1,722,208 research outputs found
Libretto di sala - 1990 - Giorgio Sogno e Giorgio Spriano
No full textGiorgio Sogno e Giorgio Spriano, pianoforte a quattro man
Ezio Raimondi, Camminare nel tempo.Una conversazione con Alberto Bertoni e Giorgio Zanetti
No full textRaimondi, Ezio (2015). Camminare nel tempo.Una conversazione con Alberto Bertoni e Giorgio Zanetti. (Juan Carlos de Miguel y Canuto).Raimondi, Ezio (2015). Camminare nel tempo.Una conversazione con Alberto Bertoni e Giorgio Zanetti. (Juan Carlos de Miguel y Canuto).Raimondi, Ezio (2015). Camminare nel tempo.Una conversazione con Alberto Bertoni e Giorgio Zanetti. (Juan Carlos de Miguel y Canuto)
WALTER BENJAMIN E GIORGIO AGAMBEN: UMA ANÁLISE DAS IMPLICAÇÕES POLÍTICAS DA LINGUAGEM
Full text linkO presente artigo tem a pretensão de analisar os desdobramentos da dimensão política da linguagem em Walter Benjamin e Giorgio Agamben, e observar como a verdade e seus efeitos de poder se manifestam a partir das relações da linguagem com os dispositivos que a tornam possível de ser vivenciada. Além disso, traz presente a concepção própria de Benjamin acerca da linguagem, estabelecendo uma relação entre a filosofia da linguagem benjaminiana com alguns conceitos da teoria do filósofo italiano Giorgio Agamben
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
Mario Amelotti e Giorgio Costamagna, Alle origini del notariato italiano
No full textSansterre Jean-Marie. Mario Amelotti e Giorgio Costamagna, Alle origini del notariato italiano. In: L'antiquité classique, Tome 46, fasc. 1, 1977. pp. 340-342
Mario Amelotti e Giorgio Costamagna, Alle origini del notariato italiano
No full textSansterre Jean-Marie. Mario Amelotti e Giorgio Costamagna, Alle origini del notariato italiano. In: L'antiquité classique, Tome 46, fasc. 1, 1977. pp. 340-342
Alcune lettere inedite tra Luigi Squarzina e Giorgio Strehler (1955)
No full textIl saggio introduce e pubblica alcune lettere inedite tra Luigi Squarzina e Giorgio Strehler a proposito della messinscena di Tre quarti di Luna (1955
Agostino Gemelli e Giorgio Zunini, Introduzione alla Psicologia
No full textde Montpellier Gérard. Agostino Gemelli e Giorgio Zunini, Introduzione alla Psicologia. In: Revue Philosophique de Louvain. Troisième série, tome 46, n°10, 1948. pp. 222-223
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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