesso incentrati sulla dimensione economica. Se però si considera il patrimonio culturale come bene comune e relazionale, qualsiasi attività volta a promuovere il suo valore educativo, sociale ed economico deve essere in grado di produrre benefi ci per la comunità in cui il bene si trova. È necessario, dunque, ricorrere a concetti e strumenti in grado di misurare l’impatto delle attività di valorizzazione del patrimonio sul benessere della comunità locale, considerando anche il valore attribuitogli dalla stessa. Questo articolo illustra una ricerca qualitativa realizzata attraverso un caso di studio con il coinvolgimento diretto degli attori locali (approccio multi-stakeholder). Si tratta di uno studio introduttivo ad un percorso di ricerca più ampio e articolato che l’autrice sta sviluppando. In accordo con gli studi sulla Qualità della Vita, il principale risultato della ricerca è la defi nizione di elementi utili alla valutazione dell’impatto prodotto dalla valorizzazione del patrimonio culturale in termini di benessere della comunità locale. Il Capitale culturale. Studies on the value of cultural heritage, No 14 (2016): Musei e mostre tra le due Guerre

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.13138/2039-...
    Article . 2016
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.13138/2039-...
      Article . 2016
      License: CC BY SA
      Data sources: Datacite
      addClaim

      This Research product is the result of merged Research products in OpenAIRE.

      You have already added works in your ORCID record related to the merged Research product.
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Elisa Debenedetti;

    Dal 1818 al 1820 Mollari è ingegnere capo della Delegazione di Pesaro e Urbino, occupandosi dei porti-canale di Fano, Pesaro e Senigallia. Dopo una valutazione, per le tre località, dei principali progetti sei e settecenteschi e di quelli del periodo francese, ci si rende conto che dal 1819 sono i disegni di Angelo Pistocchi, principale aiuto del Nostro, a rivestire la maggiore importanza. A Pesaro i lavori del “piano” mollariano proseguiranno fino al 1825 suddividendosi tra lo stesso Pistocchi e l’“aggiunto” Giuseppe Costantini; mentre a Senigallia le piante del primo mostrano l’andamento del porto-canale inserito nel vivo della città. La maggior parte dei fogli, sottoscritta dal Mollari, è accompagnata da relazioni sue proprie, dell’ispettore Brandolini, dei membri del Consiglio d’arte, del Tesoriere e del Camerlengo: fra questi spiccano gli autografi per il Porto di Senigallia e per il Torrente che scorre sotto il Castello di Frontale, ove si costruirà un mulino, da porsi all’inizio del mandato pesarese. From 1818 to 1820 Mollari is head Engineer of the Pesaro/Urbino Delegation, engaged in the canal harbours of Fano, Pesaro and Senigallia. After having analyzed some important 17th and 18th century projects plus those of the French era for these three districts, he realizes that from 1819 Angelo Pistocchi’s drawings are the best and those that suit the case. Mollari’s “work plan” between Pistocchi and his “deputy” Giuseppe Costantini proceed up until 1825 in Pesaro; whereas in Senigallia, Mollari’s urban map shows the route taken by the canal harbour in the heart of the city. The major part of the documents, signed by Mollari, are accompanied by his own statements, by those of Brandolini the inspector, by the Art Council’s members, by the Treasurer and the Camerlengo: among these the autographed ones stand out for the Senigallia Port and for the Stream running under the Frontal Castle, where a mill will be built, to be done at the beginning of the Pesaro mandate.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
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