Biografia dell'autorePaola Giovetti, nata a Firenze, risiede a Modena. Laureata in Lettere, scrittrice e giornalista specializzata nel campo della ricerca di confine, della parapsicologia, della mistica, della spiritualitа. Ha pubblicato una trentina di saggi sulle tematiche sopracitate, dei quali parecchi sono stati tradotti anche all'estero.Collabora a testate nazionali (periodici Rizzoli, il mensile Astra e il settimanale Visto) e al mensile Il Giornale dei Misteri.E' redattrice della rivista trimestrale Luce e Ombra, los angeles piщ antica rivista italiana di parapsicologia e problemi connessi (и nata nel 1900), organo della Fondazione Biblioteca Bozzano-De Boni di Bologna, l. a. maggior biblioteca specializzata d’Italia. Di story Fondazione Paola Giovetti и vicepresidente.. .com eighty five
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Smaller museums identified with a single founder, such as Pieter Teyler, are clearly the creations of nationally based social networks spanning the generations. Teyler is memorialized in a museum built after his death, through a largely posthumously formed collection; his name is kept alive by being attached to the museum, and his presence is summoned up through his centrally located portrait (see Chapter 1 and the Afterword). A nation state, in contrast to the memory of a singular, deceased person, refers to an abstract collectivity: a governmental and administrative polity with a large population whose social relations are no longer based on kinship but instead on contract.
However, insofar as the royal collection was seen as referring to the nation, it was as the king’s domain. Demands by the philosophes for access to the collection were made on the grounds that sharing in this wealth would benefit the people. A notice above the entrance to the Apollo Gallery states that the Louvre Museum was founded by a decree passed in the National Assembly on 16 September 1792, and opened to the public on 10 August 1793. In the Apollo Gallery, the crowns of the former kings of France were displayed, duly transformed into semiophores of the historicized monarchy, for public inspection.
The relationship between this portrait of the donor and his posthumous collection is a complex one since, through it, Teyler can ‘see’ the collection that bears his name, while the public can behold Teyler captured at his writing desk but simultaneously enjoying the view of ‘his’ collection and museum, which he never saw during his lifetime. At the same time, we see him as part of his collection: the interpretation of his will by others seems to be his will as he looks complacently from his frame.