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History of the Azzo, Ezzo and Izzo surname in Italian / Storia del cognome Azzo, Ezzo e Izzo EZZO / IZZO meaning : " Derived from a Germanic name Azzo, based on the element z , which originates debated; between the various hypotheses are: ipocoristico of other names for the starting or for at-to- derived from the element athal ("nobility", "seed") derived from the element atta ("father") derived from the root Ansuz ("god") The name had a certain spread in Italy in the Middle Ages, when it was carried by at least a dozen members of the House of Este. One of its variants Germanic, Adso, is quite well known for being used by Umberto Eco for his character of The Name of the Rose, Adso of Melk (w...
EZZO / IZZO meaning: " Derived from a Germanic name Azzo, based on the element z, which originates debated; between the various hypotheses are: ipocoristico of other names for the starting or for at-to- derived from the element athal ("nobility", "seed") derived from the element atta ("father") derived from the root Ansuz ("god") The name had a certain spread in Italy in the Middle Ages, when it was carried by at least a dozen members of the House of Este. One of its variants Germanic, Adso, is quite well known for being used by Umberto Eco for his character of The Name of the Rose, Adso of Melk (whose name was chosen by the similarity with Eco Watson. the same element name also dates back to the Ezzelino, which is reported by some sources as a variant of Azzo." Book cover: Azzo and his Vassals, from the cover of the 13th century Zwettl Abbey manuscript with commemorative stamp.
Examines justice, nationalism, gender, and patriotism in Fascist Italy through the lens of a 1931 Administrative Court case related to surname italianization in Italy's Adriatic borderlands.
The printed debut of the canzone villanesca alla napolitana occurred on 24 October 1537, in Naples. Fifteen anonymous 'rustic songs' were published by Johannes de Colonia in a pocket-sized anthology with a cover featuring three women with hoes tilling the soil. The adjective villanesca (from villano or peasant) in the strict sense of the word means rustic or crude, but in this new context it also intimates that Neapolitan poet-musicians had been affected by the instinctive lyrical traditions of everyday people. The articles in this volume trace the Neapolitan origins of this song form, and its subsequent development as it spread quickly throughout Italy in a succession of editions published in Venice and Rome, providing a diverse repertory of lively songs to amuse the privileged that held and attended academies. Several studies focus on key figures in this process, notably Ferrante Sanseverino, Prince of Salerno, and Orlando di Lasso. At the same time the author relates these developments to the contemporary political context, notably the rivalry of Spain and France for control of the Kingdom of Naples.
This is the first translation into any language of one of the most significant treatises of past centuries, Benedetto Varchi’s L’Ercolano (1570). It is designed for anyone curious about what ideas on language were popular in the past. As is true today, people in the sixteenth century had very definite opinions on this unique human characteristic. Varchi’s work, in the form of a lively dialogue, explores such questions as whether we are the only species possessing the ability to communicate; what the oldest variety of speech may have been; and how best to learn a foreign tongue. Another topic important at that time was how to deal with the decline of Latin as a universal language among the educated, and the search for the most suitable Italian dialect to replace it. This brief volume sparkles with the author’s wit, and makes for quite informative and highly entertaining reading.
Includes entries for maps and atlases.