81 research outputs found
Domestication process of two Solanum (section Lasiocarpa) species among Amerindians in the Upper Orinoco, Venezuela with special focus on Piaroa indians
No full textVolpato, Gabriele, Rossella Marcucci, Noemi Tornadore, and Maurizio G. Paoletti (Department
of Biology, University of Padua, 325100 Padova, Italy; email corresponding author:
[email protected]). DOMESTICATION PROCESS OF TWO SOLANUM SECTION LASIOCARPA SPECIES
AMONG AMERINDIANS IN THE UPPER ORINOCO, VENEZUELA, WITH SPECIAL FOCUS ON PIAROA
INDIANS. Economic Botany 58(2):000–000, 2004. Two semi-cultivated Solanum species (S. sessiliflorum
Dunal and S. stramonifolium Jacq.) are utilized by the Amazonian Indians of the
Upper Orinoco Basin in Venezuela. The manner by which they have become partially domesticated
by the Piaroas and other native tribes of this rain forest region is elucidated in the
following text. Both species have two varieties, with and without prickles, the latter the result
of human selection. Patterns of indigenous utilization of these species by the selection of morphologic
forms and to the differentiation of karyotypes of varieties, and exploitation of the
species reflects also in the perception of them among users. S. sessiliflorum is cultivated in
swiddens and has an economic role, whereas S. stramonifolium is grown in dooryards. This
difference is detectable to the Piaroas, as they recognize in their folk taxonomy three different
varieties of the S. sessiliflorum and one of S. stramonifolium, this according to the stage of
domestication of the species and the way in which they are utilized
Vincoli intertestuali-intersemiotici in Naked People di A. Astvacaturov. Analisi, percezione, scelte traduttive
No full textThis study aims to continue research on cinema “intexts” (Torop 1995, It. Transl. 2010, also known as crossmedial relations (Fateeva 2007)) in Russian contemporary literture, focusing on their translation and underlining the primary importance of their analysis and function in the source text. The current research develops from previous work centered on cinema intertextuality in M. Elizarov’s novel Cartoons (Marcucci 2015a) and, secondarily, in E. Popov’s Internet novel Arbeit. A broad canvas (Marcucci 2015b). The current study follows up on this research by investigating Andrey Astvatsaturov’s novel Naked People (translated by the author) and pursuing three aims. 1. Analyze the types of intexts (which films does the author refer to? From which period? Of wich genres?) and the strategies used by the author to insert in his text references to other texts belonging to the cinema semiotic system, in which iconic signs have a primary role. 2. Explore the functions of these intexts. 3. Reflect on the operations to carry out when such texts are translated into a different linguacultural universe, specifically the Italian one. Here, the main focus will shift onto the translator’s role and task.
Ponzio, Orazio Censore, Montano, Rainaldi per la cappella Colonna in S. Giovanni in Laterano
No full textLa cappella del coro d'inverno venne costruita nell'ambito della ristrutturazione della "nave trasversa" di S. Giovanni in Laterano patrocinata da Clemente VIII (Aldobrandini, 1592-1605), intrapresa appena dopo l'elezione al pontificato. Introdotta, dal deambulatorio – poi demolito – attraverso la sagrestia dei Beneficiati, già costruita nel 1594, anche la cappella del coro d'inverno, poi anche dei Colonna, deve risalire a quegli anni. E' attribuita, in base alle parole di antichi biografi e all'analisi critica di F. Fasolo, a Girolamo Rainaldi e l'esecuzione viene ricondotta agli anni del gran contestabile del Regno di Napoli Filippo Colonna che la ebbe nuovamente in assegnazione nel 1623 per costruirvi il monumento funebre della moglie Lucrezia Tomacelli, morta l'anno prima.
La documentazione edita e quella inedita rintracciata ha dimostrato che le vicende costruttive e decorative della cappella sono state lunghe e complesse, vedendo impegnati più artisti; lo "stile" di Rainaldi riconosciuto da Fasolo è in realtà comune anche ad altri artisti attivi negli stessi anni o poco prima, come Flaminio Ponzio, ricordato quale architetto della basilica nel 1597 in una annotazione di G. Zander e redattore di una stima sui lavori eseguiti nella cappella del 1613, dalla quale si sa che l'opera architettonica e decorativa era in quell’anno in gran parte eseguita.
Alla cultura di maestranze dell’entourage di Montano si è attribuito il progetto del coro ligneo per i canonici, di cui si è scritto nel commento al saggio precedente; Orazio Censore, noto fonditore di metalli, è richiamato da Baglione come autore della cappella – ma probabilmente solo per le numerose opere bronzee che la decorano -; Girolamo Rainaldi fu probabilmente solo l'autore della fase finale di completamento di opere impostate da altri, ma che hanno indotto la storiografia ad individuare e ricercare uno "stile" rainaldesco in più architetture del periodo.
The winter choir chapel was built within restoration of the “transverse nave" of the Basilica of St. John Lateran sponsored by Clement VIII (Aldobrandini, 1592-1605), which he started as soon as he became Pope. Connected through the ambulatory – then demolished – to the Sacristy of the Beneficiaries, already built in 1594, the winter choir chapel – named also the Colonna chapel later on – must date back to those years, too. In accordance with old biographers and the critical analysis of F. Fasolo, it was ascribed to Girolamo Rainaldi while the erection was related to the years of the Grand Constable of the Kingdom of Naples Filippo Colonna, to whom it was assigned again in 1623 for building in there a memorial of his wife Lucrezia Tomacelli, dying the year before.
Pursuant to both the published and unpublished documentation found, the construction and decoration aspects of the chapel were long and complex, with several artists at work; the "style" of Rainaldi, recognised by Fasolo, was in fact shared by other artists operating in those years or a little earlier, too, such as Flaminio Ponzio, mentioned as architect of the Basilica in 1597 in a note by G. Zander, and author of a survey on the works carried out at the chapel in 1613, through which it is known that the architectonic and decorative work was almost finished in that year.
The project of the wooden choir for canons was assigned to the workers from the Montano entourage; that project was mentioned in the commentary to the previous essay; Orazio Censore, well-known caster of metals is recalled by Baglione as the creator of the chapel, probably just for the numerous bronze works decorating it; Girolamo Rainaldi is likely to have carried out just the final phase, the completion of works planned by others, nevertheless inducing historiographers to identify or look for the Rainaldi style in several architectures of the period
Controlling resonant surface modes by arbitrary light induced optical anisotropies
No full textIn this work the sensitivity of Bloch Surface Waves to laser-induced anisotropy of azo-polymeric thin layers is expe rimentally shown . The nanoscale reshaping of the films via thermal-Scanning Probe Lithography allows to couple light to circular photonic nanocavities, tailoring on-demand resonant BSW confined within the nanocavity
Polarization-driven reversible actuation in a photo-responsive polymer composite
No full textLight-responsive polymers and especially amorphous azopolymers with intrinsic anisotropic and polarization-dependent deformation photo-response hold great promises for remotely controlled, tunable devices. However, dynamic control requires reversibility characteristics far beyond what is currently obtainable via plastic deformation of such polymers. Here, we embed azopolymer microparticles in a rubbery elastic matrix at high density. In the resulting composite, cumulative deformations are replaced by reversible shape switching – with two reversible degrees of freedom defined uniquely by the writing beam polarization. We quantify the locally induced strains, including small creeping losses, directly by means of a deformation tracking algorithm acting on microscope images of planar substrates. Further, we introduce free-standing 3D actuators able to smoothly undergo multiple configurational changes, including twisting, roll-in, grabbing-like actuation, and even continuous, pivot-less shape rotation, all dictated by a single wavelength laser beam with controlled polarization
Čechov autore per bambini? Note su Kaštanka in Italia. Traduzioni, riscritture, adattamenti
No full textThe article looks into the Italian versions of Kashtanka by Anton Chekhov,
which he defined “a tale for children”, one of the few examples in his literary
production aimed to a young audience. During the XX century in Italy the book
had a huge success and was translated and published more than 10 times. The
first part of the article briefly introduces the historical context of the text, its role
in Chekhov’s production, and discusses the possibility to consider Chekhov a
writer for children. The second part deals with the translations, rewritings and
adaptations of the short story into Italian; attention is paid to the translation of
the proper names and to some lexical and syntactical observations about the first
lines of the tale. Some brief reflections are presented also about the illustrations
and other paratextual elements of the books. The author draws some conclusions about the reasons for Kashtanka’s success in Italy in the broader context of Russian children’s literature translated into Italian throughout the previous century
Come incontrai Čechov di Ivan Šmelëv. Una memoria tra allusione e metatesto
No full textHow I met Chekhov by Ivan Shmelyov. A memoir between allusion and metatext
Marco Sabbatini
For several reasons, Ivan Shmelyov’s writing is strongly linked to the prose of Anton Chekhov. During the exile in Paris, Shmelyov focuses his reflections on Chekhov, offering a peculiar portrait of the writer in the trilogy How I Met Chekhov (Kak ja vstrechalsya s Chekhovym, 1934). The author uses a hybrid narrative form, oscillating between memoir and short narrative essay. The autofiction interferes here with Chekhov’s short stories. In this way, Shmelyov deliberately reproduces Chekhov’s style, he intends to pay homage to his prose master and affirm his own writing in the sign of the realist tradition, in which emerges an inclination towards irony. This article will highlight Shmelyov’s narrative strategies through these autobiographical memoirs, above all through The Merry Marriage, the last story in the trilogy, which stands out for its metatextual implications and allusions to marriage as a recurring motif in Chekhov’s repertoire.
Keywords: Chekhov, Shmelyov, non fiction prose, emigratio
Nomenclatural correction in Cryptanthus Otto & A. Dietrich. (Bromeliaceae - Bromelioideae)
No full textAbstract Nomenclatural correction in Cryptanthus Otto & A. Dietrich. (Bromeliaceae - Bromelioideae). A nomenclatural correction of the author name of Cryptanthus zonatus, an endemic species of Northeastern Brazil, is provided. A new synonym of this species is also proposed
Jahier interventista: il ruolo di Claudel e Proudhon
No full textPiero Jahier’s ‘interventismo’: the role of Claudel and ProudhonThis essay addresses Piero Jahier’s interventionism within the broader context of Italian Modernism. Jahier’s works – from the early articles appeared on La Voce up to Con me e con gli alpini – is investigated through the lens of the religious background of the author. In doing so, the article emphasizes the role played by two French authors, Paul Claudel and Pierre-Joseph Proudhon, in affecting Jahier’s stance on WWI. It argues that Jahier draws on Claudel’s and Proudhon’s work to shape the theoretical foundation of his interventionism. In Con me e con gli alpini, the echo of voices such as Claudel’s and Proudhon’s interacts with Jahier’s religious education, and gives a significant example of the interplay between Italian and French culture at the beginning of 20th century
Generic injectivity of the Prym map for double ramified coverings
No full textIn this paper we consider the Prym map for double coverings of curves of genus ramified at points. That is, the map associating to a double ramified covering its Prym variety. The generic Torelli theorem states that the Prym map is generically injective as soon as the dimension of the space of coverings is less or equal to the dimension of the space of polarized abelian varieties. We prove the generic injectivity of the Prym map in the cases of double coverings of curves with: (a) , and (b) . In the first case the proof is constructive and can be extended to the range . For (b) we study the fibre along the locus of the intermediate Jacobians of cubic threefolds to conclude the generic injectivity. This completes the work of Marcucci and Pirola who proved this theorem for all the other cases, except for the bielliptic case (solved later by Marcucci and the first author), and the case considered previously by Nagaraj and Ramanan, and also by Bardelli, Ciliberto and Verra where the degree of the map is 3 . The paper closes with an appendix by Alessandro Verra with an independent result, the rationality of the moduli space of coverings with , whose proof is self-contained
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