1,213 research outputs found
First person – Simona Amodeo
No full textABSTRACT
First Person is a series of interviews with the first authors of a selection of papers published in Journal of Cell Science, helping early-career researchers promote themselves alongside their papers. Simona Amodeo is the first author on ‘Characterization of the novel mitochondrial genome replication factor MiRF172 in Trypanosoma brucei’, published in Journal of Cell Science. Simona is a PhD student in the lab of Torsten Ochsenreiter at the Institute of Cell Biology, University of Bern, Switzerland, investigating mitochondrial genome anchoring, replication and inheritance in Trypanosoma brucei.</jats:p
Materiali e discussioni per l'analisi dei testi classici. Indici 1-60
No full textIl volume raccoglie e riassume tutti gli articoli apparsi nei volumi 1-60 della rivista «Materiali e discussioni per l’analisi dei testi classici» («MD»), nel periodo compreso tra il 1978 e il 2008. Esso è diviso in tre parti. Nella prima sono riportati in successione i singoli numeri della rivista, con il relativo sommario. Nella seconda compaiono gli articoli riuniti in sequenza cronologica, sotto il nome dell’Autore e ognuno con un proprio numero d’ordine: di ogni articolo è fornito il sunto, con i concetti, le argomentazioni salienti, i principali luoghi discussi. Nella terza parte sono elencati gli Autori antichi e i Nomi e parole notevoli, con il rinvio al numero d’ordine dell’articolo. Le schedature dei numeri 1-30 sono curate da Andrea Cucchiarelli, quelle dei numeri 31-60 da Simona Fortini.The volume collects and summarizes all the articles published in Volumes 1-60 of the journal "Materiali e discussioni per l’analisi dei testi classici” ("MD"), in the period between 1978 and 2008. It is divided into three parts. In the first part the individual issues of the journal are summarized with the table of contents. In the second part the articles appear in chronological order, under the name of the author and each with its own serial number: each item is provided with a summary including the main points of argumentation and the loci discussed. The third part contains the indexes of the ancient authors, of the names and of the most relevant things and words, with reference to the number of the item. The profiling of the numbers 1-30 is cared for by Andrea Cucchiarelli, those of the numbers 31-60 by Simona Fortini
Boccaccio nel Seicento: censure e recuperi della "compassione"
No full textSIMONA MORANDO, Boccaccio in the sixteenth century: censorship and recovery ofthe «compassion»
In the introduction of this paper, the literature of the seventeenth century is defined as a writing of compassion but not of consolation (quotations from Giovanni Cisano, Torquato Accetto, Emanuele Tesauro, G. B. Marino). The distance between the
writers studied here and Boccaccio is due to the censored editions of the Decameron in sixteenth century, to the censorship of Boccaccio as a «maestro d’amore», to his unrefined language, to his interpretation by many critics as a light and burlesque author. But, as reported in a writing by Boccalini, Boccaccio’s Latin works are very much appreciated in seventeenth century literature. This is especially the case of De casibus virorum illustrium, a gloomy and pessimistic book about misfortunes of famous men and about compassion, which nevertheless believes in the ability of letters to give back fame to ruined men. As shown in the conclusion
through some writings by Tassoni, many other seventeenth century authors do not have this kind of hope
Le chiavi del Paradiso. Primato petrino e devozione mariana di Sisto IV tra Cappella Sistina e S. Maria della Pace
No full textIl volume è strutturato in due parti distinte con una postfazione, un indice dei nomi e n. 55 Tavole a colori fuori testo, valide per entrambe le parti del volume. I. PARTE (di Lorenzo Cappelletti) A partire dalla esplicita indicazione che l’ignoto architetto, collocato sul fianco destro dell’affresco sistino della Consegna delle chiavi di Perugino, fa dell’edificio a pianta centrale che campeggia sullo sfondo, viene operata una completa rilettura iconografica e iconologica dell’intero affresco. Tenendo conto di tutta la migliore bibliografia sul tema e grazie anche alla considerazione di fonti inedite o mai considerate in relazione a tale affresco –– vengono riletti in particolare i due episodi evangelici sullo sfondo, la teoria dei dodici apostoli e dei personaggi dell’attualità di fine Quattrocento e soprattutto il gesto della consegna delle chiavi a Simon Pietro da parte di Gesù.
La rilettura si allarga necessariamente anche alla Punizione di Core, Datan e Abiram, l’affresco di Botticelli posto in chiave tipologica dirimpetto alla Consegna delle chiavi, e alla serie dei 30/32 papi affrescati nel cleristorio.
Lo studio non manca di offrire inoltre spunti per una comprensione più adeguata anche degli altri affreschi quattrocenteschi della sistina. II PARTE (di Simona Benedetti) Nell’ambito della revisione di lettura iconologica e iconografica dell’affresco della Consegna delle chiavi di Perugino nella Cappella Sistina, svolta da Lorenzo Cappelletti, si torna a riflettere anche sul significato dell’architettura dell’edificio rappresentato al centro dell’affresco. In questo senso nel contributo di Simona Benedetti, in primo luogo, si ripercorrono i riferimenti alla trattatistica quattrocentesca in materia di edifici sacri, che possono aver influito nella determinazione dell’edificio ottagonale.
In seconda istanza, si considerano le principali fabbriche a pianta ottagonale costruite precedentemente all’edificio dipinto, che possono aver costituito un fondato riferimento per il Perugino nella Consegna delle chiavi.
In particolare tra le architetture, che possono avere avuto un’influenza determinante nella definizione iconografica della fabbrica ottagonale presente nell'affresco, la chiesa di S. Maria della Pace è quella su cui si concentra il presente studio. L'opera si realizzò nel cuore pulsante della Roma rinascimentale proprio contemporaneamente all’affresco in esame, con esso trova degli innegabili punti di tangenza e corrispondenze, sia storiche che figurative. A questo riguardo interessantissima risulta la connessione tra il motivo dell’edificazione della fabbrica e i fatti storici, i personaggi, gli eventi prodigiosi e le pratiche devozionali, che condizionarono lo svolgersi del cantiere del Templum Pacis negli ultimi anni del pontificato di Sisto IV. La storicità del gesto della consegna delle chiavi a Pietro - avvenimento che si protrae nel tempo ad ogni elezione pontificia nello spazio fisico della Cappella Sistina - costituisce la centralità del messaggio iconografico dell'affresco del Perugino in cui, anche l’architettura, insieme ai personaggi rappresentati, strutturano una narrazione reale, estranea alle simbologie decontestualizzate dall’epoca propriamente sistina. Segue una postfazione di Francesco Andreani dal titolo Enigma del Quattrocento, saggio nel quale si sviluppano considerazioni sulle personalità degli architetti e maestranze attive nella Roma del tardo Quattrocento e negli anni di inizio della fabbrica di S. Maria della Pace. Il volume si conclude con l'indice dei nomi (a cura di Gemma Fusciello)I (of Lorenzo Cappelletti) Starting from the unknown architect’s forefinger pointed to the central plan building found in the background of the Sistine Perugino’s fresco The Keys of the Kingdom of Heaven, the author offers a new interpretation of the entire fresco at both an iconographical and iconological level.
Having considered the most important studies about this fresco and taking into account a number of unpublished and unconsidered sources, the author rereads in particular the meaning of the central plan building, as well as the two Gospel episodes in the background; and he rereads also the grouping of the Twelve, along with the fifteenth century historical personages painted among them, in the foreground.
The author’s vision necessarily broodens also to comprehend Botticelli’s fresco named The Punishment of Corah, Dathan and Abiram which is placed on the opposite wall as a typological prefiguration of The Keys of the Kingdom of Heaven; and it broodens moreover to reconsider the series of 30/32 popes frescoed in the upper register of the Sistine Chapel.
The essay also offers hints for a more complete comprehension of the other fifteenth century frescoes of the Sistine Chapel.
II. (of Simona Benedetti) As part of the review of iconological and iconographic reading about the fresco of the “Delivery of the keys” by Perugino in the Sistine Chapel, conducted by Lorenzo Cappelletti, you go back and think about the significance of the building architecture depicted in the center of the fresco. In this sense, the contribution of Simona Benedetti, first, retraces the references to the fifteenth-century treatises concerning sacred buildings, which may have affected the determination of the octagonal building. Secondly, we consider the main factories octagonal building constructed previously painted, that may have been an established reference for the Perugino in the “Delivery of the keys”. Especially between architectures, which may have had a decisive influence in defining the iconographic factory octagonal present in the fresco, the church of St. Mary of Peace is the one on which this study focuses. The work was realized in the heart of Renaissance Rome just simultaneously fresco concerned, although it is undeniable points of contact and correspondence, both historical and figurative. In this regard are interesting connections between the reason of building the factory, the historical facts, the characters and the miraculous events and devotional, which has conditioned the unfolding of the construction site of the Templum Pacis in the last years of the pontificate of Sixtus IV. The historicity of the act of handing over the keys to Peter, that continues over time in the physical space of the Sistine Chapel, is the centrality of the iconographic message of the fresco by Perugino; so even the architecture, along with the characters represented, the real narrative structure, far from to the symbolism belonging to the Sistine period properly
Playing with autism. Encountering Simona Concaro by her music. Vol. 1.1
No full textPlaying with Autism contains twenty-four original pieces for piano, recorded and carefully transcribed in current music notation by Pierluigi Politi and Hanna Shybayeva. Simona Concaro, the author, is a young woman suffering of low-functioning autism. She lives in Cascina Rossago, a farm-community, designed to meet the needs of people with autism, in Oltrepo pavese (Italy).
Since she was three, Simona Concaro has created original compositions on piano, instrument she learned by herself, refusing any kind of musical education. In everyday life, Simona does not use verbal language and has low autonomy. Her music, on the contrary, contains interesting features – melodic, rhythmic and harmonic –, even in the presence of some iterative elements, typical of the autistic spectrum
Counseling Youth Online
Full text linkOnline counseling is becoming more pervasive; this type of guidance method is occurring, and it will likely in-crease within youth work. Studying the phenomena can give relevant resources to the field of digital youth work. The main purpose of this thesis is to research how to provide quality online counseling for youth and to write guidelines for professionals and volunteer workers.
As a facilitator the author researches the themes related to online counseling and enhances discussion through four online group discussions organized for youth workers working in online chats. The aims of the thesis are to find out with qualitative methods how professionals deliver efficiently and effectively online counseling sessions. On a wider perspective, the thesis tries to trace guidelines for counseling young people online, providing em-powerment, direction, guidance and support.
Online counseling has been recently widely studied due to the spread of these kind of services. Due to the uniqueness of digital youth work in Finland, its context and its principles within online counseling and guidance, it is relevant to gain more knowledge about practices and professionals’ perspective
Eco-tales by Simona Kossak
No full textThis article discusses the life and work of Simona Kossak, a writer and professor of forestry. Her life work aimed at awakening in her readers and listeners sensitivity and compassion towards animals and natural surroundings. The author examines Kossak’s radio talks which she proposes to name “eco-tales”[email protected] Trusewicz, absolwentka filologii polskiej na Uniwersytecie w Białymstoku, doktorantka w Zakładzie Teorii i Antropologii Literatury w Instytucie Filologii Polskiej UwB. Interesuje się geopoetyką, ekokrytyką oraz obrazami Puszczy Białowieskiej w literaturze i kulturze. W kręgu jej zainteresowań badawczych mieszczą się również tematy związane z literaturą regionu. Współorganizatorka dwóch doktoranckich konferencji naukowych na Uniwersytecie w Białymstoku, wpisujących się w rozważania dotyczące wyobraźni przestrzennej.Wydział Filologiczny, Uniwersytet w Białymstoku95-10599510
L’architetto progettista della nuova Collegiata e la cultura architettonica lombarda
No full textl contributo, costituisce il terzo capitolo del volume ed è strutturato in due paragrafi in cui si torna a riflettere sull’attribuzione del progetto architettonico dell'interessantissima Collegiata del San Giovanni Battista Morbegno, edificata tra il 1680 ed il 1714, oggi quasi completamente restaurata dalla Fondazione Isabel & Balz Baechi. Necessariamente in questo contesto si riprendono gli studi già svolti da Simona Benedetti, pubblicati nel 2019, in cui si è individuato il progettista dell'opera valtellinese nella persona di Gerolamo Quadrio, architetto del Duomo di Milano dal 1658 al 1679, anno della sua morte. Qui si sviluppano ulteriori analisi riferite all’attività del progettista milanese, che ha concepito la splendida spazialità architettonica tra le ultimissime opere della sua carriera. Vengono proposte nell’ultimo paragrafo puntuali analisi comparative tra le sue opere, individuando tra queste le più significative per l’attribuzione del progetto della Collegiata di San Giovanni Battista a Morbegno.The research represents the third chapter of the volume specifically dedicated to the history of the church of St. John the Baptist in Morbegno. Built between 1680 and 1714, this celebrated ‘Collegiata’ had been recently restored by the Isabel & Balz Baechi Foundation, which also supported a historical in-depth analysis. The paper consists of two paragraphs, in which we return to reflect on the attribution of the architectural design. Starting from the discoveries carried out by the Author in 2019 and already published, in which the designer of the Valtellina church was identified with Gerolamo Quadrio, chief architect of Milan’s Cathedral from 1658 to 1679, this new detailed work discusses the whole activity of the professional, who seemed to have conceived the architectural spatiality of St. John the Baptist at the very end of his career. By comparing his projects, it emerges the strictly existing relationship between his ‘modus operandi’ and the Morbegno church, confirming his participation in the invention and the following construction
Elements of Monodrama and Autobiography in the Texts of Simona Semenič
No full textV članku obravnavamo osrednji opus dramatičarke Simone Semenič z metodo računalniške stilometrije. Ugotavljamo, da je heterogen, razvrsti se v tri skupine besedil. Najizraziteje se dela razdelijo glede na to, ali so monološka, ali vsebujejo tradicionalno obliko dialogov, ali pa gre za kombinacijo dialogov z monologi, ki so najočitnejši v daljših didaskalijah. Iz opusa avtorice slogovno izstopa skupina monodramskih besedil Jaz, žrtev , še me dej in drugič , pa tudi delo gostija , ki ga stilometrična analiza uvrsti k tem besedilom. Ukvarjamo se z monodramskimi oziroma avtobiografskimi elementi, po katerih ta besedila izstopajo iz dosedanjega dramskega opusa Simone Semenič. Raziskava besedišča dram potrjuje dosedanje teoretične ugotovitve, da imajo dela še me dej , drugič in gostija v opusu avtorice največ elementov metadrame, ki izhajajo iz pripovedi osrednjega lika. To ne drži za delo Jaz, žrtev , ki v obravnavanem opusu izstopa zaradi nanašanja subjektke na samo sebe.In the article, we deal with the main dramatic opus of the Slovenian playwright Simona Semenič through the method of computational stylometry. Stylometry is the computational analysis of literary style. It can be carried out in the programming languages Java or Python, while the analysis presented here was carried out in the programming language R, using the package "Stylometry with R". The possibilities of stylometric analysis in this programming environment were developed by researchers Maciej Eder, Jan Rybicki and Mike Kestemont, and have been broadened with present-day investigations of various texts. In stylometry, literary works are automatically arranged into groups according to salient signals, while the researcher recognises and interprets these signals. The advantage of this method, we find, is that it offers the literary researcher a supplementary, objective piece of information on the relations of similarity among the literary texts. Within an author\u27s opus, the analysis can determine, statistically and objectively, certain nuances of literary style that are less easily perceived in ordinary reading. Stylometry, like any other method, is limited, that is, it delivers only a certain amount of quantitative information, and therefore, in the treatment of literary works, it is necessary to combine it with a close reading and knowledge of the literature under discussion, of literary history, literary theory, the theory of drama, etc. In the article, we use the stylometric method to point out the different writing styles that a reader may sense in the dramatic writing of Simona Semenič. A particularity in using the stylometric method to treat dramatic texts, compared to other kinds of (literary) texts, is that all mentions of characters\u27 names placed before their lines have to be removed, because, as these words are frequently repeated, they might influence stylometric analysis, which deals with the vocabulary of a literary work in a holistic manner. Since the stage directions in Simona Semenič\u27s works do not take a traditional form, but represent an integral part of the dramatic text, they were not omitted. Stylometric analysis has shown that the work of Simona Semenič is stylistically diverse and that her textual corpus is distinctively heterogeneous. Her dramatic texts, according to computational analysis, fall into three groups. The most obvious criterion for the arrangement of the works into groups are their formal properties. That is to say, the dramatic works can be arranged as monologic, as containing a traditional dialogue form, or as a combination of dialogues and monologues, the latter most visible in longer stage directions. We thus ascertain that the author writes in a similar way when she writes a text in a particular formal framework. We thus infer that the playwright Simona Semenič writes in a similar way when she writes monologic works, and the same holds for dialogues. One would otherwise expect the latter not to be as stylistically congruent, since dialogues include different characters speaking in different idiolects. Furthermore, we ascertain that stylistically, the texts i, the victimdo me twicethe second time and the feast or the story of a savoury corpse or how roman abramovič, the character janša, julia kristeva, age 24, simona semenič and the initials z.i. found themselves in a tiny cloud of tobacco smoke (below: the feast) stand out in the author\u27s opus, since stylometric analysis places them in a special group. The common trait of these dramatic texts is their monodramatic or monologic nature, since there appears in them a single dramatic character or conveyor of speech, that is, the playwright Simona Semenič, who presents her own point of view. A monodrama is a play with a single dramatic character, representing the point of view of that character. Based on a theoretical analysis and a content analysis of the plays, we ascertain that another characteristic of the above-mentioned group of Simona Semenič\u27s plays is their breaking of dramatic conventions. The author is explicitly identified with the dramatic characterthus, the texts subvert the "traditional" position of the dramatic author, absent from the play. In the monologic part of the dramatic text in the works i, the victimthe second time and do me twice, it is the playwright as subject who speaks. Similarly, the position of the dramatic author is questioned in the feast, in which Simona Semenič figures already in the subtitle. In these texts, the distance between playwright and reader collapses, not least because of the metadramatic or metatheatrical elements of the texts, for example, addressing the audience directly, bringing attention to oneself as author and to the extratextual circumstances of the performance (programme, tickets), referring to characters as characters, etc. With the stylometric method, we have further compared the vocabulary of the works in which dialogues predominate with the vocabulary of the works of the other group in which the text is mainly monologic. We determined which words are the most frequent in the first group, while being extremely rare or absent in the second - and vice versa. As far as verbs are concerned, it is noticeable that in the works i, the victimdo me twicethe second time and the feast, verbs in the first 98 person singular predominate, which may be explained by the predominant monologic autobiographical form. In the other dramatic texts, verbs in the first-person - plural - appear as well, but also verbs in the imperative, the future, the second-person, etc., which is a consequence of the dialogic form. Another consequence of the dialogues are various interjections that appear in the group of dialogic texts, while being absent from the group of monologic texts. In the group of monologic texts, we find a greater frequency of words pointing to metadramatic elements of the text. They refer to the play as a play, to the author herself, to the viewers, etc. This confirms that those texts by Simona Semenič which contain autobiographical elements and are predominantly monologic have metadramatic effects. This is true of all autobiographical monologic dramatic texts from the corpus, except for i, the victim, which contains no vocabulary referring to metadramatic effects. We have also analysed, in the plays of Simona Semenič, the use of pronouns for the first-person singular, which indicate that the dramatic characters are speaking about themselves. Although one would expect the works do me twice, the second time and the feast to stand out due to their monologic form, in their use of dramatic characters speaking about themselves, these works, in their use of unstressed and clitic forms of personal pronouns for the first-person singular, do not stand out compared to other works in Simona Semenič\u27s opus. For its use of first-person pronouns, the only work that stands out is i, the victim, in which the subject thus refers to herself the most or engages in a direct confession. We may conclude that Simona Semenič\u27s different modi scribendi are linked to the type of dramatic form the author chooses to write in. The stylistic traits of her dramatic texts differ depending on whether one is dealing with dialogic or monologic dramatic texts. Stylistically, the dramatic works that stand out in the author\u27s opus are those in which it is predominantly one person who speaks, namely, the monodramatic texts i, the victimdo me twice and the second time, but also the feast, in which individual dramatic characters speak in alternating monologically fashioned lines. In these works, one finds frequent self-referential expressions pointing to metadramatic elements, which clearly preponderate in precisely that part of Simona Semenič\u27s opus based on the form of monodrama. Although the works do me twice and the second time, as well as the feast, are no less monologic, it is only the work i, the victim that stands out in the author\u27s opus by having the dramatic subject speak about herself
SIMONA PULKO IN MELITA ZEMLJAK JONTES: SLOVENSKO ALI KNJIŽNO – KAKO JE PRAV? Maribor: Aristej, Slavistično društvo Maribor, 2015. 152 str.
Full text linkThe author presents a scientific monograph by Simona Pulko and Melita Zemljak Jontes, which presents contemporary findings in the field of linguistics on the axis between literary and non-literary in the language use of adolescents.Avtorica predstavlja znanstveno monografijo Simone Pulko in Melite Zemljak Jontes, ki prinaša sodobne ugotovitve s področja jezikoslovja na osi med knjižnim in neknjižnim pri jezikovni rabi mladostnikov
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