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On Bookrolls, Pints, and Somewhat Flat Jokes: Suet. De poetis 3. 3. 9
Get PDFThis article explores a passage of a letter from Augustus to Horace, quoted in the vita Horatii by Suetonius as evidence of him being short and overweight (Suet. De poetis 3. 3. 9). In the letter, the emperor jokingly connects the brevity of the work he received with the physical appearance of the poet. He then suggests that Horace could even write ‘in sextariolo’, an expression that commentators have been struggling to interpret. I argue both against the literal understanding of the expression ‘in sextariolo’ as ‘on a small vase’ and the alternative suggestions seeing it as a technical term for a specific kind of bookroll. Instead, I put forward an interpretation based on the similarity between a papyrus roll of a slightly smaller height and the shape of a sextarius.Эта статья посвящена месту в одном письме Августа Горацию, которое цитирует Светоний в жизнеописании поэта как подтверждение того, что он был невысокого роста и полноват (Suet. De poetis 3. 3. 9). В этом письме император в шутку находит связь между длиной полученного от Горация свитка и внешностью поэта, а затем говорит, что Гораций мог бы даже писать in sextariolo – выражение, которое привлекло много попыток истолкования. В этой статье я выступаю как против буквального понимания in sextariolo как “на небольшом кувшине”, так и против попыток увидеть в слове sextariolus технический термин для обозначения особого вида свитка. Вместо этого я предлагаю интерпретацию шутки, основанную на визуальном сходстве между свитком несколько меньшей высоты и формой секстария-сосуда
#itsneverobliqua : Methodische Herausforderungen multimodaler Wissenskommunikation exploriert am Beispiel des Botanisierens
Get PDFToday, knowledge communication is no longer conceivable without multimodality, if it has ever been truly monomodal. Nevertheless, research on multimodal knowledge communication has not yet progressed very far. This article therefore attempts a methodological inventory and reflection on the appropriate means of investigating this phenomenon. In a media-cultural-historical perspective on knowledge mediation processes, the article explores what their determining conditions are and how they can be made methodologically explorable in their interconnectedness. The centuries-old practice of botanizing (i. e., the identification of plant species) will be examined as a subject matter of knowledge communication, both in its historical development and in a recent example
Il cimbro
Get PDFThe aim of this contribution is to present the long history of linguistic research on Cimbrian, an alloglotte variety of Germanic origin, spoken historically in the mountains of the present provinces of Verona and Vicenza and in southern Trentino, and still used in the municipality of Lusèrn/Luserna. Moreover, the main linguistic features of Cimbrian, in particular the variety of Lusèrn/Luserna, will be presented. Finally, I will discuss some initiatives for the preservation and promotion of the Cimbrian language and culture
Die inklusiven Sprache(n) der sozialen Nachhaltigkeit: Deutsch und Italienisch im Vergleich
Get PDFThis thematic issue collects a selection of the linguistic papers presented during the interdisciplinary conference Parità, genere, disabilità: la prospettiva giuridica e la prospettiva lingui-stica (‘Equality, gender, disability: the legal and linguistic perspective’) held in October 2021 at the University of Milan. The papers deal with the inclusive languages of social sustainability, and in particular, six focus on the topic “language and gender” and one on “language and disability”, mainly in German and Italian and partly in other languages. Both topics are analysed in the standard language and/or in specific domains of use (i. e., legal communication and institutional communication)
Persistence of primitive reflexes associated with asymmetries in fixation and ocular motility values
Get PDFThis cross-sectional study examined eye movement performance in patients aged 4 to 16 years. Measurements of eye movements were obtained before and after performing therapy for inhibition of four primitive reflexes, asymmetric tonic neck reflex, symmetric tonic neck reflex, labyrinthine tonic reflex and Moro reflex. Subsequently the scores of the four primitive reflexes were compared with the results of five variables: fixation maintenance, % mean saccade size, motility excursions, fixations during excursions and mean duration of fixations. The comparisons showed a significant reduction in evidence of fixation maintenance as well as mean saccade size due to the inhibition of the four primitive reflexes. There was also a significant increase in ocular motility while fixations per saccade and average duration of fixations also decreased significantly. Visual balance between values of both eyes improved in all tests. A device called VisagraphTM III, which measures eye movements, was used for data collection. These results suggest that the oculomotor improvements reflect the involvement of other maturational processes such as the emergence and inhibition of primitive reflexes, the whole reorganization being key to future reading and attentional processe
Le concezioni dell’autorità delle e degli insegnanti in formazione : un connubio di dimensioni interne ed esterne alla relazione insegnante-alunno
No full textDieser Artikel vergleicht die Autoritätsvorstellungen von 66 Lehramtsanwärter*innen im Sekundarbereich (LA) mit einem Modell der Autorität, das aus einer Metaanalyse hervorgegangen ist. Wir zeigen, dass für die LA, Autorität nicht allein auf dem Status oder persönlichen Qualitäten basiert, sondern hauptsächlich auf professioneller Expertise (didaktisch, zwischenmenschlich und im Rahmenmanagement). Wir stellen auch fest, dass die LA nicht wissen, wie sie Autorität einsetzen sollen, wenn es darum geht, auf Regelverstösse zu reagieren, und dass die meisten von ihnen strafende Massnahmen vorschlagen, die auf der Anwendung von Macht beruhen. Schliesslich dokumentieren wir drei kontextuelle Faktoren, die die Autorität im Klassenzimmer beeinflussen: die Eigenschaften der Gruppe, die der Schüler*innen und ihr familiäres Umfeld.This article compares the concept of authority in 66 secondary school pre-service teachers (PST) with a model of authority derived from a meta-analysis. For the PST, authority cannot be established on the sole basis of status or personal qualities but is founded primarily on professional expertise (didactic expertise, expertise in the management of a learning environment, relational expertise). Our results also reveal that SPT lack resources when it comes to intervening in the face of transgressions, and that they predominantly propose punitive interventions based on the use of power. Finally, we document three contextual factors that influence authority in the classroom: group characteristics, student characteristics and family environment.Cet article met en regard les conceptions sur l’autorité de 66 enseignant·e·s en formation au secondaire (EF) avec une modélisation de l’autorité issue d’une méta-analyse. Nous montrons que pour les EF, l’autorité ne s’établit pas sur la base unique du statut ou des qualités personnelles et se fonde principalement sur une expertise professionnelle (didactique, relationnelle et dans la gestion du cadre). Nous révélons également que les EF ne savent pas comment recourir à l’autorité lorsqu’il s’agit d’intervenir face aux transgressions et qu’ils·elles proposent pour la plupart des actions punitives basées sur l’usage du pouvoir. Enfin, nous documentons trois facteurs contextuels qui influencent l’autorité en classe : les caractéristiques du groupe, celles des élèves et leur contexte familial.Questo contributo confronta le concezioni sull\u27autorità di 66 insegnanti in formazione per la scuola secondaria con una modellizzazione dell\u27autorità elaborata attraverso una meta-analisi. I risultati indicano che, per gli e le insegnanti, l\u27autorità non si basa esclusivamente sullo status o sulle qualità personali, ma si fonda principalmente su una competenza professionale (didattica, relazionale e nella gestione del contesto). I risultati dimostrano anche che gli e le insegnanti non sanno come ricorrere all\u27autorità quando si tratta di intervenire di fronte alle trasgressioni e che la maggior parte di loro propone azioni punitive basate sull\u27uso del potere. Infine, il saggio documenta i tre fattori contestuali che influenzano l\u27autorità in classe: le caratteristiche del gruppo, quelle degli studenti e delle studentesse e il loro contesto familiare
Guignard, M., Gather Thurler, M., Crocé-Spinelli, H. et Bouchetal, T. (2024). Établissements scolaires : quelle évaluation pour quelle évolution ? ESF Sciences Humaines. 192 pages.
No full textLantheaume, F. et Urbanski, S. (dir.) (2023). Laïcité, discriminations, racisme : Les professionnels de l’éducation à l’épreuve. Presses Universitaires de Lyon, 336 pages.
No full text“Examining Anew”:: Schoenberg’s “Spontaneous Melody” in his Herzgewächse Op. 20 Re-considered from a Performance-oriented Perspective
Get PDFIn common with many Viennese thinkers of his time, Arnold Schoenberg was an avid reader of the writings of Karl Kraus. In his day, Kraus was as famous for his recitations of his own works as for the writings themselves, his charismatic renderings producing almost ecstatic responses from audiences. Elias Canetti describes Kraus’ recitations as sites within which the audience was “learning how to hear”.[1] This is both about refining one’s sensitivity to sound and about becoming more sensitive to ideas that are carried upon the acoustic cantilena of the words.
The importance of a focus upon listening cannot be over-estimated if one is trying to understand the relationship between Kraus’ style of presentation, the compositions of the Second Viennese School and performances of their works. Schoenberg saw an expression of ‘truth’ in the language of Kraus, an artist for whom what is said and how it is delivered were intimately connected but whose art’s significance lay, as Nicholas Cook has written, “not in the effects it made on the audience […] but in how far the artist, in creating it had attained ‘the origin’”.[2] This seems to echo the often problematic relationship between embodied sound and embedded idea that colours common perceptions of Schoenberg’s music.
This article tests these claims through a case study of Schoenberg’s Herzgewächse Op. 20, linking a reassessment of its historicity with aspects of the tension between the musical material and its realisation when uncovered in performance. It suggests that the ‘remaking’ of the voice embedded in the demands written into the soprano soloist’s line becomes a series of ethically-charged encounters between composer, performer (idealised and actual) and, ultimately, audience. These encounters are fraught with hazard, redrawing the boundaries of what constitutes ‘right action’ in terms of creation, enactment and reception.
[1] Elias Canetti, The Torch in my Ear, (London: Granta, 1999), 220.
[2] Nicholas Cook, “Schenker’s Theory of Music as Ethics”, in Journal of Musicology 7.4. (Berkeley: University of California Press, 1989), 425.In common with many Viennese thinkers of his time, Arnold Schoenberg was an avid reader of the writings of Karl Kraus. In his day, Kraus was as famous for his recitations of his own works as for the writings themselves, his charismatic renderings producing almost ecstatic responses from audiences. Elias Canetti describes Kraus’ recitations as sites within which the audience was “learning how to hear”.[1] This is both about refining one’s sensitivity to sound and about becoming more sensitive to ideas that are carried upon the acoustic cantilena of the words.
The importance of a focus upon listening cannot be over-estimated if one is trying to understand the relationship between Kraus’ style of presentation, the compositions of the Second Viennese School and performances of their works. Schoenberg saw an expression of ‘truth’ in the language of Kraus, an artist for whom what is said and how it is delivered were intimately connected but whose art’s significance lay, as Nicholas Cook has written, “not in the effects it made on the audience […] but in how far the artist, in creating it had attained ‘the origin’”.[2] This seems to echo the often problematic relationship between embodied sound and embedded idea that colours common perceptions of Schoenberg’s music.
This article tests these claims through a case study of Schoenberg’s Herzgewächse Op. 20, linking a reassessment of its historicity with aspects of the tension between the musical material and its realisation when uncovered in performance. It suggests that the ‘remaking’ of the voice embedded in the demands written into the soprano soloist’s line becomes a series of ethically-charged encounters between composer, performer (idealised and actual) and, ultimately, audience. These encounters are fraught with hazard, redrawing the boundaries of what constitutes ‘right action’ in terms of creation, enactment and reception.
[1] Elias Canetti, The Torch in my Ear, (London: Granta, 1999), 220.
[2] Nicholas Cook, “Schenker’s Theory of Music as Ethics”, in Journal of Musicology 7.4. (Berkeley: University of California Press, 1989), 425
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