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Federico Della Valle, «Reina di Scozia»
No full textIl saggio consiste in una lettura, analisi e commento dell’«incipit» della tragedia, che soltanto nella terza ed ultima redazione (fatta stampare dall’autore nel 1628) viene ad essere costituito da un prologo pronunciato dall’Ombra del re di Francia, ossia Francesco II, il primo marito della protagonista.
L’aggiunta del prologo e la mancanza dell’articolazione in atti e scene allineano l’ultima redazione della «Reina di Scozia» alle due tragedie bibliche dell’autore, che con essa vengono a comporre un’«ideale trilogia della regalità» (Federico Doglio): «Iudit» ed «Ester», da lui fatte pubblicare nel 1627.
Trattandosi di una tragedia di argomento storico, per di più contemporaneo, si spiega la scelta di un personaggio storico, qui sotto la forma di ombra, come protagonista del prologo. L’introduzione proemiale dell’ombra è modellata sugli esempî di autori classici (in particolare Euripide e Seneca) e moderni (soprattutto Ludovico Dolce, Sperone Speroni e Giovan Battista Giraldi Cinzio), ma ancora più incisivo risulta il potere modellizzante del teatro prodotto nell’àmbito dei Collegi della Compagnia di Gesù, in latino e nelle varie lingue nazionali, con il programmatico intento di istituire una tragedia sacra, i cui protagonisti — in esplicita deroga al precetto aristotelico dell’eroe «intermedio» — siano «figurae Christi», di volta in volta presi dalla storia biblica, dai martirologi o dalla classicità.
Il primo «tópos» della drammaturgia classica reinterpretato dall’autore è quello relativo al luogo di provenienza dell’ombra, che non può naturalmente più essere il Tartaro, bensì il Purgatorio, un regno la cui dottrina era stata vigorosamente riaffermata nel «Decretum de Purgatorio», promulgato nella sessione XIV del Concilio di Trento (3-4 dicembre 1563), in aperta contrapposizione alle teologie delle chiese luterane e riformate.
Altri importanti «tópoi» introdotti dall’autore sono quelli relativi alla caducità umana, che attraversa tutto il prologo, nel quale è fortissima la derivazione dalla poetica del Tasso; alla metateatralità; al «thrênos» sulla catastrofe della protagonista, esemplare dell’incostanza delle sorti umane; ed all’orroroso senecano–giraldiano.
La raffinata tessitura stilistica del brano prevede un impiego pronunciato degli artifici poetici, il più significativo dei quali concerne la presenza della rima, che aveva dato luogo ad una polemica di lunga durata.
Il nuovo «incipit» della tragedia, improntato ad un “meraviglioso” solenne, è dunque concepito, e realizzato, sia come un contributo vòlto a reimmettere l’opera nella contemporaneità, fortemente caratterizzata dall’istanza neotridentina di cattolicizzare una Tradizione Classica e Classicistica nel cui unico fronte confluiscano quelle greca, latina, biblica e volgare; sia come l’estremo punto di riflessione dell’autore, in chiave al contempo etico–religiosa e politica, sul destino dell’uomo (e sul suo smarrimento) di fronte all’insondabile mistero di Dio.The essay consists of a reading, analysis and commentary on the opening of the tragedy, which in the third and last version (printed by the author in 1628) took the form of a prologue spoken by the Shade of the King of France, Francis II, the first husband of the heroine.
The addition of the prologue and the lack of division into acts and scenes makes the last version of the «Reina di Scozia» similar to the author’s two biblical tragedies, which together make up an «ideal trilogy of royalty» (Federico Doglio): «Iudit» and «Ester», which he published in 1627.
Its being a historically–based tragedy, and a contemporary one at that, explains the choice of a historical character, here in the form of a shade, as the protagonist of the prologue. The introduction of the shade in the prologue is modelled on the examples of both classical authors (in particular, Euripides and Seneca) and moderns (above all, Ludovico Dolce, Sperone Speroni and Giovan Battista Giraldi Cinzio), but still more decisive was the shaping power of the plays produced in the Colleges of the Society of Jesus in Latin and various national languages, with the deliberate intention of creating sacred tragedy, whose protagonists — clean contrary to Aristotle’s precept of the «intermediate» hero — are «figurae Christi», taken variously from the Bible, martyrology or the classical world.
The first «tópos» of classical drama reinterpreted by the author is that concerning the shade’s place of origin, which can no longer, of course, be Tartarus, but Purgatory, a realm whose doctrine had been vigorously reaffirmed in the «Decretum de Purgatorio», promulgated in the XIV session of the Council of Trent (3-4 December 1563), in open opposition to the doctrine of the Lutheran and reformed churches.
Other important «tópoi» introduced by the author are those concerning human transience, present throughout the prologue, which is strongly influenced by Tasso; meta–theatre; the «thrênos» on the catastrophe of the protagonist, exemplifying the inconstancy of human fate; and a Senecan–Giraldian sense of the horrific.
The sophisticated style of the piece involves a marked use of poetic artifice, the most significant of which is the presence of rhyme, which had given rise to longstanding controversy.
The new opening of the tragedy, with its solemn sense of the “marvellous”, is, then, conceived and written both as a contribution to making the work contemporary, strongly marked by the neo–Tridentine appeal to catholicizing a Classical and Classicistic Tradition which drew on Greek, Latin, Biblical and vernacular sources; and as the author’s final reflection, both ethical–religious and political, on man’s destiny (and bewilderment) in the face of the unfathomable mystery of God
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
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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