227 research outputs found
Alexandre Dumas figlio, La signora delle Camelie. Traduzione, nota al testo, introduzione e postfazione di Marisa Verna. Introduzione e postfazione tradotti in lingua inglese
No full textIl dramma a tesi di Dumas figlio si propone come un teatro “intelligente”, di riflessione morale, in più o meno aperta polemica con il vaudeville e il puro divertissement.
Il volume contiene, oltre a una nuova traduzione del dramma e della prefazione di Dumas fils (edita a scopi didattici nel 2008 presso EduCatt), un capitolo introduttivo nel quale viene indagata la forza mitogena e la canonicità del testo per la cultura europea ed extraeuropea. Il saggio introduttivo si propone di mettere in luce l’intrinseca dualità del testo stesso, dalla quale si è generato appunto il mito: delle due strutture drammatiche presenti nella pièce (quella neoromantica e quella borghese), è la prima, contro ogni previsione dello stesso Dumas figlio a prevalere nei decenni e poi nel secolo successivo alla sua creazione.
Nel saggio finale si propone invece l’analisi di due rappresentazioni considerate cruciali per la storia drammaturgica del testo (poiché la storia scenica di questo dramma è letteralmente immensa, si propone l’analisi di una rappresentazione coeva, e di una novecentesca), in Francia e in Italia. Segue un brevissimo excursus della fortuna scenica della pièce nel mondo, e una bibliografia selettiva.The Lady of the Camellias, by Alexandre Dumas fils
Marisa Verna ed., Edizioni ETS, Pisa 2011
The drame à thèse by Dumas fils appears as a form of intelligent theatre, proposing moral reflections in at times explicit opposition against the vaudeville and the pure divertissement.
Besides a new translation of the drama and of the preface by Dumas fils (previously published by EduCatt in 2008 for teaching purposes), the volume contains an introductory chapter which investigates the mythopoeic force and the canonicity of the text within the European and non-European cultures. The introductory essay aims at highlighting the intrinsic duality of the text which has originated the myth: of the two dramatic structures which make up the pièce the neo-romantic and the bourgeois one the former prevailed in the years and centuries following its creation, contrary even to any prediction of the author himself. The concluding essay analyzes two performances, in France and in Italy, acknowledged as crucial for the dramaturgical history of the text (since the staging history of this drama is immense, the analysis concerns one coeval performance and one from the 20th century). The essay is followed by a brief digression on the international staging success of the pièce and by a selected bibliography
A pipeline for amplifying and sequencing genomic DNA isolated from microscopic specimens deriving from the Shroud of Turin
No full text80 GenBank flat files like the following:
LOCUS JQ082521 376 bp DNA linear ENV 31-JAN-2012, DEFINITION Uncultured Lepiota clone e2nb1b1c6 18S, ribosomal RNA gene, partial sequence; internal transcribed spacer 1, complete sequence; and 5.8S ribosomal RNA gene, partial sequence. ACCESSION JQ082521 VERSION JQ082521
KEYWORDS ENV. SOURCE uncultured Lepiota ORGANISM uncultured Lepiota Eukaryota; Fungi; Dikarya; Basidiomycota; Agaricomycotina; Agaricomycetes; Agaricomycetidae; Agaricales; Agaricaceae; environmental samples
Winnie Mice: A Chronic and Progressive Model of Ulcerative Colitis
No full textRecent trends show a continuous worldwide rise in the incidence of ulcerative colitis (UC), leading to increased interest in its etiology and pathogenesis, which is currently unknown. To gain a better mechanistic understanding of this disease, many mouse models have been developed over the last several years, with variations of dextran sodium sulfate administration representing the most widely employed. The Winnie mouse strain was created through elicited random mutations in Muc2, resulting in a progressive, chronic intestinal inflammation localized to the colon that worsens over time. Moreover, Winnie mice display immunologic and microbiota features that are similar to those that can be found in UC patients. Phenotypically, the presence, albeit rare, of rectal prolapse and other complications impacting quality of life can be observed in Winnie mice, as well as extraintestinal manifestations that are often associated with UC. While Winnie mice are currently less studied compared to other more established models of colitis, much has been discovered in the initial years of its use as a UC-like model. In summary, the use of Winnie mice adds to the growing armamentarium that is required to develop precision-based medicine for its future application in treating complex multifactorial diseases, such as UC
Ball-plate based calibration of a 3D laser triangulation scanner
No full textMost of low cost 3D scanning devices are sold without a user calibration procedure to correct measurement errors related, e.g., to changes in environmental conditions. Ad hoc calibration procedures are needed when a built-in calibration system is missing. The metrological performance of the scanner is greatly improved by the calibration procedure and the correction of systematic errors
New Perspectives on Machine Learning in Drug Discovery
No full textArtificial intelligence methods, in particular, machine learning, has been playing a pivotal role in drug development, from structural design to the clinical trial. This approach is harnessing the impact of computer-aided drug discovery due to large available data sets for drug candidates and its new and complex manner of information interpretation to identify patterns for the study scope. In the present review, recent applications related to drug discovery and therapies are assessed, and limitations and future perspectives are analyzed
Verna Reese
No full textVernetta "Verna" Reese is pictured her eighth grade at Uintah High School. She was born to Jacob Burton and Esther Reese on June 24, 1927. She married Author L. Holt. She worked for and retired Boeing Aircraft for thirty years. She died December 7, 2009
The Legacy of Verna E. Pratt.
No full textWhen Ginger Hudson purchased her first Field Guide to Alaskan Wildflowers in 1999, she had no idea she was destined meet the author, Verna Pratt-twelve years later. Today, Ginger is the newsletter editor for the Master Gardeners in Anchorage and secretary of the Native Plant Society. She is enrolled in the UAA MFA Creative Writing and Literary Arts Program to complete her forthcoming publication, The Life and Legacy of Verna Pratt, Alaska's Wildflower Wizard
Sam & Verna
No full textLosing a parent is one of those inevitable moments for which no one is ever truly prepared. For Sam, whose relationship with his mother was never exactly easy, the news of her sudden and accidental death leaves him numb and unsure of how to mourn beyond handling her affairs and attempting to forge on with his life, hand-in-hand with his girlfriend, Arianna. Not long after he buries everything left unsaid along with his mother’s body, however, a series of comical, supernatural experiences clue him in that his mother may be dead, but is far from gone. When Verna returns from the dead as vivacious and intrusive into her son’s life as she was when she was alive, her newfound abilities as a ghost and her mysterious second chance to experience the world and spend time with Sam tear his life asunder. With good intentions and terrible execution, Sam forges onward, hell-bent on doing right by his mother while simultaneously setting her up to haunt and be happy in a way that he failed to while she lived. Sam & Verna takes every trope of every ghost story, horror movie, and mama’s boy tale and twists them into a comic farce with heart (that maybe doesn’t beat) and sass that refuses to remain silent, even in the face of death.M.F.A.by Alexander Rui
Interview of Verna E. Howard
No full textNoted radio evangelist, author and businessman, V. E. Howard was inducted into the Harding College Oral History library on August 14, 1970
Proust et l art de la langue. La synonymie comme idolâtrie linguistique
No full textProust and the art of language. Synonymy as linguistic idolatry. In: SERGIO CIGADA E MARISA VERNA A CURA DI. in La Sinonimia tra langue e parole nei codici italiano e francese,. p. 231-254, MILANO: Vita e Pensiero
The aim of this article is to analyze the impossibility of conceiving of the idea itself of synonymy within the proustian understanding of language and his esthetics.
Since his first theoretical reflections on literary language, Proust considered meaning as the result of a complex dynamics, never established once and for all. In his notes to his translations of John Ruskin, the future author of the Recherche reproaches the English esthetician of looking for linguistic meaning where it cannot be found: in the dictionaries or in the history of words. In this attitude Proust sees the same sin of idolatry that Ruskin shares with Montesquiou and that leads to a confusion between art and life, meaning and words.
This conception of language can be found in the Recherche at different levels. Two of these will be analyzed in this article: the language of the characters and the formation of metaphor. Within the language of the characters it is possible to observe various clue synonyms , or even implicit synonyms , marking meaning shifts, where the similarity of meaning at the level of langue is even more revealing of psychological truths that language ends up always exposing. Within this indirect language studied by Genette, it is clear that there is not just one synonym and that it could not be simply replaced by its equivalent in the dictionary without a serious loss of meaning.
The case of metaphor is even clearer to establish the impossibility of synonymy within the proustian understanding of literary language. Two examples will be presented of sememe metaphors , in which the narrator of the Recherche develops all the semantic directions of the linguistic sign by the metaphorisation of the whole sememe. The word itself is at the origin of a process of metamorphosis of reality of which the metaphor is the textual result. It is from the word, as a total sign and as it lies within the artist s conscience, that all comparisons derive.
Therefore the metaphor does not realize a process of semantic equivalence, it is not a synonym of a word or an expression because it is born from an evocation, from the resounding of a memory that words awake within the soul of the person who produces it. Indeed the proustian style reflects on reality a network of questions where all the potentialities of a meaning are activated. Under these conditions, for a writer to believe in the existence of synonymy is like treason against his duty as an artist, which is not to say trois fois à peu près la même chose , but to find a truth able to give way to that journey through the self that every reader is supposed to begin once the book is fnished.Dès ses premières réflexions théoriques sur la langue littéraire, Proust considère en effet le sens comme le résultat d’une dynamique complexe et jamais établie une fois pour toutes. Dans les notes à ses traductions de John Ruskin, le futur auteur de la Recherche reproche à l’esthéticien anglais de chercher le sens là où il n’est pas : dans les dictionnaires, ou dans l’histoire des mots. Dans cette attitude il y a pour Proust ce péché d’idolâtrie que Ruskin partage avec Montesquiou, et qui pousse à confondre l’art et la vie, le sens et les mots.
Cette conception du langage se retrouve dans la Recherche à plusieurs niveaux ; nous allons en analyser deux : la langue des personnages et la formation de la métaphore. Dans la langue des personnages sont relevables de nombreux ‘synonymes indices’, ou même des synonymes implicites, qui marquent un glissement du sens, où l’analogie de signifié au niveau langue n’en est que plus révélatrice de vérités psychologiques que le langage finit toujours par démasquer. Dans ce « langage indirect » étudié par Genette le synonyme n’en est évidemment pas un, et ne pourrait, sans grave perte de sens, être remplacé par son équivalent du dictionnaire.
Le cas de la métaphore est plus décisif pour une définition de l’impossibilité de la synonymie dans la conception proustienne de la langue littéraire. Nous avons choisi de présenter deux exemples de ‘métaphores sémème’, dans lesquelles le narrateur de la Recherche développe toutes les directions sémantiques du signe langue, en métaphorisant ainsi le sémème entier. Le mot est lui-même source du procès de métamorphose du réel dont la métaphore est le résultat textuel, et c’est à partir du mot, en tant que signe total, tel qu’il est déposé dans la conscience de l’artiste, que se départent les comparaisons.
La métaphore ne marque partant pas un procédé d’équivalence sémantique, elle n’est pas synonyme d’un mot ou d’une expression, car elle naît d’une évocation, d’une résonance mémorielle que les mots déclenchent dans l’esprit de celui qui l’énonce. L’écriture proustienne lance en effet sur le réel « des réseaux d'interrogation », où toutes les virtualités du sens sont actives. Dans ces conditions, croire dans l’existence des synonymes est pour un écrivain une trahison de son devoir d’artiste, qui est de ne pas dire « trois fois à peu près la même chose », mais de trouver une vérité capable de donner lieu au voyage dans soi-même que chaque lecteur est censé commencer, une fois le livre fini
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