62 research outputs found
Presentazione
No full textIl breve contributo presenta l'ampia monografia di Monja Faraoni, ricavata dalla sua tesi di dottorato, sulla basilica di San Francesco a Lodi, ricchissima di affreschi lombardi del XIV e XV secolo
L'Egitto dei Faraoni
No full textcontadini egizi sfruttarono le inondazioni del Nilo per creare un'agricoltura rigogliosa. I faraoni dettero vita a una grande civiltà durata tremila anni. I misteri delle piramidi, il culto dei morti, la religione, i tesori dei templi, la scrittura, la piramide sociale, la vita quotidiana, la pittura e la scultura
Fra arte e politica Francesco Melzi d’Eril dalla Repubblica Cisalpina all’Impero
No full textIl contributo indaga le politiche artistiche promosse direttamente o indirettamente in territorio lombardo da Francesco Melzi d'Eril durante l'occupazione francese di Milano e il suo rapporto con la città di Lodi
The third gender of Old Italian
No full textWe demonstrate that Old Italian had a three-gender system within which the neuter still qualified as a fully fledged gender value. To substantiate this claim, we adduce evidence showing that (a) Old Italian had three distinct sets of controllers, each of which selected a separate agreement pattern; (b) to each one of those three controller sets, including the neuter, nouns were assigned belonging to different productive inflectional classes and (c) the neuter still selected at least one dedicated agreement formative, thereby still displaying traces of its original status as a target gender. This novel evidence from Old Italian squares well with what is known about past stages of other Romance varieties. Also, we briefly address the consequences of our results both for a reconstruction of the Latin-Romance transition and, more broadly, for the theoretical and methodological approach to the study of the diachronic development of gender systems
Più inglese che altro: il portfolio linguistico dell’italiano medio alla luce del pastiche comico della Sora Cesira
No full textI testi della cantautrice romana conosciuta con lo pseudonimo di Sora Cesira, diffusi in rete a partire da inizio 2011, parodizzano video musicali famosi instaurando un complesso gioco di commistione fra italo-romanzo (italiano comune, romanesco, elementi di dialetti meridionali, specie napoletano) e altre lingue (inglese, francese, spagnolo, portoghese, cui recentemente s’è aggiunto il latino). Tali testi sono qui fatti oggetto d’indagine dal punto di vista delle indicazioni che offrono circa le conoscenze linguistiche da presupporre nel destinatario in essi inscritto. Perché i testi sortiscano il loro effetto comico, infatti, è necessario che siano compresi; dal che deriva che chi li compone lo fa in base ad una percezione – in larga misura irriflessa – del portfolio linguistico del proprio allocutario ideale. Dall’analisi risulta, non sorprendentemente, una radicale sproporzione fra l’inglese e tutto il resto: unicamente dell’inglese, si mostrerà, si impiegano parole e costruzioni non decodificabili in assenza di conoscenze specifiche. Ovvero: per ridere dell’anglo-italiano di Sora Cesira, un po’ d’inglese bisogna pur masticarlo, mentre il requisito cade per tutte le altre lingue, ivi incluso – a riprova di un radicale mutamento dei tempi – il francese.The texts composed by the Roman singer-song writer hiding behind the pseudonym Sora Cesira, posted on the world wide web since early in 2011, are parodies of famous musical videoclips which capitalise on a mix of Italo-Romance (mostly standard Italian and Romanesco, but with a pinch of further dialects like Neapolitan) and other languages (English, French, Spanish, Portuguese, to which more recently also Latin has been added). These texts are analysed here from the viewpoint of the clues they provide as to the linguistic knowledge to be assumed for their ideal addressee to decode them effectively. Infact, in order for them to achieve their intended comic effect, the texts must be understood: therefore, their author(s) must work based on a (probably largely unspoken) hypothesis about the language portfolio of the addressee. As it turns out, there is, quite unsurprisingly, an imbalance between English and all the rest: English, it will be shown, is the only language from which the texts employ words and constructions that are not decodable in the absence of punctual knowledge. In other words, in order to laugh, while listening to Sora Cesira’s Anglo-Italian, some elementary command of English is needed, while this is hardly required for any other of the languages involved, French included (in spite of its having been, until recently, the first foreign language taught in Italian school)
MiR-424 and miR-155 deregulated expression in cytogenetically normal acute myeloid leukaemia: correlation with NPM1 and FLT3 mutation status
No full textAbstract Background MicroRNA have a central role in normal haematopoiesis and are deregulated in acute myeloid leukaemia (AML). The purpose of the study was to investigate by qRT-PCR the expression of miRNAs involved in myeloid differentiation (miR-424, miR-155, miR-223, miR-17-5p) in 48 patients with cytogenetically normal AML well characterized for NPM1 and/or FLT3 mutations. Three types of normalization were used for the data validation. Findings We found that miR-424 was down-modulated in AMLs with NPM1mutA regardless of FLT3 status. On the contrary, miR-155 showed up-regulation in patients with FLT3 internal tandem duplications (ITD) with or without NPM1 mutations. No significant associations were found by analyzing miR-223 and miR-17-5p in relation to FLT3 and NPM1 status. Conclusions This study supports the view that major genetic subsets of CN-AML are associated with distinct miRNA signatures and suggests that miR-424 and miR-155 deregulation is involved in the pathogenesis of CN-AML with NPM1 and FLT3-ITD mutations, respectively.</p
“Dire la crisi” per macaronica verba: i Carmina burina della Sora Cesira
No full textIl saggio analizza i meccanismi di ibridazione linguistica (latino, italiano e romanesco) che caratterizzano i cosiddetti Carmina Burina, recente ridoppiaggio del notissimo O Fortuna, incipit dei Carmina Burana. Ne è autrice la Sora Cesira, cantautrice romana che già da qualche anno racconta la crisi politica ed economica che ha colpito l’Italia e l’Europa parodiando testi di famosi video musicali. L’effetto comico di ognuna di queste riscritture è conseguenza non solo dal carattere satirico dei loro contenuti ma anche della loro confezione linguistica: lingua originale del brano (inglese, francese, spagnolo, portoghese e, come nel caso qui esaminato, latino) e italiano di impronta romanesca interferiscono, infatti, l’una con l’altro ad ogni livello della struttura linguistica.This paper analyzes the mechanisms of linguistic hybridization (Latin, Italian, and Romanesco) in the so-called Carmina Burina, a recent funny redubbing (“fandub”) of O fortuna, the famous incipit of the Medieval collection of poetry Carmina Burana. The author, known under the pseudonym of La Sora Cesira, is a Roman songwriter who in the last years, has told of the economic and politicai crisis in Italy and Europe, reinterpreting lyrics of well-known music videos in a satirical manner. The comic effect of th e parody is achieved not only through the contents, but also through the artificial language mixture: just as in the Carmina Burina, the original language of the songs (Latin, but in other cases English, French, Spanish and Portuguese) interferes with both Italian and Romanesco (more rarely, with Neapolitan) at every level of thè linguistic structure
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