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The saxo silice in Livy I, 24
No full textLo studio si concentra sui termini presenti in Livio I, 24: (porcum) saxo silice percussit. Il verbo indica una modalità precisa per lo stordimento/abbattimento dell’animale con una pietra particolarmente dura. La distanza tra aat. sahs ‘coltello’ e lat. saxum potrebbe trovare spiegazione nell’episodio di Atta Navio che deve tagliare una cote con una novacula: questa non poteva essere uno strumento di metallo ma una pietra dura in grado di ‘percuotere’ e quindi scindere la cote con un colpo ben assestato come lo è quello del feziale sul porcus.
The study focuses on the terms attested in Livy I, 24: (porcum) saxo silice percussit. The verb indicates a specific method for stunning/felling the animal with a particularly hard stone. The discrepancy between OHG. sahs and Latin saxum could be explained by the episode of Attus Navius, who has to cut a whetstone (cotem) with a novacula: this could not have been a metal tool but a hard stone capable of ‘striking’ and thus splitting the whetstone with a well-aimed blow, similar to the one of the fetial priest on the porcus (pig).Lo studio si concentra sui termini presenti in Livio I, 24: (porcum) saxo silice percussit. Il verbo indica una modalità precisa per lo stordimento/abbattimento dell’animale con una pietra particolarmente dura. La distanza tra aat. sahs ‘coltello’ e lat. saxum potrebbe trovare spiegazione nell’episodio di Atta Navio che deve tagliare una cote con una novacula: questa non poteva essere uno strumento di metallo ma una pietra dura in grado di ‘percuotere’ e quindi scindere la cote con un colpo ben assestato come lo è quello del feziale sul porcus.
The study focuses on the terms attested in Livy I, 24: (porcum) saxo silice percussit. The verb indicates a specific method for stunning/felling the animal with a particularly hard stone. The discrepancy between OHG. sahs and Latin saxum could be explained by the episode of Attus Navius, who has to cut a whetstone (cotem) with a novacula: this could not have been a metal tool but a hard stone capable of ‘striking’ and thus splitting the whetstone with a well-aimed blow, similar to the one of the fetial priest on the porcus (pig)
Topography and Economy in the ‘Attic Stelae’ (IG I3 421-430)
No full textIl saggio ambisce ad offrire una sistematica raccolta dei dati topografici presenti nelle Stele Attiche (IG I3 421-430), grazie a una lettura dei testi e a una revisione autoptica dei documenti. Allo stesso tempo, si cerca di delineare il complesso contesto economico che fa da sfondo alla vicenda, nella parte finale del V secolo a.C.
This study aims to produce a systematic review of the topographical data found in the Attic Stelae (IG I3 421-430), through an autoptical revision of the texts stored in the Athenian museums. It offers a detailed analysis of the documents and, at the same time, it seeks to outline the economic context that formed the background of confiscation of elitarian properties by public officials, in the final part of the 5th century BC.Il saggio ambisce ad offrire una sistematica raccolta dei dati topografici presenti nelle Stele Attiche (IG I3 421-430), grazie a una lettura dei testi e a una revisione autoptica dei documenti. Allo stesso tempo, si cerca di delineare il complesso contesto economico che fa da sfondo alla vicenda, nella parte finale del V secolo a.C.
This study aims to produce a systematic review of the topographical data found in the Attic Stelae (IG I3 421-430), through an autoptical revision of the texts stored in the Athenian museums. It offers a detailed analysis of the documents and, at the same time, it seeks to outline the economic context that formed the background of confiscation of elitarian properties by public officials, in the final part of the 5th century BC
Verso una moda ecologica: la lezione di Eugen Fink e i nuovi tessuti cruelty-free
No full textTowards eco-friendly fashion: Eugen Fink\u27s lesson and new cruelty-free fabrics
Fashion is compared by Eugen Fink to Japanese cherry blossoms, which although beautiful and bright the wind carries away quickly: traditionally considered ephemeral and fleeting, fashion is a cultural phenomenon to be taken seriously. The ethical challenge in fashion today is how to safeguard the planet and respect the environment. The green revolution in the fashion industry tends to replace chemical products with natural ones, among which vegan materials are of particular importance. The essay shows how the use of eco-friendly fabrics does not in any way reduce the aesthetic value of fashion items and that new recycled materials, based on circular economy, nevertheless make it possible to obtain high-quality products.La moda viene paragonata da Eugen Fink ai fiori di ciliegio giapponesi, che, sebbene belli e luminosi, vengono rapidamente spazzati via dal vento: tradizionalmente considerata effimera e fugace, la moda è un fenomeno culturale da prendere sul serio. La sfida etica nella moda odierna è quella di salvaguardare il pianeta e rispettare l’ambiente. La rivoluzione verde nel settore della moda tende a sostituire i prodotti chimici con quelli naturali, tra cui i materiali vegani rivestono particolare importanza. Il saggio mostra come l’uso di tessuti eco-compatibili non riduca in alcun modo il valore estetico dei capi di moda e che i nuovi materiali riciclati, basati sull’economia circolare, consentano comunque di ottenere prodotti di alta qualità
La muffa suona. Suono, natura e tecnologia
No full textMould plays music. Sound, nature and technology
This article investigates the role of sound as a tool to rethink the relationship between nature, culture, and technology, questioning the modern dichotomy that separates them. Building on R. Murray Schafer\u27s reflections on soundscape and Steven Feld\u27s acoustemological approach, sound is understood as an ecological and multispecies form of knowledge, capable of establishing connections between human and non-human agents. Within this framework, artistic practices of sonification are examined as ways of making otherwise invisible biological phenomena audible, transforming data and vital signals into both aesthetic and epistemic experiences. The case study of artist and researcher Eduardo Reck Miranda, who experiments with the slime mold Physarum polycephalum in dialogue with artificial intelligence systems, demonstrates how living organisms can become compostional agents within a sonic interaction with humans. Though biomemristors and the Phy-Box device, the slime mold becomes part of a hybrid musical system, opening a broader reflection on the possibility of post-anthropocentric music. What emerges is an ecology of listening, where sound functions as an epistemic, relational, and intermedial practice, enhancing our coexistence with the natural world.Questo articolo indaga il ruolo del suono come strumento per ripensare i rapporti tra natura, cultura e tecnologia, mettendo in discussione la tradizionale dicotomia moderna che li separa. Partendo dalle riflessioni di R. Murray Schafer sul paesaggio sonoro e dall\u27approccio acustemologico di Steven Feld, il suono viene considerato una forma di conoscenza ecologica e multispecie, capace di costruire relazioni tra esseri umani e non umani. Inq questa cornice teorica si inseriscono le pratiche artistiche di sonificazione, che rendono udibili fenomeni biologici altrimenti invisibili, trasformandi dati e segnali vitali in esperienza estetica e conoscitiva. IL casto studio dell\u27artista e ricercatore Eduardo Reck Miranda, che sperimenta con la muffa Physarum polycephalum e con sistemi di intelligenza artificiale, mostra come organismi viventi possano diventare agenti compositivi all\u27interno di un dialogo sonoro con l\u27umano. Attraverso biomemristori e il dispositivo Phy-Box, la muffa diventa parte di un sistema musicale ibrido, aprendo a una riflessione più ampia sulla possibilità di una musica post-antropocentrica. Ne emerge un\u27ecologia dell\u27ascolto che vede il suono come pratica epistemica, relazionale e intermediale, capace di rafforzare la nostra coabitazione con il mondo naturale
Blob, or the Novel at the Dawn of the Third Millennium: The Narrative Act Between Cinematography and the Media
No full textThe emergence of cinematography, radio, and Television in the early decades of the twentieth century revolutionized the relationship between the arts, not only the literary ones, and knowledge with the various economic and cultural elements that constitute mass society. At the core of this revolution was the narrative act, which until then had been considered the basic principle of all religious, philosophical, scientific, poetic, and artistic literature. From that moment on, the narrative act also became central to the media which, starting with cinema, began to recount not only the lives of rulers, the great nobility, politicians, and revolutions with Lenin, but also those of the common people, the marginalized, and the tramps, with Charlie Chaplin and Buster Keaton.
The power of the narrative act, until then dominated by the individual rhetorical skill of writers, philosophers, scientists, and theologians, was from that moment employed by veritable teams of scriptwriters and directors, to narrate and impose stories and subjects upon the masses, attracting them also with effects like fear and wonder, appealing more to instincts than to rationality.
The reaction of literature was almost immediate, as if those new arts had triggered a dialectic, generating the great masterpieces of the twentieth-century novel by James Joyce, Marcel Proust, Franz Kafka, Thomas Mann, and Robert Musil. Literary criticism immediately became aware of the fruitful relationship between literature and media; in its search for the main aesthetic values, it generated a proliferation of methods and orientations, mainly represented by structuralism and deconstructionism, which led it to a kind of paralysis, as two thinkers like Paul Valery and Walter Benjamin had anticipated. From all those studies, the only certain point, as critics such as Roland Barthes and Franco Brioschi noted, was the centrality of the narrative act, paradoxically applied even to destructuring programs like Blob, which built a plot with fragments of television and cinema. A challenge between media and literature that has now become a dialectic, because ugliness always ends up triggering the search for beauty, of which true art and true literature are always an expression.The emergence of cinematography, radio, and Television in the early decades of the twentieth century revolutionized the relationship between the arts, not only the literary ones, and knowledge with the various economic and cultural elements that constitute mass society. At the core of this revolution was the narrative act, which until then had been considered the basic principle of all religious, philosophical, scientific, poetic, and artistic literature. From that moment on, the narrative act also became central to the media which, starting with cinema, began to recount not only the lives of rulers, the great nobility, politicians, and revolutions with Lenin, but also those of the common people, the marginalized, and the tramps, with Charlie Chaplin and Buster Keaton.
The power of the narrative act, until then dominated by the individual rhetorical skill of writers, philosophers, scientists, and theologians, was from that moment employed by veritable teams of scriptwriters and directors, to narrate and impose stories and subjects upon the masses, attracting them also with effects like fear and wonder, appealing more to instincts than to rationality.
The reaction of literature was almost immediate, as if those new arts had triggered a dialectic, generating the great masterpieces of the twentieth-century novel by James Joyce, Marcel Proust, Franz Kafka, Thomas Mann, and Robert Musil. Literary criticism immediately became aware of the fruitful relationship between literature and media; in its search for the main aesthetic values, it generated a proliferation of methods and orientations, mainly represented by structuralism and deconstructionism, which led it to a kind of paralysis, as two thinkers like Paul Valery and Walter Benjamin had anticipated. From all those studies, the only certain point, as critics such as Roland Barthes and Franco Brioschi noted, was the centrality of the narrative act, paradoxically applied even to destructuring programs like Blob, which built a plot with fragments of television and cinema. A challenge between media and literature that has now become a dialectic, because ugliness always ends up triggering the search for beauty, of which true art and true literature are always an expression
Mimesi e ritmicità come prerequisiti del linguaggio verbale
No full textLa scoperta dei neuroni specchio ha stimolato una serie di nuove ricerche sull’origine dellinguaggio, le quali hanno condotto, in modo sempre più stringente, ad avvalorare l’ipotesi cheessa vada ricercata nell’evoluzione di sistemi comunicativi gestuali, piuttosto che vocali. In questocontributo passiamo in rassegna alcune ragioni che confermerebbero tale teoria, soffermandoci sudue caratteristiche prettamente umane che potrebbero avere influito in modo determinante sullosviluppo del linguaggio verbale: la mimesi, ovvero la capacità di comprendere, interpretare erappresentare intenzionalmente gli oggetti e gli enti animati che ci circondano, nonché le azionicon cui noi e i nostri simili ci relazioniamo a essi, e la ritmicità, ossia la facoltà di riconoscere eindividuare un’organizzazione temporale ordinata e prevedibile negli eventi sensoriali e negli attimotori. Cercheremo di mostrare come mimesi e ritmicità siano facoltà psico-corporee correlate traloro e come possano considerarsi prerequisiti indispensabili per la nascita di sistemi comunicativireferenziali e ricorsivi, tra cui in primis il linguaggio verbale
«Ogne generacion d\u27animal»: incursioni animali nell\u27itinerario di «Huon d\u27Auvergne»
No full textIn the chanson de geste of Huon d’Auvergne, the eponymous hero is forced by Charles Martel to travel to Hell to demand tribute from Lucifer. Huon’s wandering is accomplished through known places and unknown, fantastic places, before he reaches the entrance to Hades. In the transition from known to fantastic geography, the chanson de geste became populated with a rich and diverse fauna. Many animals, in fact, will be found on the paladin’s path before he reaches Hell. These animals play a precise role in the development of the narrative, as an indication of a progressive approach to Hell. In the contribution, a complete survey of the fauna encountered by Huon will be offered and an attempt will be made to analyse the meaning of the encounters, both individually and from the perspective of the epic narrative.Nella chanson de geste di Huon d’Auvergne, l’eroe eponimo è costretto da Carlo Martello a recarsi all’Inferno per richiedere un tributo a Lucifero. La peregrinazione di Huon è compiuta attraverso luoghi conosciuti e luoghi ignoti e fantastici, prima di giungere all’ingresso dell’Ade. Nel passaggio da una geografia conosciuta a quella fantastica, la chanson de geste si popola di una fauna ricca e diversificata. Molti animali, infatti, si troveranno sul cammino del paladino, prima che egli arrivi all’Inferno. Questi animali hanno un preciso ruolo nello sviluppo della narrazione, come indicazione di un progressivo avvicinamento alla condizione infernale. Nel corso del contributo si offrirà uno spoglio completo della fauna incontrata da Huon e si proverà ad analizzare il significato degli incontri, sia individualmente che nell’ottica della narrazione epica
Recensione a Dafnifilo, «Canzoniere», a c. di Benedetta Aldinucci, Roma, Edizioni di Storia e Letteratura, 2023, XXXVI + 96 pp. + 2 tavv. («Temi e Testi», 234)
No full textWatriquet de Couvin: dal trattato alla scuola, dal «clerc» al «maître»
No full textThis study proposes a new critical edition of the Dit de l’escole d’amours by Watriquet de Couvin, exploring its role within the medieval didactic tradition. This text diverges from the traités d’amour in verse of the late 13th century, aiming at building a lyric-argumentative text with an edifying purpose. Through intertextual dialogue with Jean de Meun’s Roman de la Rose, Watriquet shapes a discourse on love as a vehicle for ethical and moral transmission.Questo studio propone una nuova edizione critica dell’Escole d’amours di Watriquet de Couvin, approfondendone l’inserimento nella tradizione didattica medievale. L’opera si distingue dai traités d’amour in versi della seconda metà del XIII secolo, configurandosi come un testo lirico-argomentativo a vocazione edificante. Attraverso un fitto dialogo intertestuale con il Roman de la Rose di Jean de Meun, Watriquet elabora il discorso amoroso come strumento di trasmissione etico-valoriale
Quantitative modelling and syntactic microvariation
No full textThis paper argues that parametric theories should account for statistically significant associations between syntactic variables that are logically and historically independent. Associations, which do not necessarily imply causation, suggest that syntactic variation is limited by abstract constraints (Parameters), which are not categorical rules. Counterexamples, which are always found in microvariation contexts, do not necessarily lead to the refutation of solid associations and, consequently, to the refutation of parametric models. It is argued that parametric models should be sufficiently plastic to adapt to unexpected patterns that are learnt from experience