7,266 research outputs found
Alberto Abruzzese, Il Manifesto, 1er juillet 1988
No full textNicoletti Giuseppe. Alberto Abruzzese, Il Manifesto, 1er juillet 1988. In: Littérature, n°78, 1990. Anatomie de l'emblème. pp. 124-125
Alberto Abruzzese, Il Manifesto, 1er juillet 1988
No full textNicoletti Giuseppe. Alberto Abruzzese, Il Manifesto, 1er juillet 1988. In: Littérature, n°78, 1990. Anatomie de l'emblème. pp. 124-125
Why are left-right spatial codes easier to form than above-below ones?
No full textPrevious studies have shown that spatial compatibility is stronger in the left-right than in the above-below dimension. This left-right dominance cannot be attributed to a better representation of the effectors in left-right than in above-below locational codes or to the fact that incompatible left-right stimulus-response pairings cross the body midline, whereas incompatible above-below ones do not. Nicoletti and Umiltà (1985) proposed that the left-right dominance should be attributed to the allocation of attention to the more difficult discrimination, which, in vision, is that concerning the left-right dimension. This attentional hypothesis was tested in the present study, in which we used the auditory modality. We reasoned that because in the auditory modality the above-below discriminations are more difficult than left-right ones, attention should be preferentially allocated to the former. Therefore, in audition an above-below dominance should replace the left-right dominance observed in vision. Experiments 1 and 2 showed a clear-cut compatibility effect in the auditory modality for both the left-right and above-below dimensions. Experiment 3 showed that spatial compatibility was still stronger for the left-right than for the above-below dimension. Since the left-right one proved to be the more discriminable dimension, this finding rules out the attentional hypothesis, at least in the version originally proposed
[Poesia] Três poemas de Alberto Secama
No full textThree poems by Alberto Secama. About the author: Alberto Secama is an Angolan poet who has poems published on many websites and on facebook:https://www.facebook.com/Xungurra/abouthttp://www.pordentrodaafrica.com/cultura/africa-em-verso-rio-kwanza-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/africa-em-verso-zong-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/coluna-africa-em-verso-o-sol-la-fora-por-alberto-secamaTres poemas de Alberto Secama. Sobre el autor: Alberto Secama es un poeta angoleño que tiene poemas publicados en varios sitios y en el facebook:https://www.facebook.com/Xungurra/abouthttp://www.pordentrodaafrica.com/cultura/africa-em-verso-rio-kwanza-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/africa-em-verso-zong-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/coluna-africa-em-verso-o-sol-la-fora-por-alberto-secamaTrês poemas de Alberto Secama. Sobre o autor: Alberto Secama é um poeta angolano que possui poemas publicados em vários sites e no facebook:https://www.facebook.com/Xungurra/abouthttp://www.pordentrodaafrica.com/cultura/africa-em-verso-rio-kwanza-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/africa-em-verso-zong-por-alberto-secamahttp://www.pordentrodaafrica.com/cultura/coluna-africa-em-verso-o-sol-la-fora-por-alberto-secam
Orizzonti mantovani. Spunti e dinamiche paesaggistiche ne L'Illustrissimo di Alberto Cantoni
No full textIn the literary production of Alberto Cantoni, short story writer and novelist between the nineteenth and twentieth centuries, the novel L'Illustrissimo is highly important both because it is the last publication of the author, from Pomponesco, a small town a few kilometers south of Mantua, both because it summarizes in a single text the different nuances and different directions that his writing has taken over the course of his literary career, also due to a writing and processing time that embraces the entire span of years of his career itself. In the foreground, in addition to the numerous and brilliant characters, one of the protagonists is the Mantuan landscape which, not a simple background, becomes a true literary parameter which in different and significant ways affects the purposes and mechanisms of the novel
Is interhemispheric transfer of visuomotor information asymmetric? Evidence from a meta-analysis
No full textMeta-analyzed 16 studies with 320 Ss, using a simple unimanual reaction time (RT) paradigm and lateralized visual stimuli, to estimate the interhemispheric transfer time in normal right-handed persons. There was a significant overall RT advantage of the left visual field over the right visual field and of the right hand over the left hand. These asymmetries can be explained in terms of the left hemisphere having direct control of only the contralateral hand through the cortico-spinal path, while the right hemisphere directly controls both hands because of a substantial contribution of the uncrossed cortico-spinal pathway. A 2nd explanation is that these asymmetries relate to an asymmetry of interhemispheric transmission of visuomotor information, with transmission from the right hemisphere to the left being faster in the reverse direction. (PsycLIT Database Copyright 1992 American Psychological Assn, all rights reserved
Plenary Session: Luis Alberto Urrea
No full texta) Plenary Session: Luis Alberto Urrea, Mexican American Chicago Writer
Luis Alberto Urrea is a 2005 Pulitzer Prize finalist for non-fiction and member of the Latino Literature Hall of Fame. He is a prolific and acclaimed writer who has used his dual-culture life border experiences to explore the complex and interconnected Mexican-US American reality. The critically acclaimed and best-selling Mexican-born author of 13 books, Urrea has won numerous awards for his poetry, fiction and essays.
Moderator: Dr. Héctor García, Loyola University Chicag
O duplo significado do sentir e do pensar nas obras de Alberto Caeiro e Descartes
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaA pretensão desta dissertação intitulada O duplo significado do sentir e do pensar nas obras de Alberto Caeiro e Descartes é investigar a relação entre o sentir e o puro pensar, usando como referência a poesia O Guardador de Rebanhos, de Alberto Caeiro, que apresenta de forma evidente o tema; e como este assunto é tratado nas Meditações Metafísicas de René Descartes, também de forma claramente visível. Podemos perceber em ambos os autores, uma diplopia, uma espécie de duplo olhar sobre a relação sentir e puro pensar. No primeiro capítulo vou falar sobre a tese do duplo olhar de Descartes, a respeito da relação sentir e puro pensar na leitura de Merleau-Ponty, salientando a visão de natureza. No segundo capítulo, parto da leitura das três primeiras Meditações Metafísicas para caracterizar a tensão que se pode verificar entre Descartes e Alberto Caeiro quando se referem ao puro pensar. O foco principal de Descartes, nas três primeiras Meditações, é o pensar puro, e neste ponto Alberto Caeiro critica o pensar puro. No terceiro capítulo, analisando as três últimas Meditações, percebe-se que há uma virada no pensamento de Descartes, no qual o autor inverte seu ponto de vista, aproximando-se da idéia de Alberto Caeiro. No quarto capítulo, mostrarei a leitura que outros autores fazem acerca do sentir e do pensar na obra de Alberto Caeiro, mostrando que assim como Descartes, este também ostenta uma diplopia, não do sentir, mas do pensar. The pretension of this work entitled O duplo significado do sentir e do pensar nas obras de Alberto Caeiro e Descartes is to investigate the relationship between the feeling and the pure thinking, using as reference the poetry O Guardador de Rebanhos, by Alberto Caeiro, that presents in an evident way this theme; and as this subject is treated in René Descartes' Metaphysical Meditations, also in a clearly visible way. It is possible to notice in both authors, the diplopy, a sort of double look about the relationship between feeling and pure thinking. The thesis about Descartes'double look regarding the relation of feeling and pure thinking, in Merleau-Ponty reading, pointing out the nature vision, will be treated in the first chapter. In the second chapter, I start from the reading of the first three Metaphysical Meditations to characterize the tension that can be verified between Descartes and Alberto Caeiro when they refer to the pure thinking. Descartes' main focus in the first three Meditations is pure thinking and, in this point, Alberto Caeiro criticizes pure thinking. In the third chapter, analyzing the last three Meditations, it is possible to notice that there is an alteration in Descartes' thought, in which the author inverts his point of view, approaching of Alberto Caeiro's idea. In the fourth chapter, I will show the reading that other authors do concerning feeling and thinking in Alberto Caeiro's work, showing that as well as Descartes, this also shows a diplopy, not of feeling, but of thinking
Appunti lombardi
No full textGli artisti affrontati in questa silloge, tutti più o meno della stessa generazione, rientrano possono essere accomunati dal fatto di indagare, ciascuno secondo il proprio modo, sui problemi del segno o della materia (o entrambi), senza rinunciare però a un aspetto di poesia. Li accomuna un approccio sensuale alla pittura (e a certa scultura), all’interno di un immaginario intimo ed esistenziale, connotato da un certo lirismo di fondo. Provare ad accostare queste esperienze in una lettura unitaria, dunque, aiuta a fare il punto di una certa situazione artistica milanese ancora da chiarire. Non basterà naturalmente riunire una serie di scritti brevi e occasionali per esaurire questo compito. Si noteranno però affinità comunicanti e motivi ricorrenti che
devono indurre a riavvicinare esperienze che in prima istanza di vorrebbe tenere separate. Nessun artista è un’isola che può essere vista a sé, chiusa nella sua poetica in-dividuale che non tenga conto di ciò che le accade attorno. Al contrario, una rete di rapporti, persino di amicizie talvolta, rende giustizia di una complessità di scambi, di un flusso di idee ed esperimenti che non può essere frazionata.
Scritti su Giancarlo Cazzaniga, Giancarlo Cerri, Sergio Dangelo, Enrico Della Torre, Renzo Ferrari, Franco Francese, Alberto Ghinzani, Elena Mezzadra, Carlo Nangeroni, Claudio Olivieri, Giancarlo Ossola, Raciti, Giancarlo Sangregorio, Ruggero Savinio, Valentino Vago, Walter Valentini, Grazia Varisco, Franco Zazzeri
Lobbying for change as a new theory and practice of active citizenship: author interview with Alberto Alemanno
No full textDo you believe that lobbying is a vehicle for representing the interests of some rather than all, meaning its actors can never be a force for good? Alberto Alemanno, author of Lobbying for Change: Find Your Voice to Create a Better Society, might convince you of the contrary. This interview with Barbara Aubin, LSE Public Affairs, reflects on the importance of engaging with our political representatives, holding them accountable and lobbying for the causes we deeply care about as fundamental elements of a healthy democracy
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