scholarly journals Szempontok a De mulieribus claris elemzéséhez

2019 ◽  
pp. 63-78
Author(s):  
Annamária Molnár
Keyword(s):  
Italian Literature ◽  
European Literature ◽  
Literary Sources ◽  
The Common ◽  
Points Of View ◽  
Western European ◽  
De Mulieribus Claris ◽  
Narrative Techniques

Boccaccio had proved by his vernacular and Latin prosaic works as well that he merited a place among the three crowns of Italian literature. By De mulieribus claris he created the first collection of women’s biographies in the Western European literature, which work testifies such a complexity worth for analysing. This paper presents the various aspects I needed to apply during the analysis of the common goddesses of Genealogia and De mulieribus – e. g. the problem of the readers, the utilized literary sources, the narrative techniques and even the tradition called Euhemerism – to understand De mulieribus itself and due to these points of view to identify the answers that Boccaccio gave to the challenges of the Medieval and Renaissance interpretational traditions.

scholarly journals WRITING MUSIC (AND MUSIC HISTORY): REFERENTIAL RAMIFICATIONS IN CLAUS-STEFFEN MAHNKOPF'S KURTÁG-ZYKLUS

Tempo ◽  
2016 ◽  
Vol 71 (279) ◽  
pp. 18-37
Author(s):  
Klaas Coulembier ◽  
Daan Janssens
Keyword(s):  
Analytical Approach ◽  
Music History ◽  
Critical Assessment ◽  
Musical Compositions ◽  
Literary Sources ◽  
Gyorgy Kurtag ◽  
Points Of View

AbstractOne of the most striking aspects of Claus-Steffen Mahnkopf's Kurtág-Cycle (2001), is the abundant use of intertextual references: Mahnkopf includes references to compositions of his own, as well as to works of other composers (e.g. Mark Andre). He also refers to literary sources, such as texts by Borges and Nietzsche. In first instance, this article provides a detailed inventory of these many musical and extra-musical references. Second, we highlight some of these interconnections by zooming in on the relationships between the different compositions within the Kurtág-Zyklus. A music analytical approach reveals the compositional strategies adopted by Mahnkopf in this work. Third, we examine the motivations behind Mahnkopf's specific choices: Why does Mahnkopf include references to certain composers such as Mark Andre and György Kurtág? And which underlying aesthetic, ideological or personal points of view guided the composer when establishing these specific connections? This paper presents a critical assessment of the interrelations between the two aspects of Claus-Steffen Mahnkopf's work: his theoretical writings and his musical compositions.

scholarly journals Considerações sobre a axiologia donna x femmina para orientar uma tradução brasileira de Boccaccio

2021 ◽  
Vol 12 (1) ◽  
pp. 24
Author(s):  
Adriana Tulio Baggio
Keyword(s):  
Italian Literature ◽  
Giovanni Boccaccio ◽  
Sulla Base ◽  
14Th Century ◽  
De Se ◽  
The Feminine ◽  
Letteratura Italiana ◽  
The Senses ◽  
De Mulieribus Claris ◽  
Medieval Italian Literature

RESUMO: Delle donne famose, de Donato Albanzani, é um dos vulgarizamentos da coletânea de biografias femininas escrita por Giovanni Boccaccio na década de 1360. Um projeto de tradução desse vulgarizamento levanta a questão sobre a pertinência de se traduzir por "fêmea" o femmina adotado na obra (que se alterna com o uso de donna), já que os sentidos negativos do termo, no italiano do século XIV, eram distintos e menos depreciativos que do que aqueles do correspondente em português. Para examinar tal pertinência, observou-se as ocorrências de donna e femmina no texto do livro com base em três situações: diferenciação por classe de palavras, semantismo dos termos e de seus predicados, e contexto das ocorrências. A análise revela a constituição de axiologias que homologam a oposição natureza x cultura, com femmina em posição disfórica associada à "natureza". Como as acepções depreciativas de "fêmea" se fundam na projeção de aspectos "animalizados" na mulher, pretensamente oriundos de um estágio pré-cultural e humano, o termo pode ser considerado pertinente para traduzir o femmina e evocar os sentidos que ajuda a produzir no texto italiano.Palavras-chave: Literatura italiana medieval. De mulieribus claris. Axiologia do feminino. Mulher x fêmea. Tradução. ABSTRACT: Delle donne famose, di Donato Albanzani, è una delle volgarizzazioni della raccolta di biografie femminili scritta da Giovanni Boccaccio negli anni Sessanta del Trecento. Un progetto di traduzione al portoghese brasiliano di questa volgarizzazione mette in rilievo la questione della pertinenza di si tradurre come fêmea la parola "femmina" (adoperata in alternanza alla parola donna), poiché i significati negativi del termine, nell’italiano del XIV secolo, erano distinti e meno denigratori di quelli del corrispondente portoghese. Per esaminare tale pertinenza, si ha osservato le occorrenze delle parole "donna" e "femmina" nel testo del libro sulla base di tre situazioni: la differenziazione per classe di parole, la semantica dei termini e dei loro predicati e il contesto delle occorrenze. L’analisi rivela la costituzione di assiologie che sanciscono l’opposizione natura x cultura, con il termine "femmina" in una posizione disforica associata alla "natura". Poiché i significati dispregiativi di fêmea si basano sulla proiezione di aspetti "animalizzati" nelle donne, presumibilmente da una fase pre-culturale e umana, il termine può essere considerato pertinente per tradurre la parola "femmina" e per evocare i sensi che questa aiuta a produrre nel testo italiano.Parole chiave: Letteratura italiana del medioevo. De mulieribus claris. Assiologia del femminile. Donna x femmina. Traduzione. ABSTRACT: Donato Albanzani’s Delle donne famose is one of the Italian translations of the collection of female biographies written by Giovanni Boccaccio in the 1360s. A Brazilian translation project of this work rises the question if it would be pertinent to use the Portuguese word fêmea for the Italian femmina (which appears alternately with donna to referes to women), since the negative meanings of the term, in 14th century Italian, were distinct and less disparaging than those of its Portuguese correspondent. To examine such pertinence, we observe in the text of the book the occurrences of donna and femmina based on three situations: differentiation by class of words, semanticism of terms and their predicates, and context of occurrences. The analysis reveals the constitution of axiologies that ratify the nature x culture opposition, with femmina in a dysphoric position associated with "nature". As the derogatory meanings of fêmea are based on the projection of "animalized" aspects in women, supposedly from a pre-cultural and human stage, the term can be considered relevant to translate the word femmina and to evoke the senses that it helps to produce in the Italian text.Keywords: Medieval Italian literature. De mulieribus claris. Axiology of the feminine. Woman x female. Translation.

scholarly journals On Memory of Plates and Dishes

Fluminensia ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 117-136
Author(s):  
Krystyna Pieniążek-Marković
Keyword(s):  
Cultural Memory ◽  
Regional Identity ◽  
Literary Fiction ◽  
Western World ◽  
Individual Identity ◽  
The Past ◽  
Literary Sources ◽  
The Social ◽  
History Of ◽  
The Common

The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.

Lopatina, N. and Fridstein, Y., eds. (2019). ‘Whom thou desertest not, O Genius…’ Goethe in translations by Russian 19th-c. poets. Moscow: Infinitiv: Lingvistika. (In Russ.)

2021 ◽  
pp. 274-279
Author(s):  
G. V. Yakusheva
Keyword(s):  
Cultural Awareness ◽  
Russian Society ◽  
The Novel ◽  
European Literature ◽  
Original Language ◽  
The Past ◽  
Poetic Translation ◽  
Western European

A review of the anthology prepared by N. Lopatina, a renowned Russian bibliographer. The collection includes 187 translations of Goethe’s 78 poems, which are quoted in the original language, and of several poetic fragments from the tragedy Faust, the novel Wilhelm Meister, as well as the cycle West-Eastern Divan, made by 63 Russian 19th-c. poets, representatives of various traditions — from Classicism and Sentimentalism to Symbolism and Acmeism. The collection showcases the high achievements of the country’s school of poetic translation and acute cultural awareness of the Russian society in the 19th c., and focuses on the part of Goethe’s poetic oeuvre that was especially popular with the Russian reader. Another role of the anthology is to bridge a gap in our knowledge and uncover names, often unfairly forgotten, of Russian poets and philologists of the past in their interaction with the Western European literature.

Dialogic and Direct Instruction: Two Distinct Models of Mathematics Instruction and the Debate(s) Surrounding Them

2015 ◽  
Vol 117 (11) ◽  
pp. 1-32
Author(s):  
Charles Munter ◽  
Mary Kay Stein ◽  
Margaret S. Smith
Keyword(s):  
State Standards ◽  
Student Thinking ◽  
Instructional Models ◽  
Common Goal ◽  
Ongoing Debate ◽  
The Common ◽  
Points Of View ◽  
K 12 ◽  
Background Context

Background/Context Which ideas should be included in the K–12 curriculum, how they are learned, and how they should be taught have been debated for decades in multiple subjects. In this article, we offer mathematics as a case in point of how new standards-related policies may offer an opportunity for reassessment and clarification of such debates. Purpose/Objective Our goal was to specify instructional models associated with terms such as “reform” and “traditional”—which, in this article, we refer to as “dialogic” and “direct”—in terms of perspectives on what it means to know mathematics, how students learn mathematics, and how mathematics should be taught. Research Design In the spirit of “adversarial collaboration,” we hosted a series of semi-structured discussions among nationally recognized experts who hold opposing points of view on mathematics teaching and/or learning. During those discussions, the recent consensus regarding what students should learn—as represented by the Common Core State Standards for Mathematics (CCSSM)—was taken as a common goal, and additional areas of agreement and disagreement were identified and discussed. The goal was not to reach consensus but to invite representatives of different perspectives to clarify and come to agreement on how they disagree. Findings/Results We present two instructional models that were specified and refined over the course of those discussions and describe nine key areas that distinguish the two models: (a) the importance and role of talk; (b) the importance and role of group work; (c) the sequencing of mathematical topics; (d) the nature and ordering of mathematical instructional tasks; (e) the nature, timing, source, and purpose of feedback; (f) the emphasis on creativity (i.e., authoring one's own learning; mathematizing subject matter from reality); (g) the purpose of diagnosing student thinking; (h) the introduction and role of definitions; and (i) the nature and role of representations. Additionally, we elaborate a more nuanced description of the ongoing debate, as it pertains to particular sources of difference in perspective. Conclusions/Recommendations With this article, we hope to advance ongoing debates in two ways: (a) discrediting false assumptions and oversimplified conceptions of the “other side's” arguments (which can obscure both the real differences and real similarities between different models of instruction), and (b) framing the debates in a manner that allows for more thoughtful empirical investigation oriented to understanding learning in the discipline.

Parentheticals and the presentation of multipersonal consciousness: A stylistic analysis of Mrs Dalloway

2014 ◽  
Vol 23 (2) ◽  
pp. 175-187 ◽  
Author(s):  
Yaxiao Cui
Keyword(s):  
Point Of View ◽  
Degree Of Freedom ◽  
Stylistic Analysis ◽  
Multiple Points ◽  
Single Sentence ◽  
Research Gap ◽  
Points Of View ◽  
Free Indirect Style ◽  
Narrative Techniques

The presentation of consciousness in Mrs Dalloway has long been a focus of study, and many scholars have investigated Woolf’s narrative techniques in this regard, especially her use of Free Indirect Style. However, most of the existing studies mainly concentrate on the consciousness presentation of individual characters. Few studies have provided adequate accounts concerning the arrangement of the shifting narrative viewpoints and the linguistic mechanism that facilitates the ‘multipersonal representation of consciousness’ in this novel (Auerbach, 2003 [1953]: 536). This article attempts to fill this research gap by examining the use of parentheticals in Mrs Dalloway. The syntactic independence of a parenthetical gives it a degree of freedom to digress from its host, which makes this construction a convenient device to bring in new sources of consciousness and thus shift the narrative viewpoint from one character to another. The frequent viewpoint shifts subvert the convention of adhering to a single coherent narrative point of view. Meanwhile, using parentheticals allows Woolf to present multiple points of view within a short stretch of text, even within a single sentence. In this way, a sense of simultaneity is created. Distinct sources of consciousness are brought closer to each other; the very boundaries between individual minds seem to be blurred.

scholarly journals The Dry Revolution: Evaluation of Three Different EEG Dry Electrode Types in Terms of Signal Spectral Features, Mental States Classification and Usability

Sensors ◽  
2019 ◽  
Vol 19 (6) ◽  
pp. 1365 ◽  
Author(s):  
Gianluca Di Flumeri ◽  
Pietro Aricò ◽  
Gianluca Borghini ◽  
Nicolina Sciaraffa ◽  
Antonello Di Florio ◽  
...  
Keyword(s):  
Mental States ◽  
Signal Quality ◽  
Multiple Points ◽  
Dry Electrodes ◽  
Dry Electrode ◽  
Common Opinion ◽  
Comprehensive Comparison ◽  
The Common ◽  
Points Of View ◽  
Neuroimaging Techniques

One century after the first recording of human electroencephalographic (EEG) signals, EEG has become one of the most used neuroimaging techniques. The medical devices industry is now able to produce small and reliable EEG systems, enabling a wide variety of applications also with no-clinical aims, providing a powerful tool to neuroscientific research. However, these systems still suffer from a critical limitation, consisting in the use of wet electrodes, that are uncomfortable and require expertise to install and time from the user. In this context, dozens of different concepts of EEG dry electrodes have been recently developed, and there is the common opinion that they are reaching traditional wet electrodes quality standards. However, although many papers have tried to validate them in terms of signal quality and usability, a comprehensive comparison of different dry electrode types from multiple points of view is still missing. The present work proposes a comparison of three different dry electrode types, selected among the main solutions at present, against wet electrodes, taking into account several aspects, both in terms of signal quality and usability. In particular, the three types consisted in gold-coated single pin, multiple pins and solid-gel electrodes. The results confirmed the great standards achieved by dry electrode industry, since it was possible to obtain results comparable to wet electrodes in terms of signals spectra and mental states classification, but at the same time drastically reducing the time of montage and enhancing the comfort. In particular, multiple-pins and solid-gel electrodes overcome gold-coated single-pin-based ones in terms of comfort.

Recalibrating Reform

2018 ◽  
Vol 35 (2) ◽  
pp. 183-222
Author(s):  
Michele Cabrini
Keyword(s):  
Eighteenth Century ◽  
Creative Process ◽  
Ongoing Debate ◽  
Unique Position ◽  
Literary Sources ◽  
Opera Seria ◽  
Return Home ◽  
Points Of View ◽  
Insight Into ◽  
Captive Condition

The opera Telemaco, with a libretto by Marco Coltellini and music by Christoph Gluck, occupies a unique position as an opera seria that negotiates both tradition and reform. Scholars have long criticized the opera because of its ill-shaped libretto and uneven musical setting. This article contributes to the ongoing debate about operatic reform by reevaluating Telemaco based on its literary sources—Homer’s Odyssey and Fénelon’s novel Télémaque (1699). The absorption of Homer and Fénelon into the fabric of Telemaco goes well beyond adaptation, touching both its general dramaturgy and the specific creation of its characters. Set on the island of Circe, Coltellini's libretto echoes the timeless, liminal status of the corresponding islands (Circe’s and Calypso’s) found in Homer and Fénelon. The characters reflect and blend features of their literary counterparts. They fall into two groups: those who fight their captive condition through impetuous behavior (Circe and Telemachus) and those who attempt to circumvent their predicament by clinging to a golden past (Asteria) or yearning for a hopeful future (Ulysses’s desire to return home). Gluck’s expression of the characters’ longing and identity, achieved through a manipulation of form and textual re-composition, thus implies multiple temporal directions, suggesting a series of synchronic, revolving points of view that challenge the diachronic unfolding of events typically associated with opera reform in the eighteenth century. This method of analysis therefore offers insight into the creative process and helps refine our understanding of reformist opera, both in Gluck’s output and broader eighteenth-century operatic practice.

Evolution of Grain Legumes. I. Mediterranean Pulses

1984 ◽  
Vol 20 (4) ◽  
pp. 275-296 ◽  
Author(s):  
J. Smartt
Keyword(s):  
Faba Bean ◽  
Geographic Origin ◽  
Grain Legumes ◽  
Grass Pea ◽  
The North ◽  
Fertile Crescent ◽  
The Common ◽  
Points Of View ◽  
The Mediterranean ◽  
Cultivated Populations

SUMMARYThe evolution of the Mediterranean pulses, the common pea (Pisum sativum L.), the faba bean (Vicia faba L.), the grass pea (Lathyrus sativus L.), the lentil (Lens culinaris Medik.) and the chickpea (Cicer arietinum L.), is considered from the points of view of geographic origin and subsequent dissemination. All appear to have originated in the Fertile Crescent, the most significant subsequent spread being to the north of the Mediterranean basin in the case of the common pea and the faba bean and to the east of it in the case of the other three species. The wild progenitor type is known for all species except the faba bean. In the grass pea the extent of divergence between wild and cultivated populations is small, possibly due to its use predominantly for forage and less as a pulse. Considerable divergence has occurred in other species, where use as a pulse is more important.

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