3,710 research outputs found
Alessandro Manzoni, I promessi sposi : Testo del 1840-1842, a cura di Teresa Poggi Salani, Milano, Centro Nazionale Studi manzoniani, 2013, [presentazione di Angelo Stella], pp.1264
No full textLa recensione si sofferma sulla novità metodologica del commento di Teresa Poggi Salani ai "Promessi sposi" di Alessandro Manzoni, considerando le annotazioni di carattere linguistico e strutturale ad alcuni episodi del romanzo
Conflict and multimodal communication. Social research and machine intelligence.
No full textThis book explores the use of technology to detect, predict and understand social cues, in order to analyze and prevent conflict. Traditional human sciences approaches are enriched with the latest developments in Social Signal Processing aimed at an automatic understanding of conflict and negotiation. Communication—both verbal and non-verbal, within the context of a conflict—is studied with the aim of promoting the use of intelligent machines that automatically measure and understand the escalation of conflict, and are able to manage it, in order to support the negotiation process. Particular attention is paid to the integration of human sciences findings with computational approaches, from the application of correct methodologies for the collection of valid data to the development of computational approaches inspired by research on verbal and multimodal communication.
In the words of the trade unionist Pierre Carniti, "We should reevaluate conflict, since without conflict there is no social justice."
With this in mind, this volume does not approach conflict simply as an obstacle to be overcome, but as a concept to be fully analyzed. The philosophical, linguistic and psychological aspects of conflict, once understood, can be used to promote conflict management as a means for change and social justice
A imagem de Alessandro Baricco no Brasil
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Com a intenção de delinear o modo pelo qual o escritor italiano Alessandro Baricco se inseriu no sistema literário brasileiro e os caminhos percorridos pelos seus livros traduzidos, esta dissertação dá voz às experiências tradutórias de seus tradutores. A inserção de Bariccono Brasil tem seu início em 1997, através de uma proposição da Profa. Dra. Roberta Barni à editora Iluminuras da tradução de Oceano Mare. A partir daí, outras sete obras foram publicadas no Brasil, sendo três delas traduzidas por Roberta Barni e as outras quatro por quatro tradutores diferentes. De um lado, considera-se o tradutor como figura principal namediação entre culturas, e, de outro, se analisa a realidade desta figuradentro do sistema literário, sua invisibilidade, seus limites e o exercíciode sua profissão. A pesquisa conta, ainda, com críticas e resenhas referentes ao autor italiano publicadas em jornais consagrados no Brasil, considerando estas como parte constituinte da imagem de Baricco refletida em território nacional. Abstract : Intending to delineate the way the Italian writer Alessandro Baricco has been inserted in the Brazilian literary system and the paths his translated books have followed, this thesis gives voice to the translating experiences of his translators. Baricco's insertion in Brazil began in 1997, through a personal project of Dr. Roberta Barni, with her translation of Oceano Mare. Since then, seven other of his works have been published in Brazil, three of which were translated by Roberta Barni and the other four by four different translators. On the one hand,the translator is considered as the main figure in mediation betweencultures and, on the other, this figure's reality is analyzed within theliterary system: its invisibility, its limits and its professional practice. Criticisms and reviews of this Italian author published in well established Brazilian newspapers are also considered, with the understanding that they are part of Baricco's image reflected here
Energy rehabilitation of existing, historical, not monumental buildings: the case of the high performance retrofitting of the CRE in Chivasso
No full textsj-docx-1-art-10.1177_02762374231180393 - Supplemental material for Ethos Theory of Music: Toward An Empirical Confirmation Through Moral Foundations Theory
No full textSupplemental material, sj-docx-1-art-10.1177_02762374231180393 for Ethos Theory of Music: Toward An Empirical Confirmation Through Moral Foundations Theory by Alessandro Ansani, Lisa Giombini, Isabella Poggi, and James O. Young in Empirical Studies of the Arts</p
Forte, piano, crescendo, diminuendo: gestures of intensity in orchestra and choir conduction
No full textStarting from the hypothesis that the signals used in conducting are systematic and shared, so as to make up a lexicon, this work finds out and analyses 23 gesture types, and 11 values in their parameters, that within the body signals of choir and orchestra conductors convey intensity indications: piano, forte, crescendo, diminuendo. The gestures selected from a corpus of concerts and rehearsals are analysed through an annotation scheme that describes the body signals soliciting dynamic action, their precise meanings, and the semiotic devices used; for example, enlarging arms progressively, by representing something growing in width, evokes a crescendo: an iconic resemblance with transposition across modalities, where amplitude is transposed from the visual to the auditory domain
The lexicon of the conductor’s gaze
No full textThis work presents two studies investigating the existence of a lexicon of gaze in conducting, and its possible different mastery in musicians and laypeople. An observational qualitative study singled out 17 items of gaze used by Conductors in music rehearsal and concert, conveying interactional, affective and musical meanings to musicians in the ensemble, and exploiting four semiotic devices: the Conductor may use the same gaze types as laypeople and with the same meaning (generic codified), or with meaning more specific of musical performance (specific codified), and directly or indirectly iconic gaze items. In a subsequent perceptual study, 8 of the gaze items singled out were submitted to 177 between musicians and naïf subjects asking them to interpret their meanings through open and closed questions. Results show that some gaze items, especially those conveying intensity (piano, forte) and other technical indications (high note, attack) are fairly recognized; yet, no significant differences result between expert and naïf subjects. Gaze constitutes a lexicon also in music performance and exploits the same semiotic devices as gaze in everyday life
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