110 research outputs found
Un inquietante mito maschilista. Note in margine ad alcuni allestimenti de "Il costruttore Solness" di Ibsen
No full textRoberto Alonge takes his cue from three editions of The Master Builder by Ibsen (Beppe Navello’s 1999 show, that of 2018 at the Teatro Vertigo in Livorno, the 2019 show by Umberto Orsini) for a long reflection on a disturbing text by the Norwegian playwright. In fact Ibsen is the singer of women’s rights, as evidenced by his famous text A Doll’s House, but the Hilde of The Master Builder reveals the murky psychology of a woman who dreams of being kidnapped and taken by force from the man who abused her when she was a 12-13 year old girl. In conclusion Alonge shares the opinion of Jon Fosse, according to which Ibsen is “the blackest and most demonic author one can meet”.Roberto Alonge esamina tre edizioni de Il costruttore Solness di Ibsen (lo spettacolo del 1999 di Beppe Navello, quello del 2018 del Teatro Vertigo in Livorno, e quello del 2019 di Umberto Orsini), prendendone spunto per una lunga riflessione su un testo perturbante del drammaturgo norvegese. In effetti Ibsen è, sì, il cantore dei diritti della donna, come risulta dal suo famoso testo Una casa di bambola, ma la Hilde de Il costruttore Solness mette in luce la psicologia torbida di una donna che sogna di essere rapita e presa con la forza dall’’uomo che abusò di lei quando era una bambina di 12-13 anni. In conclusione Alonge condivide l’opinione di Jon Fosse, che definisce Ibsen «l’autore più nero e più demoniaco che abbia mai incontrato»
Corrigendum for: Patorani local knowledge system in fisheries resources conservation education in Galesong District South Sulawesi
No full textWe sincerely express our apology for the changes in the author list in the article entitled Patorani local knowledge system in fisheries resources conservation education in Galesong District South Sulawesi. This article was published on DOI: 10.17977/um017v28i12023p52-63, with the authors list consisting of Hasriyanti, Rusdi, Alonge Titus Adeyemi, Michel E. D. Chaves, and Erman Syarif. However, Michel E. D. Chaves issue a complaint regarding his involvement during the research and paper completion. He did not agree to the inclusion of his name in the author list. We have contacted the corresponding author for confirmation. Besides, the co-author has also confirmed the mistake in the writing of one of the author’s names, Alonge Titus Adeyemi, which should be Titus Adeyemi Alonge. The corresponding author has submitted a letter of author contribution signed by Hasriyanti, Rusdi, Titus Adeyemi Alonge, and Erman Syarif. The original article has been revised, and reasonable effort should be made to remove all references to this article
Ronconi/Pirandello: dai "Sei personaggi" a "L’innesto"
No full textThis essay deals with the practice of the workshop, which always bewitched Luca Ronconi. Recently, Ronconi organized in Umbria, with Roberta Carlotti, the Centro Teatrale Santa Cristina, where he directed the approach to two plays of Pirandello, Sei personaggi in cerca d’autore (laid out in 2010 and 2011, before to turn into the mise-en-scène seen by Roberto Alonge in Milan, in October 2012) and L’innesto (born in 2012, perhaps destined for a brilliant future on the stage also). They are a double expression of the interest that Ronconi attaches to Pirandello, an author not very loved in the past by Ronconi. The Grand Master of the Italian theatre revises the Pirandellian texts, but his reworking focuses attention to the secret sensibility of the dramatist, between maternal instincts and incestuous reveries.This essay deals with the practice of the workshop, which always bewitched Luca Ronconi. Recently, Ronconi organized in Umbria, with Roberta Carlotti, the Centro Teatrale Santa Cristina, where he directed the approach to two plays of Pirandello, Sei personaggi in cerca d’autore (laid out in 2010 and 2011, before to turn into the mise-en-scène seen by Roberto Alonge in Milan, in October 2012) and L’innesto (born in 2012, perhaps destined for a brilliant future on the stage also). They are a double expression of the interest that Ronconi attaches to Pirandello, an author not very loved in the past by Ronconi. The Grand Master of the Italian theatre revises the Pirandellian texts, but his reworking focuses attention to the secret sensibility of the dramatist, between maternal instincts and incestuous reveries
Long-Term Monitoring of Dolphin Biosonar Activity in Deep Pelagic Waters of the Mediterranean Sea
No full textDolphins emit short ultrasonic pulses (clicks) to acquire information about the surrounding environment, prey and habitat features. We investigated Delphinidae activity over multiple temporal scales through the detection of their echolocation clicks, using long-term Passive Acoustic Monitoring (PAM). The Istituto Nazionale di Fisica Nucleare operates multidisciplinary seafloor observatories in a deep area of the Central Mediterranean Sea. The Ocean noise Detection Experiment collected data offshore the Gulf of Catania from January 2005 to November 2006, allowing the study of temporal patterns of dolphin activity in this deep pelagic zone for the first time. Nearly 5,500 five-minute recordings acquired over two years were examined using spectrogram analysis and through development and testing of an automatic detection algorithm. Echolocation activity of dolphins was mostly confined to nighttime and crepuscular hours, in contrast with communicative signals (whistles). Seasonal variation, with a peak number of clicks in August, was also evident, but no effect of lunar cycle was observed. Temporal trends in echolocation corresponded to environmental and trophic variability known in the deep pelagic waters of the Ionian Sea. Long-term PAM and the continued development of automatic analysis techniques are essential to advancing the study of pelagic marine mammal distribution and behaviour patterns. © The Author(s) 2017
"Six characters in search of an author" staged by Gabriele Lavia, a gifted director-dramaturg
No full textThis article examines the production by Gabriele Lavia, Six Characters in Search of an Author, written by Luigi Pirandello. Lavia refuses the metatheatrical approach and prefers to penetrate the plot of the text, which offers us – according to Lavia – a subversive mix of dangerous subjects (incest, paedophilia, exhibitionism and perversions typical of a cuckolded husband). Alonge’s analysis exalts the great originality of Lavia’s creation and underlines that Lavia pierces the text as an acute Pirandellian philologist, mixing in his script some different editions of the text (the last edition of 1925, the first of 1921, and even the second edition of 1923)
Pirandello Pirandello Pirandello (Gleijeses, Dini, Scimone/Sframeli)
No full textRoberto Alonge’s contribution takes note of the fact that Pirandello’s dramaturgy constitutes a fixed point in the programmes of Italian theatres. Three Pirandello shows examined: Il piacere dell’onestà [The pleasure of honesty], Così è (se vi pare) [Thus is (if you like)] and Sei personaggi in cerca d’autore [Six characters in search of an author]. The pleasure of honesty is a good product, built on the acting skill of the first actor, Geppy Gleijeses. The second performance, directed by Filippo Dini, has the ambition to attempt new interpretative keys of a well-known text. For some traits Dini confesses his debt to the famous edition of Massimo Castri which, at the moment, remains the most convincing testimony of an original reading of the text, based on the hypothesis that the incest between father and daughter is the secret hidden in the depths of comedy. Finally the Six characters of Spiro Scimone and Francesco Sframeli, presented with the title Six, are a very interesting example of theatre adaptation. Pirandello’s famous comedy is trimmed, reduced to a performance of just over an hour, and in many places it also undergoes a rewriting operation, often personal but never random and free, because the two theatre actors from Messina are valuable artists.Il contributo di Roberto Alonge prende atto del fatto che la drammaturgia di Pirandello costituisce ormai un punto fisso dei cartelloni dei teatri italiani, ed esamina tre spettacoli pirandelliani: Il piacere dell’onestà, Così è (se vi pare) e Sei personaggi in cerca d’autore. Il primo è un buon prodotto, costruito sull’abilità consumata di un grandattore di vaglia, Geppy Gleijeses. Il secondo, diretto da Filippo Dini, ha l’ambizione di aprire nuove chiavi interpretative di un testo molto studiato. Per certi tratti Dini confessa il suo debito alla celebre messinscena di Massimo Castri che, per il momento, resta la più convincente testimonianza di una lettura originale del testo, fondata sull’ipotesi che l’incesto tra padre e figlia sia il segreto nascosto nello strato profondo della commedia. Per concludere, i Sei personaggi di Spiro Scimone e Francesco Sframeli, presentati con il titolo Sei, sono un esempio di adattamento drammaturgico molto interessante. La famosa commedia di Pirandello è sfoltita drasticamente, ridotta a una rappresentazione di poco più di un’ora, in molti punti sottoposta a un’operazione di riscrittura, spesso personale ma mai libera e gratuita, perché i due teatranti messinesi sono artisti di valore
Continental-scale water and energy flux analysis and validation for North American Land Data Assimilation System project phase 2 (NLDAS-2): 2. Validation of model-simulated streamflow
No full textThis is the second part of a study on continental-scale water and energy flux analysis and validation conducted in phase 2 of the North American Land Data Assimilation System project (NLDAS-2). The first part concentrates on a model-by-model comparison of mean annual and monthly water fluxes, energy fluxes and state variables. In this second part, the focus is on the validation of simulated streamflow from four land surface models (Noah, Mosaic, Sacramento Soil Moisture Accounting (SAC-SMA), and Variable Infiltration Capacity (VIC) models) and their ensemble mean. Comparisons are made against 28-years (1 October 1979-30 September 2007) of United States Geological Survey observed streamflow for 961 small basins and 8 major basins over the conterminous United States (CONUS). Relative bias, anomaly correlation and Nash-Sutcliffe Efficiency (NSE) statistics at daily to annual time scales are used to assess model-simulated streamflow. The Noah (the Mosaic) model overestimates (underestimates) mean annual runoff and underestimates (overestimates) mean annual evapotranspiration. The SAC-SMA and VIC models simulate the mean annual runoff and evapotranspiration well when compared with the observations. The ensemble mean is closer to the mean annual observed streamflow for both the 961 small basins and the 8 major basins than is the mean from any individual model. All of the models, as well as the ensemble mean, have large daily, weekly, monthly, and annual streamflow anomaly correlations for most basins over the CONUS, implying strong simulation skill. However, the daily, weekly, and monthly NSE analysis results are not necessarily encouraging, in particular for daily streamflow. The Noah and Mosaic models are useful (NSE > 0.4) only for about 10% of the 961 small basins, the SAC-SMA and VIC models are useful for about 30% of the 961 small basins, and the ensemble mean is useful for about 42% of the 961 small basins. As the time scale increases, the NSE increases as expected. However, even for monthly streamflow, the ensemble mean is useful for only 75% of the 961 small basins.</p
«Ghosts», Zacconi and a general agent: translator, adapter (and also a dramatist)
No full textIbsen's Ghosts, in Ermate Zacconi's legendary interpretation, which was strongly criticized by the Italian intellectuals of the Twenties (Silvio d'Amico, Gobetti, etc.) is presented as the drama of Oswald's bodily destruction instead of a merely psycological drama. The author illustrates how - preliminarily to al Zacconi's Lombrosian-positivistic poetics - it is Enrico Polese's translation (a real adventurer in the Italian scene between nineteenth and twentieth century), which was chosen by Zacconi, led him to adopt this interpretative approach, which is a translation-reduction-adaptation that is almost a direction plan, suitably designed for the actor's theatre
Médée sous les tropiques: Échos raciniens dans la première tragédie réunionnaise
No full textInternational audienceThis article takes a fresh look at the Médée by Étienne Azéma (1849), the first tragedy written by an author from Île Bourbon. Far from simply synthetizing classical (Euripides, Seneca) and modern sources (Corneille, Longepierre, Clément), the play—perhaps inspired by a true story—completely reinvents the legend’s traditional elements by placing the figure of Creusa center stage, and by revealing an astonishing intertextual relationship with Racine’s œuvre.L’article propose de redécouvrir la Médée d’Étienne Azéma (1849), première tragédie écrite par un auteur de l’Île Bourbon. Loin de constituer une simple synthèse des sources antiques (Euripide, Sénèque) et modernes (Corneille, Longepierre, Clément), la pièce – peut-être inspirée par un fait divers – renouvelle de fond en comble les éléments traditionnels de la légende en accordant une place prépondérante à la figure de Créuse, et en révélant un étonnant jeu intertextuel avec l’œuvre racinienne
Biographie et autobiographie dans le Livre du Courtisan de Baldassare Castiglione
No full textL’article porte sur une réflexion autour du concept de biographie collective, mis en résonnance avec un autre terme, celui de génération. Ces deux concepts peuvent être des instruments utiles à l’historien, notamment pour ce qui concerne certains moments historiques de passages. Le cas concret à partir duquel se développe la réflexion est celui de la génération du Courtisan, c’est-à-dire de ces hommes, aristocrates et gentilshommes de l’Italie du début du XVIe siècle qui furent confrontés aux drames des guerres d’Italie et à l’écroulement des petits états de la péninsule. Plusieurs de ces hommes ont été choisis par Baldassar Castiglione comme personnages de son œuvre plus connue, le Livre du Courtisan. Dans ce cas donc la conscience générationnelle des acteurs et l’autoreprésentation de la génération se fait par un texte littéraire. Un texte qui se configure comme l’expérience d’une autobiographie non seulement individuelle, mais également collective. Il est frappant de constater que le Courtisan a une très longue genèse, avec plusieurs versions, plusieurs élaborations. Ce n’est que 20 ans après avoir commencé à l’écrire que Castiglione se décide – d’ailleurs à cause de contraintes indépendantes de lui – à le publier. Il est intéressant de remarquer qu’à l’élaboration éditoriale, et ensuite à la promotion de l’œuvre dans toutes les cours d’Europe, prennent part les personnages du texte. Ces dernières décennies, l’histoire de la réception du Courtisan et l’utilisation du texte de la part des lecteurs européens d’âge moderne ont fini par cacher ce que le Courtisan signifié pour son auteur et pour les hommes de son époque : avant tout une représentation générationnelle, et un instrument politique et culturel au service d’une stratégie d’autopromotion socialeThe article focuses on a reflection on the concept of collective biography, resonated with another term, the term of generation. These two concepts can be useful tools for the historian, particularly with regard to certain historical moments of passage. The concrete case from which the reflection develops is that of the generation of the Courtisan, the generation of those men, aristocrats and gentlemen of Italy at the beginning of the Sixteenth Century who were confronted with the dramas of the Italian wars and the collapse of the small states of the peninsula. Baldassar Castiglione chose several of these men as characters in his best-known work, The Book of the Courtier. In this case, therefore, the generational consciousness of the actors and the self-representation of the generation is done through a literary text. A text that is configured as the experience of an autobiography which is not only an individual one, but a collective one as well. It is striking to note that the Courtier has a very long genesis, with several versions, several elaborations. It was not until 20 years after he began to write that Castiglione decided –moreover because of constraints beyond his will– to publish it. It is interesting to note that some historical characters, described in the book, took part in the editorial development, and then the promotion of the work across all the courts of Europe. In recent decades, the story of the reception of the Courtier and the use of the text from the European readers of Modern Age ended up hiding what the Courtier meant for its author and for the men of the time: the work meant to be above all a generational representation, and a political and cultural instrument at the service of a strategy of social self-promotio
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