1,566 research outputs found
Schermi. Immagini, corpi, condivisioni
No full textIn this book the author investigates the digital image proliferation of our times from an interdisciplinary point of view. Starting from the Visual Culture theoretical frame, Valentina Mignano explores the ways in which we interact with the screen, dealing with the "screen experience" in the first years of the network societ
ENTREPRENEURSHIP AND FEMALE ENTREPRENEURSHIP IN MARAMURES COUNTY
Full text linkInitiating and developing a business involves a considerable risk and a sustained effort in order to defeat the inertia against what is new. The person initiating a business, assuming the responsibility and risk of its development and benefiting from theentrepreneurship, female entrepreneurship, profit, businesses
The use of initial tocolysis and maintenance tocolysis in preterm birth : guideline-based approach or off-label use - a survey on the current application in Switzerland
No full textAuthor Valentina Schedl, BscMasterarbeit Universität Linz 202
Guido Crepax – Valentina – The Shape of Her Time
Full text linkThe paper will focus on the analysis of Guido Crepax revolutionary comic book character Valentina that belongs to the golden age of the Italian comic-book genre fumetto. The aim is to explore whether Guido Crepax Valentina character was a "living doll" filling male fantasies of her creator or she was a woman empowered by her author struggling for many of the values of the women's culture that feminists today are trying to introduce into the mainstream. It also addresses research questions that focus on comic books and gender and empowerment at the decade of sexual liberation.Through Valentina case study the present paper is going to study an approach on the concept of woman in comics, and touch the border of female empowerment issue in contemporary world taking in consideration that her revolutionary strong and independent figure was born in a society where women have been frequently viewed as passive and represented as inferior to men and where questions of sexuality were considered taboo. Despite the fact that she angered some feminists by the way she was portrayed as an object of male gaze or a damsel in distress, there is nothing anti-feminist about Valentina. The aim here is to uncover feminist themes in the stories of Valentina and to explore what empowered her and made her a contemporary icon of style and symbol of liberated women
Analysis of the interplay of the Orai1 Ca2+ Ion channel and different Ca2+ sensing proteins
No full textAuthor Valentina Hopl, MScDissertation Johannes Kepler Universität Linz 2024Arbeit nach Ablauf der Sperre auf den öffentlichen PCs in den Bibliotheken der JKU+Medizin abrufba
Lezioni d'autore, lezioni d'attore: Un ciclo di incontri con i protagonisti dello spettacolo, a cura di Valentina Garavaglia in collaborazione con il Teatro Franco Parenti di Milano Il lavoro dell'attore e la drammaturgia contemporanea
No full textMassimo Carlotto usa il noir come genere capace di raccontare le trasformazioni, anche nascoste, della società. I suoi libri sono tradotti in molte lingue e ha vinto numerosi premi sia in Italia che all'estero. Niente più niente al mondo è il monologo oggetto della ricerca del regista Fabio Cherstich interprete di un nuovo teatro di narrazione.Massimo Carlotto uses crime fiction to examine the oft-concealed transformations of society. His books have been translated in many languages and he has won numerous prizes, in Italy and abroad. No more nothing in the world is the monologue adapted by the director Fabio Cherstich, author of a new narrative theater
Is a Semantic Web Agent a Knowledge-Savvy Agent?
No full textThe issue of knowledge sharing has permeated the field of distributed AI and in particular, its successor, multiagent systems. Through the years, many research and engineering efforts have tackled the problem of encoding and sharing knowledge without the need for a single, centralized knowledge base. However, the emergence of modern computing paradigms such as distributed, open systems have highlighted the importance of sharing distributed and heterogeneous knowledge at a larger scale—possibly at the scale of the Internet. The very characteristics that define the Semantic Web—that is, dynamic, distributed, incomplete, and uncertain knowledge—suggest the need for autonomy in distributed software systems. Semantic Web research promises more than mere management of ontologies and data through the definition of machine-understandable languages. The openness and decentralization introduced by multiagent systems and service-oriented architectures give rise to new knowledge management models, for which we can’t make a priori assumptions about the type of interaction an agent or a service may be engaged in, and likewise about the message protocols and vocabulary used. We therefore discuss the problem of knowledge management for open multi-agent systems, and highlight a number of challenges relating to the exchange and evolution of knowledge in open environments, which pertinent to both the Semantic Web and Multi Agent System communities alike
Multilateralismo, incertidumbre y reputación : las dispustas argentinas en la OMC
Full text linkThis article presents and analyzes trade disputes involving Argentina at the WTO. To do so, the author reviews Argentine participation at the WTO dispute settlement system since 1995 and examines both the economic local context and the WTO political circumstances.Fil: Delich, Valentina. Universidad de Buenos Aires. Facultad de Derecho. Cátedra Derecho Internacional Público. Buenos Aires, ArgentinaFil: Delich, Valentina. Universidad de Buenos Aires. Facultad de Derecho. Cátedra Propiedad Intelectual. Buenos Aires, ArgentinaFil: Delich, Valentina. FLACSO-Argentina. Buenos Aires, ArgentinaEl presente artículo presenta y analiza las controversias comerciales que involucran a la Argentina en la OMC. Para hacerlo, por un lado recorre la participación argentina en el sistema de solución de controversias desde 1995 a la fecha y por el otro examina tanto el contexto económico nacional como las circunstancias de la organización internacional donde ocurren
Ein Schluck Erde. (Gemeinschafts-) Utopie und Dystopie im Werk von Heinrich Böll
Full text linkValentina Serra, Ein Schluck Erde. (Gemeinschafts-) Utopie und Dystopie im Werk von Heinrich Böll
An extensive secondary literature on the literary work of Heinrich Böll has rightly emphasized the weight and role of this engaged writer in the period stretching from the Second World War to the 1980s. Böll’s work has traditionally been examined in the light of his realistic writing style and the critical representation of the present, which made him famous as the “critical conscience” and militant author of the Federal Republic of Germany. In the last decades, literary criticism with relatively few exceptions (Badewien and Schmidt-Bergmann 2014, Schubert 2017) has paid little attention to the author even though his utopian and especially dystopian discourse certainly warrants further analysis. Over the years, Boll’s critical discourse of society developed along utopian and dystopian lines in much of his work, in his short stories, in his more mature prose works and even in his plays. Utopia and dystopia (Bernhard 1970, Tomko 2014) act as an optical instrument in the literary work, as a magnifying and distorting mirror of reality that transcends the limits of the engaged writer’s “prophetic” role and critically presents the origins of social contradictions and evils. Böll’s typical heroes are endowed with the characteristics of dystopian characters, since they are problematic outsiders in society who exercise a disobedient resistance against upper instances and demiurgical figures. The aim of this contribution is to pursue the utopian and, above all, dystopian Leitmotiv in Heinrich Böll’s first play Ein Schluck Erde (1962), in order to discuss the effect of his works in the new millennium. In fact, his reversed and distorted images offer an opposing utopian view of human pietas, as a means in the struggle against capitalist greed, technological ambition and warlike hybris.Die umfangreiche Sekundärliteratur über das literarische Schaffen von Heinrich Böll hat zu Recht das Gewicht und die Rolle des engagierten Schriftstellers vom Zweiten Weltkrieg bis zu den 1980er Jahren hervorgehoben. Bölls Werk wurde traditionell im Lichte des realistischen Schreibstils und der kritischen und realitätsnahen Wiedergabe der Gegenwart untersucht, was ihn als „kritisches Gewissen“ und militanten Autor der Bundesrepublik Deutschland berühmt machte.
In den letzten Jahrzehnten hat die literarische Kritik dem Autor mit einigen Ausnahmen (siehe u. a. Badewien und Schmidt-Bergmann 2014, Schubert 2017, Böttges-Papendorf und Hermann 2017) nur geringe Aufmerksamkeit geschenkt. Vor allem anhand einer Analyse seines utopischen und dystopischen Diskurses lässt sich zeigen, dass dies zu Unrecht geschieht. Bölls dystopischer Leitfaden zieht sich durch verschiedene literarische Gattungen und entwickelt sich von den ersten Kurzgeschichten bis zu den reiferen Prosawerken und Theaterstücken (wie etwa Ein Schluck Erde 1962) fort. Utopie und Dystopie (Bernhard 1970, Tomko 2014) wirken im literarischen Schaffen Bölls als optisches Instrument, als Vergrößerungs- und Zerrspiegel der Wirklichkeit, die die Grenzen einer „prophetischen“ Rolle des engagierten Schriftstellers überschreiten und die Ursprünge der gesellschaftlichen Widersprüche und Übel kritisch darstellen. Bölls typische Helden tragen die Merkmale der dystopischen Charaktere, weil sie als problematische Außenseiter keine Stellung in der Gesellschaft einnehmen und einen ungehorsamen Widerstand gegen geordnete Instanzen und demiurgische Gestalten ausüben.
Ziel des vorliegenden Beitrags ist es, das utopische und vor allem das dystopische Leitmotiv im Werk Heinrich Bölls zu verfolgen, um die Wirkung seiner Werke auch im neuen Jahrtausend zu erörtern, denn seine umgekehrten, verzerrten Bilder reißen einen umstrittenen utopischen Glauben an die menschliche Pietas um, der als Mittel im Kampf gegen die kapitalistische Gier, den technologischen Ehrgeiz und die kriegerische Hybris dienen kann
Il re cervo
No full textNel 2003 si colloca il ritrovamento di un gran numero di testi manoscritti e documenti inediti ascrivibili a Gasparo e Carlo Gozzi. Tale patrimonio, denominato Fondo Gozzi, è stato acquisito dalla Biblioteca Nazionale Marciana in Venezia. Fra le migliaia di carte se ne trovano 37 che si riferiscono specificamente alla fiaba teatrale di Carlo Gozzi "Re cervo" (Gozzi 4.1), andata in scena al teatro San Samuele in Venezia nel gennaio del 1762.
La stratigrafia del materiale cartaceo pervenuto ha permesso la formulazione di un’edizione critica puntuale, intorno alla vicenda compositiva di Re cervo fino ad oggi dedotta dai soli autografi marciani acquisiti nel 1932.
Attraverso l’analisi delle varianti fra i testimoni di "Re cervo" presenti nell’edizione critica a cura di Valentina Garavaglia sembra possibile, da un lato, risalire dal testo definitivo a stampa al copione probabilmente impiegato per la prima rappresentazione dell’opera, fino a redazioni anteriori; d’altro lato, cogliere la differenza fra le modalità di scrittura dell’uomo di teatro che compone Re cervo pensando alla sua immediata messinscena e il letterato che, a posteriori, modifica il testo nella prospettiva della sua pubblicazione a stampa.
Lo studio capillare del sottosuolo compositivo della fiaba disegna il profilo di un letterato capace di pensare “in chiave teatrale”, prefigurando soluzioni scenografiche e scenotecniche ai problemi di allestimento posti dalle invenzioni testuali, fissando nel copione indicazioni psicologiche, interpretative e prossemiche destinate agli attori. Tali materiali risultano sintetizzati o addirittura eliminati nella stesura destinata alla stampa, sicché il lavoro dell’autore può configurarsi, nelle prime fasi documentate in alcuni dei testimoni manoscritti, come una sorta di drammaturgia aperta, non definitiva.In 2003, a trove of handwritten texts and unpublished documents by Gasparo and Carlo Gozzi came to light. This corpus, known as the Fondo Gozzi [Gozzi Archives], was acquired by the Biblioteca Nazionale Marciana, in Venice. Among the thousands of pages, there are 37 that refer specifically to a theatrical fairy tale written by Carlo Gozzi, "Re cervo" [The Stag King] (Gozzi 4.1), which was performed at the San Samuele theater, in Venice, in January 1762.
The stratigraphy of the papers found led to the publishing of a critical assessment of the factors behind the composition of Re cervo, which had previously been based solely on the documents already in possession of the Marciana, acquired in 1932.
By analyzing the variances in the examples of "Re cervo" presented in the critical edition curated by Valentina Garavaglia, it is possible, on one hand, to compare the final, printed text with the script, probably employed for the work’s first performance and to even earlier compositions, and on the other, to grasp the differences between the writing mode of a playwright composing Re cervo while thinking of its impending performance and an author who, post hoc, reviews the text in light of its future publication in printed form.
The meticulous examination of the compositional underpinnings of the fairy tale outlines the profile of a scholar who is able to think “theatrically”, imagining staging and technical aspects that resolve the problems posed by the text and including psychological indications in the script as well as advice to the actors about how to interpret the lines. These are shortened or eliminated in the version to be published, and the author’s work, as documented in some of the initial phases in these manuscripts, can be seen as a kind of open play-writing, still in formation
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