Nel contesto del censimento delle edizioni e commenti cinquecente-schi della Poetica di Aristotele, si presenta la scheda relativa a Torquato Tasso, Discorsi dell’arte poetica e Lettere poetiche.
As part of the census of sixteenth century Aristotele’s Poetica editions and commentaries, the record of Torquato Tasso’s Discorsi dell’arte poetica e Lettere poetiche is published.
Konstantinos Porpodis, Nikolaos Zias, Konstantinos Kostikas
et al.
Abstract Background Data on type 2 (T2)‐low severe asthma (SA) frequency is scarce, resulting in an undefined unmet therapeutic need in this patient population. Our objective was to assess the frequency and characterize the profile and burden of T2‐low SA in Greece. Methods PHOLLOW was a cross‐sectional study of adult SA patients. Based on a novel proposed classification system, patients were classified as T2‐low if blood eosinophil count (BEC; cells/μL) was <150, fractional exhaled nitric oxide (FeNO) < 25 ppb and any allergy status or BEC < 150/FeNO < 50 ppb/no allergy or BEC < 300/FeNO < 25 ppb/no allergy. For patients receiving biologics and/or oral corticosteroids, only those with BEC < 150/FeNO < 25 ppb/no allergy/no response to therapy were classified as T2‐low. Secondary outcome measures were: Asthma Control Test (ACTTM), Mini‐Asthma Quality of Life Questionnaire (Mini‐AQLQ), hospital anxiety and depression scale (HADS), and Work Productivity and Activity Impairment:Respiratory Symptoms (WPAI:RS) questionnaire. Results From 22‐Mar‐2022 to 15‐Mar‐2023, 602 eligible SA patients were enrolled. The frequency of T2‐low asthma was 20.1%. Of those, 71.1% had experienced ≥1 clinically significant exacerbations in the past year, 62.8% had ACT score <20 (uncontrolled asthma), and 22.3% were biologic‐treated. Mini‐AQLQ score was <6 (impairment) in 79.5% of patients, HADS‐total score was ≥15 (clinically significant emotional distress) in 43.8%, while median percent activity impairment and work productivity loss were 30.0 for both domains. Clinical and patient‐reported outcomes were worse among patients with ACT‐defined uncontrolled asthma. Conclusions One‐fifth of SA patients present with a T2‐low endotype. These patients frequently have uncontrolled disease and experience impairments in their quality of life, emotions and work ability.
This article offers an analysis of two theater texts which have in common, on the one hand, that they were born following a commitment to helping migrants, and on the other hand, that they specifically address the notions of solidarity and repression. We study the way in which these notions are represented: solidarity retrospectively in witnessed form, repression at the heart of the drama but defused by a poetic or comic hybridity. Constructed in this way, these works invite to formulate an engaged reflection on the modes of action of helping migrants.
This article proposes, for the first time, a philosophical reading of the film «In Bruges» through the lens of the «digital refusal» concept. In contrast to traditional interpretations focusing on the crime plot or existential motives, this research unveils a unique metaphysical dimension of the film, where the medieval city of Bruges emerges as a fully-fledged philosophical subject resisting the algorithmic logic of modernity. The innovative approach lies in treating the urban space not as a scenographic backdrop, but as an active actant influencing the temporal and ethical parameters of the narrative. The author's concept of «city-as-code» opens a fundamentally new perspective on understanding the urban environment as a proto-algorithmic structure operating according to a logic distinct from digital perceptions of time and space. This view radically differs from existing interpretations of urban semiotics in cinema and urban studies.
The paper identifies a previously unarticulated problem of «ontological lag» – a specific state of the digital modern subject who finds themselves in an environment incompatible with the logic of algorithmic operations and network communication. This interpretation allows for a new understanding of the film's visual strategy as a deliberate media glitch that prevents a cathartic perception of the main characters' ethical drama.
The proposed interpretation of the aesthetics of slowness and opacity in the film is fundamentally new, not as a stylistic device, but as a philosophical gesture that exposes the fundamental contradiction between digital temporality and the analog mode of presence. These reading challenges conventional notions of a unidirectional process of the digitalization of cultural experience.
Of particular value is the proposed typology of «digital subjects» in a state of glitch, which opens a new approach to analyzing characters in contemporary cinema as carriers of various forms of temporal dissonance. For the first time in the context of film analysis and media philosophy, the problem of «ethics without an audience» – moral choices that occur outside the logic of digital publicity – is articulated.
The research paves the way for the formation of a new interdisciplinary field combining media theory, the philosophy of ethics, and digital aesthetics to understand the transformations of subjectivity in the post-digital age.
The topic of this article is the depiction of the fall of the family in Luchino Visconti’s film The Damned and Thomas Mann’s novel Buddenbrooks, which served as a major inspiration for the former. The comparison of both works centers on two pairs of opposite attributes: the fall of the Buddenbrooks is characterised as gradual and internal, whereas the von Essenbeck family from The Damned declines in a rapid and external manner. These differences are studied in connection with such issues as the role of historical events in both works, the similiarities and dissimilarities between certain characters, as well as the impact of Shakespeare’s Macbeth on the narrative structure of The Damned. The nature of Visconti’s inspiration with Mann’s work and the connection between both artists are also discussed.
Un’ultima possibilità di designazione nominale del genere drammatico satiresco è costituita dallo stesso termine impiegato per indicare la creatura mitologica eponima, il satiro – con le occasionali confusioni e ambiguità tra l’uno e l’altro che ciò poteva comportare (come nel passo-capofila di questa parte della ricerca, Ar. Th. 157 ὅταν σατύρους τοίνυν ποιῇς). Il capitolo argomenta che già il sostantivo singolare σάτυρος è in grado di svolgere la funzione di Gattungsbezeichnung, contrariamente all’opinione diffusa che vuole soltanto il plurale σάτυροι poter significare ‘dramma satiresco’ (e, di conseguenza, non poter mai indicare una molteplicità di pièces satiresche) in virtù del processo sineddochico-metonimico per cui la quantità plurale dei coreuti si trasferirebbe direttamente al genere, ovvero alla singola opera, che li esibiva per definizione e necessità.
Md. Masum Billah, Md. Likhon Sarker, M. A. H. Akhand
Speech Emotion Recognition (SER) identifies and categorizes emotional states by analyzing speech signals. SER is an emerging research area using machine learning and deep learning techniques due to its socio-cultural and business importance. An appropriate dataset is an important resource for SER related studies in a particular language. There is an apparent lack of SER datasets in Bangla language although it is one of the most spoken languages in the world. There are a few Bangla SER datasets but those consist of only a few dialogs with a minimal number of actors making them unsuitable for real-world applications. Moreover, the existing datasets do not consider the intensity level of emotions. The intensity of a specific emotional expression, such as anger or sadness, plays a crucial role in social behavior. Therefore, a realistic Bangla speech dataset is developed in this study which is called KUET Bangla Emotional Speech (KBES) dataset. The dataset consists of 900 audio signals (i.e., speech dialogs) from 35 actors (20 females and 15 males) with diverse age ranges. Source of the speech dialogs are Bangla Telefilm, Drama, TV Series, Web Series. There are five emotional categories: Neutral, Happy, Sad, Angry, and Disgust. Except Neutral, samples of a particular emotion are divided into two intensity levels: Low and High. The significant issue of the dataset is that the speech dialogs are almost unique with relatively large number of actors; whereas, existing datasets (such as SUBESCO and BanglaSER) contain samples with repeatedly spoken of a few pre-defined dialogs by a few actors/research volunteers in the laboratory environment. Finally, the KBES dataset is exposed as a nine-class problem to classify emotions into nine categories: Neutral, Happy (Low), Happy (High), Sad (Low), Sad (High), Angry (Low), Angry (High), Disgust (Low) and Disgust (High). However, the dataset is kept symmetrical containing 100 samples for each of the nine classes; 100 samples are also gender balanced with 50 samples for male/female actors. The developed dataset seems a realistic dataset while compared with the existing SER datasets.
Computer applications to medicine. Medical informatics, Science (General)
Luciana Hartmann, Débora Cristina Sales da Cruz Vieira
Este artigo parte de um evento narrativo ocorrido entre crianças de 5 e 6 anos numa turma de Educação Infantil de uma escola pública do Distrito Federal, no qual foram evocados personagens como Deus e Zé Pelinda (entre outros), para promover um debate sobre como crianças pequenas acionam marcadores sociais da diferença. Questões religiosas, étnico-raciais e de gênero emergem de suas performances narrativas num cruzamento interseccional de distinções, o que permite depreender como esses marcadores, e as políticas do medo que frequentemente os impõem, operam na vida social das crianças desde uma idade muito precoce.
The work of Japanese-German writer Yoko Tawada (Tawada Yōko) stands out as an example of ‘in-between’ writing. Instead of simply ‘translating’ Japanese into German and vice versa, Tawada blends both languages and cultures, often self reflexively. As a result, poetic in-between spaces emerge, in which creative work, cultural translation, and social criticism can take place. The texts also construct in between spaces on a formal level. For instance, the verse novels “Kasa no shitai to watashi no tsuma” (『傘の死体とわたしの妻』, 2006) and “Ein Balkonplatz für flüchtige Abende” (2016) feature both narrative progression and poetic devices (vivid imagery, association, and wordplay), defying categorization either as volumes of poetry or as novels. In addition, the in-between space of genres becomes visible in Tawada’s self-translations, which often amount to rewritings and lead to a change in genre – travel essay to novella, novel to drama, or poem to prose text. An example of this genre-transcending bilingualism as entryway to an in-between space are the texts „Die Orangerie“ (1997) and “Orenji-en nite” (「オレンジ園にて」, 1997/1998), which initially appear as a poem and its (apparently) prose translation. However, a number of textual peculiarities of both pieces point to the mutual influences between versions. Thus, I read all four examples as hybrid forms of poetry, which perform the mixing of genres, languages, and cultures that occurs in today’s world. In their cultural hybridity especially, the poems point to underlying social issues of homo- and xenophobia.
The article analyzes the cultural and civilizational consequences of a long experience of Ukrainians' perception of the biblical picture of the world and the corresponding principles of its development. The author's reasoning is based on the thesis that the very acquisition of the Bible as a sacred text created the space of a common language - the language of values and the language of symbols. The present "European world", even as a globalized phenomenon, has historically emerged as the embodiment of an ideal, symbolic "biblical world". In turn, the over-millennial affiliation of Christianized Ukraine to the "biblical world" has become an extremely important symbolic marker and cultural and ideological factor of civilization.
Adopting the principle of biblical historicism coupled with the idea of biblical history as a universal, universal Holy History of Salvation, our ancestors, along with other Christianized peoples, were given the chance to see themselves as full participants in world historical drama. The same universal principle led to the formation of a new model of interpersonal communication - communication, which united families and tribes in nations, and nations into international unity. We still know this unity as Europe - either staying in it or seeking to rebuild and strengthen its ties with it. And, despite the fact that this unity always seemed to be a political, cultural, civilizational unity, it was basically a spiritual and mental unity. The “biblical world”, as a center of norms and symbols, was embodied in the various social and cultural forms of the great Europe.
The author outlines a panorama of common cultural ideas and values that have been learned by our ancestors over a thousand years ago, the source of which is the biblical worldview. In particular, the idea (and at the same time the value) of indisputable and unceasing progress is analyzed — as the idea of historical progress in the development of each individual, each local society, as well as humanity as a whole. It is shown that the possibility of such progress is justified by the affirmation of the value of personal creative effort in the transformation of the world — an effort that involves creativity and initiative. The basis for the creative world transformation for the human development is the value of rational (including scientific) knowledge of the world.
However, it has been shown that the ideas of progressism, personal creative activism, rationalism and pragmatism in the European mentality are substantially counterbalanced by several important values, which are also of biblical origin. In this context, the idea of personal and collective responsibility for what humans is being done in the world is emphasized. This value — as the maxim of socially significant behavior — in our culture is a powerful safeguard for personal or group selfishness and particularism.These values can be realized in a system of constantly updating communities. Community, communication is the basis of a a fulfilling personal and collective life, both religious and secular.
On the concrete examples of the analysis of the reception of the European biblical experience by the figures of the Kiev theological tradition of the late XIX - early XX centuries, the author demonstrates the perception by the Kiev authors of this period of polyphonic unity of the European world, the normative and symbolic core of which was the Bible. The author reasonably argues that by comparing the foreign experience of mastering and applying the Bible with the domestic, "home" situation, Kiev theologian researchers objectively strengthened the idea of a universal "biblical world". The "biblical world" - as the unity of the spiritual-symbolic and ethno-geographical principles, is, to put it now, the "geopolitical phenomenon" - has been globalized and modernized. As a result, there were also challenges to Ukrainian culture and society. These challenges remain relevant every time we attempt modern Ukrainian state and national-cultural construction.
The author's current conclusion is that even now our self-awareness as Europeans, as full members of the global community of nations, requires us to read the Bible as a source of meaning shared with the rest of the world, with the experience of other nations.
Ur-Hamlet é uma produção de Eugenio Barba apresentada em 2006 no castelo de Elsinore, Dinamarca. O Odin Teatret trabalhou em colaboração com muitos atores, bailarinos e músicos de diferentes culturas e tradições teatrais. O artigo descreve as relações que o Odin Teatret tem estabelecido com outros grupos teatrais do mundo inteiro, suas trocas e o conceito de Terceiro Teatro. Analisa as práticas artísticas usualmente aplicadas pelo Odin Teatret e como a integração de atores com diferentes origens ocidentais e orientais foi marcada por suas trajetórias profissionais. Havia uma clara distinção entre os atores com diferentes formações e tempo de experiência teatral e aqueles mais jovens, ocidentais, que participaram de oficinas do Odin Teatret.
Il presente saggio analizza la relazione difficile tra, da una parte, la tragedia del Cinquecento come nuovo genere letterario che si basa su contemporanee riflessioni teoriche e il petrarchismo “ortodosso” fondato da Pietro Bembo dall’altra parte. La Poetica di Aristotile presuppone che la letteratura debba essere prodotta servendosi di uno stile gradevole,“dolce”. Questo presupposto si riferisce a tutti i generi letterari, dunque anche alla tragedia. Per autori e teorici della letteratura nel Cinquecento italiano uno stile “dolce” era inevitabilmente uno stile petrarchesco. Perciò da un punto di visto aristotelizzante la tragedia del Cinquecento doveva essere, stilisticamente, una tragedia sotto il segno del petrarchismo. Scrittori di tragedie come Giraldi e Speroni lottavano con questa situazione, offrendo diverse soluzioni del dilemma che stile petrarchesco e soggetto tragico non si combinano facilmente. Solo il dramma pastorale avrebbe offerto i mezzi per risolvere questo nodo gordiano.
This article deals with the complex interrelation between Cinquecento tragedy as a newly established literary genre, strongly based on contemporary poetological reflexion, and the “orthodox” petrarchism founded by Pietro Bembo. Aristotle’s Poetics presuppose that literature must be written in an agreeable “sweet” style. This postulation applies to all literary genres including tragedy. For Italian Cinquecento authors and literary theorists, “sweet” style was inavoidably Petrarchan. Therefore Cinquecento tragedy would need Petrarchan diction to be “correctly” written from an Aristotelianizing point of view. Writers of tragedy, including Giraldi and Speroni, struggle with that situation, offering different solutions of the dilemma that Petrarchan style and tragic subject are not easily combinable. Only in the pastoral drama would this Gordian knot be solved.
This research studies the strategic conservation efforts to preserve the local image of wayang topeng or mask puppet as a traditional art performance. Ten years into the 21st century shows a great effort from the artists who joined the Wayang Topeng Malang dance studio, Asmorobangun led by Tri Handaya (43), in preserving its existence. This research studies the strategy carried out in preserving the association’s existence so it can continue, not only wayang topeng as traditional art performance but also as the professions of its artist. The efforts carried out shows an action which is systematic and modern. Therefore, the researcher is interested in exploring Tri Handaya’s effort in preserving wayang topeng communities to be able to hold monthly regular performances, establishing cooperation with the government and private sector, and serving various training for general public. Research method used was qualitative approach of single instrumental case study, which is Sanggar Wayang Topeng Asmorobangun. Data was collected with the use of interview, observation, and documentation. Data verification to establish validity was using source and method triangulation. Research results show that there are three strategic aspects in preserving local image: (1) following the tradition patterns of its predecessors, (2) conducting training for young generations, (3) designing an extensive promotional media and building relationships with stakeholders.
Resumen: La reproducción audiovisual del canon literario en el ámbito anglonorteamericano implica un desafío de gran calibre ante crítica, académicos y público, resuelto con originalidad creativa y solvencia tecnológica en la adaptación cinematográfi ca Prospero’s Books de Peter Greenaway, quien reescribe y relee The Tempest de William Shakespeare. Creará un simbólico palimpsesto textual y visual que privilegiará la presencia física de libros con contenido enciclopédico y de esta obra teatral, escrita, leída y escenifi cada en un universo de imágenes preciosistas, sin descuidar implicaciones ideológicas sobre la autoría literaria, la propiedad del conocimiento y la coyuntura histórica con génesis en la dramaturgia isabelina.
Abstract: To satisfy scholars, critics and the public alike, the cinematographic adaption of the canon of English Literature implies a great challenge, which is technologically and creatively resolved by Peter Greenaway’s Prospero’s Books. This work successfully rewrites and rereads William Shakespeare’s The Tempest. The fi lm-maker builds and simultaneously unravels a metaphorical palimpsest, consisting of texts and images superimposed, to be handwritten, listened to and performed. This visual manuscript problematizes the physical presence of books and this play on screen, without overlooking ideological implications stemming from Elizabethan drama: the authorship of literature, the property of knowledge and historical circumstances.
Europe on the contemporary Macedonian dramatic stage
As part of the topic I decided to speak about the dramatic opus of Goran Stefanovski, mostly for three chief reasons which are elaborated in the paper:
1. The thematic constant of his dramatic worldview is to represent Macedonia (namely, the Balkans and its Slavic population) against the ‘big, white western world’ of Europe and the US. This East-West imagological conditionality and juxtaposition of meanings inside Stefanovski’s dramatic worlds provides the basis for the dramatic conflicts in his plays, including those written during the socialist period of his upbringing (Wild Flesh, Tattooed Souls), when Stefanovski resides in Skopje (Macedonia), and writes in Macedonian, and those written after the break-up of the SFRY (Casabalkan, Euroalien, Hotel Europa), when Stefanovski lives and works in Canterbury (England), and writes in English.
2. The imagological thematic constant which runs through the European East vs. West in Stefanovski’s opus is something his writing shares with the thematic preoccupations of other contemporary Macedonian dramatists (such as Jordan Plevnesh, Venko Andonovski, Dejan Dukovski). With that, the plays of Andonovski and Dukovski evidently reference scenes from Stefanovski’s works. Along those lines, it’s safe to say that Stefanovski is the paradigmatic (emblematic) Macedonian playwrighter.
3. The play-script for Stefanovski’s theatre productions written during the past decade and a half, as integral parts of international theatre projects and productions, have received a wider international acclaim and visibility by the European theatre audiences. His dramatic works allow for the voice(s) of the other, the silenced Europe, to resonate at the center of the European cultural capitals. With that, the interculturality of these theatre projects (performed at all levels of the production), allows for the articulation of the mutual demonization that generates the imagological, ideological and geopolitical difference which exists between Europe and the Balkans.
Europa na scenie współczesnego dramatu macedońskiego
W artykule autorka poddała analizie dorobek dramaturgiczny Gorana Stefanovskiego, rozpatrując opus tego twórcy w perspektywie trzech zagadnień:
1. Stałym tematem dramaturgicznego oglądu Stefanovskiego jest Macedonia (bądź też Słowianie i Bałkany) w obliczu wielkiego świata Europy i Ameryki. Wschód–Zachód jako konstrukcja imagologiczna i zestawienie znaczeń stanowi podstawę konfliktu dramaturgicznego w jego utworach: zarówno powstałych w czasach socjalizmu, gdy Goran Stefanovski mieszkał w Skopju (Macedonia) i tworzył po macedońsku (Dzikie mięso, Wytatuowane dusze), jak i późniejszych, napisanych po rozpadzie SFRJ, kiedy pisarz zamieszkał w Canterbury, podjął tam pracę i zaczął tworzyć po angielsku (Kazabalkan, Euroalien, Hotel Europa).
2. Imagologiczną konstantę tematyczną, która sytuuje europejski Wschód wobec Zachodu w dziełach Gorana Stefanovskiego, zestawia autorka z utworami innych współczesnych dramatopisarzy macedońskich (Jordana Plevneša, Venka Andonovskiego, Dejana Dukovskiego), po czym stwierdza, że Andonovski i Dukovski przywołują w swych utworach sceny z dramatów Stefanovskiego – w tym sensie Stefanovski jest bez wątpienia paradygmatem dramatopisarza macedońskiego.
3. Scenariusze przedstawień teatralnych Stefanovskiego, powstałe w ostatnich piętnastu latach jako integralna część międzynarodowych projektów i produkcji teatralnych, spotykają się z żywym oddźwiękiem i zainteresowaniem europejskiej krytyki i publiczności. Jego twórczość dramaturgiczna pozwala zabrzmieć głosowi innej, przemilczanej Europy; przy czym interkulturowość owych projektów teatralnych (na wszystkich poziomach spektaklu) prowadzi do demonizacji, która generuje imagologiczne, ideologiczne i geopolityczne zróżnicowanie Europy i Bałkanów.
Ethnology. Social and cultural anthropology, Slavic languages. Baltic languages. Albanian languages
En el campo de las artes escénicas la singularidad de los discursos sobre el cuerpo y el movimiento tiene diferentes anclajes.
Una entrevista realizada al Lic. Leonardo Montecchia acerca de la tarea que desarrolla como investigador, pedagogo y coreógrao en el área de lo corporal, expone un abordaje particular: la relación directa y consciente entre respiración y movimiento. Sin embargo, la entrevista va más allá de este aspecto específico.
Con casi treinta años dedicados a preguntarse y experimentar sobre el movimiento, nos encontramos con las reflexiones de un artista sobre su trayectoria y también, su presente.