1,720,995 research outputs found
The opportunity (and legitimacy) of a new life. Food for thought dancing to the tune of «submission» by Michel Houellebecq
No full textThe novel «Submission» can be read as the history of a conversion, the human path of a dissatisfied man who finds again ' through a conversion ' taste and hope in life and a dimension of equilibrium within the dynamics of existence. Reading the novel, the jurist can reflect on some issues concerning the relationship between the old and the new belonging of the converted faithful, the legitimacy of the proselytism and the validity of a purely formal act of conversion
L'impatto della pandemia da Covid-19 sulla libertà di culto in Svizzera, con particolare riferimento alla Repubblica e Cantone Ticino
No full textCanon Law between Analog and Digital: Intercultural Constructivism, Intangible Heritage and the Legal Imagination of the Catholic Tradition
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Il presidente del Consiglio dei ministri, la Chiesa e il Vaticano: relazioni e strumenti
No full text1. Introduzione; 2. L’articolo 95 della Costituzione e la politica ecclesiastica; 3. Le Commissioni aventi competenza in materia ecclesiastica e di libertà religiosa istituite presso la presidenza del Consiglio dei ministri; 4. Considerazioni conclusiv
Human Dignity in the Vatican City
No full textWhile Vatican law does mention human dignity, the values thereof are found in canonical law. Canon law establishes that true equality regarding dignity and action among the faithful by providing plurality activities in which the Church can operate. One of the Church's goals is to elevate human dignity to create cohesion of social order. The Church's Magisterium affirms the dignities of each person's rights while rejecting acts which violate human integrity. Canon law and the Church's Magisterium are recognised as limiting the exercise of legislative power of the State. These sources create a general theory of human rights for the Vatican to ensure justice regardless of culture, religion and ideology. It can be assumed, though, that freedom of rights of Vatican citizens can be limited from the need to safeguard Vatican public order
Dalla dialettica "Auctoritas-Veritas" all’intangibilità della dignità umana. Uno schizzo sullo sviluppo del diritto moderno nel processo di secolarizzazione
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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