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Lapide a Edmondo De Amicis a Napoli (1925)
Full text linkScheda relativa alla lapide a Edmondo De Amicis a Napoli realizzato da Leonardo Di Candia nel 1925
Application of chromosome painting and Q-FISH to test the interaction between telomeres and p53 protein in chromosomal aberration induction after Melphalan treatment in p53 +/- mice.
No full textChromosomal aberrations are a measure of genomic instability, which is known to play a key role in the initiation and promotion of carcinogenesis. Stable reciprocal translocations are of particular importance since they are often involved in neoplastic transformation and tumor cell clonal evolution. Chromosome painting represents a versatile tool in the cytogenetic evaluation of historical and chronic exposure because it can be used for a quick and easy detection of stable genetic damage which persists through cell division. In this study, chromosome painting analysis for chromosome 2 and 7 was used, to test for stable aberrations induced in the bone marrow of wild type and p53+/- C57BL/6J mice exposed for 4 and 13 weeks to 2 mg/kg of melphalan (MLP), a chemotherapeutic agent with carcinogenic potential. Preliminary results indicate that MLP induced comparable levels of chromosome-type aberrations in bone marrow cells of both mouse strains of C57BL/6J mice while a different chromosome aberration frequency after 4 or 13 weeks of treatment was observed.Telomeres stabilize chromosomes and play an important role in tumor development. It is well known that short telomeres are frequently involved in chromosome aberration formation. Furthermore, it has shown that mice without telomerase and with short telomeres are prone to carcinogenesis, and this can be enhanced by deficient checkpoints mediated by p53. In order to understand the involvement of telomere length in chromosome instability and at the same time the role of p53 in the cellular response to telomere dysfunction, in both treated and untreated mice, we are studying telomere length by quantitative fluorescence in situ hybridization (Q-FISH) analysis in both wild-type and p53+/- mice
Design of multiple serially concatenated multiple parity-check codes for wireless applications
No full textPaper SS2-1569231445-240
Le cattedrali in Sicilia tra XVI e XVII secolo
No full textBetween the sixteenth and seventeenth century also the “Norman” cathedrals of Sicily underwent
changes and renovations. The stories emerging from documentary evidence and through
the analysis of the architectonical remains reveal specific problems and dimensions of the phenomenon.
In spite of an expected adjustment to the directives of the Council of Trent, repeatedly
evoked by historians as the only explanation to these mutations, we can rather see resistance to
any mutation and to the liturgical prescriptions, while we witness an intensification of relevatory
debates. The cathedrals are in fact a place of unstable equilibrium between the authorities
involved and interested in affecting the monuments with interventions of symbolic value. In addition
to the church hierarchy (the bishop and the chapter, inter alia, not always in harmony), the
balance of power between representatives of the civic power and the royal one is to be considered.
The worship of the tombs of the ancient kings becomes a singular topic of interest that, on several
occasions, is the primary core of renovations and transformations.
The great transformation project, drawn up by Cosimo Fanzago, of the Cathedral of Palermo
(from 1651) is dramatically challenged and stopped in the name of antiquity and sanctity of the
cathedral. In the cathedrals of Catania, Mazara and Monreale, the new requirement of visibility
of the altar in the choir is deeply interwoven with the exposure of tombs or devices that allude to
the foundation and the royal protection. In the Basilica of Agrigento the collapses due to instability
of the structure allow the construction of a new architectural core for the choir, magnified by
the royal protection, while the idea of moving this core behind the altar, into the new apse, failed.
The rhetorics underlying these careful renewal programs end up then to resize, or at least
balance, the strictly liturgical dimension of the phenomenon, while some terms used in the documentation
as “Modern” or “Roman” acquire over time polysemous meanings which create additional
caution in interpretation. Only at the end of the seventeenth century, there are two
major projects of “modern” renewal in the cathedrals of Catania and Mazara, but the specific
circumstances underlying are part of a series of more conventional and decipherable factors
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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