1,720,979 research outputs found
Uno stemma di Gregorio di Lorenzo per il generale camaldolese Pietro Dolfin alla Mausolea di Soci
No full textGregorio di Lorenzo, allievo di Desiderio da Settignano, per lungo tempo noto alla storiografia artistica col nome convenzionale di “Maestro delle Madonne di Marmo”, coniato da Wilhelm von Bode nel 1886, è oggi concordemente ritenuto un protagonista della scultura italiana del Quattrocento e del suo irradiamento in Italia col suo girovagare nelle corti di Ferrara, Napoli, Urbino ed in quella ungherese di Mattia Corvino. Proprio dopo il lungo soggiorno alla corte ungherese, dal 1475 al 1490, al suo rientrò a Firenze scolpì il superbo Stemma del priore generale dei Camaldolesi Pietro Dolfin, esponente illustre della celebre famiglia patrizia veneziana e grande riformatore dell’ordine camaldolese, incastonato sulla facciata del palazzo della Mausolea di Soci in Casentino, costruito negli anni 1494-ʼ96 dal monaco camaldolese Basilio Nardi, nativo della vicina Pratovecchio
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
LemonizeTBX: Design and Implementation of a New Converter from TBX to OntoLex-Lemon
Full text linkIn this paper, we introduce LemonizeTBX, a converter that enhances interoperability between terminological and lexicographical frameworks, acknowledging their divergent data modelling approaches. First, we present the theoretical implications of a conversion from the TermBase eXchange (TBX) concept-oriented framework to the OntoLex-Lemon sense-centred standpoint within Semantic Web technologies. Then, we illustrate the prototype version of the converter, designed as an interactive tool engaging terminologists in the conversion process
From TBX to Ontolex-Lemon: Issues and Desiderata
Full text linkThe terminology community has shown a growing interest in the formats for designing and implementing multilingual terminological resources in order to favor their interoperability and reuse. In this paper, we focus specifically on two data models: TBX and Ontolex-lemon. In particular, we aim at undertaking an initial requirement analysis in order to build a converter for the latest versions of these two formats. We will focus on the theoretical and implementational implications that a transition from a concept-oriented structure (such as that of TBX) to a sense-centered organisation (such as that of Ontolex-Lemon) entails
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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