31,792 research outputs found
“Margaret Fuller on the Stage”
No full text"Margaret Fuller on the Stage" considera la presenza di Fuller come personaggio del dramma di Susan Sontag, "Alice in Bed" (1993), in cui la protagonista Alice James si intrattiene -- nella scena della propria mente -- con importanti donne di lettere come Emily Dickinson e la Fuller oltre a due personaggi di fantasia, al fine di ricavarne consigli e insegnamenti. Di Fuller il saggio mette in rilievo la personalità incline al "role-playing" e all'auto-drammatizzazione conducendo così a un giro di vite sul problema dell'identità dell'autrice di "Woman in the Nineenth-century" pesantemente manipolata, alla sua morte, dai grandi Maestri del trascendentalismo, come Emerson e Hawthorne, oltre a eminenti scrittori come Higginson, Poe e James che ne fornirono all'unisono un ritratto poco rispondente al carattere di donna trasgressiva che condivide parzialmente con le altre figure invocate nella scena del dramma di Sontag. Citazioni dai sei volumi di lettere della scrittrice raccolte da Robert Hudspeth e analogie tra la situazione "nonsensical" della scena con l'assurda situazione in cui viene a trovarsi il personaggio Alice creato da Lewis Carroll quando attraversa la soglia tra veglia e sonno sono messe a confronto con il dramma pirandelliano "Come tu mi vuoi", perchè il lettore possa valutare appieno il ruolo della "maschera" -- una ricerca condotta a suo tempo da Pirandello e riproposta da Sontag -- nell'auto-costruzione del sè. In pieno possesso del suo personaggio, Sontag crea, con Fuller, la propria complice e il proprio doppio, facendo di lei, come fu fatto a suo tempo di Sontag stessa da Norman Mailer, una "Dark Lady". Il ricco apparato di note ha il merito di ricongiungere la puntuale ricerca delle femministe Sandra Gilbert e Susan Gubar che data al 1979 con l'aggiornata interpretazione teatrale delle tre principali scrittrici da parte dell'intellettuale Sontag."Margaret Fuller on the Stage” focuses on the presence of Fuller as a character in Susan Sontag’s play "Alice in Bed" (1993), where Alice, the protagonist, entertains – in the scene of her own mind – important women of letters, such as Emily Dickinson and Fuller besides two fictional characters, with the aim of obtaining advice and counseling. The essay is devoted to Fuller’s persona – mostly, her inkling towards role-playing and self-dramatization –- and leads to a turning point that revolves around the problem of identity of the author of Woman in the Nineenth-Century. It also focuses on the question of the manipulation of Margaret Fuller on the part of the great Transcendentalist Masters such as Emerson and Hawthorne, besides eminent writers like Higginson, Poe and Henry James, who portrayed her as a different woman from the transgressive figure who shares the features of the other women of letters evoked in Sontag’s drama. Quotations from the six volumes of the writer’s letters, gathered by Robert Hudspeth, and analogies between the "nonsensical" situation of the scene with the absurd situation where Lewis Carroll’s Alice falls into when she crosses the threshold between wake and sleep, are compared with Pirandello’s play, 'As You Desire Me', in order for the reader to evaluate the role of the “mask ". That is a research concerning the construction of the self that was undertaken also by Pirandello and was then re-proposed by Sontag. Well in possession of her main character in Scene 5 of the play, Sontag sees in Fuller her own accomplice and turns her – as Norman Mailer did with Sontag herself – into a "Dark Lady". The rich and extensive reference apparatus links up the work of feminist critics Sandra Gilbert and Susan Gubar (dating to 1979) with intellectual Sontag’s updated theatrical interpretation of the three main characters
"Margaret Fuller on the Stage"
No full text"Margaret Fuller on the Stage" considera la presenza di Fuller come personaggio del dramma di Susan Sontag, "Alice in Bed" (1993), in cui la protagonista Alice James si intrattiene -- nella scena della propria mente -- con importanti donne di lettere come Emily Dickinson e la Fuller oltre a due personaggi di fantasia, al fine di ricavarne consigli e insegnamenti. Di Fuller il saggio mette in rilievo la personalità incline al "role-playing" e all'auto-drammatizzazione conducendo così a un giro di vite sul problema dell'identità dell'autrice di "Woman in the Nineenth-century" pesantemente manipolata, alla sua morte, dai grandi Maestri del trascendentalismo, come Emerson e Hawthorne, oltre a eminenti scrittori come Higginson, Poe e James che ne fornirono all'unisono un ritratto poco rispondente al carattere di donna trasgressiva che condivide parzialmente con le altre figure invocate nella scena del dramma di Sontag. Citazioni dai sei volumi di lettere della scrittrice raccolte da Robert Hudspeth e analogie tra la situazione "nonsensical" della scena con l'assurda situazione in cui viene a trovarsi il personaggio Alice creato da Lewis Carroll quando attraversa la soglia tra veglia e sonno sono messe a confronto con il dramma pirandelliano "Come tu mi vuoi", perchè il lettore possa valutare appieno il ruolo della "maschera" -- una ricerca condotta a suo tempo da Pirandello e riproposta da Sontag -- nell'auto-costruzione del sè. In pieno possesso del suo personaggio, Sontag crea, con Fuller, la propria complice e il proprio doppio, facendo di lei, come fu fatto a suo tempo di Sontag stessa da Norman Mailer, una "Dark Lady". Il ricco apparato di note ha il merito di ricongiungere la puntuale ricerca delle femministe Sandra Gilbert e Susan Gubar che data al 1979 con l'aggiornata interpretazione teatrale delle tre principali scrittrici da parte dell'intellettuale Sontag."Margaret Fuller on the Stage” focuses on the presence of Fuller as a character in Susan Sontag’s play "Alice in Bed" (1993), where Alice, the protagonist, entertains – in the scene of her own mind – important women of letters, such as Emily Dickinson and Fuller besides two fictional characters, with the aim of obtaining advice and counseling. The essay is devoted to Fuller’s persona – mostly, her inkling towards role-playing and self-dramatization –- and leads to a turning point that revolves around the problem of identity of the author of "Woman in the Nineenth-Century." It also focuses on the question of the manipulation of Margaret Fuller on the part of the great Transcendentalist Masters such as Emerson and Hawthorne, besides eminent writers like Higginson, Poe and Henry James, who portrayed her as a different woman from the transgressive figure who shares the features of the other women of letters evoked in Sontag’s drama. Quotations from the six volumes of the writer’s letters, gathered by Robert Hudspeth, and analogies between the "nonsensical" situation of the scene with the absurd situation where Lewis Carroll’s Alice falls into when she crosses the threshold between wake and sleep, are compared with Pirandello’s play, 'As You Desire Me', in order for the reader to evaluate the role of the “mask ". That is a research concerning the construction of the self that was undertaken also by Pirandello and was then re-proposed by Sontag. Well in possession of her main character in Scene 5 of the play, Sontag sees in Fuller her own accomplice and turns her – as Norman Mailer did with Sontag herself – into a "Dark Lady". The rich and extensive reference apparatus links up the work of feminist critics Sandra Gilbert and Susan Gubar (dating to 1979) with intellectual Sontag’s updated theatrical interpretation of the three main characters
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
Variations on the Author
No full text“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
Maria C. Fuller, piano, Tuesday, April 7, 2015
No full textIn partial fulfillment of the requirements for the degree of
Master of Musi
A gene transfer system derived from human immunodeficiency virus type 1 (HIV-1) / by Maria Fuller.
No full textBibliography: p. 189-229.xiii, 230 p., [4] leaves of plates : ill. ; 30 cm.Thesis (Ph.D.)--University of Adelaide, Dept. of Public Health, 200
O curso de licenciatura em educação física da Universidade Federal de Santa Catarina: suas concepções de ensino e de educação física
No full textDissertação (mestrado) - Universidade Federal de Santa Maria. Centro de Educação Fisica e Desporto
Recensione a Serena Mocci, Donne e impero nell’Ottocento americano. La cultura politica di Lydia Maria Child e Margaret Fuller, Roma, Viella, 2023, 318 p.
No full textRecensione al volume di Serena Mocci, Donne e impero nell’Ottocento americano. La cultura politica di Lydia Maria Child e Margaret Fuller, Roma, Viella, 2023, 318 p
Erratum: Lack of immunity against rubella among Italian young adults. [BMC Infect Dis., 17, (2017) (199)] Doi: 10.1186/s12879-017-2295-y
No full textAfter publication of this article [1], the authors noted that the given names and family names of all authors had been inverted, and are therefore incorrect in the original article. In the original article, the author names appear as the following: Gallone Maria Serena, Gallone Maria Filomena, Larocca Angela Maria Vittoria, Germinario Cinzia and Tafuri Silvio. However, this is incorrect, and the author names should appear as per the below: Maria Serena Gallone, Maria Filomena Gallone, Angela Maria Vittoria Larocca, Cinzia Germinario, Silvio Tafuri. The author names have been corrected in the author list and the citation for this Erratum
1.10 Old Church Slavonic Texts
No full textBy offering a fresh insight into looking at long-standing issues in the history of research on the Church Slavonic Bible, the article intends to promote more profitable studies rather than merely summarise previous investigations. This paper tackles the wide-ranging problem of ways in which to approach the textual transmission of the Church Slavonic Bible and how to come to terms with methodological challenges in order to overturn the previous mindset on producing scientifically valid and reliable critical editions of the Church Slavonic Bible
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