568 research outputs found
A imagem de Alessandro Baricco no Brasil
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Santa Maria di Loreto a Milano: i progetti di Francesco Maria Richino e i "sacri ragionamenti" di Federico Borromeo
No full textFederico Borromeo asked Francesco Maria Richino for some projects for the new church dedicated to Santa Maria di Loreto outside the Porta Orientale in Milan. The author debates the connections between the omely wrote by Federico Borromeo and the plans of the church
Unstable sustention: intertextuality in Alessandro Baricco
No full textEsta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística.This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays
Alessandro Scarlatti (1660 - 1725). Lucretia Romana: cantata for soprano and basso continuo
No full textAlessandro Scarlatti's setting of Lucretia Romana (Hanley 377) has been dated to 16 September, 1688. The following detail is given by Edwin Hanley: “On the basis of documents in the Doria-Pamfili archives, Montalto…reports that Benedetto Pamfili is the author of the text of this cantata and that a copy was presented to Cardinal Giovanni Francesco Maria de’ Medici in the winter of 1690.” Cardinal Benedetto Pamphili, author of the text, was one of the principal ecclesiastical patrons of music in late seventeenthcentury Rome, and his poetry was set on numerous occasions by Alessandro Scarlatti. A manuscript in the Vatican Library, Rome, of cantata and other texts for musical settings by Pamphili (I-Rvat Vat. lat. 10206) gives an idea of the range and involvement of the cardinal's literary interests as librettist
Enzyme defense against reactive oxygen derivatives. II. Erythrocytes and tumor cells
No full textThe enzymatic destruction of oxidizing products produced during metabolic reduction of oxygen in the cell (such as singlet oxygen, H2O2 and OH radical) involves the concerted action of superoxide dismutase-which removes O2 - and yields H2O2-and H2O2 removing enzymes such as catalase and glutathione peroxidase. A difference in distribution or ratio of these enzymes in various tissues may result in a different reactivity of oxygen radicals. It was found that in red blood cells superoxide dismutase and catalase are extracted in the same fraction as hemoglobin, while glutathione peroxidase appears to be "loosely" bound to the cellular structure. This suggests that in red blood cells catalase acts in series with superoxide dismutase against bursts of oxygen radicals formed from oxyhemoglobin, while glutathione & peroxidase may protect the cell membrane against low concentrations of H2O2. On the other hand, catalase activity is absent in various types of ascites tumor cells, while glutathione peroxidase and superoxide dismutase are found in the cytoplasm. However, the peroxidase/dismutase ratio is lower than in liver cells, and this may provide an explanation for the higher susceptibility of tumor cells to treatments likely to involve oxygen radicals. © 1976 Dr. W. Junk b.v. Publishers
"...non sono spese da Provincia". L'attività di Anton Maria Garbi e Tommaso Appiotti nella Galleria di Lanciano e la committenza artistica di Alessandro Bandini Collaterali
No full textDopo aver terminato il restauro della rocca varanesca di Lanciano entro il 1769, Alessandro Bandini Collaterali, marchese di Camerino, promuove nel nuovo palazzo un’ambiziosa campagna decorativa, partendo proprio dalla straordinaria galleria, decorata con tele di soggetto mitologico, di cui finora non si conosceva l’autore. A seguito di una fortunata ricerca di archivio, è stato possibile identificare il pittore delle tele nel perugino Anton Maria Garbi, e l’artefice delle principali decorazioni nel camerinese Tommaso Appiotti. Attraverso l’analisi di questi primi dati archivistici comincia ad emergere inoltre la personalità del committente, che guardava con insistenza a modelli romani.
After finishing the restoration of the Varano fortress of Lanciano by 1769, Alessandro Bandini Collaterali, marquis of Camerino, promotes an ambitious decorative campaign in the new building, starting with the extraordinary gallery, decorated with mythological paintings; the author of these paintings was unknown until now. Following a successful archival research, it has been possible to identify the painter of these pictures, that is Anton Maria Garbi from Perugia, and the maker of the main decorations, Tommaso Appiotti from Camerino. Through the analysis of these early archival data, also the personality of the patron begins to emerge, in particular his persistent interest in Roman models
Archeologia delle risorse: tra archeologia ambientale, ecologia storica e archeologia rurale / Archaeology of resources: between environmental archaeology, historical ecology and rural archaeology
No full textIl contributo, attraverso la discussione di alcuni casi di studio, prova ad esemplificare gli approcci del Laboratorio di Archeologia e Storia Ambientale (Dafist-Distav dell’Università di Genova allo studio delle aree rurali, insediate e non insediate. Oggetto principale delle ricerche è il tentativo di ricostruire, con un approccio analitico fortemente contestuale, le pratiche storiche di gestione e attivazione delle risorse ambientali (e le pratiche e i saperi naturalistici locali legati a tali pratiche) a partire dal riconoscimento delle loro tracce archeologico-ambientali e attraverso gli apporti dell’archeologia, dell’archeobotanica, dell’ecologia storica e della ricerca documentaria. Gli esempi si concentrano su alcune tracce, riferibili per lo più a pratiche multiple di gestione delle risorse agro-silvo-pastorali (praterie alberate e boschi pascolati, agricoltura temporanea e uso del fuoco, colture permanenti e attività di pascolo), studiate in diverse aree dell’Appennino Ligure e riferibili a cronologie per lo più medievali e postmedievali.
This contribution, through the discussion of case studies, tries to illustrate the study approach of the Laboratory of Environmental Archaeology and History (Dafist-Distav,University of Genoa) to rural areas settled and not settled. The main object of the research is an attempt to reconstruct, with a strongly contextual analytical approach, historical practices of management and activation of environmental resources (and the practices and naturalistic knowledge related to such practices), starting from the analysis of their archaeological environmental evidence and through the contributions of archaeology, archaeobotany, historical ecology and documentary research. The examples focus on traces, related mostly to multiple practices of management of agro-forestry-pastoral resources (grazed wooded grassland and grazed woodland, temporary agriculture and use of fire, permanent crops and grazing activities), studied in different areas of the Ligurian Apennines and referring to mostly medieval and postmedieval ages
150 Years after Dillmann’s Lexicon: Perspectives and Challenges of Gǝʿǝz Studies
No full textThe volume contains eleven essays which cast a look on the past, present, and future of Ge'ez (Classical Ethiopic) philological and linguistic studies on the occasion of the 150th anniversary of the achievement of the Lexicon linguae Aethiopicae by August Dillmann, published in 1865. Most of the essays were presented at a conference convened by the ERC-project TraCES at the University of Hamburg in November 2015. On the one hand, they focus on the significance and importance of the Lexicon and of its author who was one of the greatest orientalists of the nineteenth century. Dillmann’s Lexicon has marked in-depth the development of Ethiopian and oriental studies. It still remains an indispensable tool for the analysis of Ge'ez style and phraseology, even though it has been surpassed by Wolf Leslau’s Comparative Dictionary of Ge'ez (1987), with respect to etymology and number of entries. On the other hand, the essays define more precisely which are (besides the obvious updating) the challenges posed by manuscripts, text editions, and epigraphic evidence emerged since 1865, with regard to Ge'ez language, orthography, lexicon and lexicography as well as digital humanities and corpus linguistics. The contributors are Maria Bulakh, Wolfgang Dickhut, Andreas Ellwardt, Serge A. Frantsouzoff, Martin Heide, Susanne Hummel, Manfred Kropp, Eugenia Sokolinski, Agostino Soldati, Cristina Vertan, Stefan Weninger, and Alessandro Bausi, who is also the editor of the volume
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