1,721,130 research outputs found
La ricezione delle Vite di Giorgio Vasari nella Russia di metà Ottocento: M.I. Železnov su K.P. Brjullov
No full textО первом русском переводе "Жизнеописаний..." Дж. Вазари в России. Михаил Железнов - первый переводчик Вазари.Sulla prima traduzione delle "Vite" di Vasari in Russia; ricezione di Vasari in Russia nella Seconda metà del XIX secolo; Vasari, Brjullov e M. Zheleznov; Michail Zheleznov traduttore di Vasar
[Recensione a] G. Gospodinov, Cronorifugio, trad. e cura di G. Dell’Agata, Voland, Roma 2021 (= Sírin)
Full text linkBook Revie
«La guerra di Piero»: universi letterari ed interpretazioni filosofiche intorno ad una canzone di Fabrizio De André
Full text linkGli autori di questo articolo presentano una interpretazione della celebre canzone di Fabrizio De André, La guerra di Piero, come un testo che riesce ad intrecciare significati filosofici e letterari molto importanti. In particolare, il contributo
di Simone Zacchini (§ 2) cerca di mettere in evidenza l’importanza del rapporto
tra De André e la natura, legando la canzone ad un’estetica che si origina a fine
Settecento con Goethe. Centrale è infatti il ritmo delle stagioni che diventa lo
sfondo del tema antimilitarista. Nella seconda parte, Alessandra Carbone (§ 3)
si propone di analizzare comparativamente il tema dell’«esitare in guerra» all’interno del testo della canzone La guerra di Piero e il famoso episodio del romanzo Guerra e pace di Lev Tolstoj (Libro I, Parte III, Capitolo XVI, la battaglia di
Austerlitz), procedendo ad una lettura ravvicinata dei due testi.The authors of this article present an interpretation of the famous song by Fabrizio De André, La Guerra di Piero (Piero's war), as a text that manages to intertwine deep philosophical and literary meanings. In particular, in the first part, Simone Zacchini's contribution tries to highlight the importance of the relationship between De André and nature, linking the song to an aesthetic that originates at the end of the Eighteenth century with Goethe. In fact, the rhythm of the seasons is central and becomes the background of the anti-militarist theme in the song’s text. In the second part Alessandra Carbone aims to comparatively analyze the theme of "hesitation in war" within the text of the song La Guerra di Piero and of a famous episode of the novel War and Peace by Leo Tolstoy (Book I, part III, chapter XVI, the Battle of Austerlitz), proceeding with a close reading of the two texts
Michail Lermontov. "Ne ver', ne ver' sebe, mechtatel' molodoj..." Izbrannaja poezija
No full textEdizione dell'opera poetica di Michail Lermontov in lingua originale e nelle traduzioni storiche in lingua italiana (da Ippolito Nievo ai giorni nostri). Il volume, completamente bilingue, è accompagnato da un saggio introduttivo che descrive la fortuna dell'opera di M.Ju. Lermontov in Italia e la storia della sua ricezione attraverso le traduzioni
A web server for identification and analysis of coevolution in overlapping proteins
No full textOverlapping genes exist in all domains of life and are especially abundant in viral genomes. The existence of overlapping reading frames increases the rising of deleterious mutations for one of the proteins, since a single nucleotide substitution may affect both proteins. Molecular coevolution may be seen as a mechanism to tolerate or compensate unfavorable mutations, decreasing the evolutionary constraints in the overlapping region. For instance, a favorable mutation in one reading frame may be unfavorable in the other reading frame and additional mutations may be needed to compensate the first mutation. Although molecular coevolution was widely used in viral genomes, the "overlap problem" was disregarded. Here, we present a server that facilitates the analysis of coevolution in overlapping proteins and of the impact of mutations in another ORF.Fil: Teppa, Roxana Elin. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Sorbonne University; FranciaFil: Carbone, Alessandra. Universite de la Mediterranee. Institut Universitaire de France; Francia. Sorbonne University; FranciaJournées Ouvertes De Biologie Informatique & MathématiquesNantesFranciaFrench Society of BioInformaticsGdR Bioinformatique MoléculaireInstitut Francais de Bioinformatiqu
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
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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