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Funzioni semantiche e metatestuali della musica in Dante, Petrarca e Boccaccio : recensione di M. Cerocchi’s
No full textLa pugna spiritualis : una chiave per l’interpretazione del canto II dell’«Inferno»
Get PDFThe purpose of this article is to analyze the 2nd canto of the Inferno through the metaphor of 'pug spiritualis' (cfr. Inf. 2.1-6). In the christian tradition, 'pugna spiritualis' is the drama of liberty when it is faced with the decision between following or refusing the announcement of a Christian life. This parallel perfectly fits into the narrative development of the 1st and 2nd cantos, where Virgil assists the pilgrim who had been lost, and announces to him a «new life». To become 'agens' Dante has to give an affirmative answer to Virgil. Nonetheless, he is dominated by vileness, a spiritual attitude that – as a passage of the 'Convivio' 4.7 explains – has the result of blocking any reasonable behavior. Given these considerations, I could realize that Dante needs fortitude, the virtue with which the pilgrim is able to follow the rightness of reason and that indicates the necessary steps to take in order to reach its own destiny, defying the vileness that is stopping him. Only through the strength of this virtue, sustained by the company of Virgil, Dante can overcome all threats. This representation of the ethical theme allows me to outline, at the end of my article, the novelty of Dante’s poetry compared to the allegorical tradition this poem comes from
SULLA LOTTA INTERIORE DEL PETRARCA: UN PERCORSO CRITICO TRA FAMILIARES, SECRETUM, CANZONIERE E TRIONFI.
No full textThis dissertation proposes a critical analysis of the theme of the inner struggle in Petrarch's "Familiares", "Secretum", "Canzoniere" and "Trionfi". The first chapter traces the origin of this theme back to the theological discourses of Saint Paul's "Letters" and Augustine's "Confessions". In the second chapter, the analysis of Petrarch's epistolary shows the fluctuating attitude of the author as regard the inner struggle with respect to the theological discourse of the Christian tradition: on one hand, Petrarch moves in the footsteps of Paul and Augustine; on the other, he provides a spiritual interpretation of their theology. This interpretation finds its theoretical framework in classical authors. Along with Augustine, in fact, Cicero becomes a crucial figure in the “Secretum”, when Petrarch describes the inner struggle as the conflict between reason and passions (chapter three). The double reference to Cicero and Augustine leads Petrarch to reflect upon the ambivalent value of passions by combining the stoic understanding of emotions with the Christian’s one both in the “Canzoniere” and in the “Trionfi” (chapters four and five). In conclusion, the theme of the inner struggle allows to delineate Petrarch’s peculiar reception and translation of the tradition, both classical and Christian, and to reflect upon his pivotal role in the light of the passage from the Middle Ages to Humanism
New enteric-coated high-lipase pancreatic extract in the treatment of pancreatic steatorrhea
No full textWe studied a new enteric-coated pancreatic extract with very high lipase content in 12 patients with steatorrhea due to chronic pancreatitis. Fecal fat was measured under standard dietary conditions (100 g lipid/day) with no enzyme supplementation and during treatment with 75,000, 150,000, or 225,000 IU of lipase per day. The median fecal fat output (g/day) was significantly (p < 0.005) lower after each increase in dosage: basal, 20.5 (range, 10.3-92.2); 3 cps/day at meals, 13.3 (6.4-38.2); 6 cps/day, 9.9 (4.8-31.4); 9 cps/day, 7.3 (2.6-17.3). For the five patients with a basal fecal fat output of < 15 g/day, steatorrhea was totally corrected by 3 cps a day. Of the seven patients with more severe steatorrhea, the fecal fat output of only two was not normalized with the highest dose of 9 cps/day: for one it was reduced to 13.3 g/day from a basal of 92.2 g/day and for the other to 17.3 g/day from 25.4 g/day. This pilot study demonstrates that the tested pancreatic extract very effectively corrects pancreatic steatorrhea in a simple low-dose regimen. Good compliance can be expected
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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