Studi sull'epigramma scoptico greco

The dissertation is divided into two parts: the first synthesis focused on the definition of the epigram scoptico imperial age, the second analysis concerns the study of the minor poets of Book XI. In the Introduction (I), the attention focuses on the genesis of imperial scoptic epigram: here you try to draw a picture of the satirical Greek literature before the middle of the century AD to identify the debts of the scoptic epigram, especially Lucillius’, in respect of previous authors (from the Middle-up comedy to epigrams of the Crown of Philip), and to emphasize the remoteness of this literary phenomenon from other experiences of ironic and satirical poetry (Catullus). In the chapter on the Themes (II), the study was limited to professional groups and those most targeted (doctors, grammarians, etc..), to that particular type represented by the satire on ethnic groups. The study of minor poets is necessarily preceded by a general discussion on the authors most representative of the greek satiric poetry: Lucillius, Ammianus, Nicarchus and Palladas (III). All the minor poets of the eleventh book, which you can not provide a date, have been regarded by scholars as the ‘poets of Diogenian’: the chapter on Anthologion of Diogenian (IV), which is undergoing critical to the existence (assumed but never proven) of the lost source of Book XI, therefore, serves as an introduction to the commentary of the authors required minors. During the discussion they are not qualified as poets ‘poets of Diogenian’, but are divided into two categories: those included in the string of alphabetically ordered AP XI 388-436 (V), and those who are not part of (VI). Finally, a separate chapter (VII) is devoted to the age-old question of epigrams assigned to Lucian, both in the string of alphabetically ordered epigrams, as well as outside it.

Yves Bonnefoy traduttore di Shakespeare: il poeta e la prova del dialogo

Contemporary French poet Yves Bonnefoy has always been attracted by English poetry, especially by Shakespeare’s work. Translating Shakespeare’s plays and sonnets has been a fundamental experience for him. The contact with a different culture, a different language and a different sort of poetry has been an important moment in his poetic experience. The dialogue between the French and the Elizabethan poet, which started in the 1950s, hasn't stopped yet and it offers some interesting perspectives to study Bonnefoy's work from a new point of view. Translation – which is first of all a poetic experience to him – is in fact the chance to get in touch with somebody else's poetry and to establish a dialogue with his poetic universe. Such a dialogue requires on the one hand an ‘ethic’ attitude on the translator's part, that is an attentive listening and a deep understanding of the original text. However, Bonnefoy has to create a new ‘poetic’ text in his own language. This is why the ‘seeds’ of his own poetry are also present in his translated texts, in which it is possible to clearly distinguish both the presence of the French poet’s own voice and his attempt to open his ‘speech’ to the specific quality of the Shakespearean poetry. On the other hand, such a deep contact with Shakespeare's work has changed the French poet, contributing to the development and maturity of his own poetry. Indeed, the Elizabethan poet is present in his work in different ways, in his critical essays as well as in his poems. Against this background, the aim of the present study is to define the complex dialogic forms and the osmotic relationships between the poetic experience and the experience of translation, which are considered two different moments of the same ontological research by the French poet.

Nonverbal emotional regulation in psychotherapy process according to an intersubjective perspective

In recent decades fascinating studies in developmental psychology, especially in infant research (for review see Lavelli, 2007) and recent discoveries in neuroscience (Welsh, et al, 2007; Siegel, 2001; Pally, 2007) have brought great interest to study the mode of sharing subjective experiences (affective states, intentions and attentional focus) in children and adults.It therefore appears today in the clinic is a growing consensus about the fact that the psychological disorder can be read as a deficit in intersubjective processes of affect regulation (see Benecke C. et al 2005; psychodynamic Diagnostic Manual-PDM, 2006) leading many authors to assume the centrality of affect regulation in the construction of the psychotherapeutic process of change (just to name a few Tronick, Greenberg, Stern, Sander, Fonagy, Beebe, Philippot, Rimé etc..). As previously stated, this study has led us to hypothesize that the long process of therapy is to assist with the sessions continue, a growing "emotional attunement" between the communication styles of both patient and therapist. And also to speculate that this synchronization can represent the existence of a significant positive correlation between the increased level of "emotional synchronization" and increased capacity for regulation of emotions by the patient.The research results despite the limitations of small sample showed encouraging results about the verification of the existence of an increasing degree of attunement between therapist and patient long psychotherapy sessions and also showed a good degree of positive correlation between the increase the latter construct and emotional regulation through the implicit mode of expression and nonverbal communication.

«Präzise doch ungenau». Tradurre il saggio. Un approccio olistico al saggio poetico di Durs Grünbein

Il saggio, genere di confine (Grenzgänger-Textsorte) per eccellenza, la cui indefinibilità è topos, si profila tuttora come terra incognita nell’àmbito delle scienze della traduzione. La presente ricerca mira a enucleare un modello traduttologico olistico per la traduzione del saggio. In feconda alternativa alla dicotomia approccio ermeneutico-letterario vs. approccio linguistico, la prospettiva teorico-metodologica del lavoro integra linee di ricerca filologico-letterarie e linguistico-testuali. Tale sguardo multiprospettico, l’unico in grado di dar conto della complessità del genere, permette di collocare operativamente il saggio e le sue varianti testuali principali (Textsortenvarianten), dal saggio specialistico (fachlicher Essay) al saggio poetico (poetischer Essay) sul continuum delle forme testuali comprese entro le dimensioni (scientifica, pragmatica, estetica) del Denkhandeln. Dalla produttiva intersezione tra la riflessione dell’Essayforschung classica e contemporanea e le più recenti indagini linguistico-testuali sulle forme del saggismo scientifico, si perviene alla formulazione di una definitio per proprietates del saggio. Segue lo sviluppo di un modello traduttologico olistico, che tesaurizza il proprio paradigma antropologico, la riflessione filosofico-ermeneutica e le acquisizioni della linguistica testuale, articolandosi attraverso le fasi ricorsive e interagenti di ricezione olistica, analisi poetico-ermeneutica e retorico-stilistica, progettazione linguistico-cognitiva, formulazione e revisione. L’approccio olistico così delinatosi viene quindi vagliato nella sua proficuità in sede applicativa. Funge da banco di prova un vero e proprio “caso limite” per complessità e qualità letteraria, ovvero il «poetischer Essay» del poeta, saggista e traduttore Durs Grünbein, una delle voci più acclamate nel panorama contemporaneo. La sezione pratica presenta infine l’inedita traduzione italiana dei saggi grünbeiniani Den Körper zerbrechen e Die Bars von Atlantis.

Luis Cernuda: la realizzazione del desiderio

Le traduzioni di Luis Cernuda, poeta spagnolo della Generazione del '27, da testi poetici di autori francesi, tedeschi ed inglesi, la cui scelta è dettata da ragioni di coerenza artistica, non hanno valore secondario rispetto alla produzione poetica autoriale. Nel presente studio si delinea l'uniformità del percorso creativo di Luis Cernuda nel ruolo duplice ed apparentemente contraddittorio di poeta-traduttore, attraverso un tracciato spazio-temporale, al contempo realistico e metaforico, che si svolge lungo gran parte della vita del misconosciuto poeta sivigliano. Ad una preliminare presentazione analitica del concetto di traduzione, della funzione che la stessa riveste nel genere letterario specifico della poesia e nell'attività creativa di Cernuda, segue l'analisi comparativa delle traduzioni cernudiane con le rispettive fonti straniere. L'argomento si svolge in tre capitoli successivi, organizzati rispettando lo svolgimento cronologico del percorso traduttorio cernudiano, svolto in parallelo alla produzione poetica personale. Il secondo capitolo verte sulla traduzione da testi poetici in francese. Il terzo capitolo, sul periodo immediatamente successivo agli anni della sperimentazione francese, analizza lo studio della poesia tedesca e della sperimentazione in traduzione. Tale incontro si propone anche come momento di scissione definitiva dalla lirica romanza, piuttosto esornativa, e di accostamento alla più essenziale lirica germanica. Il quarto capitolo raccoglie le versioni poetiche da autori inglesi, che si contraddistinguono per la grande somiglianza alla poesia di Cernuda nelle scelte contenutistico-formali. Le conclusioni vertono sulla coesione perseguita nel tradurre, per cui contenuto e forma acquisiscono pari importanza nella “ricreazione poetica” realizzata da Cernuda.

Poetiche della traduzione: le esperienze di Ungaretti-Jaccottet e Char-Sereni

La traduzione poetica viene affrontata sul piano empirico dell'analisi testuale. Una breve introduzione presenta le riflessioni più importanti sulla traduzione del testo poetico, da Benjamin e Steiner fino alle teorie più recenti di Meschonnic, Apel, Berman e Mattioli. Alla luce di queste teorie vengono analizzate le opere di due coppie di poeti e poeti-traduttori. Nel primo esempio troviamo il poeta svizzero (francofono) Philippe Jaccottet alle prese con l'intera opera di Ungaretti; nel secondo il rapporto travagliato di Vittorio Sereni con la poesia di René Char. Oltre a indagare la natura problematica della traduzione poetica come pratica e come esperienza, questa tesi di Letteratura Comparata vuole presentare la traduzione come strumento ermeneutico e come meccanismo rienunciativo: il suo ruolo nella dialettica delle influenze e dell'evoluzione letteraria è da considerarsi infatti essenziale. La vocazione originariamente etica della traduzione è sfondo costante della trattazione.

Poema of Lieutenant Schmidt’s End: Pasternak’s Dialogue with Tsvetaeva through the Prism of Genre.

Boris Pasternak’s poemy are acutely self-conscious of their place in the epic tradition. Lieutenant Schmidt (LS) represents one attempt at exploring the parameters of the poema itself as the poet makes a “difficult” transition from “lyric thinking” to “the epic.” In this article I examine this transition against a contemporaneous example in the genre, Tsvetaeva’s Poema of the End (PE). In LS, structural elements of the poema are counterposed to those of PE. While PE amplifies the individual voice, LS muffles what is personal for the sake of the public voice. While PE is atemporal, LS is historical. While PE unfolds on symbolic planes, with elements of plot kept to a bare minimum (a single moment of separation), LS is a plot-driven account based on concrete, documentary material. Finally, while PE is an “overgrown lyric”—representing the “lyric thinking” that Pasternak hopes to transcend— LS is an exploration of the possibilities that a more traditional model of the poema can offer. Although in the present analysis I draw on several theories of poetic genres, this is by no means an exhaustive study of epic versus lyric forms of poetry. Instead, my analysis focuses on those structural and thematic features of the poema that the poets themselves perceived as central to their texts. Pasternak, for his part, develops the structure and thematics of his poema in ways that are inspired by PE, but also, as we will see, in more significant ways, contrast with it.

The Resonance of Beauty

Beauty is a central concern in the works of two modern American poets, Elizabeth Bishop and Richard Wilbur. Both poets have formal styles with emphases on descriptive imagery and natural tropes. While these two poets have often been studied individually in their own right, they have not previously been studied together with the particular focus on beauty. So, in my thesis, through close study of many of their works, I draw out their understandings of beauty and discuss how they relate to each other and to their audience. Iprimarily utilize their most extensive collections, which are Bishop’s The Complete Poems: 1927-1979 and Wilbur’s Collected Poems:1943 - 2004. I also drew from other less anthologized sources and prose work. In my first chapter, I examine Bishop’s work closely, and in my second chapter I analyze Wilbur’s poetry. I conclude that the concept of beauty is similarly important for both poets, but motivates them to different levels of action and commitment,Bishop’s understanding of life being less spiritual than Wilbur’s. I introduce the possibility that beauty represents a positive reality that may prove more inspiring and victorious than the pain and hardship encountered throughout human life.

Subclinical thyroid dysfunction and the risk of heart failure in older persons at high cardiovascular risk

Subclinical thyroid dysfunction is common in older people. However, its clinical importance is uncertain.

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.

Czech Syllabic-Accentual Metres (1795-1914)

This project was part of a major research project into Czech verse texts from the National Revival to the present and looked at two groups of topics from the theory and history of Czech verse. The first was the rhythm of iambic and trochaic trimeter and trochaic hexameters, with a typological distinction of variants due to individual and generational arising. The rhythmic contours of 63 sets of verses were described statistically and differences in the frequency of stresses on strong and weak positions of the metre were identified. The second part of the project concerned the Czech dactyl. The history of triple metres ranging from poets of the Enlightenment to the present day underground writer Krchovsky were traced in detail. Along with the rhythm and technique of verse, the group analysed the semantics of dactylic metres of different extents (dimeters, trimeters, etc.) and their relationships to literary genres and trends. Their findings differ totally from the assumptions of traditional metrics. A general metrical norm of dactylic verses was defined within the system of rules of correspondence by the method of generative metrics. They established a typology, specified the frequency of divergences from the norm in a range of texts and investigated their role in the style and rhythmic differentiation of poetic works.

Reflection, refraction, and rejection : copper smelting heritage and the execution of environmental policy

This dissertation examines the global technological and environmental history of copper smelting and the conflict that developed between historic preservation and environmental remediation at major copper smelting sites in the United States after their productive periods ended. Part I of the dissertation is a synthetic overview of the history of copper smelting and its environmental impact. After reviewing the basic metallurgy of copper ores, the dissertation contains successive chapters on the history of copper smelting to 1640, culminating in the so-called German, or Continental, processing system; on the emergence of the rival Welsh system during the British industrial revolution; and on the growth of American dominance in copper production the late 19th and early 20th centuries. The latter chapter focuses, in particular, on three of the most important early American copper districts: Michigan’s Keweenaw Peninsula, Tennessee’s Copper Basin, and Butte-Anaconda, Montana. As these three districts went into decline and ultimately out of production, they left a rich industrial heritage and significant waste and pollution problems generated by increasingly more sophisticated technologies capable of commercially processing steadily growing volumes of decreasingly rich ores. Part II of the dissertation looks at the conflict between historic preservation and environmental remediation that emerged locally and nationally in copper districts as they went into decline and eventually ceased production. Locally, former copper mining communities often split between those who wished to commemorate a region’s past importance and develop heritage tourism, and local developers who wished to clear up and clean out old industrial sites for other purposes. Nationally, Congress passed laws in the 1960s and 1970s mandating the preservation of historical resources (National Historic Preservation Act) and laws mandating the cleanup of contaminated landscapes (CERCLA, or Superfund), objectives sometimes in conflict – especially in the case of copper smelting sites. The dissertation devotes individual chapters to the conflicts that developed between environmental remediation, particularly involving the Environmental Protection Agency and the heritage movement in the Tennessee, Montana, and Michigan copper districts. A concluding chapter provides a broad model to illustrate the relationship between industrial decline, federal environmental remediation activities, and the growth of heritage consciousness in former copper mining and smelting areas, analyzes why the outcome varied in the three areas, and suggests methods for dealing with heritage-remediation issues to minimize conflict and maximize heritage preservation.

Robin Huws Jones (United Kingdom), President 1976- 1980

Robin Huws Jones, President of the International Association of Schools of Social Work from 1976 to 1980, lived a life of challenge and change. Born in Wales in 1909, he often remarked that learning to speak Welsh at age two was such a challenge that he didn’t bother to learn English until he was six. The death of his mother when he was three led to the first of many changes in a life that was not easy in the formative years. Robin remained in the care of his father while his sister became the ward of two aunts. With his father, a draper’sassistant, he left Wales to live in a crowded boarding house in Liverpool.

Subclinical thyroid dysfunction and cognitive decline in old age

BACKGROUND Subclinical thyroid dysfunction has been implicated as a risk factor for cognitive decline in old age, but results are inconsistent. We investigated the association between subclinical thyroid dysfunction and cognitive decline in the PROspective Study of Pravastatin in the Elderly at Risk (PROSPER). METHODS Prospective longitudinal study of men and women aged 70-82 years with pre-existing vascular disease or more than one risk factor to develop this condition (N = 5,154). Participants taking antithyroid medications, thyroid hormone supplementation and/or amiodarone were excluded. Thyroid function was measured at baseline: subclinical hyper- and hypothyroidism were defined as thyroid stimulating hormones (TSH) <0.45 mU/L or >4.50 mU/L respectively, with normal levels of free thyroxine (FT4). Cognitive performance was tested at baseline and at four subsequent time points during a mean follow-up of 3 years, using five neuropsychological performance tests. RESULTS Subclinical hyperthyroidism and hypothyroidism were found in 65 and 161 participants, respectively. We found no consistent association of subclinical hyper- or hypothyroidism with altered cognitive performance compared to euthyroid participants on the individual cognitive tests. Similarly, there was no association with rate of cognitive decline during follow-up. CONCLUSION We found no consistent evidence that subclinical hyper- or hypothyroidism contribute to cognitive impairment or decline in old age. Although our data are not in support of treatment of subclinical thyroid dysfunction to prevent cognitive dysfunction in later life, only large randomized controlled trials can provide definitive evidence.

Immunopathology of postprimary tuberculosis: increased T-regulatory cells and DEC-205-positive foamy macrophages in cavitary lesions.

Postprimary tuberculosis occurs in immunocompetent people infected with Mycobacterium tuberculosis. It is restricted to the lung and accounts for 80% of cases and nearly 100% of transmission. Little is known about the immunopathology of postprimary tuberculosis due to limited availability of specimens. Tissues from 30 autopsy cases of pulmonary tuberculosis were located. Sections of characteristic lesions of caseating granulomas, lipid pneumonia, and cavitary stages of postprimary disease were selected for immunohistochemical studies of macrophages, lymphocytes, endothelial cells, and mycobacterial antigens. A higher percentage of cells in lipid pneumonia (36.1%) and cavitary lesions (27.8%) were positive for the dendritic cell marker DEC-205, compared to granulomas (9.0%, P < .05). Cavities contained significantly more T-regulatory cells (14.8%) than found in lipid pneumonia (5.2%) or granulomas (4.8%). Distribution of the immune cell types may contribute to the inability of the immune system to eradicate tuberculosis.