30,113 research outputs found
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
GEOMETRIC CONSTRUCTIVE TRACES IN DRAWINGS BY FRANCESCO BORROMINI
No full textHere some results are presented from the ongoing research of the anal-ysis of the drawings by Francesco Borromini, preserved at the Albertina in Vi-enna, relating to designs of cupolas, in order to highlight the geometric construc-tions and the proportional relationships in function of the realization of the pro-jects. In fact, besides the symbolic geometries traceable especially in the most famous buildings, such as the San Carlo alle Quattro Fontane or Sant’Ivo alla Sapienza, evidenced even by Borromini himself, other and more decisive geom-etries are revealed by carefully observing the signed drawings.
The research methodology adopted is based on comparing what emerged from the analysis of the drawings, the study of the treatises concerning the construction methods of the cupolas and the results obtained from the survey by means of a 3D laser scanner.
The survey, in fact, becomes the tool to ascertain the correspondence between the theoretical form underlying the drawings, and the realized form, including the provisional works that determine the geometric conformation, verifying the link between the geometric-graphic reasoning related to the load distribution and the consequent dimension of the component
Wool quality in Gentile di Puglia sheep breed as measure of genetic integrity
No full textThe Gentile di Puglia is a breed created in the 15th century by crossing Merino Spanish rams and “gentile” ewes reared in some areas of Southern Italy, mainly Apulia and Basilicata. The crisis of the wool industry, the poor quantity of milk, the inadequacy of Gentile di Puglia to be milked by machine and the passage from
transhumant to permanent rearing caused a dramatic reduction of this population, which was largely crossed with other breeds and declined from about one million heads in the sixties to 5,000 at the present time. In order to save the ancient typical Gentile di Puglia breed, the aim of this work was to estimate the “genetic
integrity” of the remaining Gentile di Puglia population by means of an analysis of wool quality measured through the diameter of the fibre and the homogeneity of the fleece. Our hypothesis was that the animals originated from outcrosses to other Merino derived breeds specialised for meat would show larger diameters
of the fibres and a reduced homogeneity of the fleece. The research was carried out using Herd Book registered
animals from 9 farms: 1 from Isernia, 2 from Campobasso and 6 from Foggia province. The statistical analysis on the diameter of the fibre was carried out on a dataset of 38,200 observations (200 records x 191 animals) divided in four classes (ultrafine, fine, croisè, ordinary).
The high frequencies of ultrafine and fine fibre classes show that the quality of the wool is still good in the population. This consideration can be extended to all the farms involved in the study that could therefore be suitable in the conservation programs for this breed. The homogeneity of the fleece was also good in providing further evidence of the genetic integrity of the population. Other analysis carried out on the quality of the
wool in relation to the body size confirmed that the observed Gentile di Puglia is well representative of the ancient breed
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
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
Imagens de Otto Maria Carpeaux: esboço de biografia
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015.Este esboço de biografia procura citar algumas imagens de Otto Maria Carpeaux: construções biográficas de naturezas múltiplas, elaboradas em contextos, por atores e sob condições igualmente díspares. Está constituído a partir de uma visão crítica da História, o que permite que ?outras imagens?, fragmentárias e não monumentais, também tenham espaço. Em diálogo com o princípio da montagem, este esboço apresenta-se em duas partes. Na primeira, Imagens possíveis, estão citadas as imagens elaboradas em vida e post mortem acerca do austríaco-brasileiro que nasceu em Viena em 1900, se exilou no Brasil em 1939 e morreu no Rio de Janeiro, em 1978. Na segunda, Montagens possíveis, apresentam-se duas possibilidades de exercício biográfico: pela leitura alegórica do documentário O velho e o Novo (Otto Maria Carpeaux), entendido como instrumento de intervenção no contexto ditatorial brasileiro e de uma reelaboração biográfica concernentes às suas experiências europeias; e pelo Caderno de imagens críticas, registro dos encontros em Carpeaux pelo meio de imagens críticas produzidas a partir da cesura do presente.Abstract : This biographical sketch attempts to quote some images of Otto Maria Carpeaux: various types of biographical constructions, carried out in different contexts by disparate authors under conditions just as distinct. It stems from a critical view of history, allowing for ?other images? fragmented and non-monumental ? to share the space.In dialogue with the montage principle, this sketch has two parts. The first, Possible Images, quotes the images produced during and after the life of the Austrian-Brazilian, who was born in Vienna in 1900, went to Brazil in exile in 1939 and died in Rio de Janeiro in 1978. The second part, Possible Montages, presents two possibilities of a biographical exercise: through the allegorical reading of documentary O Velho e o Novo (Otto Maria Carpeaux), understood as an instrument of intervention in the Brazilian dictatorship context and as a biographical retelling of the author?s European experiences; and through my Scrapbook of Critical Images, a record of the encounters in Carpeaux through critical images produced from the caesura of the present
Conoscere Roma città territorio: identità sommerse, permanenze e contaminazioni nelle aree destinate al mattatoio di Testaccio tra XIX e XXI secolo Knowing Rome-city-territory: buried identities, permanences and contaminations in areas destined to the slaughterhouse (Testaccio) between the XIX and XXI century
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Maria José ao encontro de Tchekov
No full text“A Carta da Corcunda para o Serralheiro” (“Letter from the Hunchback Girl to the Metalworker”), signed by Maria José, was first performed in a theatre show in 1988 (by actress-director Maria do Céu Guerra), two years before the typescript was published in book form for the first time by Teresa Rita Lopes. The evidence upon which this article is built is that it was the theatre that revealed the dramatic destination of this singular epistle of the only female heteronym that Fernando Pessoa invented, which was also the last heteronym to be created by the author. The dramatic construction of Maria José can be approximated to the character-building strategies in Anton Chekhov’s realist dramaturgy, in a way that differs from Pessoa’s other dramaturgical experiences. The analysis of Chekhov’s ascendancy over Stanislavski’s research, as well as the importance of Schopenhauer’s conception of the tragicomic, which is simultaneously projected onto Chekhov’s theatre and Maria José’s profile, are favourable lines of reading for this rapprochement between Pessoa and the Russian fiction writer and playwright. Pessoa’s readings of Chekhov’s texts (such as the play Uncle Vania and the short story “Vanka”) provide relevant data for assessing the magnitude of this encounter.“A Carta da Corcunda para o Serralheiro”, assinada por Maria José, começou por ser difundida num espectáculo de teatro em 1988 (pela actriz-encenadora Maria do Céu Guerra) dois anos antes de o dactiloscrito se ver publicado em livro, pela primeira vez, por Teresa Rita Lopes. Parte-se da evidência de ter sido o teatro a revelar a destinação dramática da epístola singular do único heterónimo mulher que Fernando Pessoa inventou, que terá sido também o último a ser criado pelo autor. A construção dramática de Maria José pode ser aproximada às estratégias de construção de personagem na dramaturgia realista de Anton Tchekov, de um modo que se distingue de outras experiências dramatúrgicas de Pessoa. A análise do ascendente de Tchekov sobre as pesquisas de Stanislavski, bem como a importância da concepção de tragicómico em Schopenhauer, que se projecta em simultâneo sobre o teatro de Tchekov e sobre o perfil de Maria José, são linhas de leitura propícias para esta aproximação entre Pessoa e o ficcionista e dramaturgo russo. As leituras de textos de Tchekov por parte de Pessoa (como o caso da peça Tio Vânia e o conto “Vanka”) fornecem dados relevantes para avaliar a magnitude deste encontro
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