259 research outputs found
La donna fantasma : immagini del petrarchismo filmico
No full textAnche se la forza e la vastità delle influenze petrarchesche nel cinema debbono talvolta essere cercate e trovate con la pazienza certosina dell'entomologo o dello studioso di metafore, Gino Frezza rintraccia significative e ineludibili presenze delle figure poetiche petrarchesche nella tradizione filmica del cinema classico e in quello moderno e contemporaneo. Il rapporto fra l'opera di Petrarca e il cinema si rivela, seppure in filigrana, nella cruciale, enigmatica, valenza di un crocevia culturale non secondario, ricorrente, denso di sorprese. Prima Frezza ripercorre come Petrarca, nelle rime del Canzoniere, trama la difficile, complessa, interfaccia fra rima e immagine, dimensione della scrittura e configurazione visiva, e come, per tale interfaccia, si imponga la figura della Donna nei termini di una immagine ad alto coefficiente fantasmatico. Poi l'autore illustra la permanenza dei temi poetici del Petrarca in un ambito di produzioni filmiche appartenenti ad autori ed epoche del Novecento che, con l'opera del poeta italiano, non hanno rapporti espliciti né affiliazioni o vicinanze metaforiche. Ecco dunque la «donna fantasma» petrarchesca trasformarsi nelle fisionomie filmiche della donna-quadro e della donna-specchio, della donna-statua, della donna-ricordo e, infine, della donna-idea. L'analisi delle influenze petrarchesche nel cinema si conclude ascrivendo al poeta italiano trecentesco l'origine più lucidamente consapevole di una teoria delle lacrime, che non a caso e molto spesso coprono d'improvviso gli occhi degli spettatori di cinema. Le lacrime spettatoriali -una esperienza insieme fisica e lirica, manifesta e intima- corrispondono alle lagrime petrarchesche, a fronte della vanità terrena dei mortali.The strength and magnitude of Petrarch's influence on cinema must sometimes be sought out with the Carthusian patience of the entomologist or like the study of metaphors. Nevertheless, Gino Frezza retraces the significant and unavoidable presence of Petrarchan poetic figures in the film tradition of both classic and modern, contemporary cinema. The connection between the work of Petrarch and the cinema is revealed, though delicately, in the crucial, enigmatic strength of an early, recurrent cultural crossroads, thick with surprise. Like Petrarch, Frezza first retraces the rhymes of the Canzoniere, plotting the difficult, complex interface between rhyme and image, the dimensions of writing and visual configuration, and how, for such interface, the figure of the Woman was imposed as a highly ghost representation. The author then illustrates the continuity of Petrarch's poetic themes in a film production environment pertinent to authors and periods from the 10th Century which, with the work of the Italian poet, bore no explicit relation nor metaphoric affiliation or similarity. It was here, therefore, that the Petrarchan «ghost woman» was transformed into the cinematic physiognomies of the portrait-woman, mirror-woman, statue-woman, memory-woman and, finally, the idea-woman. The analysis of Petrarchan influences on cinema is concluded by crediting the 4th Century Italian poet with the most lucidly conscious origin of a theory of tears, which very often, and not unintentionally, covers the eyes of cinema audiences. Spectator tears -an experience both physical and lyrical, open yet intimate- are significant of Petrarchan tears, relating to the earthly pride of mortals
Editorial: The metabolic challenges of immune cells in health and disease
No full textCopyright: © 2015 Frezza and Mauro. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.CM is supported by the British Heart Foundation Fellowship FS/12/38/29640. CF is funded by the UK Medical Research Council
Numismata summorum pontificum Templi Vaticani fabricam indicantia : chronologica ejusdem fabricae narratione ac multiplici eruditione explicata : atque uberiori numismatum omnium pontificiorum lucubrationi veluti prodromus praemissa /
No full textErrata, p. [210].Includes index.Signatures: *⁶(*4+chi1) A-Z⁴ 2A⁴(-2A4) 2B⁴(2B1+chi1) 2C⁴ 2D⁶(-2D6).Title vignette by Giovanni Girolamo Frezza after Giovanni Battista Lenardi. Some plates by the author, including all plans. Other by Jean Charles Allet, Pietro Santi Bartoli, Frezza, Alessandro Specchi, Arnold van Westerhout. Four plates after drawings by Carlo Patacchia.Plate 57 preceded by plates 57 no. 2, no. 3 and no. 4. Plates following plates 35 and 43 unnumbered."Breve relazione del sito, qualità, e forma antica della Confessione Sacratissima di S. Pietro, dove si raccontano ancora molti ornamenti fatti in quella in varii tempi da diversi Sommi Pontefici, di Michele Lonigo da Este"--P. 191-209."Catalogus authorum, quorum mentio facta est"--P. 211-212.Mode of access: Internet.Giovanni Muzio's bookplate, etched by Giacomo Manzù.Binding: vellum. Author & title written at head of spine. Edges mottled red.Getty copy lacks leaf 2A1. Leaf 2B1 encased in parchment
The key role of Giovanni Giorgi in developing the MKSA system of units
No full textThe International System of units used nowadays in most of the word experienced a turning point in the first half of the XX century with the introduction of the ampere (A) as a fourth unit in addition to the original length (M – meter), mass (K – kilogram) and time (S – second), hence turning from a MKS to a MKSA system. This addition was a non-trivial and lengthy process mainly carried on by the Italian engineer Giovanni Giorgi. This contribution retraces this revolution in the measurement system
Roma antica /
No full text"Memoria di varie antichità trovate in diversi luogi della città di Roma, scritte da Flaminio Vacca ...": 24 p. at end."Discorso d'Ottavio Falconieri intorno alla piramide di C. Cestio ... Lettera ... al Signor C. Dati sopra l'iscrizione d'un mattone cavato dalle ruine d'un muro antico ...": p. [557]-583.Engraved title vignette by Giovanni Girolamo Frezza; woodcut head- and tail-pieces; pictorial initials.Pages 510-511 misnumbered 514-515.Errata: p. [14] (first series).Signatures: pi1 *⁸ A-2N⁸ 2O⁴ a⁸ b⁴.Mode of access: Internet.Sloan candidateBound in vellum; ink title on spine; some manuscript notations on front pastedown
The life and work of Giovanni Giorgi. The rationalization of the units of measurement system
No full textThis column focuses on Giovanni Giorgi (Figure 1), the Italian scientist who clarified the necessity to augment the existing system of three fundamental units to a fourth electrical one, leading to the International System of Units (SI units) of measurement, now universally accepted. The statement of the physical problem is first briefly recalled. The confusing historical context at the end of the 19th century is examined, and the terms of the problems are clarified. The evolution of the concept of an absolute system, the rationalization of the system and the introduction of a fourth electrical unity, and the contributions of the other scientists before Giorgi (like Carl Friedrich Gauss, Wilhelm Eduard Weber, James Clerk Maxwell, and Oliver Heaviside) are reviewed, and the results of the subsequent various conferences held to organize the matter are considered. Then, Giorgi's intuition and the characteristics of his proposal are described. Finally, some notes about the life and the various scientific and technical activities of Giovanni Giorgi are summarized, showing the contributions given by him in different fields, such as relativity
Sedimentary facies and foraminiferal assemblages from Posidonia oceanica meadows of western Mediterranean Sea
No full textSedimentary facies and foraminiferal assemblages of sediments sampled into seven Posidonia oceanica meadows from Western Mediterranean Sea were investigated. Six sampling sites are localised in Italy (Maratea, Ponza Island, Santa Marinella, Giglio Island, Osalla and Alghero), and one in France (Argentella, Crovani Bay, Corsica). The role of P. oceanica meadows in the sedimentary processes was investigated in different contexts: sampled meadows are set up both on soft and hard substrates, often forming “mattes”, in geographical areas subject to different wind and sea conditions (waves and longshore currents) and characterised by various coastal landforms and terrigenous inputs derived from costal erosional processes and/or fluvial contributions. A sedimentological, compositional, micropaleontological and geochemical characterisation of 111 bottom sediment samples, collected by SCUBA diving between 0 and 35 mwd, was carried out and finally tested with a Q-mode cluster analysis. Five sedimentary facies have been recognised, from terrigenous to mixed siliciclastic-carbonate and carbonate. Facies (and subfacies) are distinguishable by sorting, gravel content, abundance and maturity of clastic sediments, and weighted average of carbonate content. In all facies, foraminifers and red algae dominate the bioclastic fraction, whereas other bioclastic components are very subordinate and show a variable distribution. In all the investigated sites, benthic foraminiferal assemblages are generally dominated by typical epiphytic species, such as Asterigerinata mamilla, Lobatula lobatula, Peneroplis pertusus, Planorbulina mediterranensis, Rosalina spp. and miliolids. Nevertheless, these assemblages show some differences in the different sites according to the presence or absence of terrigenous contributions and, consequently, to the water turbidity. This parameter influences symbiont-bearing foraminifer as P. pertusus. Moreover, the samples from Argentella (Crovany Bay) are characterised by a peculiar assemblage, in which Miniacina miniacea dominates with very high frequencies.</jats:p
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