968 research outputs found
Il tragico eidetico nel teatro di Federigo Tozzi
No full textUna proposta di lettura critica in chiave tragica del dramma di Fedrigo Tozzi 'L'innesto
Le prime manifestazioni del culto di Augusto nell’Oriente greco. Il caso di Kalindoia
No full textA partire da Augusto la figura dell’imperatore incarna, sia nella prassi politica che in quella religiosa, la centralità del dominio romano. Con le vittorie di Azio e di Alessandria, Ottaviano aveva sconfitto in Antonio e Cleopatra non solo l’ultimo dei nemici interni, ma anche l’ultimo re ellenistico: la dimensione straordinaria del nuovo potere, di fatto concentrata nelle mani di un solo uomo, fu subito percepita come tale dagli stessi contemporanei, non solo nei territori soggetti a Roma, ma addirittura oltre i confini del mondo mediterraneo. In generale colpisce la prontezza con cui le comunità provinciali reagirono alle nuove istanze dettate dall’avvento del principato, creando con esso, già all’indomani della battaglia di Azio, connessioni e legami simbolici. Rispetto all’alto numero di attestazioni letterarie, epigrafiche ed anche numismatiche, sono di molto inferiori i casi archeologici che possono documentare concretamente l’avvio del culto imperiale attraverso l’installazione di spazi appositamente destinati dalle singole comunità locali ad accogliere e celebrare l’imperatore. Tra i contesti precocemente interessati dalla celebrazione di Ottaviano, ovvero nella fase dopo Azio (2 settembre del 31 a.C.) e prima di ricevere il titolo di Augusto (16 gennaio del 27 a.C.). Su questo sfondo particolarmente rarefatto nella sostanza archeologica dei primi edifici adibiti al culto dell’imperatore, certamente il Sebasteion di Kalindoia, città situata nei territori interni della penisola calcidese, rappresenta uno dei contesti maggiormente esemplificativi per la straordinaria e fortunata compresenza di dati archeologici ottimamente conservati e di una ricca documentazione epigrafica. Come emerge chiaramente anche dalla dettagliata analisi di Giulia Tozzi, le numerose evergesie messe in scena a Kalindoia, tra 1 a.C. e 1 d.C., da Apollonio, figlio di Apollonio, nelle funzioni «di sacerdote volontario di Zeus e di Roma e Augusto figlio del divo Cesare», sembrano presupporre l’esistenza di spazi deputati alla riunione di gruppi ristretti ed elitari nell’ambito delle grandi celebrazioni pubbliche delle feste in onore delle divinità locali e del princeps. La documentazione archeologica analizzata offre utili indizi per comprendere appieno questi spazi e le modalità del culto imperiale nella sua fase iniziale
Jon Keune, Shared Devotion, Shared Food: Equality and the Bhakti-Caste Question in Western India [Ludovica Tozzi], p. 391
No full text"Shared Devotion, Shared Food: Equality and the Bhakti-Caste Question in Western India" by Jon Keune deals with an in-depth analysis of Marathi literature from 1854 to 1950, in order to find an answer to the question: "Can the idea that people are equal before God inspire them to treat each other as equals? Can theological egalitarianism lead to social equality?”. While trying to answer such a complex question, the author reveals the strengths and flaws of the so-called "most liberal Hindu religious movement"
Segnalazione di strutture di tipo trailing imbricate fan nei dintorni di Montagano (Molise)
No full text2012-18 Wolfgang Tozzi: Ensemble Spectrum SS 2012 : 20.04.2012
No full textWolfgang Tozzi: Ensemble Spectrum SS 2012
01. Vera Cruz (M. Nascimento) 10:28
02. Rainsville (D. Grolnick) 06:58
03. Tombo (A. Moreira) 10:09
Total time 27:37
Leitung: Wolfgang Tozzi
Sax: Nicolo Loro-Ravenni, Vibes/ Marimba: Alberto Lovison, Piano: Marco Ronca,
Bass: Max Ranzinger, Drums: Thomas Stabler, Perc: Wolfgang Tozzi
Recorded by Ulrich Katzenberger and Hannes Dieterle at KUG Studio, Graz, Austria
Mixed by Ulrich Katzenberger and Martin Denda at KUG Studio, Graz, Austria
Institut 8 – Jazz
© For internal and educational use only! www.kug.ac.at
KUGTS_2012-18Wolfgang Tozzi: Ensemble Spectrum SS 2012
01. Vera Cruz (M. Nascimento) 10:28
02. Rainsville (D. Grolnick) 06:58
03. Tombo (A. Moreira) 10:09
Total time 27:37
Leitung: Wolfgang Tozzi
Sax: Nicolo Loro-Ravenni, Vibes/ Marimba: Alberto Lovison, Piano: Marco Ronca,
Bass: Max Ranzinger, Drums: Thomas Stabler, Perc: Wolfgang Tozzi
Recorded by Ulrich Katzenberger and Hannes Dieterle at KUG Studio, Graz, Austria
Mixed by Ulrich Katzenberger and Martin Denda at KUG Studio, Graz, Austria
Institut 8 – Jazz
© For internal and educational use only! www.kug.ac.at
KUGTS_2012-1
The use of digital image correlation in the biomechanical area: a review
No full textThis paper offers an overview of the potentialities and limitations of digital image correlation (DIC) as a technique for measuring displacements and strain in biomechanical applications. This review is mainly intended for biomechanists who are not yet familiar with DIC. This review includes over 150 papers and covers different dimensional scales, from the microscopic level (tissue level) up to macroscopic one (organ level). As DIC involves a high degree of computation, and of operator- dependent decisions, reliability of displacement and strain measurements by means of DIC cannot be taken for granted. Methodological problems and existing solutions are summarized and compared, whilst open issues are addressed. Topics addressed include: preparation methods for the speckle pattern on different tissues; software settings; systematic and random error associated with DIC measurement. Applications to hard and soft tissues at different dimensional scales are described and analyzed in terms of strengths and limitations. The potentialities and limitations of DIC are highlighted, also in comparison with other experimental techniques (strain gauges, other optical techniques, digital volume correlation) and numerical methods (finite element analysis), where synergies and complementarities are discussed. In order to provide an overview accessible to different scientists working in the field of biomechanics, this paper intentionally does not report details of the algorithms and codes used in the different studies
Laparoscopic en-bloc pelvic resection for advanced ovarian cancer
No full textIntroduction: Ovarian cancer (OC) exhibits an aggressive behavior, wherein the therapeutic approach always involves both surgery and chemotherapy. Survival outcomes are still related to comprehensive surgical excision of all macroscopic lesions (Rauh -Hain et al., 2017), increasing gynecologic oncologists ' efforts to achieve the highest possible complete resection rate (Tozzi et al., 2024). The peritoneum serves as both a dissemination pathway and a barrier that restricts tumor spread beyond its confines. This understanding has prompted the adoption of en -bloc resection strategy for the entire pelvis, involving the removal of pelvic organs along with the surrounding peritoneum. The en -bloc pelvic resection procedure allows for the removal of pelvic disease in all cases of advanced ovarian cancer (Tozzi et al., 2017). Endeavors should be also directed towards minimizing surgical morbidity, by the adoption of minimally invasive surgery for debulking procedures (Tozzi et al., 2023). Case: This video demonstrates a laparoscopic en -bloc pelvic resection with creation of an end -to -end transanal anastomosis. The surgical specimen extraction and the placement of the anvil were performed through the vaginal route. A 75 year -old patient presented with FIGO stage IIIC OC with a 12 cm pelvic mass involving the whole pelvis. The patient was enrolled in the ULTRA -LAP trial and underwent laparoscopic primary debulking surgery with en -bloc pelvic resection. No protective ileostomy was performed and bowel opening occurred on the fifth postoperative day. The patient was discharged on the 11th postoperative day, thereafter completing a regimen of 6 cycles of carboplatin and paclitaxel chemotherapy. Conclusions: The en -bloc resection of the pelvis is a standardized procedure that consists of ten reproducible steps
L’infante, la donna, la bestia: un’analisi ecocritica degli incontri non umani in Federigo Tozzi, Dino Buzzati, Anna Maria Ortese
No full textRestricted AccessThe authorial connections between Federigo Tozzi, Dino Buzzati and Anna Maria Ortese are notable and varied. Linked by a fervent animalistic and, in the case of the latter two, also environmentalist spirit, the non-human plays a central role in the works of the authors, who represent natural entities, animals, or fantastic creatures as narrative archetypes of universal pain. This thesis investigates the encounters between the human and the nonhuman in the works of Tozzi, Buzzati, and Ortese with the aim of answering the questions “what does otherness represent for the authors?”, and “how is this 'other' portrayed in their novels, short stories, and journalistic writings?”. To tackle these issues, my analysis considers three thematic areas, namely the representation of the child, the woman, and the beast, categories united by a perception of inferiority, and thus of marginalization, in a purely patriarchal social context. In the three chapters, one per individual author, the investigation of the three principal thematic areas makes use of a range of critical theories such as Ecocriticism (Garrard, Buell, Wolfe, Iovino), Animal Studies (Derrida, Cimatti, Regan, Singer), Ecofeminism (Warren, Adams, Plumwood, Ruether) and Children's Studies (Freud, Joosen, Khan, Kellert).
In the works of the three authors, the animal is portrayed as abused, castrated, and killed, and this confirms how, due to a lack of logos, the nonhuman can be easily subjugated in human society. On other occasions, the animal, as a model of otherness, is acknowledged by the authors as a fragile entity, and thus in need of protection or defense. However, animality also serves the function of representing human figures through animalistic characteristics, or portraying characters who are placed on the same social scale as beasts enslaved to man: namely, women and children.
Therefore, after having traced the narrative archetypes and symbolic connections between the child, the woman, and the animal in selected works of Tozzi, Buzzati and Ortese, the last part of the respective chapters addresses the salient themes of the three authors' attitude towards animals from an ethical-moral perspective. In the case of Tozzi, I analyze texts that draw upon his strong influence by nonhuman agents. For Ortese and Buzzati, I consider a selection of the authors’ militant journalistic production which advocates for the protection of those who have no voice to denounce their own oppression, existential imperatives of an ethical-moral order which constitute the critical building blocks of their animalist spirit. The conclusions highlight the connections between the authors through the three thematic cores examined (child, woman, and beast), and trace the positioning of the nonhuman in the authorial imaginary of Tozzi, Buzzati and Ortese, authors who are only seemingly dissimilar, but who are linked, instead, by a profound, indissoluble interest in the other
Dentro «Il podere» di Federigo Tozzi: la 'tecnica del montaggio'
No full textThis article analyses a particular assembly technique used by Federigo Tozzi in composing his texts. The case of study is offered by one of his major novels, «Il podere» (1921), whose manuscript reveals how Tozzi deliberatly left some descriptives parts to be completed later. To reach this completion, the author could work en plein air, to catch a landscape as a painter would have done, otherwise re-use some pages written years before. In this second case, the pages here re-used are taken from the typescript of «Adele» (1979, posthumous), the well-known first novel never published by Tozzi but rather dis-mantled, put aside and kept in a drawer as a sort of tank of useful pages, to be re-used if necessary
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