792 research outputs found
Recommended from our members
TRIAL OF GIORDANO BRUNO.
No full textIn 1600, Giordano Bruno, one of the leading intellectuals of the Renaissance, was burned at the stake on the charge of heresy by the Roman Inquisition. He is remembered primarily for his cosmological theories, particularly that the universe was infinite with the Earth not being at its centre. Today, he has become a symbol of the struggle for religious and philosophical tolerance. The Trial of Giordano Bruno, originally published in Italian in 2018, provides English audiences with a complete and updated reconstruction of the inquisitorial trial by analysing the accusations, witnesses, and legal proceedings in detail. The author also gives a detailed profile of Bruno as well as the body which arrested and accused him - the Inquisition. This book will appeal to all those interested in the life and death of Giordano Bruno, as well as those interested in Early Modern legal proceedings, the Roman Inquisition, and the history of religious and philosophical tolerance
The Trial of Giordano Bruno
No full textIn 1600, Giordano Bruno, one of the leading intellectuals of the Renaissance, was burned at the stake on the charge of heresy by the Roman Inquisition. He is remembered primarily for his cosmological theories, particularly that the universe was infinite with the Earth not being at its centre. Today, he has become a symbol of the struggle for religious and philosophical tolerance.
The Trial of Giordano Bruno, originally published in Italian in 2018, provides English audiences with a complete and updated reconstruction of the inquisitorial trial by analysing the accusations, witnesses, and legal proceedings in detail. The author also gives a detailed profile of Bruno as well as the body which arrested and accused him – the Inquisition.
This book will appeal to all those interested in the life and death of Giordano Bruno, as well as those interested in Early Modern legal proceedings, the Roman Inquisition, and the history of religious and philosophical tolerance
Alberto Giordano: Una postura literaria en Facebook
No full textBased on Jerome Meizoz\u27s concept of posture littéraire, this work proposes the analysis of the gestures of Alberto Giordano, academic, recent diarist, who began publishing on Facebook before doing so in a publishing house—first Argentine, then Spanish. On the one hand, it will be analysed what does it mean to write a diary on Facebook, compared to the intimate diary and the diary in views of publication. Giordano is also a specialist in literature of the self and, especially, in the diary: hence the poetics of the diary becomes one of his recurring themes. At the same time, this scientific knowledge of the diary leads him to emulate paradigmatic gestures of the authors of that genre, so the question arises as to whether his diary is just an imposture or an authentic diaristic exercise. The fact that after starting the diary on Facebook, Giordano chooses to publish it in paper is another decision worthy of study and one more way to insert himself into the champ littéraire. Finally, it is of interest the way in which Giordano constructs his image as an author, that is, as a diarist and literary author. The precision of "literary" is pertinent since Giordano begins his journey from the awareness of being read primarily as an academic author and the conditions that this entails on his own style and on the reader\u27s expectations. Through certain gestures—the photographs on his Facebook profile, the style and vocabulary used, the themes he addresses and the daily life he recounts—Giordano builds a new image of himself: that of a literary author, without shying away from his status as a specialist of the genre.Partiendo del concepto de postura literaria de Jerome Meizoz, el presente trabajo se propone el análisis de los gestos de Alberto Giordano, académico, reciente diarista, que inicia publicando en Facebook antes de hacerlo en una editorial —primero argentina, luego española—. Por un lado, se analizará en qué consiste llevar un diario en Facebook, frente al diario del todo íntimo y el diario con miras a la publicación. Giordano, además, es especialista en literatura del yo y, en especial, en el diario: de allí que la poética del diario se torne uno de sus temas recurrentes. Cuanto más, si ese diario lo lleva en Facebook, que posee unas dinámicas específicas. A la vez, ese conocimiento científico del diario le lleva a emular gestos paradigmáticos de los autores de ese género, por lo que surge la cuestión sobre si su diario es apenas una impostura o un auténtico ejercicio diarístico. El que luego de iniciado el diario en Facebook opte por publicarlo, es otra decisión digna de estudio y una manera más de insertarse en el campo literario. Es de interés, finalmente, la manera en que Giordano construye su imagen de autor, esto es, de diarista y autor literario. La precisión de «literario» es pertinente, ya que Giordano inicia su andanza desde la conciencia de ser leído primeramente como autor académico y los condicionantes que eso supone en su propio estilo y en el imaginario del lector. A través de ciertos gestos —las fotografías en su perfil de Facebook, el estilo y el vocabulario empleado, los temas a los que se aboca y la cotidianidad que relata—, Giordano construye una nueva imagen de sí: la de autor literario, sin rehuir su condición de especialista del género
Alberto Giordano: A posture littéraire in Facebook
No full textPartiendo del concepto de postura literaria de Jerome Meizoz, el presente trabajo se propone el análisis de los gestos de Alberto Giordano, académico, reciente diarista, que inicia publicando en Facebook antes de hacerlo en una editorial –primero argentina, luego española–. Por un lado, se analizará en qué consiste llevar un diario en Facebook, frente al diario del todo íntimo y el diario con miras a la publicación. Giordano, además, es especialista en literatura del yo y, en especial, en el diario: de allí que la poética del diario se torne uno de sus temas recurrentes. Cuanto más, si ese diario lo lleva en Facebook, que posee unas dinámicas específicas. A la vez, ese conocimiento científico del diario le lleva a emular gestos paradigmáticos de los autores de ese género, por lo que surge la cuestión sobre si su diario es apenas una impostura o un auténtico ejercicio diarístico. El que luego de iniciado el diario en Facebook opte por publicarlo, es otra decisión digna de estudio y una manera más de insertarse en el campo literario. Es de interés, finalmente, la manera en que Giordano construye su imagen de autor, esto es, de diarista y autor literario. La precisión de «literario» es pertinente, ya que Giordano inicia su andanza desde la conciencia de ser leído primeramente como autor académico y los condicionantes que eso supone en su propio estilo y en el imaginario del lector. A través de ciertos gestos –las fotografías en su perfil de Facebook, el estilo y el vocabulario empleado, los temas a los que se aboca y la cotidianidad que relata–, Giordano construye una nueva imagen de sí: la de autor literario, sin rehuir su condición de especialista del género.Based on Jerome Meizoz’s concept of posture littéraire, this work proposes the analysis of the gestures of Alberto Giordano, academic, recent diarist, who began publishing on Facebook before doing so in a publishing house–first Argentine, then Spanish. On the one hand, it will be analysed what does it mean to write a diary on Facebook, compared to the intimate diary and the diary in views of publication. Giordano is also a specialist in literature of the self and, especially, in the diary: hence the poetics of the diary becomes one of his recurring themes. At the same time, this scientific knowledge of the diary leads him to emulate paradigmatic gestures of the authors of that genre, so the question arises as to whether his diary is just an imposture or an authentic diaristic exercise. The fact that after starting the diary on Facebook, Giordano chooses to publish it in paper is another decision worthy of study and one more way to insert himself into the champ littéraire. Finally, it is of interest the way in which Giordano constructs his image as an author, that is, as a diarist and literary author. The precision of «literary» is pertinent since Giordano begins his journey from the awareness of being read primarily as an academic author and the conditions that this entails on his own style and on the reader’s expectations. Through certain gestures–the photographs on his Facebook profile, the style and vocabulary used, the themes he addresses and the daily life he recounts–Giordano builds a new image of himself: that of a literary author, without shying away from his status as a specialist of the genre
BDC-Decomposition for global influence analysis
No full textIn biochemical networks, the steady-state input-output influence is the sign of the output steady-state variation due to a persistent positive input perturbation; if the sign does not depend on the value of the strictly positive system parameters, the influence is structural. As recently shown for small perturbations, when the linearized system approximation is valid, steady-state input-output influences can be structurally assessed, for biochemical networks with m unknown parameters, by means of a vertex algorithm with complexity 2m. This letter shows that the structural input-output influence of a biochemical network is a global property, which does not require any small-perturbation assumption. It also shows that, using a new algorithm, the complexity can be reduced down to 2m-n , where n is the system order, thus drastically reducing the computation time. Finally, when the uncertain parameters belong to known intervals, non-conservative bounds are given for the steady-state ratio between output and input, allowing for sensitivity analysis.Accepted Author ManuscriptTeam Tamas Keviczk
La divulgazione scientifica: la rivista evidence-based medicine e la medicina basata sulle evidenze
No full textA Research Presentation on Interactions of Matter and Energy: A not so BRIEF TALK ABOUT Light, Particles and Measurement.
No full textThis document is a version of a research prospectus presentation given to share the state of the research and some details on possible future directions of the researcher.All material is the original work of the author M. E. Giordano including graphic composition and arrangements.
For more details and updated references for this collection, please contact the author directly
Nicotine withdrawal increases body weight, neuropeptide Y and Agouti-related protein expression in the hypothalamus and decreases uncoupling protein-3 expression in the brown adipose tissue in high-fat fed mice
No full textNicotine is known to decrease body weight in normal rodents and human smokers, whereas nicotine withdrawal or smoking cessation can increase body weight. We have found that mice fed a high fat diet do not show the anorectic effect of chronic nicotine treatment, but do increase their body weight following nicotine withdrawal. Nicotine withdrawal is accompanied by increased expression of the orexigenic peptides neuropeptide Y and Agouti-related protein in the hypothalamus, and decreased expression of the metabolic protein uncoupling protein-3 in brown adipose tissue. These data suggest that diet can influence the ability of nicotine to modulate body weight regulation and demonstrate that chronic nicotine exposure results in adaptive changes in central and peripheral molecules which regulate feeding behavior and energy metabolism. (c) 2006 Elsevier Ireland Ltd. All rights reserved
Zeuxis of Our Time": Critical Strategy of Bernardo de Dominici in the 1728 Vita of Luca Giordano
No full textThe Neapolitan painter Luca Giordano (1634-1705), active in the second half of the 17th century, acquired a reputation for his ability to imitate manners of various painters of 16-17 century. There are a number of biographers of Giordano, since the painter worked in many places. One of such writers is Bernardo de Dominici (1683-1759), the author of the Vite de' pittori, scultori, ed architetti napoletani. In fact, De Dominici's career as a biographer developed along with the Vita di Luca Giordano, as he wrote several versions of biographiy of Giordano from the mid-1720s to 1740s. This essay takes into consideration a particular biography of Giordano written by De Dominici; Vita del Cavaliere Don Luca Giordano, pittore napoletano, published in 1728. This version is especially known for its very peculiar circumstance of publication. It was actually included in the second edition of the Vite de pittori, scultori, et architetti moderni of Giovan Pietro Bellori, published in 1728 in Naples. The author of this added Vita was not announced at first, but it is revealed when the same Vita was reprinted in the Vite de' pittori, scultori, ed architetti napoletani later in 1745. However, the 1728 Vita and the 1745 Vita are not identical. For example, in the introductory part of the 1728 Vita, the author celebrates Giordano's ability to imitate using an analogy from Zeuxis, an ancient Greek painter who was also known for his artful imitation. This part was omitted in the 1745 Vita. Pinto has pointed out that De Dominici approached 17th century art theory of eclecticism, paying attention to the 1728 Vita was included anonymously in the second edition of Bellori's work. This essay investigates how De Dominici exalted Giordano in the aesthetic framework of Bellori, as De Dominici in 1728 based his argument on Bellori's another written work, Idea. The discussion proceeds as follows: first, circumstances for each of De Dominici's biographies of Giordano are clarified. Next, it is claimed that Bellori's work is referred in the 1728 Vita by consulting three points in particular: anecdote of Zeuxis, idea of canonical model, and analogy with Raphael. Finally, it is revealed that De Dominici's evaluation on Giordano's works depends on the critical image of Giordano awkwardly created by citing Bellori's discussion. Through these analyses, transition and its meaning of De Dominici's evaluation on Giordano's works are traced, and it contributes to the study of the critical history of Giordano, as well as study of biographies written in the Baroque era
Vetri dipinti e pratiche di copia nell’officina di Luca Giordano
No full textA study of paintings on glass produced in the workshop of Luca
Giordano prompts a review of some problematic attributions to
him of pictures which should instead be ascribed to specialist
pupils and collaborators. The author proposes revisions regarding
the oeuvre of the Giordanesque painters Carlo Garofalo,
Domenico Coscia and Girolamo Cenatiempo, highlighting the
widespread custom of copying the master’s models for reverse
painting on glass, which according to early sources, confirmed by recent archival research, was regular practice in that workshop
- …
