La retorica delle sarabandes : ricerca retorica nelle prime tre sarabandes delle Sechs Partiten für klavier di J. S. Bach

La presente tesi di ricerca si propone di studiare la danza della sarabanda come capolavoro di musica, retorica e poesia in tre delle Sechs Partiten für klavier di J. S. Bach (BWV 825-830). Lo studio svolto è fondamentalmente di tipo retorico: permette di individuare e interpretare la struttura oratorialepoetica del discorso letterario-musicale nelle tre danze scelte e di imarcarne i suoi aspetti più salienti di ritmica e ornatus. L’approccio permette di osservare, con uno sguardo di comparazione, la presenza di un percorso retorico comune alle tre sarabande, che evolve con gradualità, differenziandole nettamente: ciò riesce a valorizzare a pieno la danza nella sua forza ed efficacia espressiva, che la rende di fatto il movimento di massima commozione di ogni Partita.

Ch'io mi scordi di te - Non temer, amato bene

r1951, Perpignan, Casals Festival.

Lucia di Lammermoor

Pons, Lily (Lucia) ; Votipka, Thelma (Alisa) ; Tucker, Richard (Edgardo) ; Hayward, Thomas (Arturo) ; McCracken, James (Normanno) ; Guarrera, Frank (Enrico) ; Scott, Norman (Raimondo) ; Chorus and Orchestra of the Metropolitan Opera Association, Cleva, Fausto, joht.

Roma al tempo di Caravaggio.1600-1630

Quan l’any 1602 el pintor i tractadista Federico Zuccari publicà L’Ideade’pittori, scultori et architetti, Caravaggio ja havia radicalitzat el seu llenguatge versun fort naturalisme, al qual afegia un tractament de forts contrastos lumínics patent enl’obra, dos anys més tardana, que inaugura la mostra: La verge de Loreto, tambéconeguda com la Verge del peregrins. Davant el procés creatiu de Zuccari basat en laIdea, es a dir el disegno interno de bellesa, Caravaggio pren la realitat com a modeltrencant així amb el manierisme reformat que, a la Roma papal, te la seva plasmació al’Oratori dels Gonfalone on el citat tractadista hi va participar. D’altra banda la novamanera caravaggesca es contraria a la proposada per Annibale Carracci al programa dela Galeria Farnese i, alhora, per la defensada per tota la tractadística italiana del segleXVII, des de Giovanni Battista Agucchi, en el seu Tractat de la pintura(1607-1615),fins a Giovan Pietro Bellori en el seu discurs L’Idea del pittore, dello scultore edell’architetto, scelta dalle bellezze naturali superiore alla natura que seguint els vellsprincipis de la Poètica defensen que l’obra d’art ha de tenir versemblança, ha d’imitar els millors i pot corregir la realitat. No es estrany, doncs, que Agucchi posi comexemple a seguir l’art d’Annibale Carracci i que compari a Caravaggio amb l’escultorgrec Demetri, que va seguir tant al peu de la lletra la semblança que no va tenirconsideració per la bellesa.

NMR investigation and theoretical calculations of the effect of solvent on the conformational analysis of 4',7-di-hydroxy-8-prenylflavan

The NMR conformational study of 4',7-di-hydroxy-8-prenylflavan 1 was carried out in acetone-d6, DMSO-d6 and CDCl3 which enabled the proposition of three conformations, namely 1a, 1b and 1c, differing in the position of the prenyl group. Geometry optimizations performed using AM1 method showed that 1a (deltaHf = -86.2 kcal/mol) is as stable as 1b (deltaHf = -85.1 kcal/mol) and 1c (deltaHf = -85.4 kcal/mol). When the solvent was included, the calculations showed that the solute-solvent interactions could be explained either in the light of the electronic intermolecular delocalization or the electrostatic character between solute and solvent. Theoretical calculations (HF/6-31G*, deltaFT/BLYP/6-31G*, and deltaFT/B3LYP/6-31G*) showed that the combination of these types of interactions present in each solute-solvent system, dependent on the chemical properties of the solvent, lead to different spatial arrangements of the prenyl group, which in turn determined the conformation of 1.

Validação em laboratório de método analítico para determinação do teor de adipato e ftalato de di-(2-etil-hexila) utilizados como plastificantes em filmes flexíveis de PVC

The validation of analytical methods was carried out for di-(ethylhexyl) phthalate (DEHP) and adipate (DEHA) the determination of in PVC films. The level of DEHP and DEHA in samples was determined by leaving the film in contact with n-heptane during 48 hours and analysis in a gas chromatograph (GC) equipped with a flame ionization detector and fused silica column with 5% phenylmethyl silicone in the dimensions 30 m x 0.53 mm x 2.65 mm. The results for detection and the quantification limits were smaller than the restriction limits. The recovery rates of DEHP and DEHA were, respectively, 69.10 and 75.30 %.

Entrevista: Anna Di Salvo y Mirella Clausi

Entrevista amb Anna Di Salvo y Mirella Clausi

La torre di Nerone

Melartinin käsikirjoitusluettelon tunnus Mel 19:341 (ks. http://lib.siba.fi/fi/kokoelmat/kasikirjoitusarkisto/melartin_erkki/).

Emprego do sal di-sódico de edta como padrão no preparo de soluções

The hydrated sodium salt of EDTA, Na2H2Y·2H2O, cannot be used as a primary standard for titrations due to uncertainties in the water content. An alkalimetric titration of the homogenized solid in the presence of a small excess of BaCl2·2H2O allows one to titrate quantitatively the released two hydrogen cations with end-point indication by phenolphthalein or potentiometry. This leads one to calculate the average molar mass of the reagent and its water content, allowing to use it to prepare EDTA standard solutions. One titrated sample led to the formula Na2H2Y·1.876 H2O, and 370.01 g.mol-1 for the average molar mass.

Rappresentazione di anima e di corpo

Digitoitu 17. 9. 2008.