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    L’ultimo dei grammatici latini? Il trattamento della prolepsis nel 'De grammatica' di Ugo di San Vittore

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    Il saggio si propone come una breve analisi delle fonti e dei metodi di esposizione del trattato De grammatica di Ugo di San Vittore (XII sec.), prendendo come caso di studio la trattazione sulla prolepsis ivi contenuta.The aim of this paper is to provide a tentative outline of the sources and methods of composition of the treatise On grammar written by Hugh of Saint-Victor (12th century). The chapter on prolepsis will be taken as a case study

    Il Giambelego ‘archilocheo’ di Hor. epod. 13 e il ‘saffico maggiore’ di carm. I 8

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    Il contributo si propone di fornire una risposta al dubbio avanzato da Lucian Müller: «Versus eius [scil. Horatii] omnes reperiuntur apud Graecos, Archilochum puta et Alcaeum Sapphoque et Anacreontem, exceptis duobus, hoc est iambelegico (ep. 13) et maiore sapphico, quem vocant (c. I, 8). qui utrum ab ipso sint novati ad exempla elegiambi et sapphici minoris necne, non satis constat» (Luciani Muelleri De re metrica poetarum Latinorum praeter Plautum et Terentium libri septem. Accedunt eiusdem auctoris opuscula IV, Editio altera, Petropoli et Lipsiae 1894, p. 81)

    Le istruzioni per l’illustratore nella cosiddetta 'Itala di Quedlinburg': una testimonianza poco nota di ‘latino informale’

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    Studio delle istruzioni composte da un librarius per l'artista che dipinse le illustrazioni del codice della cosiddetta Itala di Quedlinburg, con proposta di alcune letture diverse da quelle oggi correnti e studio del tipo di latino usato e delle sue caratteristiche informali

    Doctissimus antiquitatis perscrutator: Studi latini in onore di Mario De Nonno

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    Miscellanea di studi latini offerti a Mario De Nonno in occasione del suo settantesimo compleanno. I contributi spaziano dalla letteratura latina arcaica al 1600 e riguardano Plauto, Ennio, Accio e i tragici arcaici, Lucrezio, Cicerone e l'oratoria romana, Sallustio, Virgilio, Orazio, Seneca, Apuleio, Gellio, il Nuovo Testamento e i testi cristiani apocrifi, Giulio Paolo, Ambrogio, Agostino, la tradizione grammaticale e metrica, Servio, Cledonio, Isidoro di Siviglia e Ugo di San Vittore, Machiavelli e i classici, un falso di Caspar von Barth nell’Anthologia latina, questioni di retorica, linguistica, paleografia e codicologia

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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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