235 research outputs found
Structural and functional properties of the 34kDa fragment produced by the N-terminal chymotriptic cleavage of GSTP1-1
No full text-Limited proteolysis of glutathione transferase P1-1 (GSTP1-1) by chymotrypsin generates a 34-kDa GSTP1-1 fragment (a dimer of the 17-kDa subunit composed by residues 48-207) containing the whole C-terminal domain and a part (about 15%) of the N-terminal domain (residues 48-76, i.e., the structural elements beta 3, beta 4, and alpha C). The structural and functional properties of this large fragment have been investigated by analyzing its binding properties to 2-p-toluidinylnaphthalene-6-sulfonate (TNS) extrinsic probe, the TNS displacement technique, and the molecular modeling approach. The results obtained indicated that the 34-kDa GSTP1-1 fragment maintains an hydrophobic pocket with the same structural properties of the corresponding GSTP1-1 hydrophobic binding site. In addition, the 34-kDa GSTP1-1 binds a number of hydrophobic compounds such as 1-chloro-2,4-dinitrobenzene, hemin, and bilirubin with the same affinity of the native enzyme. Being structurally and functionally autonomous, this fragment, mostly constituted by domain II, appears as an independent folding unit in the protein. Nevertheless, in the entire native protein, interdomain interactions occur and are responsible for the major solvent exposure of the H-site in the presence of glutathion
Don Giuseppe De Luca tra Croce e Papini. A proposito di un recente carteggio
No full textLa pubblicazione del carteggio tra don Giuseppe De Luca e Benedetto
Croce per le delucane Edizioni di Storia e Letteratura ha fornito un importante contributo
alla riflessione storica relativa ai rapporti tra mondo laico e mondo cattolico in Italia tra anni Venti e Quaranta del Novecento. Quella che emerge è soprattutto la lettura che ne
diede il «prete romano», per intendere la quale occorre però fare anche ricorso, oltre
che ai suoi scritti, agli epistolari coevi del sacerdote e in particolare allo scambio
intrattenuto per circa trent’anni con lo scrittore Giovanni Papini. Emergono così
le ragioni per le quali De Luca considerò complementari due protagonisti della
cultura italiana antitetici e in profondo dissidio tra loro. Dietro questo atteggiamento
stava l’ammirazione del sacerdote per entrambi, ma anche il suo duplice progetto
di emulare l’azione culturale di Croce per elevare il livello degli studi religiosi e
avviare un dialogo costruttivo tra cultura laica e cattolica. Il carteggio dimostra
quanto in realtà questo dialogo fosse difficile, anche quando condotto sul piano elevato
degli studi eruditi.The publication of the correspondence between Rev. Giuseppe De Luca and the philosopher Benedetto Croce has contributed significantly to the historical appraisal of the relationship between secular and catholic circles in Italy from the '20s to the '40s. The main thread lies in the views of the "roman priest", that can be fully understood by making reference not only to his writings but also to the parallel correspondence entertained for about thirty years with author Giovanni Papini. Thus the reasons emerge why De Luca could consider as complementary two figures in the Italian culture of the time that were otherwise incompatible and deeply opposed to one another. Not only did De Luca admire both but he aimed at the twin goals of emulating Croce's cultural action in order to raise the standards of religious studies and launching a constructive dialogue between catholic and secular cultures. The correspondence shows however how difficult such a dialogue would be, even when limited to scholarly studies
Correction to: Diffusion, outcomes and implementation of minimally invasive liver surgery: a snapshot from the I Go MILS (Italian Group of Minimally Invasive Liver Surgery) Registry (Updates in Surgery, (2017), 69, 3, (271-283), 10.1007/s13304-017-0489-x)
No full textA technical error led to incorrect rendering of the author group in this article. The correct authorship is as follows: Luca Aldrighetti, Francesca Ratti, Umberto Cillo, Alessandro Ferrero, Giuseppe Maria Ettorre, Alfredo Guglielmi, Felice Giuliante, Fulvio Calise on behalf of the Italian Group of Minimally Invasive Liver Surgery (I GO MILS) The collaborators are: Raffaele Dalla Valle, AOU Parma, Parma; Vincenzo Mazzaferro, Istituto Nazionale Tumori, Milano; Elio Jovine, Ospedale Maggiore, Bologna; Luciano Gregorio De Carlis, Ospedale Niguarda Ca’ Granda, Milano; Ugo Boggi, AOU Pisana, Pisa; Salvatore Gruttadauria, ISMETT, Palermo; Fabrizio Di Benedetto, AOU Policlinico di Modena, Modena; Paolo Reggiani, Ospedale Maggiore Policlinico, Milano; Stefano Berti, Ospedale Civile S.Andrea, La Spezia; Graziano Ceccarelli, Ospedale San Donato, Arezzo; Leonardo Vincenti, AOU Consorziale Policlinico, Bari; Giulio Belli, Ospedale SM Loreto Nuovo, Napoli; Guido Torzilli, Istituto Clinico Humanitas, Rozzano; Fausto Zamboni, Ospedale Brotzu, Cagliari; Andrea Coratti, AOU Careggi, Firenze; Pietro Mezzatesta, Casa di Cura La Maddalena, Palermo; Roberto Santambrogio, AO San Paolo, Milano; Giuseppe Navarra, AOU Policlinico G. Martino, Messina; Antonio Giuliani, AO R.N. Cardarelli, Napoli; Antonio Daniele Pinna, Policlinico Sant’Orsola Malpighi, Bologna; Amilcare Parisi, AO Santa Maria di Terni, Terni; Michele Colledan, AO Papa Giovanni XXIII, Bergamo; Abdallah Slim, AO Desio e Vimercate, Vimercate; Adelmo Antonucci, Policlinico di Monza, Monza; Gian Luca Grazi, Istituto Nazionale Tumori Regina Elena, Roma; Antonio Frena, Ospedale Centrale, Bolzano; Giovanni Sgroi, AO Treviglio-Caravaggio, Treviglio; Alberto Brolese, Ospedale S.Chiara, Trento; Luca Morelli, AOU Pisana, Pisa; Antonio Floridi, AO Ospedale Maggiore, Crema; Alberto Patriti, Ospedale San Matteo degli Infermi, Spoleto; Luigi Veneroni, Ospedale Infermi AUSL Romagna, Rimini; Giorgio Ercolani, Ospedale Morgagni Pierantoni, Forlì; Luigi Boni, AOU Fondazione Macchi, Varese; Pietro Maida, Ospedale Villa Betania, Napoli; Guido Griseri, Ospedale San Paolo, Savona; Andrea Percivale, Ospedale Santa Corona, Pietraligure; Marco Filauro, AO Galliera, Genova; Silvio Guerriero, Ospedale San Martino, Belluno; Giuseppe Tisone, Policlinico Tor Vergata, Roma; Raffaele Romito, AOU Maggiore della Carità, Novara; Umberto Tedeschi, AOU Integrata Verona, Verona; Giuseppe Zimmitti, Fondazione Poliambulanza, Brescia. © 2017, Italian Society of Surgery (SIC)
«[...] e il tuo sonno di sogno sarà realizzato». Lettura de La sirena di Giuseppe Tomasi di Lampedusa.
No full textIl contributo è una lettura del racconto La Sirena di Giuseppe Tomasi di Lampedusa analizzato nella sua struttura dualistica, basata cioè sull’opposizione di temi e motivi contrastivi attraverso i quali l’Autore fa emergere con maggiore evidenza la dimensione a lui più congeniale, quella del Mito, la cui epifania risulta essere ancora possibile nella Sicilia del tempo del racconto grazie al manifestarsi di Lighea, figlia di Calliope, la sirena che consente al protagonista Rosario La Ciura di sperimentare la realtà ancestrale delle divinità pagane della Grecia arcaica. Questa esperienza porterà il protagonista del racconto a rifiutare la realtà umana, segnata da un inevitabile destino di morte, e a scegliere alla fine della sua vicenda esistenziale l’eternità e la pienezza vitale della realtà mitica accogliendo l’invito di Lighea a raggiungerla abbandonandosi all’immensità del mare.The contribution is a reading of the short story The Siren by Giuseppe Tomasi di Lampedusa analyzed in its dualistic structure, based on the opposition of contrasting themes and motifs through which the Author brings out with greater evidence his most congenial imension, the Myth, whose epiphany is still possible in Sicily at the time of the story thanks to the manifestation of Lighea, daughter of Calliope, the siren who allows the protagonist Rosario La Ciura to experience the
ancestral reality of the pagan deities of archaic Greece. This experience will lead the protagonist of the story to reject human reality, marked by an inevitable destiny of death, and to choose at the end of his existential experience the eternity and vital fullness of mythical reality by accepting Lighea’s invitation to reach it by abandoning himself to the immensity of the sea
L'ultima lezione romana di Giorgio Peyrot
No full textIl saggio, partendo dall'ultima lezione romana di Giorgio Peyrot, ripercorre i tratti salienti del contributo dell'Autore allo sviluppo del Diritto ecclesiastico italiano con particolare riferimento al profilo della libertà religiosa delle confessioni di minoranza.The essay – that reproduces the paper read at the Conference of study in honor of Giorgio Peyrot, held in Genoa on 8-9 April 2011 – traces the contribution provided by the Author to the science of ecclesiastical law especially in matters of religious freedom of religious minorit
Giuseppe Tartini’s “Devil’s Trill” Sonata: An Arrangement and Recording for Solo Violin
No full textabstract: This document is comprised of an arrangement and recording of Giuseppe Tartini’s “Devil’s Trill” Sonata for solo violin, and includes historical background, an exploration of Italian ornamentation, and a structural analysis. The original work was written for violin and basso continuo. The author was inspired to create this arrangement for solo violin based on accounts that Tartini liked to perform this work unaccompanied.
The first three chapters focus on events from Tartini’s early life that influenced his compositional style. Chapters four and five provide an overview of Italian ornamentation, and explore five documents that were used to support decisions in creating the arrangement: Giovanni Luca Conforto’s The Joy of Ornamentation; Giuseppe Tartini’s Traité des Agréments de la Musique; Letter to Signora Maddalena Lombardini; Regole; and L’Arte dell Arco. Chapter six provides a structural analysis of the Sonata. The appendices illustrate the process of creating the arrangement.
The arrangement takes into consideration the composite of the original solo and basso continuo parts. In addition, a set of realized ornaments is provided on an ossia staff. The recording includes both the primary arrangement, presented in each initial section, as well as the realized ornaments, presented in each repeated section.Dissertation/ThesisTartini "Devil's Trill" Sonata: Movement ITartini "Devil's Trill" Sonata: Movement IIITartini "Devil's Trill" Sonata: Movement IIDoctoral Dissertation Music 201
Uma leitura do afresco "A árvore de Jessé", de Giuseppe Arcimboldo: articulações simbólicas numa perspectiva interdisciplinar
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-graduação em Ciências Humanas, Florianópolis, 2013.Esta pesquisa consiste numa análise dos simbolismos presentes no afresco de Giuseppe Arcimboldo intitulado "A Árvore de Jessé", artista milanês do século XVI, famoso por suas obras compostas. Nesta investigação será apresentada uma hipótese que permite ampliar o olhar sobre essa obra a partir da percepção de uma cabeça composta. A problemática investigada consiste na significação da obra a partir das escolhas feitas pelo artista em termos de linguagem pictórica e simbólica, na articulação de conceitos e ideias, visando responder à pergunta: o que essa obra que abrange duas imagens e seus símbolos inter-relacionados pode significar? A perspectiva teórica utilizada concebe os símbolos como parte do mundo imaginário , com suas raízes no inconsciente coletivo. O objetivo principal visa realizar uma interpretação possível da referida obra, analisando os símbolos presentes que faziam parte do imaginário da sociedade européia daquele período. E como objetivos específicos: aprofundar o conhecimento sobre a significação na pintura com relação à interpretação de simbolismos; e contribuir no campo de estudos sobre a criação pictórica de Arcimboldo. Foram incluídos elementos extra-pictóricos abrangendo o seu contexto de surgimento, numa perspectiva metodológica que se aproxima da de Panofsky, mas à qual foi acrescentada a identificação de formas perceptíveis e uma análise dos símbolos. Os procedimentos utilizados foram: pesquisa bibliográfica sobre o artista, seu contexto e os significados de mitos e símbolos segundo o método comparativo; pesquisa e trabalho com imagens; e observações à obra em uma reprodução e in loco na Catedral de Monza. A obra é abordada de diferentes ângulos, buscando o desenvolvimento de um olhar multifocal com contribuições de diversas disciplinas das ciências humanas. A imagem da árvore veicula significados que lhe foram atribuídos por diferentes tradições, agrupados neste trabalho em 10 categorias de análise e mais uma abrangendo as demais. Para a leitura desta imagem dupla propõe-se aqui o conceito de âncora da imagem. Os diversos símbolos direcionam para significados coincidentes, cuja recorrência condiz com o pensamento mágico da época voltado para a busca de correspondências entre os elementos da natureza e o homem visando encontrar uma unidade harmônica Abstract: The present research is an analysis of symbolisms in the fresco entitled Tree of Jesse painted by G. Arcimboldo, a XVI century artist from Milan, famous for his composite works. This thesis presents a hypothesis that allows for the broadening look at this fresco from the perception of a composite head. The investigated problem consists in the meaning of the work from the choices made by the artist in terms of pictoric and symbolic language, in the articulation of concepts and ideas, aiming at answering the following question: What can this work (which comprises two images and their interrelated symbols) mean? From the theoretical perspective drawn upon, the symbols are part of the imaginary world, with its roots in the collective unconsciousness. The main purpose aims at a possible interpretation of this fresco, analyzing its symbols which were part of the European society of that time. The specific objectives are to further the understanding of the painting in terms of interpretation of its symbolisms and of Arcimboldo´s pictoric creation. Extra-pictoric elements were included such as the context where the fresco was produced, in a methodological perspective resembling that of Panofsky, but also adding the identification of perceptible forms and an analysis of the symbols. The procedures were: bibliographic search about the author, his context and the meanings of myths and symbols as proposed in the comparative method; research and work with images; and observation of a copy of the work and of the original fresco at the Monza Cathedral. The fresco is studied from different angles, with an attempted multifocal look drawing on several disciplines from the Human Sciences. The image of the tree conveys meanings attributed to it by different traditions, grouped in this thesis under 10 categories of analysis and an additional one comprising all the others. For the reading of the double image the concept of anchor image is proposed. The diverse symbols are directed towards coincidental meanings whose occurrence is aligned with the magic thought of that time, with the search for congruity between elements of nature and man aiming at finding a harmonious unity
Use of different numerical models to evaluate the robustness of reinforced concrete frame structures
No full textAccording to Comitè Europèen de Normalisation, robustness is the ability of a structure to withstand events like fire, explosions, impact or the consequences of human error, without being damaged to an extent disproportionate to the original cause. Avoiding the progressive collapse of a building in presence of accidental loading conditions is one of the challenges for the designers. The tie-force method is actually one of the most used design techniques for resisting progressive collapse, whereby a statically indeterminate structure is designed with reference to local simplified models determined in accordance to the failure mode considered. In this work a computational study of a reinforced concrete frame is presented. The structure studied is a beam-column assembly which represents a portion of the structural framing system of a ten-story reinforced concrete frame building and is subjected to distributed loads and to monotonically increasing vertical displacement of the centre column to simulate a column removal scenari
Unknown artworks and further considerations regarding Paolo de Matteis, Giuseppe Simonelli, Lorenzo Ruggi and other followers of Luca Giordano
No full textCientos de pinturas napolitanas de los siglos XVII y XVIII han sido generalmente atribuidas a la escuela de Luca Giordano, quien tuvo un largo número de alumnos cuyos nombres han sido transmitidos por las principales fuentes de la historiografía artística. A algunos de ellos, como Franceschitto o Monsù Anselmo, no les podemos asociar ni siquiera con una obra. Por el contrario, hay casos de seguidores anónimos de Giordano con un estilo reconocible, como el autor de las dos versiones de Santiago el Mayor, una conservada en Casalnuovo de Nápoles y la otra en Lecce. Otras obras siguen fielmente el estilo de Giordano y llevan la firma de pintores que serían de otro modo desconocidos, caso de Lorenzo Ruggi, que firma una hermosa Inmaculada en la iglesia de S. Franciscode Aversa. Otro notable artista seguidor de Giordano es el «G. Fatteruso» que firma el Milagro de San Biagio en la iglesia de San Biagio en Mugnano de Nápoles. Es sin duda plausible la identificación con Giuseppe Fattorusso, recordado como discípulo de Vaccaro y luego de Beinaschi, si bien la comparación con sus obras documentadas plantea algunas dudas. Por último, una revisión de obras de diversa calidad, atribuidas con reserva a Luca Giordano o a su taller, puede arrojar una nueva luz sobre la cuestión de las numerosas imitaciones de las obras del maestro. La calificación de copias sería la más adecuada, por ejemplo, para las dos versiones de la Bendición de Isaac aparecidas en el mercado anticuario de Nueva York y en una colección privada en Sant’Arpino.Hundreds of 17th- and 18th-century Neapolitan paintings have been generically attributed to the school of Luca Giordano, who had many pupils, whose names have become known to us thanks to the leading historiographical sources of Neapolitan art. The work of some of these artists, such as Franceschitto and Monsu Anselmo, is unknown, although there are some anonymous Giordano followers who can easily be identified by their style, among them the author of two versions of St James the Greater, one of which is kept in Casalnuovo di Napoli and the other in Lecce. In addition, there are other works that are heavily influenced by Giordano and signed by hitherto unknown artists. These include Lorenzo Ruggi, who painted the wonderful Immaculate adorning St Francis Church in Aversa. Recent documentary research has revealed some information on the painter. Another leading follower of Giordano’s is one “G. Fatteruso”, who completed the majestic Miracle of St Blaise at St Blaise Church in Mugnano di Napoli. Though there are obvious grounds for identifying this artist as Giuseppe Fattorusso,remembered as a pupil of Vaccaro and later of Beinaschi, comparisons with the latter’s documentedworks suggest that this is not the case. Finally, newly conducted analysis of poorer-quality paintings that are cautiously attributed to Giordano or his studio, has enabled more detailed investigation into the problem regarding copies of Giordano’s famous works. Examples of this are two depictions of The Blessing of Isaac, one sold in New York and another in Sant’Arpino (near Naples), both of which can only be regarded as copies of a lost Giordano composition
Chemotherapy-based versus chemotherapy-free stem cell mobilization (± plerixafor) in multiple myeloma patients: an Italian cost-effectiveness analysis
No full textGiven the availability and efficacy of the mobilizing agent plerixafor in augmenting hematopoietic progenitor cell mobilization with granulocyte colony-stimulating factor (G-CSF), there is a strong case for comparing the cost-effectiveness of mobilization with G-CSF + cyclophosphamide versus G-CSF alone. This study investigated the cost and effectiveness (i.e., successful 4 million-CD34+ collection) of G-CSF alone versus high-dose cyclophosphamide (4 g/m2) + G-CSF mobilization (± on-demand plerixafor) in patients with multiple myeloma (MM) eligible for autograft in Italy. A decision tree-supported cost-effectiveness analysis (CEA) model in MM patients was developed from the societal perspective. The CEA model compared G-CSF alone with cyclophosphamide 4 g/m2 + G-CSF (± on-demand plerixafor) and was populated with demographic, healthcare and non-healthcare resource utilization data collected from a questionnaire administered to six Italian oncohematologists. Costs were expressed in Euro (€) 2019. The CEA model showed that G-CSF alone was strongly dominant versus cyclophosphamide + G-CSF (± on-demand plerixafor), with incremental savings of €1198.59 and an incremental probability of a successful 4 million-CD34+ apheresis (+0.052). Sensitivity analyses confirmed the robustness of the base-case results. In conclusion, chemotherapy-free mobilization (± on-demand plerixafor) is a “good value for money” option for MM patients eligible for autograft. © 2021, The Author(s)
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