34 research outputs found
La donna fantasma : immagini del petrarchismo filmico
No full textAnche se la forza e la vastità delle influenze petrarchesche nel cinema debbono talvolta essere cercate e trovate con la pazienza certosina dell'entomologo o dello studioso di metafore, Gino Frezza rintraccia significative e ineludibili presenze delle figure poetiche petrarchesche nella tradizione filmica del cinema classico e in quello moderno e contemporaneo. Il rapporto fra l'opera di Petrarca e il cinema si rivela, seppure in filigrana, nella cruciale, enigmatica, valenza di un crocevia culturale non secondario, ricorrente, denso di sorprese. Prima Frezza ripercorre come Petrarca, nelle rime del Canzoniere, trama la difficile, complessa, interfaccia fra rima e immagine, dimensione della scrittura e configurazione visiva, e come, per tale interfaccia, si imponga la figura della Donna nei termini di una immagine ad alto coefficiente fantasmatico. Poi l'autore illustra la permanenza dei temi poetici del Petrarca in un ambito di produzioni filmiche appartenenti ad autori ed epoche del Novecento che, con l'opera del poeta italiano, non hanno rapporti espliciti né affiliazioni o vicinanze metaforiche. Ecco dunque la «donna fantasma» petrarchesca trasformarsi nelle fisionomie filmiche della donna-quadro e della donna-specchio, della donna-statua, della donna-ricordo e, infine, della donna-idea. L'analisi delle influenze petrarchesche nel cinema si conclude ascrivendo al poeta italiano trecentesco l'origine più lucidamente consapevole di una teoria delle lacrime, che non a caso e molto spesso coprono d'improvviso gli occhi degli spettatori di cinema. Le lacrime spettatoriali -una esperienza insieme fisica e lirica, manifesta e intima- corrispondono alle lagrime petrarchesche, a fronte della vanità terrena dei mortali.The strength and magnitude of Petrarch's influence on cinema must sometimes be sought out with the Carthusian patience of the entomologist or like the study of metaphors. Nevertheless, Gino Frezza retraces the significant and unavoidable presence of Petrarchan poetic figures in the film tradition of both classic and modern, contemporary cinema. The connection between the work of Petrarch and the cinema is revealed, though delicately, in the crucial, enigmatic strength of an early, recurrent cultural crossroads, thick with surprise. Like Petrarch, Frezza first retraces the rhymes of the Canzoniere, plotting the difficult, complex interface between rhyme and image, the dimensions of writing and visual configuration, and how, for such interface, the figure of the Woman was imposed as a highly ghost representation. The author then illustrates the continuity of Petrarch's poetic themes in a film production environment pertinent to authors and periods from the 10th Century which, with the work of the Italian poet, bore no explicit relation nor metaphoric affiliation or similarity. It was here, therefore, that the Petrarchan «ghost woman» was transformed into the cinematic physiognomies of the portrait-woman, mirror-woman, statue-woman, memory-woman and, finally, the idea-woman. The analysis of Petrarchan influences on cinema is concluded by crediting the 4th Century Italian poet with the most lucidly conscious origin of a theory of tears, which very often, and not unintentionally, covers the eyes of cinema audiences. Spectator tears -an experience both physical and lyrical, open yet intimate- are significant of Petrarchan tears, relating to the earthly pride of mortals
Editorial: The metabolic challenges of immune cells in health and disease
No full textCopyright: © 2015 Frezza and Mauro. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.CM is supported by the British Heart Foundation Fellowship FS/12/38/29640. CF is funded by the UK Medical Research Council
Interaction. A case of ‘epistemological exaptation’ in life sciences
No full textThe concept of interaction is crucial in current life sciences due to its wide use in various fields such as genetics, epigenetics, biomedicine, and epidemiology. Nevertheless, the meaning of the term is ambiguous and its use is subject to criticism. Its generality and cross-disciplinary use could lead to conceiving it as abstract or metaphorical and in epidemiology was object of debate for 40 years. This work aims to outline a preliminary historical-epistemological analysis tracing the scientific background of the concept of interaction. Specifically: it will discuss how the notion of interaction was grounded in early 20th century physics and Gestalttheorie, and then moved into the field of biology; therefore, common patterns in the various definitions of interaction and the epistemological space they have produced through their respective historical correspondences will be pointed out. This is what the author defines the «epistemological exaptation» of the concept of interaction
Lo specchio della trasparenza. La metafora come strumento concettuale tra scienza e cultura e il caso dei neuroni specchio
No full textThe author examines the visual-motor hypothesis of the ‘mirror neuron mechanisms’, and highlights how the term ‘mirror’ is metaphorically used in this field to account for an instantaneous and evident understanding of the action performed by the others. By contrast, by the analysis of the ‘culture of the mirror’– focused on the crossover between philosophy, literature and psychology – ‘understanding the other’ is shown as non-linear, discontinuous and controversial.
In the analysis of the ‘metaphor of the mirror’, as an ordinary and cultural object, examples of the process of understanding the other can be found outlined in their complexity, which seemed to have been eluded in the neuroscientific account
La donna fantasma : immagini del petrarchismo filmico
No full textAnche se la forza e la vastità delle influenze petrarchesche nel cinema debbono talvolta essere cercate e trovate con la pazienza certosina dell'entomologo o dello studioso di metafore, Gino Frezza rintraccia significative e ineludibili presenze delle figure poetiche petrarchesche nella tradizione filmica del cinema classico e in quello moderno e contemporaneo. Il rapporto fra l'opera di Petrarca e il cinema si rivela, seppure in filigrana, nella cruciale, enigmatica, valenza di un crocevia culturale non secondario, ricorrente, denso di sorprese. Prima Frezza ripercorre come Petrarca, nelle rime del Canzoniere, trama la difficile, complessa, interfaccia fra rima e immagine, dimensione della scrittura e configurazione visiva, e come, per tale interfaccia, si imponga la figura della Donna nei termini di una immagine ad alto coefficiente fantasmatico. Poi l'autore illustra la permanenza dei temi poetici del Petrarca in un ambito di produzioni filmiche appartenenti ad autori ed epoche del Novecento che, con l'opera del poeta italiano, non hanno rapporti espliciti né affiliazioni o vicinanze metaforiche. Ecco dunque la «donna fantasma» petrarchesca trasformarsi nelle fisionomie filmiche della donna-quadro e della donna-specchio, della donna-statua, della donna-ricordo e, infine, della donna-idea. L'analisi delle influenze petrarchesche nel cinema si conclude ascrivendo al poeta italiano trecentesco l'origine più lucidamente consapevole di una teoria delle lacrime, che non a caso e molto spesso coprono d'improvviso gli occhi degli spettatori di cinema. Le lacrime spettatoriali -una esperienza insieme fisica e lirica, manifesta e intima- corrispondono alle lagrime petrarchesche, a fronte della vanità terrena dei mortali.The strength and magnitude of Petrarch's influence on cinema must sometimes be sought out with the Carthusian patience of the entomologist or like the study of metaphors. Nevertheless, Gino Frezza retraces the significant and unavoidable presence of Petrarchan poetic figures in the film tradition of both classic and modern, contemporary cinema. The connection between the work of Petrarch and the cinema is revealed, though delicately, in the crucial, enigmatic strength of an early, recurrent cultural crossroads, thick with surprise. Like Petrarch, Frezza first retraces the rhymes of the Canzoniere, plotting the difficult, complex interface between rhyme and image, the dimensions of writing and visual configuration, and how, for such interface, the figure of the Woman was imposed as a highly ghost representation. The author then illustrates the continuity of Petrarch's poetic themes in a film production environment pertinent to authors and periods from the 10th Century which, with the work of the Italian poet, bore no explicit relation nor metaphoric affiliation or similarity. It was here, therefore, that the Petrarchan «ghost woman» was transformed into the cinematic physiognomies of the portrait-woman, mirror-woman, statue-woman, memory-woman and, finally, the idea-woman. The analysis of Petrarchan influences on cinema is concluded by crediting the 4th Century Italian poet with the most lucidly conscious origin of a theory of tears, which very often, and not unintentionally, covers the eyes of cinema audiences. Spectator tears -an experience both physical and lyrical, open yet intimate- are significant of Petrarchan tears, relating to the earthly pride of mortals
Erratum: Cloaking using anisotropic multilayer circular cylinder (AIP Advances (2020) 10 (095312) DOI: 10.1063/5.0012769)
No full textCo-author Mehwish Nisar should have had an additional affiliation noted in the byline of our original manuscript.1 The correct affiliations for this manuscript are as listed above
Numismata summorum pontificum Templi Vaticani fabricam indicantia : chronologica ejusdem fabricae narratione ac multiplici eruditione explicata : atque uberiori numismatum omnium pontificiorum lucubrationi veluti prodromus praemissa /
No full textErrata, p. [210].Includes index.Signatures: *⁶(*4+chi1) A-Z⁴ 2A⁴(-2A4) 2B⁴(2B1+chi1) 2C⁴ 2D⁶(-2D6).Title vignette by Giovanni Girolamo Frezza after Giovanni Battista Lenardi. Some plates by the author, including all plans. Other by Jean Charles Allet, Pietro Santi Bartoli, Frezza, Alessandro Specchi, Arnold van Westerhout. Four plates after drawings by Carlo Patacchia.Plate 57 preceded by plates 57 no. 2, no. 3 and no. 4. Plates following plates 35 and 43 unnumbered."Breve relazione del sito, qualità, e forma antica della Confessione Sacratissima di S. Pietro, dove si raccontano ancora molti ornamenti fatti in quella in varii tempi da diversi Sommi Pontefici, di Michele Lonigo da Este"--P. 191-209."Catalogus authorum, quorum mentio facta est"--P. 211-212.Mode of access: Internet.Giovanni Muzio's bookplate, etched by Giacomo Manzù.Binding: vellum. Author & title written at head of spine. Edges mottled red.Getty copy lacks leaf 2A1. Leaf 2B1 encased in parchment
Tra esotismo ed eroismo. Bartolomeo Balbi e lo sviluppo dell’immagine del Giappone in Italia durante la prima metà del Novecento
No full textBartolomeo Balbi (1874-1961) was an Italian army officer and japanologist, who served as an attaché at the Italian Embassy in Tokyo, taught Japanese language at the University of Naples, and started a publishing house that issued several fiction and non-fiction books on Japan from the 1910s to the 1950s – among them, the novels of the pseudo-Japanese author Myū Tsubaki, pen name of the Italian writer Attilia Pozzi (1876-1938). This essay reconstructs Balbi’s life and publishing activity, exploring the structure and functioning of Japanese studies in the first half of the 20th century, and the transformations of the West’s exotic and heroic image of Japan in the 1905-45 period
Philosophical and Educational Perspectives on Engineering and Technological Literacy, III
No full textThis is the third Handbook produced by members of The Technological and Engineering Literacy/ Philosophy Division (TELPHE) of The American Society for Engineering Education. The common theme is the curriculum (formal and hidden) and its discontents.
The publication of Engineers of Jihad by Diego Gambetta and Steffen Hertog (Princeton, 2016) caused much discussion in ASEE and in particular among members of TELPHE, and led to a panel discussion at the annual conference. Stephen Frezza a contributor to the previous Handbooks opens this issue with his response to the view that the engineering curriculum reinforces the mind-set that drives a person to commit terrorist acts. A key question is, “what response should those in engaged in the teaching of technological and engineering literacy have to these criticisms of the curriculum?”
One of the reasons for embracing philosophy in the work of the Division was that apart from the fact that this growing field of interest had no home, any reform of the curriculum had to begin with a fundamental discussion of the philosophy(ies) on which the curriculum is grounded. This is illustrated by Mani Mina who shows that if the philosophy of John Dewey is followed it leads to an entirely different attitude to what the curriculum should achieve as well as to inquiry base student centred teaching. Cheville continues his efforts to demonstrate the value of John Macmurray’s philosophy to this debate in particular his analysis of personal relationships, a matter that is held to be of some importance by those investigate the causes of terrorism.
The philosophy of the curriculum depends of clarity of terms. For this reason, with the permission of ASEE, the divisions report on technological and engineering literacy which was given at the 2011 annual conference is reprinted. It is followed by a case study of an organization in the aircraft industry that attempts to link the understanding of technology with learning-how-to-learn now considered to be an important goal in higher education.© 2016 The copyright of each paper is vested in its author. All rights reserved. No part of this publication may be reproduced in any form or by any means- graphic, electronic, mechanical including photocopying, recording, taping or information storage and retrieval system without prior permission of of the author or authors.</p
