600 research outputs found
Dante in tipografia. Errori, omissioni e varianti nell’edizione Brescia, Bonino Bonini, 1487
No full textWriting in 1903 Charles Gérard described «un exemplaire exceptionnel et vraisemblablement unique dans son genre» of the edition of the Commedia completed by the printer Bonino Bonini in Brescia on 31 May 1487, which contained a woodcut on the verso of leaf l5 which Gérard wrote was «nouveau absolument inconnu». The present article takes Gérard as its starting point in order to look again at the edition. Almost all the surviving copies (90 out of an estimated total of 115) have been examined according to the principles of analytical and textual bibliography; in the process a series of errors and omissions as well as substantial variants in the illustrative woodcuts have been found which have enabled the author to reconstruct an overview of the edition and the history of its printing process
The Eruptive Fevers at Sixes and Sevens
No full textRobert J Petrella1– 6 1Harvard Medical School, Boston, MA, USA; 2Department of Chemistry & Chemical Biology, Harvard University, Cambridge, MA, USA; 3Emergency Departments, CharterCARE Health Partners, Providence and North Providence, RI, USA; 4Emergency Department, Boston VA Medical Center, Boston, MA, USA; 5Emergency Departments, Steward Health Care Systems, Boston and Methuen, MA, USA; 6Department of Medicine, Brigham and Women’s Hospital, Boston, MA, USACorrespondence: Robert J Petrella, Email [email protected]: Sixth Disease (roseola infantum) and its primary causative agent, HHV-6, share names that numerically concur. This article examines and answers the question of whether that correspondence is by design or coincidental by briefly reviewing the history and nomenclature of the HHV viruses and the classic febrile rashes of childhood while highlighting some clinical and microbiologic features of HHV-6 infection.Keywords: HHV-6, HHV-7, human herpesviruses, roseola infantum, sixth disease, Kawasaki disease, viral taxonomy, nomenclature, emergency medicine, historical coincidenc
Questioni aperte di incunabolistica. La venuta del re di Franza, La guerra del Moro e alcuni incunaboli perduti o riattribuiti
No full textThe author reconstructs the history of the rediscovery, in the Italian antiquarian book trade, of the only known copy of La venuta del re di Franza
(Brescia, Battista Farfengo, 1495-1500), which had been lost since 1925 when it appeared in one of Tammaro De Marinis’s catalogues. The edition has hitherto only been known through De Marinis’s summary description of it there; in the present article it is studied and analysed in detail for the first time. The edition is of particular interest from the point of view of its illustrations. Moreover,
the bibliographical analysis of the volume enables us to attribute definitively to Farfengo two further anonymous editions which have in the past been hypothetically assigned to Venetian and Milanese printing shops at the end of the fifteenth century: La guerra del Moro e del re de Francia e de san Marco composta per frate Ioanne Fiorentino and La guerra del Moro e del re de Francia (IGI III, p. 61; ISTC ig00539200; ISTC ig00539400)
Supplemental_Table_1 – Supplemental material for The Impact of Blood Pressure Dipping Status on Cognition, Mobility, and Cardiovascular Health in Older Adults Following an Exercise Program
No full textSupplemental material, Supplemental_Table_1 for The Impact of Blood Pressure Dipping Status on Cognition, Mobility, and Cardiovascular Health in Older Adults Following an Exercise Program by Narlon C. Boa Sorte Silva, Michael A. Gregory, Dawn P. Gill, Cheri L. McGowan and Robert J. Petrella in Gerontology and Geriatric Medicine</p
Supplementary_File_1 – Supplemental material for Patient Indications for Mohs Micrographic Surgery: A Systematic Review
No full textSupplemental material, Supplementary_File_1 for Patient Indications for Mohs Micrographic Surgery: A Systematic Review by Christian Murray, Duvaraga Sivajohanathan, Timothy P. Hanna, Scott Bradshaw, Nowell Solish, Benvon Moran, Robert Hekkenberg, Alice C. Wei and Teresa Petrella in Journal of Cutaneous Medicine and Surgery</p
Supplementary_File_2 – Supplemental material for Patient Indications for Mohs Micrographic Surgery: A Systematic Review
No full textSupplemental material, Supplementary_File_2 for Patient Indications for Mohs Micrographic Surgery: A Systematic Review by Christian Murray, Duvaraga Sivajohanathan, Timothy P. Hanna, Scott Bradshaw, Nowell Solish, Benvon Moran, Robert Hekkenberg, Alice C. Wei and Teresa Petrella in Journal of Cutaneous Medicine and Surgery</p
Supplementary_File_3 – Supplemental material for Patient Indications for Mohs Micrographic Surgery: A Systematic Review
No full textSupplemental material, Supplementary_File_3 for Patient Indications for Mohs Micrographic Surgery: A Systematic Review by Christian Murray, Duvaraga Sivajohanathan, Timothy P. Hanna, Scott Bradshaw, Nowell Solish, Benvon Moran, Robert Hekkenberg, Alice C. Wei and Teresa Petrella in Journal of Cutaneous Medicine and Surgery</p
Supplementary_File_4 – Supplemental material for Patient Indications for Mohs Micrographic Surgery: A Systematic Review
No full textSupplemental material, Supplementary_File_4 for Patient Indications for Mohs Micrographic Surgery: A Systematic Review by Christian Murray, Duvaraga Sivajohanathan, Timothy P. Hanna, Scott Bradshaw, Nowell Solish, Benvon Moran, Robert Hekkenberg, Alice C. Wei and Teresa Petrella in Journal of Cutaneous Medicine and Surgery</p
Is it possible to have a science and technology for eight billion people?
No full textFil: Petrella, Riccardo. Universidad Católica de Lovaina; BélgicaPartiendo de la constatación de que la ciencia y la tecnología de las sociedades actuales se conciben, desarrollan y emplean primariamente por y para los intereses de los grupos sociales y de los países más fuertes, poderosos y ricos del mundo, en este artículo se indagan las condiciones que posibilitarán, en el futuro, un desarrollo más equilibrado que permita superar los graves problemas sociales que se verifican hoy. Se afirma, por ejemplo, que ninguno de todos los problemas puede ser resuelto simplemente mediante el avance CyT, y que se requiere, por el contrario, un reajuste más profundo y fundamentalmente de índole social, política y económica. Además, la ideología centrada en la competitividad, con sus postulados simplistas, resulta un escollo que debe ser superado.
Pensando hacia el futuro, el autor propone atender a tres principios: el de coexistencia, el de ce/determinación y el de codesarrollo.
De un modo similar a lo que propusimos en el N 9 1 de REDES, se pidió a diversos
especialistas que realizaran comentarios al artículo de Ricardo Petrella. Estos se publican, entonces, a continuación como un aporte para continuar la discusión acerca del rol
de la ciencia y la tecnología para el desarrollo, que iniciara Jean-Jacques Salomón en
el número anterior.Starting from the notion that science and technology in modern societies are conceived, developed and used primarin in the interest of social groups and of the richest and most powerful nations in the
world, this article explores the conditions that will open the way in the future for a more balanced development that may allow the resolution of the serious social problems of today. It says, for instance, that none of these problems can be solved only by breakthroughs in science and
technology, and that a deeper readjustment is needed, basically of a social, political and financial nature. Moreover, the competition-oriented ideology, with its simplistic premises, is a hurdle that must be overcome. Thinking toward the future, the author suggests the need to bear three principles in mind: those of co-existence, co-determination, and co-development.
Just as we did in our first issue of REDES, we have asked several specialists to comment on Ricardo Petrella’s article. These comments are included here as a contribution to the furthering of the debate concerning the role of science and technology for development, a discussion started by Jean-Jacques Salomon in the last issue of REDES and which undoubtedly will go on
Pompei all'opera: iconografie romane nella Jone di Errico Petrella
No full textAll'interno degli studi dedicati alla storia della tradizione classica, non tutti i possibili campi di ricerca sono stati completamente esplorati. Un argomento scarsamente messo in evidenza è lo scenario delle opere che mettono in scena il mondo greco-romano. Tra le opere di ambientazione classica composte nel corso del XIX secolo, uno dei maggiori successi, anche se oggi quasi dimenticato, fu Jone di Errico Petrella (1813-1877). Il libretto di quest'opera (eseguita per la prima volta a Milano, al Teatro alla Scala, nel 1858) era stato tratto dal celebre romanzo The Last Days of Pompeii di Edward Bulwer-Lytton (1834).Within the studies dedicated to the history of the classical tradition, not every feasible field of research has completely been explored. A topic scarcely attented to by now is the scenery of operas staging the Graeco-Roman world. Among the operas with a classical setting composed during the 19th century, one of the major successes, albeit nearly forgotten today, was Jone by Errico Petrella (1813-1877). The libretto of this opera (performed for the first time in Milan, at La Scala theater, in 1858) had been drawn from the celebrated novel The Last Days of Pompeii by Edward Bulwer-Lytton (1834). Unfortunately, the scene-sketches and the costume-designs of the many settings of Jone staged in the last decades of the 19th century are for the most part lost today. But luckily we have the costume-designs of the premiere in 1858 and all the scene-sketches of a second La Scala setting in 1861. From this material we can deduce that, in line with the practice of contemporary stage painters, the artists in charge of the visual look of the shows did not aim much at creating a historically reliable setting, because their work was basically orientated to the pursuit of a good theatre effect. The stage painters contented themselves with evoking a mannered antiquity, which could not however exclude the reproduction of real ancient buildings, even if this was seldom proper and pertaining to the performed action. Among the drawings of 1861 Jone, albeit fancy to a great extent, we can at least pick out a sketch indicating that its author, the stage painter Carlo Ferrario, took care to re-create a real Pompeian setting
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