1,721,008 research outputs found
Francesco Cavalli, «La virtù de’ strali d’amore», «La Fenice prima dell’opera», 2008/7
No full text«Andiam ch’Amor ci invita ai bacci / andiam ch’Amor ci invita al letto.» Questi versi, che Erabena – per tutta l’opera travestita da uomo col nome di Eumete – rivolge al suo amato Meonte nel momento del ricongiungimento (III.15), non sono meno espliciti di quelli che l’avvocato Gian Francesco Busenello aveva affidato ad Anna, sorella della protagonista nella Didone (1641), per indurla a lasciarsi andare fra le braccia di Enea: «Vada la castità co’ suoi compassi / a misurar le voglie ai freddi sassi» (III.1). Il musicista delle due opere, Francesco Cavalli, rimane lo stesso, mentre il librettista della Virtù de’ strali d’Amore (1642) è un altro leguleio (esordiente sulle scene teatrali), il ventisettenne Giovanni Faustini, autore di un libretto non meno incline allo strapotere dell’erotismo di quello partorito dall’illustre collega, che nello stesso anno avrebbe offerto al genio musicale di Claudio Monteverdi i versi dell’Incoronazione di Poppea (1642). Amore, coi suoi strali che mettono lo scompiglio nei cuori del genere umano, è protagonista del saggio di Dinko Fabris, il secondo di questo volume. Quasi sempre sulle scene liriche veneziane degli albori «le opere in musica riflettono e amplificano nello specchio magico l’immagine della città dei piaceri». Ad essi doveva essere aduso Giovanni Faustini, che a partire proprio dalla Virtù, prima fortunata collaborazione, divenne il librettista prediletto da Francesco Cavalli e tale rimase fino alla sua morte prematura (1651), fornendo al teatro d’opera degli anni Quaranta una robustissima spina dorsale. Maria Martino gli dedica un breve ritratto affettuoso, osservando che «nei libretti di Faustini ritroviamo temi cari agli Incogniti quali, ad esempio, la predilezione per l’erotismo, le allusioni a doppio senso, il gusto per i travestimenti». La virtù de’ strali d’amore viene presentata nel saggio d’apertura da Ellen Rosand, attualmente il faro della ricerca su Cavalli nel mondo. Partendo da un quadro dei rapporti tra Faustini e il musicista, la studiosa entra nel vivo della «formula Faustini-Cavalli», individuando i procedimenti più tipici messi in atto dal duo che «aveva formulato una serie di convenzioni flessibili, capaci di offrire una falsariga per la costruzione di nuovi libretti». Tra i numerosi elementi che contribuiscono a creare e rafforzare la fortuna della coppia, Rosand mette in luce l’importanza dell’aspetto scenico, «fra le principali attrattive dello spettacolo operistico, in quest’epoca come in qualunque altra. Col chiaro intento di stimolare l’appetito dei potenziali spettatori, quasi tutti i documenti che descrivono l’opera veneziana delle origini sottolineano i portenti visivi dell’allestimento e la sua verosimiglianza». E le occasioni di esibire meraviglie, nella Virtù, sono molteplici, grazie alla «macchinosità dell’organico vocale e della trama [che] rese possibile un allestimento stimolante», una trama in cui «la vicenda accessoria di Darete ed Ericlea, virtualmente estranea al dramma principale, dev’essere stata inclusa unicamente per il suo valore spettacolare». Il teatro vaporoso e profondo di Cavalli, testimone della mai troppo rimpianta società veneziana, sapiente e libertina, che animava la prima metà del Seicento, merita davvero di tornare in repertorio. Rappresentata nello stesso anno del congedo dalle scene di Monteverdi, «si potrebbe sostenere», con Ellen Rosand «che La virtù de’ strali d’Amore rappresenti la fons et origo dell’opera pubblica veneziana»
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
«Ecco reciso alfine il groppo de l’inganno»: Giovanni Faustini’s “Euripo” from the Sources to the Plot
No full textThe decade between 1642 and 1652 is marked by one of the most important collaborations in the history of Seventeenth-Century Venetian opera: in these years Giovanni Faustini and Francesco Cavalli produced ten operas that establish some of the most durable stylistic conventions in public musical theater.
The construction of the plots, so heterogeneous at the beginning of opera history, is gradually standardized. The dramatic basis of Faustini’s librettos is a conventional love intrigue: two pairs of lovers (sometimes three) are separated at the beginning of the drama, and then reunited at the end after several obstacles have been overcome.
Faustini apparently seems to invent his stories borrowing them from different sources: narrative, dramatic, mythological, historical or pseudo-historical, iconographical. Unlike other librettists of the time, he does not refer to the literary sources of his librettos, and if he uses any, he hardly follows them rigidly. Dissimilar stories are jointly combined through syncretic mechanisms. But, what are the real sources from which Faustini derives his plots? And, even if we could identify them, how does Faustini use them in building his plots?
Starting with some examples taken from Faustini’s librettos, this paper will offer a hypothetical reconstruction of the sources for L’Euripo (1649), based on a probable and unexplored connection between Venetian musical theater and Spanish comedia aurea
Variations on the Author
Get PDF“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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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