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Oltre il nido: il mondo femminile pascoliano
No full textL’immaginario femminile pascoliano non si limita affatto alle figure, pur centrali, delle sorelle e della madre. Già nel Fanciullino, P. afferma sin dalle prime pagine dedicate all’idea di epos, che il “fanciullino” non è interessato alla tematica amorosa, ma a battaglie e avventure. Ama la donna solo come sorella, ama la bambina che è in lei, secondo un’idea evoluzionistica della donna e dell’amore ripresa in altri testi fondamentali, come la prosa L’Avvento. Nello stesso Fanciullino è la figura femminile della Matelda dantesca a diventare simbolo della poesia, simile alla Parvoletta del Rossini, o alla Psyche dei Conviviali, figura dell’anima. Proprio i Poemi Conviviali sono la raccolta più ricca di complesse figure femminili, che, per vie simili alle figure della poesia latina e dei Primi e Nuovi Poemetti, sono depositarie dei principi fondanti di vita e morte, attraverso il dono della maternità. E proprio su questa tema, la distanza coraggiosa di P. dalle coeve concezioni antropologiche e sociologiche diventa macroscopica.
His sisters and his mother, though fundamental, are not the only figures belonging to P.’s imagery concerning women. Since the first pages of his Fanciullino, speaking of epos, P. affirms that the “fanciullino”, symbol of poetry, is not interested in love, but in battles and adventures. He loves only the woman seen as a sister, and the child living in her, according to an evolutionistic vision of both the woman and love present also in other prose texts as L’avvento. In the Fanciullino another symbol of poetry is the female character of Dantes’s Matelda, similar to the Parvoletta in the poem Rossini, or Psyche, symbol of the soul, in the Poemi Conviviali. This poetical collection is the richest one as far as female characters are concerned and their main gift is maternity, which means the power of giving life and death, as is told also in P.’s latin poetry and in the Primi and Nuovi Poemetti. This subject reveals the enormous distance between P.’s innovative ideas on women and the contemporary ideas coming from anthropology and sociology
L'esperienza poetica del tempo e il tempo della storia. Studi sull'opera di Francesco Petrarca
No full textUn cammeo per gli 'Intrecci virtuosi': Marcantonio Ferretti poeta accademico anconitano e Cristoforo Roncalli pittore
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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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