1,721,023 research outputs found

    La produzione del cremor tartaro nel Mezzogiorno tra Ottocento e Novecento

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    Il cremor tartaro (o bitartrato di potassio) è un sale di potassio dell’acido tartarico. Isolato in laboratorio per la prima volta nel 1769 dal chimico svedese Sheele, questo prodotto chimico si ricavava per lo più dalla lavorazione degli scarti della produzione enologica ed era impiegato prevalentemente nell’industria alimentare come agente lievitante, oltre che nell’industria tessile e in campo medico. La produzione di cremor tartaro è stata introdotta negli stati italiani sul finire del Settecento e gradualmente si è diffusa nelle aree regionali in cui la materia prima, il tartaro di botte, era più abbondante: in particolare nel Mezzogiorno continentale e in Sicilia. Dopo aver illustrato l’evoluzione di questa attività produttiva, il contributo si sofferma sul suo legame con la produzione vitivinicola meridionale, sulle problematiche che hanno interessato il settore, sulla distribuzione degli impianti nel Mezzogiorno, sui volumi di produzione ottenuti, e infine sulle caratteristiche che il mercato del cremor tartaro ha presentato nel periodo storico preso in considerazione

    Tre capitoli bresciani di filologia ebraica biblica

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    This essay on Biblical Jewish Philology belongs to the volume celebrating the research activity of the Department of Historical and Philological Sciences of the Catholic University of the Sacred Heart. First of all, the Department's initiatives to introduce the figure and scientific work of great orientalists of Brescia origin, trained in the study of the Hebrew Bible, were presented: thanks to their library funds - and to that of Giovanni Garbini, recently received - it was possible set up the "Felice Montagnini" Library of historical-philological studies on the Bible, the "Francesco Vattioni" Archive of bibliographic and documentary sources of the ancient Near East, and the "Luigi Cagni" Seminar of Studies on Languages and Cultures of the Near East and Mediterranean. Then, three important editorial initiatives are illustrated: they have produced valuable tools for the philological study of the Hebrew Bible. This is the Soncino Bible published in Brescia (15th century), the Hebrew Scroll, found at the University of Brescia (13th century), and the first complete translation into Italian of the Greek Bible (20th century)

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The 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

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    “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
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