63 research outputs found
Plausibility or truth. Archival notes and reflections on the canvas of the ‘Militant and triumphant Church’ ascribed to Jacopo Zucchi
No full textWhile retracing the traditional history of the painting, which was fi rst ascribed to Federico Zuccari and later to
Jacopo Zucchi, the author hereby presents the long and painstaking research that has gradually confi rmed this
second hypothesis. The reader will, therefore, fi nd a synthesis of the history of this painting, which was surely
enough fi rst hosted in St Peter's Basilica, then moved to the Church of St Catherine of Alexandria and fi nally to
the Vatican Sacristy. Based on a number of inconsistencies which emerged during archival research, doubts still persist with regard to
the historicity of this historical-artistic tradition. Despite the fact that scholars are fi rmly inclined to ascribe the
painting to Zucchi, some unpublished documents tend to undermine this assumption, while still implying that the
painting might be by an artist of the Zuccari famil
Trichogramma zucchii Querino & Zucchi 2003, new species
No full textTrichogramma zucchii Querino, new species (Figures 1f, 2f) Antenna: flagellum long (0.21 0.004); ratio of the length to width of the flagellum (9.02 0.52); flagellum length to hind tibial length (1.01 0.01); flagelliform setae long (0.10 0.005), evenly tapering to apex; longest flagelliform setae length to flagellum width (4.45 0.37); several unsocketed setae in the first sections of the flagellum; basiconic sensilla with formula 222011; three placoid sensilla, the basal one 0.06 0.002. Forewing: width to length ratio of the forewing (0.71 0.16); fringe setae short (0.02 0.004); fringe setae length to hind tibial length (0.12 0.02); fringe setae length to forewing width (0.07 0.01); 1114 setae between the 4 th and 5 th setal tracks. Hind wings: anterior track absent; posterior track with 4 setae. Scutellum: anterior setae relatively long and dark. Male genitalia: genital capsule dark, long (0.15 0.002) and wide (0.06 0.001); ratio of the width to length of the genital capsule (0.41 0.00); apical distance to genital capsule length (0.27 0.01); apical width to genital capsule width (0.60 0.01); dorsal lamina without noticeable basal notching, narrowing abruptly posteriorly to form a linguiform, elongate, and relatively narrow posterior extension (0.04 0.002), which extends beyond the volsellae; dorsal lamina length to dorsal lamina width (2.34 0.20); dorsal lamina length to genital capsule length (0.42 0.01); posterior extension of the dorsal lamina length to dorsal lamina length (0.60 0.01); dorsal aperture elongate tapering posteriorly; dorsal aperture length to dorsal lamina length (1.60 0.06); dorsal ridge absent; ventral ridge extending beyond the middle of the genital capsule (0.06 0.002); ventral ridge length to basal distance (0.53 0.01); basal distance to genital capsule length (0.73 0.01); ventral processes placed near the base of the intervosellar process, which is relatively short (0.01 0.001) and slightly less than half the length of the volsellae. Quantitative data were based on three males. TYPE MATERIAL Holotype male. BRASIL. SÃO PAULO: Piracicaba, Tupi (forest reserve), suction trap, R. B. Querino collr. (ESALQ). One paratype (male) (ESALQ) and one paratype (male) (UCR), with same data as holotype. DIAGNOSIS Trichogramma zucchii is very distinct. It is easily recognized from other South American species by the abruptly narrowed linguiform posterior extension of the dorsal lamina, which extends beyond the volsellae, dorsal aperture elongate tapering posteriorly, several unsocketed setae in the first section of the flagellum and anterior setae of the scutellum relatively long and dark. ETYMOLOGY This species is named by the first author for Prof. Roberto A. Zucchi, in recognition of his contribution to Trichogramma systematics.Published as part of Querino, R. B. & Zucchi, R. A., 2003, Six new species of Trichogramma Westwood (Hymenoptera: Trichogrammatidae) from a Brazilian forest reserve, pp. 1-11 in Zootaxa 134 (1) on pages 9-10, DOI: 10.11646/zootaxa.134.1.1, http://zenodo.org/record/501419
Adiaforia e vocazione al suicidio: motivi senecani e neostoici nella tragedia italiana fra Cinque e Seicento
No full textAdiaphory and the Vocation to Suicide: Themes from Seneca and Neostoicism in Sixteenth to Seventeenth-Century Italian Tragedy · The essay explores the diffusion of Neostoic motifs in the Italian tragedy of the sixteenth and early seventeenth centuries, with particular attention to the representation of suicide and the vocation of the protagonists to the adiaforia (detachment). Taking into account the French, Spanish and English situation, the author shows that the presence of Seneca as an aesthetic model does not always entail that the Italian playwrights share the Stoic principles, which are instead presented with greater conviction in republican contexts – and in particular in Genoa, where Ansaldo Cebà was active –, where the Neostoic writings were appreciated in particular from a theoretical-political point of view
La regina algida e l’insidia delle passioni. Note sul teatro di Antonia Fontana e Maria Antonia Scalera
No full textThe article focuses on the representation of passions in the dramatic plays of two late seventeenth-century female playwrights, Antonia Fontana and Maria Antonia Scalera. By examining Fontana’s musical drama Erginda (1680), performed in the Contarini estate in Piazzola sul Brenta, and Maria Antonia Scalera’s tragicomedy Il Coraspe redivo (1683) for the court of Ariccia, presided over by Agostino Chigi, the author individuates a similar approach to the stage of the female protagonist. Both plays, in giving shape to a frigid queen, allow in the end to accept love after a sort of sentimental education. They configure a new paradigm of woman, affected both by the tradition of seventeenth-century Venetian
female literature, and by Descartes’ Passions de l’âme, spread in Rome by Christina of Sweden
Metastasio e Calzabigi all'origine dei cori alfieriani. Note su Alfieri lettore della tradizione corale italiana
No full textThe article tries to read the development of the tragic Chorus along the history of Italian dramatic literature, with the purpose of pointing out the meaningful problems that an author such Vittorio Alfieri had to face in order to create his own choral character, doubled in a classical lyrical chorus (Mirra, Abele, Alceste Seconda) and a collective figure with a relevant political role – the “popolo” which appears in Virginia, Agide and in Bruto Primo. Aware, from one hand, of the previous solutions of Trissino’s Sofonisba, in which Chorus had a political function, and from the other of the sublime gravitas to which Tasso destined his Chorus, Alfieri looked in particular at the reflections of two contemporary dramatist : Metastasio and Calzabigi. If in his political “tragedie di libertà” Alfieri builds his Chorus on Metastasio’s considerations about the Aristotelian category of “likeliness”, the Chorus which comes out in his last tragedies seems to be drawn on Calzabigi’s Alceste. The presence of these two models in the structure of Alfieri’s Chorus confirms the progressive
incidence of the music in his dramatic theory. Indeed, after Mirra, the alfierian choral character will have the task of gaining, through his lyrical song accompanied by music, a transcendent contact with the divinity
A pragmatic framework for truth in fiction
No full textAccording to R. Stalnaker, context plays a role in determining the proposition
expressed by a sentence by providing the domain of possible worlds that propositions distinguish between: a sentence expresses a proposition by selecting a subset of the set of possible situations given by the context. This is also true for embedded sentences, but these sentences express propositions
by selecting subsets out of contexts derived from the basic one. In this paper we propose a semantic analysis of sentences of the form “In fiction x, p” based on this picture of context. We argue that the derived contexts for sentences in the scope of “In fiction x” are determined by three factors: what the
beliefs of the author are taken to be, the conventions established for the fiction,
and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of a system of spheres centered on a set of worlds
Ethos autoral y desplazamientos de la configuración enunciativa en la Heptalogía de Hieronymus Bosch de Rafael Spregelburd
No full textEste trabajo se inscribe en una investigación de doctorado en curso que busca relevar la manera específica en que un texto dramático construye una imagen de su dramaturgo en tanto ethos autoral (Amossy, 2009; Maingueneau, 2002). Tomando como corpus de trabajo las didascalias de la Heptalogía de Hieronymus Bosch de Rafael Spregelburd, este artículo se propone identificar qué imagen se construye del escritor en los siete textos. Específicamente, buscaremos probar que en la serie se produce un desplazamiento en la forma en que queda representada esta figura. Por un lado, las primeras tres piezas (La inapetencia, La extravagancia y La modestia) apuestan a un dispositivo de enunciación dramático tradicional, en el que el responsable de la enunciación global emerge como un observador externo de la acción. Por otro lado, los cuatro textos que completan la Heptalogía (El pánico, La estupidez, La paranoia y La terquedad) se valen de una serie de procedimientos lingüísticos (uso de la primera persona del singular y del plural, coloquialismos, conectores concesivos, subjetivemas, procedimientos de focalización, entre otros) que escenifican una imagen marcada del dramaturgo en relación con el género. En efecto, en estas piezas el responsable de la enunciación global queda presentado como alguien que exhibe su carácter de articulador del relato. Además, estudiaremos la manera específica en que este segundo grupo de obras le atribuyen a esta figura del discurso una serie de competencias, las cuales se orientan a legitimar su voz y la actitud burlesca con la que es mostrado frente a los personajes que queda a cargo de introducir. Finalmente, en cuanto a la perspectiva de trabajo, para probar nuestra hipótesis nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), teoría no referencialista de la significación y no unicista del sujeto.This work is part of an ongoing doctoral research that seeks to reveal the specific way in which a dramatic text builts an image of its playwright as an author ethos (Amossy, 2009; Maingueneau, 2002). Using the stage directions of the seven texts that make up the Heptalogía de Hieronymus Bosch by Rafael Spregelburd as corpus, this article aims to identify which representation of the writer is constructed. Specifically, we will try to prove that in the series there is a displacement in the way in which this figure is represented. On the one hand, the first three pieces (La inapetencia, La extravagancia y La modestia) rely on a traditional dramatic device, in which the person responsible for global enunciation emerges as an external observer of the action. On the other hand, the four texts that complete the Heptalogía (El pánico, La estupidez, La paranoia y La terquedad) uses a series of linguistic procedures (first person singular and plural, colloquialisms, concessive connectors, focusing procedures, among others) that stage a marked image of the playwright. In fact, in these pieces the person responsible for the enunciation is presented as someone who exhibits his character as narrator. In addition, we will study the specific way in which this second group of plays attribute to this figure a series of knowledge, which are aimed at legitimize their voice and the burlesque attitude that he adopts. Finally, in terms of the work perspective, to test our hypothesis we will be framed in the Enfoque dialógico de la argumentación y la polifonía enunciativa (García Negroni, 2009; 2016a; 2016b; 2018), a nonreferentialist theory of the meaning.Fil: Zucchi, Mariano Nicolás. Universidad Nacional de las Artes; Argentina. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin
Subjetividad autoral en La modestia de Rafael Spregelburd
No full textEn este artículo nos proponemos analizar la configuración enunciativa de La modestia de Rafael Spregelburd (2000). En particular, estudiaremos la manera en que el texto dramático construye una imagen de su responsable (i.e., Spregelburd en tanto ethos autoral (Amossy, 1999)). Específicamente, observaremos que la pieza genera una representación del dramaturgo como la de alguien que se burla de los personajes que queda a cargo de presentar. Sin embargo, este posicionamiento no se mantiene estable. En efecto, sobre el final del texto se produce un desplazamiento a nivel enunciativo que modifica la imagen del responsable de la enunciación global, que ahora es mostrado como expresando una actitud compasiva hacia los protagonistas. Finalmente, en cuanto a la perspectiva de trabajo, nos enmarcamos en el Enfoque dialógico de la argumentación y la polifonía (García Negroni, 2009, 2016a, 2016b, 2018, 2019), teoría no veritativista del significado lingüístico y no unicista del sujeto.In this article we analyze the enunciative configuration of La modestia by Rafael Spregelburd (2000). In particular, we study the way in which the dramatic text builds an image of its author. Specifically, we observe that the piece generates a representation of the playwright as someone who mocks the characters that he is in charge of presenting. However, this positioning does not remain stable. In effect, at the end of the text there is a shift at the enunciative level that modifies the image of the writer, who is now presented as someone who expresses a compassionate attitude towards the main characters. Finally, regarding the theoretical perspective adopted, this study is carried out within the Enfoque dialógico de la argumentación y la polifonía (García Negroni, 2009, 2016a, 2016b, 2018, 2019), a non-veritativist theory of the linguistic meaning.Fil: Zucchi, Mariano Nicolás. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de las Artes; Argentina. Universidad de Buenos Aires; Argentin
Construção do ethos do autor em La Terquedad de Rafael Spregelburd: Análise da figura do Locutor-Dramaturgo e seu posicionamento enunciativo
No full textEn este artículo nos proponemos analizar la configuración enunciativa de La terquedad de Rafael Spregelburd (2009), poniendo el foco en la manera específica en que el texto dramático construye una imagen de su responsable (i.e. Spregelburd en tanto función autor). En particular, observaremos que la pieza genera una representación del dramaturgo como la de un intelectual que adopta una actitud de distancia crítica con respecto a los personajes que presenta. Para probar nuestra hipótesis, nos enmarcaremos en el Enfoque dialógico de la argumentación y la polifonía enunciativa, teoría no referencialista de la significación y no unicista del sujeto.In this article we propose to analyze the enunciative configuration of Rafael Spregelburd's La Terquedad (2009), focusing on the specific way in which the dramatic text constructs an image of its responsible (i.e. Spregelburd as author function). In particular, we will observe that the piece generates a representation of the dramatist as an intellectual who adopts an attitude of critical distance with respect to the characters he presents. To test our hypothesis, we will be framed in the Enfoque dialógico de la argumentación y la polifonía enuncitiva, a non-referentialist and non-unicist theory.Neste artigo, propomos analisar a configuração enunciativa de La Terquedad de Rafael Spregelburd (2009), com foco na maneira específica pela qual o texto dramático constrói uma imagem de seu responsável (isto é, Spregelburd como função de autor). Em particular, observaremos que a peça gera uma representação do dramaturgo como a de um intelectual que adota uma atitude de distância crítica em relação aos personagens que ele apresenta. Para testar a nossa hipótese, seremos abordados na Enfoque dialógico de la argumentación y la polifonía enunciativa, uma teoria não-referencialista do significado do sujeito e não unicista.Fil: Zucchi, Mariano Nicolás. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de las Artes; Argentina. Universidad de Buenos Aires; Argentin
L'edizione critica delle "Epistole" metriche di Albertino Mussato: il testo, i temi, le fonti (con un'appendice 'dantesca')
No full textThe article presents the first critical edition of the metric Epistles by Albertino
Mussato, twenty poems of varying lengths (for a total of 1.570 verses) addressed
to several recipients, which have so far been available to readers only through an
edition printed in Venice in 1636 and based on a lost manuscript. Whilst illus-
trating the textual tradition of the text, the author also addresses the main philo-
logical problems raised by the constitutio textus. The article also displays the the-
matic areas covered by the Epistles in a variety of styles and tones. The overall aim
is to outline a comprehensive framework for intellectual Mussato’s program by
unearthing the classical and late antique sources that emerge from the entire cor-
pus. The last part of the article focuses on some of the Epistles, the least known to
the readers, which are unified by the theme of exile; the final point of focus is an
Epistle very similar in content and metaliterary implications to the narrative tex-
ture and the poetic reasons that distinguish Dante’s Divine Comedy
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