164 research outputs found
Chapter Il principe selvaggio (1695) de Francesco Silvani: una curiosa taracea de motivos del teatro áureo español
No full textIn this paper, I intend to find out which texts inspired the libretto by Francesco Silvani, Il principe selvaggio (1695), whose events, according to the author, are taken "from the Fasti of Castile". The examination of the plot leads to exclude the existence of a historiographic "source" as the mention of the Fasti would suggest, and to hypothesize instead a multiple literary intertextuality. It seems that Silvani was reminiscent of theatrical texts such as El príncipe de los montes, by Juan Pérez de Montalbán, Virtudes vencen señales, by Luis Vélez de Guevara, and a constellation of works by Pedro Calderón de la Barca (El monstruo de los jardines, La hija del aire, Hado y divisa de Leonido y de Marfisa)
Middle East di Fausta Cialente
No full textIl lavoro propone l’edizione critica integrale di un inedito di Fausta Cialente conservato all'interno del Dario di guerra dell’autrice (1941-47). Il testo, composto da otto carte dattiloscritte ricche di correzioni a penna, è datato febbraio-luglio 1947 e costituisce il prologo e il capitolo iniziale di un romanzo in prima persona dedicato all’attività antifascista di Cialente. L’edizione è introdotta da una breve ricognizione della storia del testo, delle modalità di conservazione, del rapporto con il resto dei diari e delle carte d’archivio.The paper proposes the complete critical edition of Fausta Cialente «Middle East», an unpublished composition preserved inside the author «Diary of War» (1941-47). The text, consisting of eight
typewritten pages full of autograph corrections, is dated February-July 1947 and contains the prologue and the opening chapter of an unfinished first person novel dedicated to Cialente's anti-fascist militancy. The edition is accompanied by an introduction analyzing text history, transmission and preservation conditions and clarifying its relationship with the rest of author's diaries
Quem tem Medo de Itália Fausta? : Irreverência e Iconoclastia na cena teatral brasileira na década de 1980
No full textEste artigo estuda o espetáculo Quem Tem Medo de Itália Fausta?, de Miguel Magno e Ricardo de Almeida, escrito em 1979 e cuja encenação tornou-se histórica para o teatro brasileiro a partir da década de 1980. Diversos críticos saudaram a inventividade e a polêmica do espetáculo e, para alguns, ele foi considerado o precursor do Teatro Besteirol, movimento involuntário que surgiu no teatro brasileiro e que foi criador de diretrizes importantes para a cena teatral brasileira contemporânea. Palavras-chave: Teatro brasileiro, Miguel Magno, Ricardo de Almeida, Quem tem medo de Itália Fausta?, Teatro Besteirol. QUEM TEM MEDO DE ITÁLIA FAUSTA?:Irreverence and controversial in the brazilian theatrical scene of the 80’s Abstract: this article studies the spectacle Quem Tem Medo de Itália Fausta?, by Miguel Magno and Ricardo de Almeida, written in 1979 and whose staging became a historical point in the brazilian theater as from 80’s. Several critics recognize the inventiveness and the controversial of spectacle and, for some, the spectacle was considered the “Besteirol” theater’s precursors, unwitting movement that arises in the brazilian theater and which was author of relevants guidelines to the contemporaneous brazilian theatrical scene. Keywords: brazilian theater, Miguel Magno, Ricardo de Almeida, Quem tem medo de Itália Fausta?, “Besteirol” theater
Gender Differences in Human Immunodeficiency Virus (HIV) Disease Progression and Treatment Outcomes
No full textPan Afr Med J
No full textLaboratories are integral to the delivery of quality health care and for public health functions; however laboratory systems and services are often neglected in resource-poor settings such as the East African region. In order to sustainably strengthen national laboratory systems in resource-poor countries, there is a need to train laboratory personnel to work in clinical as well as public health laboratories. In 2004,Kenya, Uganda, Tanzania, and South Sudan began training public health laboratory workers jointly with field epidemiologists in the Kenya Field Epidemiology and Laboratory Training Program (FELTP), and later through the Tanzania FELTP, as a strategy to strengthen public health laboratories. These programs train laboratory epidemiologists through a two-year public health leadership development course, and also offer various types of short course training for frontline staff. The FELTP laboratory graduates in Kenya, Tanzania, Uganda, and South Sudan are working in their respective countries to strengthen public health laboratory systems while the short course participants provide a pool of frontline implementers with the capacity to support the lower tiers of health systems, as well as serve as surge capacity for the regions and the national level. Through training competent public health laboratory workers, the East African ministries of health, in collaboration with other regional partners and stakeholders are now engaged in developing and implementing a holistic approach that will guarantee an overall strengthening of the health system by using well-trained public health laboratory leaders to drive the process. Strengthening public health laboratory medicine in East Africa is critical to improve health-care systems. The experience with the FELTP model in East Africa is a step in the right direction towards ensuring a stronger role for the laboratory in public health.201122359702PMC3266675665
“Reelaboración y reescritura de la Gerusalemme Liberata en La conquista de Jerusalén por Godofre de Bullón, atribuida a Cervantes”.
No full textLa conquista de Jerusalén, an anonymous play composed before 1586 which Stefano Arata attributes to Miguel de Cervantes, borrows parts of its plot from La Gerusalemme liberata (1581), an epic poem by Torquato Tasso. My purpose is to deepen the observations that Arata already made in 1992 on the relationship between the two texts, examining the reprocessing strategies adopted by the dramatist. I will compare the sequences that show an accurate adaptation of the Italian poem, with other sequences that, in contrast, diverge from La Gerusalemme, although still taking into account the relationship between its characters (Olindo and Sofronia, Tancredi, Erminia and Clorinda). This will allow us to appreciate the dramatic skills of the author, and strenghten the hypothesis that Cervantes wrote the drama
Onderzoek van de socio - demografische factoren geassocieerd met het succes van antiretrovirale behandeling van HIV patiënten in Tanzania
No full textstatus: Publishe
Diario di guerra (1941-47) di Fausta Cialente. La memoria e il racconto
No full textIl lavoro propone un’introduzione critica e descrittiva del Diario di guerra di Fausta Cialente, un’imponente collezione di nove quaderni autografi composti in Egitto durante il Secondo conflitto mondiale. I diari restituiscono la storia degli anni di militanza antifascista in cui Cialente diventa collaboratrice della propaganda alleata e protagonista di diverse iniziative a favore della comunità italiana. La scrittura diaristica, avvicinata in occasione del coinvolgimento politico, si realizza per Cialente come un esercizio formale profondamente consapevole e direttamente funzionale all'attività politica, un eccezionale momento di confronto con il proprio immaginario e con l’organizzazione consapevole della memoria.The essay proposes a descriptive and critical introduction to Fausta Cialente «Diary of War», a collection of nine handwritten notebooks composed in Egypt during the Second World War. The diaries witness the militant anti-fascist period, when Cialente becomes collaborator of allied propaganda and protagonist of several initiatives in favour of the Italian community. The aim of articulating private diary as a political instrument, directly functional to her public activities, is a deeply aware formal exercise that forces the author to face her imaginary and to deal with self-conscious organization of memory
Spojrzeć w twarz Meduzie: Jerzy Grotowski wobec romantyzmu i mitu Fausta cz. 1. „Farsa-misterium”: Faust według J.W. Goethego, Teatr Polski, Poznań, 1960
No full textPrzedmiotem artykułu jest pierwsza z dwóch reinterpretacji mitu Fausta przez Jerzego Grotowskiego – inscenizacja Fausta według tekstu J.W. Goethego w Teatrze Polskim w Poznaniu w 1960, będąca próbą dialektycznej polemiki z romantyczną i metafizyczną wizją Goethego. Spektakl ukazuje wczesną estetykę reżysera, opisaną jako „farsa-misterium”, w której dominuje fascynacja rytuałem jako laicką formą doświadczenia religijnego. Mit Fausta jest w nim próbą konfrontacji reżysera z archetypem, którego celem jest uwolnienie energii duchowej widzów poza mitem i religią i odnowienie świadomości wspólnoty przez wzbudzenie grozy. Celem rozważań jest wykazanie, że historia Fausta ma dla Grotowskiego istotne znaczenie jako wcielenie mitu, poprzez które realizują się dążenia Grotowskiego do przełamania traumy śmierci i przekroczenia ograniczeń kondycji ludzkiej, typowe dla wrażliwości romantycznej.The subject of this paper is the first of the two re-interpretations of the myth of Faust by Jerzy Grotowski – the performance of Faust by J.W. Goethe in the Polish Theatre in Poznań (1960), in which Grotowski enters into polemics with Goethe’s romantic and metaphysical vision. The spectacle shows Grotowski’s early aesthetics called as “farce-mystery”, displaying his fascination with ritual as a performative secular alternative to religious experience. The myth of Faust shows his creative confrontation with the archetype, which aims to liberate the spiritual energy beyond religion and myth to renew the community’s sense of the sacred. The author sets out to prove that the story of Faust is of crucial significance to Grotowski as an incarnation of myth that helps him to cope with the trauma of death and go beyond the limits of human condition, which reveals his romantic sensibility.
"Le quattro ragazze Wieselberger" di Fausta Cialente: tra scrittura autobiografica e genealogia letteraria
No full textQuesto lavoro di tesi è incentrato su "Le quattro ragazze Wieselberger" di Fausta Cialente, l’opera con cui l'autrice, nel 1976, vinse il Premio Strega e concluse la sua carriera letteraria. Dopo una ricognizione generale sulla struttura del libro e sulle caratteristiche della voce narrante, si è cercato di inserire il testo nel panorama letterario italiano coevo e di indagarne il legame con la tradizione letteraria. In particolare, sono stati individuati e approfonditi i rapporti con il modello del romanzo familiare e con il genere autobiografico, oltre che con le autrici e gli autori di riferimento di Cialente. Infine, si è cercato di rileggere l’intera produzione dell’autrice, sia narrativa che giornalistica, alla luce dell’esito delle "Quattro ragazze Wieselberger", inteso come conclusivo manifesto politico e poetico di un’attività letteraria e militante decennale.
This thesis focuses on "Le quattro ragazze Wieselberger" by Fausta Cialente, the work with which the author won the Premio Strega in 1976 and brought her literary career to a close. Following a general overview of the structure of the work and the characteristics of its narrative voice, the study aims to place the text within the contemporary Italian literary scene and to investigate its relationship with literary tradition. Particular attention is given to its connections with the family narrative model and the autobiographical genre, as well as with the writers who influenced Cialente. Finally, the thesis proposes a reinterpretation of Cialente’s entire literary and journalistic production in light of "Le quattro ragazze Wieselberger", understood as the culminating political and poetic manifesto of a decades-long literary and activist engagement
- …
