1,721,009 research outputs found
Nulla finisce, o tutto nelle parole di Paolo Conte
No full textArticolo sulla lingua e lo stile delle canzoni di Paolo Conte
Names in Italian slogans
No full textOur study aims at describing what function slogans used to have and
still have in the field of advertising, what image of Italian culture they
could and can provide, and how. The study has an interdisciplinary
approach, taking into account language analysis, semiotics, psychology of
advertising (economic marketing strategies) and cultural anthropology. In
our paper, we will focus on the company names employed in the selected
corpus of approximately 500 Italian slogans and we will show the
interrelationship between the slogans and what these names represent. Our
results confirm how general research on the formation of brand names
requires a linguistic approach to succeed and to be implemented in a major
industry. Through the analysis of rhetorical figures, neo-formations and
special connotations found in slogans, we can conclude that most of them
are created for an Italian audience because they are based on puns on the
on the semantic, phonetic and lexical level: only a native speaker can
decode the right message and understand the underlying pun. The
connotations emerging from the slogans provide further insight into the
cultural features of the Italian consumer
Neri a metà. Blues, rhythm & blues, funky e fusion
No full textSaggio sulla lingua delle canzoni italiane blues, rhythm & blues, funky e fusion
Onomastica e traduzione: i nomi propri da Flaubert a Lalla Romano
No full textIl lavoro analizza le diverse scelte traduttive che Lalla Romano compie, in relazione agli elementi onomastici, in due successive traduzioni dei "Trois Contes" di Flaubert (1877), realizzate rispettivamente nel 1944 e nel 2000. L'analisi sottolinea l'influsso che su tali scelte esercitano, oltre al contesto storico-culturale in cui avviene il processo di traduzione, anche i fattori più strettamente legati alla testualità e in particolare alla diversa tonalità dei racconti, alle loro differente ambientazione storica e geografica, alla loro aderenza al reale e alla storia
Antroponimia criminale. Dal romanzo di Giuseppe* De Cataldo
No full textIl romanzo di De Cataldo, di cui tratta il saggio, raccoglie un repertorio vastissimo di antroponimi, selezionati in funzione di una tassativa distribuzione di ruoli, profili e categorie. Lo schema narrativo di "Romanzo criminale", caratterizzato da un preciso dualismo stilistico e contenutistico, è la chiave interpretativa con cui è possibile ricostruire l'attribuzione antroponimica, fortemente caratterizzata dal particolare contesto di matrice romana
Paolo Conte, ma quella faccia un po’ così
No full textSaggio sulla lingua e lo stile dei testi di Paolo Conte
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
In vivo identification of nuclear factors interacting with the conserved elements of box C/D small nucleolar RNAs
No full textThe U16 small nucleolar RNA (snoRNA) is encoded by the third intron of the L1 (IA, according to the novel nomenclature) ribosomal protein gene of Xenopus laevis and originates from processing of the pre-mRNA in which it resides. The U16 snoRNA belongs to the box CID snoRNA family, whose members are known to assemble in ribonucleoprotein particles (snoRNPs) containing the protein fibrillarin. We have utilized U16 snoRNA in order to characterize the factors that interact with the conserved elements common to the other members of the box C/D class. In this study, we have analyzed the in vivo assembly of U16 snoRNP particles in X. laevis oocytes and identified the proteins which interact with the RNA by label transfer after UV cross-linking. This analysis revealed two proteins, of 40- and 68-kDa apparent molecular size, which require intact boxes C and D together with the conserved 5',3'-terminal stem for binding. Immunoprecipitation experiments showed that the p40 protein corresponds to fibrillarin, indicating that this protein is intimately associated with the RNA. We propose that fibrillarin and p68 represent the RNA-binding factors common to bow C/D snoRNPs and that both proteins are essential for the assembly of snoRNP particles and the stabilization of the snoRNA
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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