61 research outputs found
Universi di genere non canonici da Georges Bizet a Nino Rota
No full textGeorges Bizet’s «Les pêcheurs de perles» (1863) and Nino Rota’s «La visita meravigliosa» (1970) stand out in the operatic output of the last two centuries for the peculiarity with which the female figure is featured within the triangle of relationships with the other two co-protagonists. The latter, unlike the common conventions in Romantic opera, are strongly attached to each other; conversely, the woman to whom one or both are in love remains in the background. This paper aims to correlate the representation of the female universe as a marginal world in the two works with the focus on the implicitly queer relationship of the dramaturgy between the other two characters. The reading of Bizet’s and Rota’s works shows how musical theatre can offer an author an effective space for telling gender differences which are tabooed in the real world
Artistic identity set in stone: Italian sculptors' signatures, c. 1250-1550
No full textThis dissertation examines some 300 signatures and inscriptions from sculptors working in the Late Middle Ages and Renaissance in Italy. The project discusses the signatures broadly in order to provide a context with which to study individual cases in detail. To that end, my analysis begins with a short breakdown of the signatures’ basic information: geographic distribution, date, artist, material. In separate chapters I then devote
considerable attention to issues of textual content; placement and location; lettering style; audience and reception; and fundamental social factors, such as the status of sculptors and their works. Ultimately I bring together the information on signatures and related
sources to describe some of the notable trends in signing practices during the Middle Ages and Renaissance and what the implications and significance of those trends may be. In particular, I discuss how the increasing standardization and simplicity of many sculptors’ signatures—especially in central Italy—illustrates a sense of collective and communal identity that counters some of the usual assumptions about Medieval collectivism versus Renaissance individualism. For sculptors of fifteenth-century Tuscany, for example, the common motif of signing with “opus + name” (“the work
of…”) gave artists the ability to reference both antiquity—as this form of signature survived on the classical Dioscuri statues in Rome—as well as their fellow craftsmen, creating for them a group identity that complemented their status as individual artists.
Later, toward the end of the fifteenth century and into the sixteenth, the popularity of signing with the imperfect verb faciebat (“was making”), as Michelangelo did on his St Peter’s Pietà, offered similar possibilities for artists wishing to express their links to both
classical antiquity and the best artists of their own time. Through my analysis of individual cases situated within a large body of data—presented in the dissertation’s
appendix—I illustrate how Medieval and Renaissance sculptors conveyed identity via a range of signature types. My findings and data thus lay a foundation for future research into artists’ inscriptions.Ph.D.Includes bibliographical referencesby David Frank Boff
Proposals for the measurement of anti-beta2-glycoprotein I antibodies.Standardization group of the European Forum on Antiphospholipid Antibodies.
No full textMinimal requirements for antiphospholipid antibodies ELISAs proposed by the European Forum on antiphospholipid antibodies.
No full textErratum:Evidence for a Fe3+-rich pyrolitic lower mantle from (Al,Fe)-bearing bridgmanite elasticity data (Nature (2017) DOI: 10.1038/nature21390)
No full textIn Extended Data Table 1 of this Letter, some of the elastic constants were reported incorrectly. This occurred as a result of an error in the script used to generate the numbers. The values of the elastic constants at room pressure cited in the manuscript on page 544 were derived using the same erroneous script, and the correct values and 1σ-uncertainties in the last given digit are C11 = 461.3(17) GPa instead of 462.7(17) GPa; C22 = 509.7(26) GPa instead of 504.9(26) GPa; C33 = 425.7(5) GPa instead of 426.6(5) GPa; C44 = 188.8(6) GPa instead of 188.4(6) GPa; C55 = 166.5(4) GPa instead of 166.6(4) GPa; C66 = 127.2(17) GPa instead of 129.7(17) GPa; C12 = 141.7(14) GPa instead of 140.2(14) GPa; C13 = 130.0(11) GPa instead of 132.2(11) GPa; and C23 = 161.0(12) GPa instead of 159.3(12) GPa. These errors do not affect any of the conclusions and we apologize for any confusion this may have caused. Extended Data Table 1 and the room-pressure values in the text have been corrected online. The Supplementary Information of this Author Correction contains the original, incorrect Extended Data Table 1, for transparency.</p
Human Prothrombin/Phospholipids Interaction. Competitive Effect of an Anticoagulant Venom Phospholipase A2
No full text
Davies, Dave
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/317665Australian New Look supplement, 'Interview with Giuseppe Boffa' 4 November 1983, 'Lines' April 1981. Letter to Davies and Bernie Taft from unidentified author.281086
item: [2010.0053.01283] "Davies, Dave
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