2,087 research outputs found
First Crystal Structure for a Gold Carbene-Protein Adduct
No full textThe X-ray structure of the adduct formed in the reaction between the gold N-heterocyclic carbene compound Au(NHC)Cl (with NHC = 1-butyl-3-methyl-imidazole-2-ylidene) and the model protein thaumatin is reported here. The structure reveals binding of Au(NHC)(+) fragments to distinct protein sites. Notably, binding of the gold compound occurs at lysine side chains and at the N-terminal tail; the metal binds the protein after releasing Cl(-) ligand, but retaining NHC fragmen
L'e-mafia: l'immaginario delle mafie nella rivoluzione digitale
No full textIl volume riflette, attraverso la lente dell'interdisciplinarietà, i fattori che hanno determinato persistenze e mutamenti nell'agire delle organizzazioni mafios
Chiara Lubich, Meditazioni: letteratura come relazione
No full textChiara Lubich (1920–2008), although the author of 32 books published in 26 countries (178 editions, 3.2 million copies), is better known for her social engagement, as reflected in numerous awards. She began to be regarded as a literary author only in the early 2000s, and primarily from a linguistic rather than literary perspective. This article focuses on her book Meditazioni (Meditations), reconstructs its genesis by tracing the writing process from the late 1950s to her death and the 2021 critical edition, and offers a literary analysis. This reveals Lubich as a forerunner of a new conception of literature: literature as relationship – not only between author and reader, but also among subject, inspiration, and the editorial process
Die zauberhafte Macht der Dichtung. Dorothea Schlegels und Nelly Sachsʼ Entfaltungen des Merlin-Mythos
No full textL'articolo analizza la rilettura e riscrittura del mito di Merlino nella traduzione-rielaborazione di Dorothea Schlegel nonché in varie opere poetiche, teatrali e in prosa di Nelly Sachs
Chiara Lubich: A Saint for a New Global Unity
No full textIn this article the author offers an introduction to the life, thought, and impact of Chiara Lubich. He begins with a brief biographical overview and draws attention to some important features of her spiritual teaching: Jesus in the midst, Jesus Forsaken, Mary Desolate, the four nights. He draws attention to the Economy of Communion and as an expression of this spirituality in the world of business and economics, and to the figure of Chiara Luce Badano, a young adherent to the Spirituality of Unity who has been recognized as an example of how this spirituality can lead to holiness of life. The author’s judgment is that Chiara Lubich is “a saint of dialogue.
Manifesto per il museo post-etnografico
No full textThe author signes a poetic manifesto for the future of ethnographic museums, beyond colonial representational stereotypes and methodologies
Il museo come metodo. E tu, che cosa vedi?
No full textThe chapter reflects upon the current achievements, at international scale, in reference to the education of the adolescents in the museum context. Drawing upon the experience of the "Che cosa vedi?" project, developed by the author herself at the Museo del Novecento, Milan, the chapter explores the scientific horizons, the best practices and the educational methodologies more suit for working with teenagers, such as peer education and debating. "Che cosa vedi?" was focused of the work of 4 prominent Italian artists of the XX century (Lucio Fontana, Toti Scialoja, Luciano Fabro and Mario Merz)
From Canvas to Music: Mathematics as a Tool for the Composition of Jackson Time
No full textThe creation of ``Jackson time'' is a project which involves a composer, Davide Amodio, and
a mathematician, Chiara de Fabritiis.
Our common aim was to to ``translate'' a painting by Jackson Pollock, Summertime n. 9,
into a piece of music, making use of different mathematical tools to detect the quantities needed for the
composition. We were inspired by the idea that the painting itself contained some kind of inner--music,
due to the fact that Pollock's moves during the dripping on the canvas had a sort of rhythm, indeed they were often
described by witnesses as a dance.
This paper describes the mathematical background, in particular it illustrates both the analysis
of the painting which was carried out by the two of us and the choice of the mathematical techniques applied to
compute the parameters needed for the composition, which is due to the author. The reader will find a more detailed
report on the composition itself in Davide Amodio's contribution
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