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“Let's dance! Riflessioni di una ex-aspirante danzatrice sulla danza nell'antica Mesopotamia” in A. Straface, C. De Angelo, A. Manzo (a.c.), Labor Limae. Atti in onore di Carmela Baffioni, Studi Magrebini N.S., Volume 2, Tomo II, Napoli, Università degli studi di Napoli “L'Orientale”, 2014-2015 (uscito 2018), 395-406, Figg. 1-8.
No full textLa danza in Mesopotamia e più in generale nel Vicino Oriente antico è stata
oggetto di numerosi studi che, basati sulle fonti epigrafiche e/o
iconografiche, hanno permesso di ricostruire terminologia, occasioni e
aspetti rituali di una delle pratiche più antiche dell’umanità. E tuttavia manca
fino ad oggi il tentativo di interpretare le fonti nella prospettiva di ricostruire
gli aspetti tecnici della danza, vale a dire passi e coreografie eventualmente
codificate da “scuole” o dalla tradizione. In tal senso il presente contributo si
propone di riesaminare il complesso della documentazione mesopotamica
attraverso la lente della tecnica dell’arte coreica.Several studies have been devoted to the dance in Ancient Mesopotamia, and
more in general in the Ancient Near East: epigraphic and/or iconographic
sources have been considered in order to reconstruct the terminology, the
occasions, and the ritual aspects of one of the most ancient human practices.
However, a study aiming at reconstructing the dance technical aspects -i.e.
steps and choreographies possibly established by “schools” or tradition- is still lacking. In this perspective, the present study re-examines the Mesopotamian
documentation through the lens of the dance technique.Plusieures études ont été dédiées à la dance en Mésopotamie ancienne et
plus en général au Proche Orient ancien. L’étude des sources épigraphiques
et iconographiques a permis d’établir le lexique, les occasions et les aspects
rituels d’une parmi les plus anciennes pratiques de l’humanité. Toutefois il
n’y a pas encore un’étude essayant de lire les sources dans la perspective de
reconstruire les aspects techniques de la dance en termes des pas et
chorégraphies, éventuellement codifiés par “écoles” ou par la tradition. Ce
qui est le but de cette étude en réexaminant la documentation
mésopotamienne par le verre de la technique de l'art de la danse
Effect of biotic and abiotic stimuli on volatile emission of Achillea collina Cv. SPAK grown in the Alps
No full textVolatile compounds from plants play a central role in plant-environment interactions by affecting key life processes such as reproduction, defense and communication. Plants normally produce organic volatile compounds (VOCs) but biotic and abiotic stimuli can influence the biosynthesis of novel compounds, and involving hormone signaling pathways, in particular jasmonic acid, salicylic acid, abscisic acid and ethylene (1). A specific group of VOCs related to herbivores are called herbivore induced plant volatiles (HIPV) or ‘inducible volatile organic compounds’ (IVOCs) and are emitted from plant foliage after herbivore damage (2).
Achillea collina Becker ex Rchb., a tetraploid proazulenes-containing species of the Achillea millefolium aggregate (yarrow) cultivated in European alpine areas, was a good source of important bioactive compounds. Yarrow is a host plant for several aphids including the generalist green peach aphid Myzus persicae Sulzer and the specialist aphid Macrosiphoniella millefolii (De Geer). Recent work reported that essential oils from several species of the genus Achillea showed some activity as aphid repellents (3).
This study describes the application of Headspace Solid-Phase Microextraction (HS-SPME) to characterize the volatile organic compounds emitted in vivo by Achillea collina in response to Myzus persicae and Macrosiphoniella millefolii infestation, to mechanical damage simulating the aphid’s damage and to jasmonic acid treatment. The volatile emission of Achillea collina, Pisum sativum (L.) and Prunus persica (L. Batsh) infested by Myzus persicae was also compared. In A. collina infested plants and treated with jasmonic acid, we observed a great increase in terpenes fractions. Many authors also found variations in the terpene profile of plants infested by aphids and this result suggested terpenes as a chemical class highly sensitive to this biotic stress (4,5). Several changes among alcohols occurred in response to mechanical damage simulating the aphid’s damage. Among this chemical classes, some author reporting an enhancement of the production of 2-hexen-1-ol and germacrene D after aphid infestation in different crop species, and the last one was suggested to be useful in attracting natural enemies of aphids as well as in having anti-feeding/repellent effects (6).
Many volatiles appeared as new compounds after aphids infestation as well as after mechanical damage and jasmonic acid treatment, proposing these compounds as herbivore induced plant volatiles (HIPV). Some of this compounds were common for biotic and abiotic stimuli but the emission of other VOCs was induced only in response to specific stimuli.
Finally, the comparison of the volatile emission of A. collina, P. sativum and P. persica in response to M. persicae infestation indicated that there were specie-specific and common new induced volatile organic compounds. The common emissions of same VOCs from different plant species when infested by the same aphid suggest the activation of a common set of biosynthetic pathways shared by different plant families. These compounds were produced as bioactive agents against elicitors associated with aphid’s saliva.
In conclusion, this method was useful in evaluating the fingerprints of volatile compounds of A. collina under different physiological conditions. This approach could open new perspective for further studies leading to a better understanding of plant- insect interaction mechanisms providing new insights into crop science and insect pest management
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Luoghi collettivi lungo il fiume/Public spaces along the river
No full textUna lettura progettuale e interpretativa della Piana del Sarno e la trasformazione del fiume in asse principale lungo il quale localizzare una via unica di attraversamento "lento" ed i principali luoghi collettivi per la valle/città campagn
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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