1,721,045 research outputs found
Sur les dimensions de l'histoire militaire
No full textPieri Piero. Sur les dimensions de l'histoire militaire. In: Annales. Economies, sociétés, civilisations. 18ᵉ année, N. 4, 1963. pp. 625-638
Les relations entre gouvernement et commandement en Italie en 1917
No full textPieri Piero. Les relations entre gouvernement et commandement en Italie en 1917. In: Revue d’histoire moderne et contemporaine, tome 15 N°1, Janvier-mars 1968. pp. 133-148
Casanova. L’eroe libertino e il teatro dell’autobiografia
No full textLontano dall’interesse divulgativo per il Casanova seduttore, Pieri analizza il ruolo dell’intellettuale inserendolo nel gran teatro della modernità pre-illuminista e illuminista. Nella sua opera Casanova spesso ordisce una trama fitta di eclettismi disciplinari conformi ai gusti arditi dell’epoca, come in Histoire de ma vie, metafora testuale di un mito personale che l’avventuriero della penna elaborò in accordo col canone settecentesco dell’autobiografia. Discutendo la funzione ideologica dell’amour-propre, con cui Casanova autorizza la lettura delle sue memorie come un’avventura limpidamente cinica dello spirito libertino, lo studio discute la ricorrente contrapposizione all’opera di Rousseau e Voltaire, e l’adesione a un’idea moderna di autobiografia, in quegli anni ripresa anche da Alfieri. Adottando una tecnica del racconto che mescola confessione autentica, narrazione romanzesca e scena teatrale, Casanova finisce per conseguire una scrittura personalissima e impudente, spesso incline alla dichiarazione mendace, come risulta dall’analisi dei quattro dialoghi con Caterina di Russia presenti nell’Histoire de ma vie, dei quali Pieri, confutando le precedenti interpretazioni, fornisce le prove di una scrittura propensa al gusto della bugia meravigliosa. Non manca uno studio sul D’Annunzio del Piacere, che individua frequenti calchi presi dall’autobiografia casanoviana
"La fiaccola sotto il moggio" in Corazzini, Moretti, Palazzeschi e Govoni. La sorprendente alleanza crepuscolare di D'Annunzio
No full textUnconformity-Bounded Stratigraphic Units Mapping The Terraced Marine Deposits of the Ionian Coast. The Case Study of the Foglio 508 "Policoro", scale 1:50.000 (Southern Italy)
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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
Ultime notizie da Matera: Tempa Rossa non é un vulcano! Rudimenti di geologia per turisti in visita ai Sassi e al Parco della Murgia materana
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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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