7,760 research outputs found
Goose Village
No full text" Montreal artist Marisa Portolese presents "Goose Village," a powerful publication unveiling the lost history of a vibrant neighbourhood decimated by urban development in the 1960s. [...] [T]his first edition chronicles the once-thriving Goose Village in Pointe-Saint-Charles, Montreal, and the lives of its displaced inhabitants.
Portolese's comprehensive body of work, spanning four years of production and research, delves into the narrative of Goose Village. This multidisciplinary endeavour combines oral history interviews, portraiture, urban landscapes, and a forensic gaze into thousands of historical images housed at Les Archives de la Ville de Montréal. The result is a heartrending exposé of how short-sighted urban planning decisions devastated a close-knit community, forever altering the cultural and social fabric.
The Goose Village publication, co-authored by Vincent Bonin and Marisa Portolese, serves both as a moving memorial and a call to acknowledge this historical injustice. [...] [The publication] showcases a wealth of historical documentation and personal anecdotes, enabling readers to understand a forgotten era in Montreal's history. " -- Project's websit
Alexandre Dumas figlio, La signora delle Camelie. Traduzione, nota al testo, introduzione e postfazione di Marisa Verna. Introduzione e postfazione tradotti in lingua inglese
No full textIl dramma a tesi di Dumas figlio si propone come un teatro “intelligente”, di riflessione morale, in più o meno aperta polemica con il vaudeville e il puro divertissement.
Il volume contiene, oltre a una nuova traduzione del dramma e della prefazione di Dumas fils (edita a scopi didattici nel 2008 presso EduCatt), un capitolo introduttivo nel quale viene indagata la forza mitogena e la canonicità del testo per la cultura europea ed extraeuropea. Il saggio introduttivo si propone di mettere in luce l’intrinseca dualità del testo stesso, dalla quale si è generato appunto il mito: delle due strutture drammatiche presenti nella pièce (quella neoromantica e quella borghese), è la prima, contro ogni previsione dello stesso Dumas figlio a prevalere nei decenni e poi nel secolo successivo alla sua creazione.
Nel saggio finale si propone invece l’analisi di due rappresentazioni considerate cruciali per la storia drammaturgica del testo (poiché la storia scenica di questo dramma è letteralmente immensa, si propone l’analisi di una rappresentazione coeva, e di una novecentesca), in Francia e in Italia. Segue un brevissimo excursus della fortuna scenica della pièce nel mondo, e una bibliografia selettiva.The Lady of the Camellias, by Alexandre Dumas fils
Marisa Verna ed., Edizioni ETS, Pisa 2011
The drame à thèse by Dumas fils appears as a form of intelligent theatre, proposing moral reflections in at times explicit opposition against the vaudeville and the pure divertissement.
Besides a new translation of the drama and of the preface by Dumas fils (previously published by EduCatt in 2008 for teaching purposes), the volume contains an introductory chapter which investigates the mythopoeic force and the canonicity of the text within the European and non-European cultures. The introductory essay aims at highlighting the intrinsic duality of the text which has originated the myth: of the two dramatic structures which make up the pièce the neo-romantic and the bourgeois one the former prevailed in the years and centuries following its creation, contrary even to any prediction of the author himself. The concluding essay analyzes two performances, in France and in Italy, acknowledged as crucial for the dramaturgical history of the text (since the staging history of this drama is immense, the analysis concerns one coeval performance and one from the 20th century). The essay is followed by a brief digression on the international staging success of the pièce and by a selected bibliography
Proust et l art de la langue. La synonymie comme idolâtrie linguistique
No full textProust and the art of language. Synonymy as linguistic idolatry. In: SERGIO CIGADA E MARISA VERNA A CURA DI. in La Sinonimia tra langue e parole nei codici italiano e francese,. p. 231-254, MILANO: Vita e Pensiero
The aim of this article is to analyze the impossibility of conceiving of the idea itself of synonymy within the proustian understanding of language and his esthetics.
Since his first theoretical reflections on literary language, Proust considered meaning as the result of a complex dynamics, never established once and for all. In his notes to his translations of John Ruskin, the future author of the Recherche reproaches the English esthetician of looking for linguistic meaning where it cannot be found: in the dictionaries or in the history of words. In this attitude Proust sees the same sin of idolatry that Ruskin shares with Montesquiou and that leads to a confusion between art and life, meaning and words.
This conception of language can be found in the Recherche at different levels. Two of these will be analyzed in this article: the language of the characters and the formation of metaphor. Within the language of the characters it is possible to observe various clue synonyms , or even implicit synonyms , marking meaning shifts, where the similarity of meaning at the level of langue is even more revealing of psychological truths that language ends up always exposing. Within this indirect language studied by Genette, it is clear that there is not just one synonym and that it could not be simply replaced by its equivalent in the dictionary without a serious loss of meaning.
The case of metaphor is even clearer to establish the impossibility of synonymy within the proustian understanding of literary language. Two examples will be presented of sememe metaphors , in which the narrator of the Recherche develops all the semantic directions of the linguistic sign by the metaphorisation of the whole sememe. The word itself is at the origin of a process of metamorphosis of reality of which the metaphor is the textual result. It is from the word, as a total sign and as it lies within the artist s conscience, that all comparisons derive.
Therefore the metaphor does not realize a process of semantic equivalence, it is not a synonym of a word or an expression because it is born from an evocation, from the resounding of a memory that words awake within the soul of the person who produces it. Indeed the proustian style reflects on reality a network of questions where all the potentialities of a meaning are activated. Under these conditions, for a writer to believe in the existence of synonymy is like treason against his duty as an artist, which is not to say trois fois à peu près la même chose , but to find a truth able to give way to that journey through the self that every reader is supposed to begin once the book is fnished.Dès ses premières réflexions théoriques sur la langue littéraire, Proust considère en effet le sens comme le résultat d’une dynamique complexe et jamais établie une fois pour toutes. Dans les notes à ses traductions de John Ruskin, le futur auteur de la Recherche reproche à l’esthéticien anglais de chercher le sens là où il n’est pas : dans les dictionnaires, ou dans l’histoire des mots. Dans cette attitude il y a pour Proust ce péché d’idolâtrie que Ruskin partage avec Montesquiou, et qui pousse à confondre l’art et la vie, le sens et les mots.
Cette conception du langage se retrouve dans la Recherche à plusieurs niveaux ; nous allons en analyser deux : la langue des personnages et la formation de la métaphore. Dans la langue des personnages sont relevables de nombreux ‘synonymes indices’, ou même des synonymes implicites, qui marquent un glissement du sens, où l’analogie de signifié au niveau langue n’en est que plus révélatrice de vérités psychologiques que le langage finit toujours par démasquer. Dans ce « langage indirect » étudié par Genette le synonyme n’en est évidemment pas un, et ne pourrait, sans grave perte de sens, être remplacé par son équivalent du dictionnaire.
Le cas de la métaphore est plus décisif pour une définition de l’impossibilité de la synonymie dans la conception proustienne de la langue littéraire. Nous avons choisi de présenter deux exemples de ‘métaphores sémème’, dans lesquelles le narrateur de la Recherche développe toutes les directions sémantiques du signe langue, en métaphorisant ainsi le sémème entier. Le mot est lui-même source du procès de métamorphose du réel dont la métaphore est le résultat textuel, et c’est à partir du mot, en tant que signe total, tel qu’il est déposé dans la conscience de l’artiste, que se départent les comparaisons.
La métaphore ne marque partant pas un procédé d’équivalence sémantique, elle n’est pas synonyme d’un mot ou d’une expression, car elle naît d’une évocation, d’une résonance mémorielle que les mots déclenchent dans l’esprit de celui qui l’énonce. L’écriture proustienne lance en effet sur le réel « des réseaux d'interrogation », où toutes les virtualités du sens sont actives. Dans ces conditions, croire dans l’existence des synonymes est pour un écrivain une trahison de son devoir d’artiste, qui est de ne pas dire « trois fois à peu près la même chose », mais de trouver une vérité capable de donner lieu au voyage dans soi-même que chaque lecteur est censé commencer, une fois le livre fini
13 Presidents: stories
No full textIn 2014, Marisa J. Futernick drove nearly ten thousand miles across America, visiting all thirteen of the nation’s Presidential libraries along the way. 13 Presidents is the result: an artist’s book that combines photographs from the journey with a suite of short stories. Mixing fact and fiction, each President from Herbert Hoover to George W. Bush is a protagonist in this collection of unexpected portraits.
The photographs, shot on analogue film, depict the everyday details of the towns that these men are from, including the homes where they were born, and their final resting places. 13 Presidents weaves together personal narrative with wider cultural observation, forming a vision of America that is both invented and true
Marisa Volpi. Legami a doppio filo fra pittura, scrittura, lettura
No full textIl contributo presenta la figura della critica e storica dell'arte Marisa Volpi (1928-2015), personalità di spicco della critica d'arte degli anni Sessanta e Settanta, nonché scrittrice (premio Viareggio 1986) e autrice di racconti ispirati alle vite d'artista. Con alcuni esempi, viene messo in luce lo stretto legame fra l'attività di ricerca storica, l'elaborazione critica e la scrittura di Marisa Volpi.The contribute focuses on the intellectual figure of Marisa Volpi (1928-2015): art historian, professor, art critic, curator and writer (Viareggio Prix 1986). The author of this contribute runs the website www.marisavolpi.it, with the patronage of the Department of Art History and Performing media at Sapienza University, where Marisa Volpi's archive is situated
Corporate Financial Distress: Going Concern Evaluation in Both International and U.S. Contexts.
No full textThis book, divided into three main parts, will offer a complete overview of the concept of corporate financial distress, emphasizing the different typologies of corporate paths included in this broad concept. It will reorganize and update academic literature about the evaluation of corporate financial distress from the first studies about failure prediction to the most recent contributions. It will also provide evidence about the evolution of going concern standards in both international and U.S. contexts. Moreover, an in-depth analysis of this broad concept will permit the identification of a set of research questions to be investigated from both theoretical and empirical points of view, and will be of interest to academic researchers and doctoral students of accounting, auditing and finance, professionals, and standard setters
Marisa Madieri, Jan Morris e Irena Žerjal
No full textThis paper analyses the ways in which the town of Trieste and its surrounding area are portrayed in literary
works in the period following World War II. To this end, we have adopted a comparative approach in analysing
three novels about the town of Trieste written by Irena Žerjal, Marisa Madieri and Jan Morris, belonging to different
cultural and language traditions. Our analysis applied an interdisciplinary approachgeocriticism and literary imagology as well as the concepts of traumatic collective memory and postmemory. From a geocritical perspective,
we have interpreted the literarisation of the town of Trieste from three different perspectives: the perspective of a
Slovene author (Irena Žerjal)the Western-European perspective (Jan Morris)and the exile’s perspective (Marisa
Madieri). All three authors adopt a similar approach in their literary representations of the town of Trieste, namely
going back in time, which allows them to shift the action from the present to the past, i.e. to Trieste as they knew it
in their youth. In doing so, each author focuses on a different part of town. In those rare occurrences where action
is set in the same places, each author ascribes a different meaning to the location. While the authors acknowledge
the presence of the Other in Trieste, this has a negligible impact on the novel’s course of action
High school success
No full textauthors: Jennifer Bevers, Dany Douglas, Isabella Jacoby, and Marisa Molnar.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Includes bibliographical references.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Embryonic stem cell-derived populations retain their tumorigenic potential
No full textMultiple sclerosis (MS) is a neurodegenerative disorder, which results in the death of oligodendrocytes, the myelinating cells of the central nervous system (CNS). Although drug therapies can abate the progression of MS, no treatment has reported significant repair of lost myelin. One possible solution would be to use an embryonic stem cell therapy to derive oligodendrocytes. However, ESC studies have stressed the need for have a homogenous cell population, because ESCs produce teratomas, benign embryonic tumors consisting of all three tissue layers. In this thesis, mouse ESCs were differentiated to oligodendrocytes using a six-step protocol. At each stage of the differentiation protocol, we asked whether teratogenic ESCs persisted within the differentiated cell population. If ESCs persisted, the cell population would have the ability to generate embryoid bodies (EBs). It was found that at each stage of differentiation, we were able to generate EB-like bodies. However, the frequency of EB formation decreased as differentiation progressed indicating a progressive reduction in the number of ESCs. The differentiated cell populations were characterized by immunocytochemistry and RT-PCR and compared and contrasted to starting ESC populations. We conclude that undifferentiated ESCs remain within the heterogeneous population of cells. Therefore, a possible cell therapy must have all ESCs removed from the final differentiated cell population.M.S.Includes bibliographical references (p. 37-40)by Marisa Apicell
Transcribiendo a Gustav y Marisa
No full textGustav Henningsenen eta Marisa Rey-Henningsenen zuzeneko lekukotasunaren bidez, Espainian ikertzen aritu ziren urteetako oroitzapenetan barneratzen gara. Haien hitzak grabatu eta transkribatu dira iturri nagusi bezala erabiltzeko. Galizian egin zuten landa-lanarekin hasi, Artxibo Historiko Nazionalean egindako aurkikuntzetara igaro eta azkenik Iruñeko egonaldietara etorriz, haien eguneroko bizitza jorratuko dugu; baita lan egiteko modua, harremanak eta inguruko giroa ere. Bi lekukotasun horiek aukera ematen digute daniarraren ekarpen historiografikoen alderdirik pertsonalena ezagutzeko, eta, aldi berean, haren lankide nagusiaren –emaztearen– ahotsa eta lana argitzen dituzte.Through the direct testimony of Gustav Henningsen and Marisa Rey-Henningsen, recorded and transcribed for its use as the main source, we delve into the memories of their research years in Spain. From their field work in Galicia, to their discoveries in the National Historical Archive until their days in Pamplona, we address their daily life, working method, contacts and the environment that surrounded them. Both testimonies reveal the most personal side of the Dane’s historiographic contributions and, at the same time, illuminate the voice and work of his main collaborator, his wife.A través del testimonio directo de Gustav Henningsen y Marisa Rey-Henningsen, grabado y transcrito para su utilización como fuente principal, nos adentramos en los recuerdos de sus años de investigación en España. Empezando por su trabajo de campo en Galicia, pasando por sus descubrimientos en el Archivo Histórico Nacional hasta sus estancias en Pamplona, abordamos su vida diaria, forma de trabajar, contactos y el ambiente que les rodeó. Ambos testimonios permiten conocer el lado más personal de las contribuciones historiográficas del danés, al mismo tiempo que iluminan la voz y la labor de su principal colaboradora, su mujer
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