7 research outputs found
Trends in the microbial contamination of bovine, ovine and swine carcasses in three small-scale abattoirs in central Italy: A four-year monitoring
No full textThe microbial contamination of animal carcasses with respect to the limits established by Regulation (EC) No. 2073/2005 was investigated. Bovine, ovine, and swine carcasses (n=536 samples) fromthree small-scale abattoirs were sampled using abrasive sponges and tested for aerobic colony counts (ACC) and Enterobacteriaceae in the period 2010–2013. Mean ACC values reached 1.96 log cfu/cm2 on bovine carcasses and 2.27 log cfu/cm2 on both swine and ovine carcasses; Enterobacteriaceae counts of 0.01, 0.20 and 0.27 log cfu/cm2 were found for bovine, swine and ovine carcasses, respectively. Abattoir 1 showed the highest values of ACC; no differences among abattoirs were highlighted for Enterobacteriaceae. Compared with swine and ovine carcasses, bovine carcasses showed significantly lower means for both ACC and Enterobacteriaceae. The data collected indicated that the management of the three abattoirs met high quality standards, thereby proving that it is feasible to achieve good microbiological quality in abattoirs when adequate Good Hygiene Practices are applied
Presence of Escherichia coli O157, Salmonella spp., and Listeria monocytogenes in Raw Ovine Milk Destined for Cheese Production and Evaluation of the Equivalence Between the Analytical Methods Applied
No full textItaly is one of the main producers and exporters of cheese made from unpasteurized sheep milk. Since raw milk
and its derived products are known sources of human infections, cheese produced from raw sheep milk could pose
a microbiological threat to public health. Hence, the objectives of the study were: to characterize the potential risk
of the presence of pathogens Escherichia coli O157, Listeria monocytogenes, and Salmonella in raw ovine milk
destined for cheese production obtained from all the sheep farms (n = 24) in the Marches region (Central Italy) that
directly transform raw milk into cheeses and to evaluate the equivalence between the analytical methods applied.
A three-step molecular method (simultaneous culture enrichment, species-specific DNA magnetic isolation, and
multiplex real-time polymerase chain reaction) was used for milk (n = 143) and cheese (n = 5) analysis over a 3-
year period. L. monocytogenes was not detected on any of the farms, while E. coli O157 was found on three farms,
although only using the molecular method. Four farms tested positive for Salmonella spp., and Salmonella
enterica subsp. diarizonae serovar 61:k:1,5,7 was isolated in one of those cases. This information highlights the
need to develop preventative measures to guarantee a high level of consumer safety for this specific product line,
and the molecular method could be a time-saving and sensitive tool to be used in routine diagnosis
Microbiological quality assessment of meals and work surfaces in a school-deferred catering system
No full textMicrobiological contamination is one of the main parameters that must be assessed to assure the safety of foods
produced by a catering system. The aim of this study conducted between 2011 and 2015 was to assess the
microbiological quality of meals (n =620), work surfaces (n =621) and the operators’ hands (n =319) in a
school-deferred catering system. A general positive trend regarding the microbial contamination of food samples
and surfaces was observed. Salmonella spp. and Listeria monocytogenes were never detected in prepared foods;
moreover, the total mesophilic aerobes and the sulfite-reducing clostridia were always below the reference limit.
The occurrence of Bacillus cereus in raw and cooked vegetables highlighted the need for corrective action and
suggested that continuous monitoring of this toxin-forming microorganism was necessary. A critical evaluation
of the data obtained from the microbiological analyses allowed us to obtain an overview of improvements and
emerging critical issues
Distribution of Transferable Antibiotic Resistance Genes in Laboratory-Reared Edible Mealworms (Tenebrio molitor L.)
No full textIn the present study, the distribution of antibiotic resistance genes in laboratory-reared fresh mealworm larvae (Tenebrio molitor L.), their feeding substrates (carrots and wheatmeal), and frass was assessed. Microbial counts on selective media added with antibiotics highlighted the presence of lactic acid bacteria resistant to ampicillin and vancomycin and, more specifically, enterococci resistant to the latter antibiotic. Moreover, staphylococci resistant to gentamicin, erythromycin, tetracycline, and vancomycin were detected. Enterobacteriaceae resistant to ampicillin and gentamicin were also found, together with Pseudomonadaceae resistant to gentamicin. Some of the genes coding for resistance to macrolide-lincosamide-streptogramin B (MLSB) [erm(A), erm(C)], vancomycin [vanA, vanB], tetracycline [tet(O)], and β-lactams [mecA and blaZ] were absent in all of the samples. For the feeding substrates, organic wheatmeal was positive for tet(S) and tet(K), whereas no AR genes were detected in organic carrots. The genes tet(M), tet(K), and tet(S) were detected in both mealworms and frass, whereas gene aac-aph, coding for resistance to amynoglicosides was exclusively detected in frass. No residues for any of the 64 antibiotics belonging to 10 different drug classes were found in either the organic wheatmeal or carrots. Based on the overall results, the contribution of feed to the occurrence of antibiotic resistance (AR) genes and/or antibiotic-resistant microorganisms in mealworm larvae was hypothesized together with vertical transmission via insect egg smearing
Table_1_Distribution of Transferable Antibiotic Resistance Genes in Laboratory-Reared Edible Mealworms (Tenebrio molitor L.).DOC
No full textIn the present study, the distribution of antibiotic resistance genes in laboratory-reared fresh mealworm larvae (Tenebrio molitor L.), their feeding substrates (carrots and wheatmeal), and frass was assessed. Microbial counts on selective media added with antibiotics highlighted the presence of lactic acid bacteria resistant to ampicillin and vancomycin and, more specifically, enterococci resistant to the latter antibiotic. Moreover, staphylococci resistant to gentamicin, erythromycin, tetracycline, and vancomycin were detected. Enterobacteriaceae resistant to ampicillin and gentamicin were also found, together with Pseudomonadaceae resistant to gentamicin. Some of the genes coding for resistance to macrolide-lincosamide-streptogramin B (MLSB) [erm(A), erm(C)], vancomycin [vanA, vanB], tetracycline [tet(O)], and β-lactams [mecA and blaZ] were absent in all of the samples. For the feeding substrates, organic wheatmeal was positive for tet(S) and tet(K), whereas no AR genes were detected in organic carrots. The genes tet(M), tet(K), and tet(S) were detected in both mealworms and frass, whereas gene aac-aph, coding for resistance to amynoglicosides was exclusively detected in frass. No residues for any of the 64 antibiotics belonging to 10 different drug classes were found in either the organic wheatmeal or carrots. Based on the overall results, the contribution of feed to the occurrence of antibiotic resistance (AR) genes and/or antibiotic-resistant microorganisms in mealworm larvae was hypothesized together with vertical transmission via insect egg smearing.</p
Il lessico del "Morgante" di Luigi Pulci. Saggio di glossario
No full textNessuno studio sul Morgante manca di constatare che il suo lessico è un insieme complesso di elementi eterogenei e che è proprio nella scelta dei vocaboli che si manifestano più concretamente l’arte e la fantasia di Luigi Pulci. Dato che il lessico del Morgante non è finora mai stato indagato nella sua totalità, si è deciso di avviarne un’analisi omogenea e approfondita allestendo un glossario selettivo. Il primo capitolo del presente lavoro è di carattere introduttivo: in apertura viene trattato l’interesse di Luigi Pulci per la lingua, il suo modo di manifestarsi nelle diverse opere e di concretizzarsi – più che in ogni altro luogo – nel Morgante. Al capolavoro pulciano è riservata la seconda parte del capitolo: dopo una breve sezione in cui si illustrano rapidamente la nascita, la struttura dell’opera e alcuni problemi critici, vengono messi in luce gli elementi che compongono il poliedrico insieme dei vocaboli del poema, facendo riferimento ai più significativi studi precedenti. In conclusione l’analisi delle stampe antiche, oltre a dimostrare la grande fortuna del poema nei secc. XV e XVI, valorizza i glossari che corredano alcune di queste stampe, ottimi testimoni dell’interesse che il lessico del Morgante ha suscitato nel Cinquecento. Il cuore dell’analisi lessicale è il glossario, al quale è dedicato interamente il secondo capitolo. Dopo una sezione in cui si espongono le ragioni e i presupposti della ricerca, i criteri di selezione delle voci, gli obiettivi dello studio, gli strumenti impiegati e il metodo di lavoro adottato, vi è glossario vero e proprio, preceduto da una descrizione della struttura delle voci lessicali e da una tavola in cui sono sciolte tutte le abbreviazioni adottate. Every single study on Morgante never fails to point out that its lexicon is a complex set of various elements; Luigi Pulci’s art and creativity shine brighter when it comes to the selection of words to be used in his poem. Since Morgante lexicon has never been studied in its entirety, a uniform and extensive analysis is here carried out with selective glossary. The first chapter of this thesis serves as introdution. At the beginning it explores Luigi Pulci’s interest toward language and how it is shown in his works, particularly, in Morgante. The second part of the chapter focuses on Pulci’s masterpiece: it begins with a brief description of the poem’s origins, its structure and some discussed critical matters and goes on with a section where the elements that form the diversified vocabulary of the composition are highlighted with specific reference to the most influential studies carried out so far. At the end an analysis of the ancient printed books can be found to show not only the wide popularity of the poem in the XVth and XVIth century, but the widespread interest in Morgante lexicon during the Sixteenth century as shown by the glossaries that can be found in some of the ancient books described. The heart of the lexical analysis is the glossary in the second chapter. This part has a foreword where the reasons and the premises of the research, the criteria of the word selection, the goals of the study, the instruments used and the working method are explained. The glossary itself is in the second part of the chapeter, after a description of the entries structure and a list of the abbreviations used. Alle bisherigen Untersuchungen zu Luigi Pulcis Morgante heben die komplexe und heterogene Zusammensetzung des Wortschatzes hervor, durch die vor allem die Kunstfertigkeit und Kreativität des Autors zum Ausdruck kommt. Da die Lexik des Morgante bisher aber noch nicht in ihrer Gesamtheit analysiert wurde, ist es Ziel dieser Untersuchung eine homogene und vertiefende lexikalische Analyse durchzuführen, die in einem selektiven Glossar zu Pulcis Morgante mündet. Das erste Kapitel der vorliegenden Arbeit hat einen einleitenden Charakter. Zunächst geht es im Allgemeinen um Luigi Pulcis Interesse für Sprache und seine Diktion in anderen Werken, bevor dann näher auf die sprachliche Umsetzung im Morgante eingegangen wird. Diesem Meisterwerk Pulcis ist der zweite Teil des Kapitels gewidmet: Nach einem kurzen Abschnitt, der von der Entstehung, der Struktur und einigen textkritischen Problemen des Werkes handelt, werden anschließend (unter Berücksichtigung vorausgehender Untersuchungen) die Elemente näher beleuchtet, aus denen sich das vielschichtige Vokabular des Epos zusammensetzt. Das Kapitel umfasst außerdem eine Analyse der antiken Drucke des Werkes, die nicht nur auf den großen Erfolg des Epos im 15. und 16. Jahrhundert eingeht, sondern im Besonderen die darin enthaltenen Glossare berücksichtigt, die das große lexikalische Interesse, welches Pulcis Werk bereits im 16. Jahrhundert hervorrief, belegen. Den Kern der lexikalischen Analyse stellt das Glossar dar, welches im zweiten Kapitel behandelt wird. Bevor zum eigentlichen Glossar übergegangen wird, werden zunächst die Gründe und Voraussetzungen der Untersuchung, Aufnahmekriterien und Ziele dargestellt sowie die verwendeten Instrumente und die methodische Vorgehensweise erläutert. Der eigentliche Glossarteil, dem die Beschreibung der Mikrostruktur der Glossareinträge und ein Abkürzungsverzeichnis vorausgehen, bildet den zweiten Teil des Kapitel.No study on Morgante fails to point out that its lexicon is a complex set of different elements; Luigi Pulci’s art and creativity shine brighter when it comes to the selection of words to be used in his works. Even if everybody agrees on this aspect, the lexicon in Pulci’s main work hasn’t been properly analysed: there are some very significant researches on specific aspects of it, but the lexicon has never been studied in its entirety. The decision to create a selective glossary comes from the need of a research on Morgante lexicon which underlines its variety and that brings to the fore the remarkable linguistic experimentation carried out by Pulci. The will to in-depth exam the poem lexicon and to identify the recurring aspects of Pulci’s language led to the creation of this glossary. The selectivity of this glossary isn’t due to the length of the poem (which presents more then three-thousand verses with 203˙609 words used in 16˙141 different variations) but to the intention to exam single peculiar words rather than list all the terms found into Morgante. The first chapter of this thesis serves as introduction. At the beginning it explores Luigi Pulci’s interest toward language and how it is shown in his works, particularly in Morgante. His wild linguistic experimentation can be detected even in a letter Pulci wrote to his friend and patron Lorenzo de’ Medici where the poet describes his «buona diligentia» along with his «povera fatica in ricercare per ogni parte vocaboli accomodati al bisogno, per ritrovare l’origine vero». It is a statement that perfectly represents Pulci as an artist of the word. As a matter of fact he explored the most unusual lexical realms and, moreover, he has been able to use in his works a wide variety of specialistic terms that, with Pulci, entered for the first time in the history of Italian literature. Among those specialistic fields, the thieves’ cant has a pivotal role: Pulci seems to perfectly know these words, choosing to use them in different circumstances and even creating a list of slang words with their meanings. Thanks to another list Pulci created (the Vocabulista, a short dictionary that collect over two-hundred nouns and mythological places along with almost seven-hundred rare words) he has the honour to be the author of the oldest example of Italian glossary still existing. This inventory of the evidence of his restless interest toward lexical innovation and research ends with quotations form the parody sonnets in Venice, Naples, Milan and Siena languages. The outcomes of the attitude described in the letter addressed to the Magnifico can easily be detected into all Pulci’s works, but shine brighter in Morgante, where the word combination and the bizarre use of the vocabulary are even more important than storyline and plot. The second part of the chapter focuses on Pulci’s masterpiece: it begins with a brief description of the poem’s origins, its structure and some critical matters. Then, it goes on with a section where the elements that form the diversified vocabulary of the composition are highlighted with specific reference to the most influentials studies carried out so far. The restless quest undertaken had led Pulci on unmapped lexical paths and pushed him to merge into Morgante a diverse and heterogeneous set of words. The poem base is a Florentine folk language (with fine examples like buffetti, ciuffalmosto, ciuffare, crosciare, micci, mostaccio, mostaccione, piluccare and scuffiare) with some inserts from the maritime technical language (like cocchina, natta and volteggiare), from Fencing (like rovescio, sergozzone and stramazzone) and from music (busoni, cicutrenna and nacchere). In the poem some thieves’ cant terms (like bestrica, caffo and camuffare), latinisms (like clangore plorare and senettute), archaisms (like certanza, dannaggio and dottanza) and orientalisms (like alfana, camuccà and ciriffo) can also be found. Moreover in Pulci’s work there are two bestiaries, one created according to the Medieval tradition and the other more literary and learned. In the second paragraph of the first chapter the analysis of some ancient books printed in Venice during the XVIth century can be found: one printed in 1545 by Girolamo Scotto and two by Comin da Trino in 1546 and 1551. Such prints shows the widespread interest in Morgante itself in the XVth and XVIth centuries as well as the appeal that his lexicon has have since the Fifteenth century, as shown by the glossaries that can be found in that ancient books described. In the third paragraph are generally described the other works of Pulci whereas in the fourth are explained some constant aspects emerged form the lexical research are studied in order to give a key, an overall view on the glossary. Pulci’s debt toward other authors (including Dante, Boccaccio, Burchiello and Sacchetti) is highlighted: those authors tuned out to be the source as well as the interpretation keys of a wide variety of terms found in the Morgante. In the commentary of the glossary words Pulci’s unceasing lexical quest is explained with a particular care on the provenience of the words in the poem (for example words coming from Florence, Tuscany, Far East, everyday words or terms linked to a domestic realm as well as technical expression from the artisan world) and on the different use that can be found of a single word into the text (a peculiar example of this, are the different names used to name horses based on their characteristics). At the end of this section appointed to the cross commentary of the glossary words there is a detailed description of the expressive power of Morgante language through the analysis of the words scuffiare, smascellare, sgroppare, diluviare, cicalare, incacare, scorrubbiare, sguizzare, smucciare and crosciare along with the countless terms that Pulci used to describe the act of hit something or the blow itself. The heart of the lexical analysis is the glossary which cover the entire second chapter. This part has a foreword where the reasons and the premises of the research are explained followed by the criteria of the word selection. The most unusual terms, the harder to understand words and those interesting from an historical point of view has been chosen (like the first written accounts, the unconventional meanings and terms from the comic and Florentine realm) In addition to the words selection described above, the words studied by previous works on Morgante’s lexicon have been added to the glossary in order to give a full account including what has been said so far. Furthermore the words included in the Vocabulista that can be found in the Morgante has been encompassed in the glossary. Being the Vocabulista a written witness of Pulci’s fondness for the wide variety of vocabulary, it seemed compulsory to study those words listed in his personal collection of terms that he also chose for his masterpiece. The following paragraph analyse the goals of the study, the instruments used and the working method: Morgante is in GATTO system – acronym for Gestione degli Archivi Testuali del Tesoro delle Origini – which enables researcher to query a specific set of documents coded for the programme. The software, with the help of Jolly keys and special settings, can be used to search the text for specific needs and to carry on in-depth lexical researches. Thanks to this software it has been possible to sift the different variations of every single term used by Pulci and therefore to evaluate the importante of the word from the whole poem point of view. The software is able to show in a unique query all the different contexts where a single word is used and hence to better understand the meaning of it in the different parts of the poem. Since Morgante is a very lengthy and manifold poem, GATTO software has turned essential thanks to its ability to conduct lexical query in an extreme precise way. Once the meaning of the term within Morgante is clear, the word’s analysis is carried out on a wider scale with the lexicological instruments and databases. In this work historical dictionaries such as DI, GAVI, GDLI and TLIO as well as etymological dictionaries like DEI, DELI, EVLI and LEI has been referred to. The use of those dictionaries has been essential for the analysis of the words selected and to understand their history and diffusion. An other very useful tool for the lexical analysis has been the databases, since they give a complete reference of the usage of every single word in the history of Italian literature allowing a wider view compared to the selective perspective of a dictionary. The electronic databases used for every term in this work are Biblioteca Italiana (BibIt), Biblioteca Italiana Zanichelli (BIZ) and OVI Corpus. Not every single occurrence is listed in the glossary, but only the most interesting ones. The glossary is in the second part of the second chapter, it is composed of entries organised as follows: headword, part of the speech, ‘meaning within Morgante’. «example»; «example» (list of all the recurrences). Other quotations in Pulci’s works, if any. Attestations on the term by other authors. Etymology. Comment. Bibliography. Every entry is usually composed by seven sections. The first one is the term itself, always in bold and followed by the part of the speech and by its meaning within Morgante written in single inverted commas. As usual verbs are written at their infinito form, nouns are listed singular and adjectives masculine singular. If a single term has different meanings, the variations are gathered in different paragraphs following the same structure as the other words entries. The various senses are listed chronologically starting from the first appearance. The second section files two meaningful examples of the word in the poem and a list of all the time that term is used in the text between brackets. The roman number stands for the cantare, the first digit for the stanza and the second for the line. The third section contains the quotations of the term in Pulci’s works other than Morgante. This part can only be found in some entries, where substantial similarities have been found in other works by the same author. This is not a systematic comparison, in fact only some of the recurrent terms into Pulci’s work are here analysed to underline the importance of the term itself. In the forth section there are the quotations in other authors, antecedent or subsequent Pulci. The oldest quotation available is aways written with its date. Other quotations are listed when needed for the analysis of the headword and, where possible, they are compared to the meaning of the word into Morgante. Etymology of the word can be found in the fifth section, it is in capital letters and it is usually from etymological dictionaries or linguistic studies. The sixth section, which varies in length (or it is even absent sometimes), contains the commentary. This part can be a small analysis of the word’s quotations as well as a linguist or interpretative matter. In the last section there is the bibliography, where all the tools used to write the entry are chronologically listed in addition to the links for further readings. In every entry the link to GDLI and TLIO are implied: the reference for such sources is written only where there are explicit quotations in the entry. The glossary itself, the most sizeable part, is in the second part of the chapter, after a description of the entries structure and a list of the abbreviations used.Alle bisherigen Untersuchungen zu Luigi Pulcis Morgante heben die komplexe und heterogene Zusammensetzung des Wortschatzes hervor, durch die vor allem die Kunstfertigkeit und Kreativität des Autors zum Ausdruck kommt. Trotz des großen Interesses an der Lexik des Epos wurde es noch nie in seiner Gesamtheit systematisch untersucht. Zwar existieren einzelne wichtige Beiträge zu einigen Bereichen des Wortschatzes des Werks, umfassendere Untersuchungen blieben jedoch bisher aus. Ziel der hier vorliegenden Arbeit ist es deshalb, eine vertiefende lexikalische Untersuchung des Morgante durchzuführen, die die Vielfältigkeit des Wortschatzes und die lexikalische Vorgehensweise des Autors berücksichtigt und all dies in einem selektiven Glossar festhält. Der Grund für die Erstellung eines Glossars ist der Notwendigkeit geschuldet, dass die im Werk verwendeten Lexeme im Detail betrachtet werden sollen, ohne jedoch die Konstanten in der Wortwahl Pulcis zu vernachlässigen. Die Wahl, die Glossareinträge zu selegieren, fiel nicht etwa aufgrund der Länge des Werkes (das mit seinen mehr als 30.000 Versen auf eine Gesamtzahl von 203.609 Wörtern und gut 16.141 verschiedenen Lexemen kommt), sondern basiert vielmehr auf der Tatsache, dass weniger eine Analyse aller im Morgante vorhandenen Wörter vonnöten ist als eine detaillierte Untersuchung einzelner charakteristischer Wörter. Das erste Kapitel der vorliegenden Arbeit hat einen einleitenden Charakter. Zunächst geht es im Allgemeinen um Luigi Pulcis Interesse für Sprache und seine Diktion in anderen Werken, bevor dann näher auf die sprachliche Umsetzung im Morgante eingegangen wird. Die ungebändigte sprachliche Experimentierfreudigkeit des Autors des Morgante wird zunächst anhand eines Zitats aus einem Brief illustriert, den er am 27. April 1465 an seinen Freund und Gönner Lorenzo de’ Medici schrieb. Pulci spricht darin von seiner «buona diligentia» und seiner «povera fatica in ricercare per ogni parte vocaboli accomodati al bisogno, per ritrovare l’origine vero». Es bahnt sich hier die Poetik des Wortkünstlers Pulci an: Im Laufe seiner Schriftstellerlaufbahn hat er in der Tat die ungewöhnlichsten lexikalischen Bereiche erforscht und hat in seinen Werken fachsprachliche Ausdrücke verwendet, die durch ihn zum ersten Mal in der italienischsprachigen Literatur belegt sind. Ein Beispiel hierfür ist der Furbesco, die italienische Gaunersprache, von der der Dichter gelegentlich Gebrauch macht. Die jeweiligen Jargonausdrücke versieht er dort, wo es angebracht ist, mit Glossen. Aufgrund einer von ihm verfassten Wortliste, dem Vocabulista – ein kurzes einsprachiges Wörterbuch, in dem ca. 200 mythologische Namen und Orte sowie 700 seltene Wörter verzeichnet und erläutert sind – wird ihm auch der Verdienst zu Teil, das älteste monolinguale italienische Wörterbuchs, das uns heute noch bekannt ist, erstellt zu haben. Schließlich endet die Aufzählung der Belege für seine unablässigen lexikalischen Forschungen mit der Nennung seiner Sonette, in denen er das Venezianische, das Neapolitanische, das Mailändische und das Sienesische parodiert. Die bereits im Brief an il Magnifico erwähnten Neigungen sind zwar in allen Werken Luigi Pulcis erkennbar, sie gipfeln aber im Morgante, in dem Wortkombinationen und lexikalische Extravaganz Vorrang vor dem Erzählvorgang zu haben scheinen. Dem Meisterwerk Pulcis ist der zweite Teil des ersten Kapitels gewidmet: Nach einem kurzen Abschnitt, der von der Entstehung, der Struktur und einigen textkritischen Problemen des Werkes handelt, werden anschließend (unter Berücksichtigung vorausgehender Untersuchungen) die Elemente näher beleuchtet, aus denen sich das vielschichtige Vokabular des Epos zusammensetzt. Das unablässige Recherchieren, welches Pulci bis in dato unentdeckte lexikalische Bereiche führte, trägt dazu bei, dass er im Morgante eine umfangreiche und heterogene Gesamtheit an Wörtern zusammenträgt: Im Epos, das auf einer volkssprachlichen florentinischen Varietät beruht (wovon Ausdrücke wie buffetti, ciuffalmosto, ciuffare, crosciare, micci, mostaccio, mostaccione, piluccare und scuffiare zeugen), werden Fachbegriffe aus der Seemannssprache (wie cocchina, natta und volteggiare), aus der Fechtsprache (wie rovescio, sergozzone und stramazzone) und aus der Musiksprache (wie busoni, cicutrenna und nacchere) eingearbeitet. Des Weiteren übernimmt er im Text Ausdrücke aus der Gaunersprache (wie bestrica, caffo und camuffare), Latinismen (wie clangore plorare und senettute), Archaismen (wie certanza, dannaggio und dottanza) und Orientalismen (wie alfana, camuccà und ciriffo). Daneben beinhaltet das Werk zwei Bestiarien; eines, das der mittelalterlichen Tradition entspricht und eines, das der literarischen Tradition entspricht. Das erste Kapitel berichte auch der Analyse einiger gedruckter Ausgaben ab, die im 16. Jahrhundert in Venedig herausgegeben wurden und die bereits mit einem Glossar versehen sind – ein Druck von Girolamo Scotto aus dem Jahr 1545 u
