2,132 research outputs found
Postal de Claudio Vivas a Maruja Vieira, junio 23 de 1955
No full textPostal de Claudio Vivas a Maruja Vieira, felicitándola por el reconocimiento que le fue otorgado a la autora de poemasPostcard from Claudio Vivas to Maruja Vieira, congratulating her for the recognition given to the author of poems.Publicación, fondo Maruja Vieira, carpeta 1, folio
Trans-oral robotic surgery for a Ewing's sarcoma of tongue in a pediatric patient: a case report
No full textThe Ewing's sarcoma Family of Tumors (EFT) includes classic Ewing's Sarcoma (ES) of bone, Extraskeletal Ewing's Sarcoma (EES) and malignant peripheral primitive Neuroectodermal Tumor (pNET) of bone and soft tissue.
ES is an aggressive tumor with a high incidence of local recurrence and distant metastasis, which is more common in males respect to females, particularly in the first 2–3 decades of life.1 The skeletal form is more common and typically occurs in the long bones of the extremities. The extra skeletal form occurs in the soft tissues of the lower extremities, paravertebral tissues, chest wall, retroperitoneum and rarely in the head and neck region in about 1–4% of cases.2 Involvement of the head and neck is usually identified in the nasal or oral cavities, sinuses or soft tissues of the neck.3 Primary Ewing's sarcoma of the base of tongue is exceedingly rare and we present the first case in literature in a 16 year-old male treated by Trans-Oral Robotic Surgery (TORS) and postoperative chemotherapy
“Dialogue between Translators and Authors. The Example of Claudio Magris”
No full textThe paper focuses on the forms of cooperation between authors and their translator(s) in all cases in which the two operate simultaneously. This issue is explored on the example of the Trieste-born author Claudio Magris, who cultivates a very close relationship with most of his translators.
Writing and translation have been coexisting in this author throughout his career and have resulted in the heightened sensitivity of Magris the author with regards to translation, as the first part of the analysis shows. The second part describes the dialogue between Magris and the translators of his works, and ends with the more general question of the significance and role of such a form of exchange
Consideraciones sobre la poética de Claudio Rodríguez
No full textThe purpose of this paper is to study the poetics of Claudio Rodríguez, delimiting its components and trying to clarify them and to present them as a whole. The author left some pages written on his conception of poetry that encourage reflection and, in some cases, interpretation. So with his conception of poetry as a gift and inebriation, as an alliance and condemnation or celebration (giving title to his collections of poems), or with notions such as «participation», «living contemplation», «living expression » or «personal rhythm» that make up his way of understanding the poetic process.El propósito de este artículo es estudiar la poética de Claudio Rodríguez, deslindando sus componentes y tratando de clarificarlos y presentarlos en su conjunto. El autor dejó escritas algunas páginas sobre su concepción de la poesía que animan a la reflexión y, en algunos casos, a la interpretación. Así sucede con su concepción de la poesía como un don y una ebriedad, como alianza y condena o como celebración (que dan título a sus poemarios), o con nociones como las de «participación», «contemplación viva», «expresión viva» o «ritmo personal», que configuran su forma de entender el proceso poético
Chemical characterization of wood samples colored with iron inks: insights into the ancient techniques of wood coloring
No full textIn the past, the practice of dyeing wood was very widespread, for instance for obtaining substitutes for rare and expensive ebony, which was used for all marquetry techniques and especially for making inlays to decorate musical instruments. This study focuses on two traditional wood-dyeing procedures carried out with iron–gall dye and iron–logwood dye, respectively. In order to reproduce the ancient techniques, preparation of dyes and their application on two different wood species (poplar and pear) were carried out according to typical ancient recipes and traditions. Wood samples were dyed using mixtures similar to two of the most important historic iron inks, and several specimens (approximately 7 mm in size) were taken and investigated in order to: (1) gain a better insight into the processes involving the dyes and the wood matrices, (2) analyze the effects of the treatments on the anatomical wood structures, (3) evaluate the level of penetration of the dyestuffs into the samples. The analyses were performed after each step of the dyeing procedures, both on the wood samples and on the solutions. Various reaction processes were hypothesized after a micro-Fourier transform infrared spectroscopy analysis, performed in transflection and attenuated total reflection mode. The effects of the various treatments on the wood samples were studied by means of stereomicroscopy, polarized optical microscopy and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy. The results obtained suggested that both treatments cause alterations in the outer 300 μm of the wooden samples, and that a higher level of penetration was obtained with the hematein complex than with the iron-gall ink
EXPERIMENTAL CHARACTERIZATION OF OIL-COLOPHONY VARNISHES: PROTECTION OF MUSICAL INSTRUMENTS
No full textIt is generally known as the wooden musical instruments are covered by varnish protective layers made by different organic compounds. Historically, the varnishes had the aim to protect the instrument by the external agents and to confer an aesthetic value to the object. During the 17th and 18th century, in Italy, all the violins were generally covered by a layer of varnish, made by a varnish based on linseed oil and colophony in the ratio 4:1 [1].
The main aim of this work was to study the modifications that occurred in ancient violin varnishes, after the exposure to some factors of degradation, as to be played by the violinist and the conditions in the context. In order to study the different properties of organic coating and their suitable compositions as a good varnish, a natural varnish which is a mixture of linseed oil and colophony used on the violins during the XVII century was recreated in the laboratory following an ancient recipe [2]. Here, for instance, linseed oil and colophony mixed together with different ratios (50/50 and 75/25, respectively) and then, they were applied on Maple wood samples and on glass slides for experimental purposes. Here, Maple wood was used, because it’s the same wood used for the back of the violin. In a common sense, it’s known as the playing routine of the musical instrument can perform different changes on the varnishes due to the contact with the player and the context, with a strong degradation of the organic layers and a consequent widespread worn-out of the varnish. Considering this effect, in order to investigate the properties of prepared varnish due to ageing, samples (treated wood and films on glasses) were exposed to different ageing cycles (humidity (RH%) /temperature (T), pH variations, and exposition to UV light). The performances of varnishes were evaluated handling color, contact angle, micro-FTIR, optical microscope, SEM-EDS, TGA and hardness analyses.
Out of strong experimental evaluation, all the results suggested that the composition of 75/25 (oil: colophony) is much better as a varnish for musical instruments.
[1] B. Brandmair, S.-P. Greiner. Stradivari Varnish.
[2] Manuscript It. III 10, f. 193v of Biblioteca Marciana di Venezia, title with "Segreti di arti diverse"
The golden age of the neapolitan lutherie (1750–1800): new insights on the varnishes and decorations of ten historic mandolins
No full textThis paper reports the results of several scientific
analyses carried out on ten mandolins made in the
second half of the eighteenth century by the most important
Neapolitan mandolin manufacturers such as the Filano,
Fabricatore, Gagliano and Vinaccia families. Various elements
of decoration were characterized for each mandolin:
the resins of the sound hole decorations, the black wood
strips of the purflings, the varnishes and the glues. Thanks
to microscopy observations SEM-EDX, lFT-IR and
lRaman analysis, a multi-technique approach was used in
order to fully characterize and compare some of the decoration-making
techniques peculiar of each family of
makers. Shellac was the main organic material used both in
the sound hole decorations and in the varnishes. Inorganic
fillers such as aluminosilicates, particles of iron oxides/
hydroxides and microfossils of diatoms were found within
the false inlays. Black iron-based dyes were identified as
dyes for the black wood strips of the purflings
Le vernici storiche di strumenti musicali: un percorso di ricerca, produzione, diagnostica e formazione
No full textLe vernici storiche utilizzate in liuteria e, in generale, nell’ambito della costruzione di strumenti musicali non differivano sostanzialmente da quelle impiegate nel contesto ben più ampio di altre attività artistiche ed artigianali. La ricerca e l’interpretazione delle fonti testuali storiche di carattere tecnico (ricettari, manuali, trattati sulle tecniche artistiche scritti tra il XV e XVIII secolo) e gli approfondimenti analitici recentemente condotti su manufatti e strumenti musicali antichi confermano che la medesima vernice poteva essere stesa su differenti tipologie di manufatto. La vernice identificata come “Item vernice di mastico, optima per liuti, quoio, dipinture di tavola et di tela, per lavori di legname et cartoni” [Segreti d’arti diverse, Biblioteca Nazionale Marciana, MS. It. III, 10 [=5003], ff. 195r-195v] ne è un esempio; vernici con una composizione analoga a quella citata, contenenti una resina diterpenica (probabilmente colofonia) e una triterpenica (probabilmente mastice) e olio di lino, sono state identificate analizzando campioni prelevati da liuti della metà del XVI secolo. La ricostruzione sperimentale dei procedimenti storici per la realizzazione degli strati preparatori e delle vernici impiegate nella liuteria storica è un complemento necessario e preliminare alle ricerche sui manufatti originali. Permette, infatti, di acquisire informazioni dirette sulle caratteristiche delle materie prime di origine naturale che venivano impiegate e sono ancor’oggi spesso utilizzate (resine, oli siccativi, solventi organici ottenuti per distillazione). L’osservazione del comportamento di tali sostanze nel corso delle fasi di produzione e la preparazione e lo studio di provini che riproducono l’intera stratigrafia consentono di valutare qualitativamente e quantitativamente alcune proprietà chimico-fisiche e meccaniche delle finiture e di realizzare confronti con i dati ottenuti dalle indagini scientifiche; i provini sono caratterizzati non solo dalla presenza delle stesure finali di vernice ma anche dall’applicazione di trattamenti preparatori di variegata complessità: strati di sostanze filmogene con o senza cariche minerali, trattamenti preliminari del legno, colorazioni con pigmenti e coloranti naturali. Le attività descritte si sono svolte negli anni 2018-2019 nell’ambito del piano di formazione del “Distretto Culturale della Liuteria di Cremona” [1], Ente committente e finanziatore del Progetto in collaborazione con il Comune di Cremona. Ai liutai, costruttori e restauratori di strumenti musicali, è stata proposta la riproduzione della ricetta del XVI secolo precedentemente citata, che descrive la preparazione di una vernice a base di olio di lino (olio di linseme), colofonia (pece grecha) e mastice, con l’aggiunta di una noce di allume di roccha arso, pesto. Si tratta probabilmente del testo più antico nel quale si fa esplicito riferimento all’utilizzo di una vernice su uno strumento musicale. Tutte le fasi di studio e preparazione hanno coinvolto i liutai cremonesi (circa sessanta) che hanno potuto seguire nei laboratori le diverse fasi di produzione e comprendere i principali meccanismi chimico fisici che sono alla base della preparazione della vernice. Alcune aliquote di vernice sono state prelevate durante i differenti passaggi di produzione ed analizzati con spettrofotometro portatile FTIR in modalità ATR (Riflessione Totale Attenuata). La vernice è stata infine stesa su provini di acero (Acer pseudoplatanus). La stesura finale è stata poi indagata con FTIR in riflessione. I provini verniciati sono serviti per valutare le proprietà tecniche ed estetiche della vernice e per effettuare una serie di test di caratterizzazione delle proprietà fisiche e meccaniche: durezza, resistenza all’abrasione, adesione al supporto, elasticità/plasticità. I test proposti e provati in laboratorio risultano facilmente realizzabili dai liutai direttamente in bottega e possono essere impiegati per caratterizzare in autonomia ed in modo riproducibile alcune proprietà - anche reologiche - delle vernici preparate
Experimental characterization of oil-colophony varnishes: A preliminary study
No full textHistorically, the varnishes had the aim to protect the bowed musical instruments by the
external agents and to confer them an aesthetic value. During the 17th and 18th century, in
Italy, the bowed instruments, especially violins, were generally covered by a layer of varnish
made with several natural materials such resins, oil or hide glue: i.e., instruments by the great
violin maker Antonio Stradivari were covered often with a layer of varnish made of linseed oil
and colophony in the ratio 3:1, respectively. The main aim of this work was to study the
modifications that occur in those kinds of varnishes, after exposing them to some factors of
degradation. In order to study the different properties of organic coatings and their suitable
compositions, different mixtures of linseed oil and colophony were recreated in the laboratory
following an ancient recipe: linseed oil and colophony were mixed together with different
ratios (50/50 and 75/25, respectively) and then, they were applied on Maple wood samples and
on glass slides for experimental purposes. In order to investigate the different external factors
which cause the varnish layer degradation, samples were analyzed by different techniques
before and after different ageing processes (thermo-hygrometric cycles, exposition to UV lamp
and to acid vapors). Out of strong experimental evaluation, all the results suggested that the
composition of 75/25 (oil: colophony) is much better as a varnish for musical instruments
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