Journal articles on the topic 'Quotations, Italian'

This article investigates direct quotations in a corpus of corporate social responsibility (CSR) reports in Italian, Chinese, and English. The corpus is composed of 60 CSR reports published by Italian, Chinese, and American companies in the banking and energy sector. The study aims at exploring what types of textual voices are involved in the discourse of CSR reporting and how different sources of voices are represented, using the framework of social actor representation proposed by Van Leeuwen. The results show that the voices presented in direct quotations are often “orchestrated” by companies into “symphony” rather than “polyphony.” Most of the sources of direct quotations are represented as individuals with specified names. The comparative analysis shows that companies from different cultural backgrounds present different preferences in selecting and representing the various sources. The Italian and American CSR reports present more voices from managers, while the Chinese CSR reports show a clearer preference for voices from employees and clients.

Background Clinical trials with non-profit promoters are frequently performed in oncology and represent a highly valuable source of information. Methods To describe the costs of insurance policies and their determinants, data were collected from 12 Italian non-profit promoters of cancer trials. The cost of policies was expressed as per-patient premium. Results Sixty-two quotations issued by only two companies were collected, relative to 44 trials proposed for quotation between December 1998 and February 2003. Only the date of quotation was significantly associated with the cost (P = 0.0003) of quotations by Company A for policies with a deductible, with cost increasing over time. Date of quotation (P = 0.0002), sample size (P = 0.008) and number of study arms (P = 0.02) were independently associated with the cost of no-deductible policies quoted by Company A. Only the number of study arms was significantly associated with cost (P = 0.0001) in no-deductible policies quoted by Company B. Conclusion There is insufficient competition among companies for insurance of cancer trials with non-profit promoters. Many variables that affect the trial risk profile from a clinical perspective are not associated with insurance cost. Date of quotation is among the strongest determinants of the cost, which has sharply increased over time. This trend may become a serious problem for non-profit promoters of cancer clinical trials.

L’articolo si occupa di analizzare alcune espressioni in italiano (non solo di carattere musicale) che compaiono dell’epistolario di Ludwig van Beethoven. L’uso della nostra lingua concorre, con il latino e il tedesco, a caratterizzare la scrittura del grande musicista, fra calembours, giochi di parole, frasi fatte, citazioni, invettiva e turpiloquio. «Virtuosi senza cujoni!» Italian, Latin and German in the letters of Ludwig van Beethoven The paper analyzes some expressions in Italian (not only of a musical nature) that appear in Ludwig van Beethoven’s correspondence. The use of our language contributes, with Latin and German, to characterize the writing of the great musician, including calembours, puns, clichés, quotations, invective and foul language.

The study is devoted to the functions of musical quotations in the film Vaghe stelle dellʼOrsa… (1965) by the outstanding Italian neo-realist director Luchino Visconti. For the first time in the history of Russian film music, the article analyzes in detail the audial side of this film, its interaction with the video sequence. In Russia, from Luchino Visconti’s extensive cinematic legacy, Vaghe stelle dellʼOrsa… is the least studied. According to the author, this situation has developed due to neutral and negative assessments of the movie by cinema critics inthe Soviet Union and other countries. Years later, these trends have not been overcome by Russian researchers. The main problem of such inattention is seen in the difficulty of analyzing the material of the film. Throughout the running time, twenty musical quotations from Prelude, Chorale and Fugue by Cesar Franck and specimens of popular music, for example, E se domani by Carlo Alberto Rossi and Giorgio Calabrese, Strip Cinema by Paolo Calvi, Io che non vivo by Pino Donaggio and Vito Pallavicini, etc. The producer works with quotation material, creating sound-visual counterpoint. He “collides” the video sequence and musical quoted not only vertically, but also juxtaposes the musical layers horizontally to each other. As a result of the interaction in the film, the musical quotations carry out a number of compositional, dramatic and semantic functions.

This paper discusses the current language situation among the Italian minority in Slovenian Primorje in Koper. During the fi eld research conducted by the authors’ team, narratives in Italian were recorded from informants. Using discursive and structural-typological methods of analysis, the authors reveal that the linguistic reality of modern Koper is perceived as constantly changing, and the Italian spontaneous speech of respondents is intertwined with borrowings from the surrounding South Slavic languages. The modern language situation is the result of historical changes in the Istria region during the twentieth century. In addition to insertions and quotations in Slovenian, items from the Croatian language are found, refl ecting the linguistic situation of the Yugoslav period and the border position of the Slovenian Primorje. Special attention is paid to analysis of the language competence of Italians in the Slovenian language, among representatives of both the older and younger generations of students. In the Slovene language of Italians, a number of features peculiar to Slavic dialects in Italy are found, which allows us to discuss the same linguistic factors. It is possible to reconstruct the language competence of older people only partially on the basis of indirect evidence. There is a discrepancy between the rights guaranteed under the law (the use of the Italian language) and the linguistic reality faced by informants, which may be the result of both a decline in the prestige of Italian and of the small number of the Italian diaspora, part of which is subject to language assimilation, including as a result of mixed marriages. The paper also discusses the role of the media and the linguistic landscape in the region.

The article reveals the ways of poetical quotation embedding in the cinematic text using the example of the poem My sight, my strength, dims... by Arseny Tarkovsky in the feature film Nostalghia by Andrei Tarkovsky. The scene from Nostalghia which includes the poem My sight, my strength, dims... is analyzed from the points of view of the main factors of transformation of a poetic text when it is cited. These factors include: the place of the quotation in the structure of the cinematic text, mechanical transformations of the text, background information, the way of the quotation embedding, visual and sound accompaniment. The analysis shows that the episode when the poem is read is one the key scenes in the film. It reveals different characteristics of the concept of FATHER in the individual worldview of the film director. The main transformation of the text boils down to its translation into Italian. The quotation is embedded into the text via audio channel. As a result of the study we arrive to the following conclusions: 1) Poetic quotations in the film Nostalghia create numerous variants of the image of father interpretation. 2) The translated Italian text Si oscura la vista. La mia forza… preserves the main idea of the poem My sight, my strength, dims... and emphasizes the motives of the lost house and dying. 3) The embedding of the poem mentioned above into the cinematic text of Nostalghia is not plot-driven, unlike the integration of the text As a child I once fell ill. 4) The poetic texts As a child I once fell ill and My sight, my strength, dims... by Arseny Tarkovsky are united in the cinematic text of Nostalghia to create a binary system making the transition from the empirical level of the text to the sacred one.

Abstract From the perspective of Game Localisation (O’Hagan and Mangiron 2013, Bernal-Merino 2015), this paper examines the translation of Dante’s Inferno (Electronic Arts 2010) from English into Italian. Parallel excerpts from in-game dialogues are compared in order to analyse the relationship between the source and the target texts, while exploring the influence Dante’s masterpiece exerts on the Italian localisation. The objective is to show that, when a game is based on the target culture literature, the latter seems to constrain translation to ensure a successful local impact. As findings suggest, by means of quotations together with lexical, syntactic and stylistic choices, the Italian game is more literarily expressive than its English source, thus providing players with a multimedia interactive Dantesque experience.

In his works, Shevchenko repeatedly mentioned the name of the Italian poet of the Renaissance Dante Alighieri (1265–1321), used reminiscences and quotes from his work, which indicates a high level of knowledge of "The Divine Comedy" author's legacy (c. 1308–1321). Until now, it was believed that all such references to the poetry by the famous Italian have long been carefully considered and thoroughly studied. However, a closer examination revealed a lack of details about the sources of Shevchenko's acquaintance with the famous poem. The traditional methods of literary source studies and methods of philological analysis applied in this study made it possible in some cases to bring to light, with a high degree of probability, the translations Shevchenko read and the publications he used, although absolute accuracy cannot be achieved here. The author of the article argues that Shevchenko knew the aphorism from the Fifth song in "The Inferno" used in a letter to Osyp Bodians'kyi dated November 15, 1852, not in Avraam Norov's translation, but in Dmitrii Min's translation published in 1843 in the journal "Moskvitianin". It is still unclear where Shevchenko found a quote from the song XVII in "The Paradiso" he used in a letter to Bronisław Zaleski (in the second half of June 1856). It was possible to discover that the poet knew this aphorism, most likely through Alexander Pushkin's novel "The Queen of Spades" (1833), first published in the popular journal "Biblioteka dlia chteniia" in 1834. As a result, the author rejected as unconvincing a hypothesis offered previously by commentators that Shevchenko knew "The Inferno" in a Russian translation by Elizaveta Kologrivova, published for two years in six installments, which the Ukrainian poet most likely did not know. In addition, her translation did not relieve artistic flawlessness (tercins in the original are reproduced in prose). Most likely, Shevchenko heard a lot about "The Divine Comedy", especially about its first part, and read some fragments available in the periodicals, in particular, as it was proved, in a translation by Dmitrii Min.

In the fertile ground between cinema and video games, Hideo Kojima’s Metal Gear Solid saga stands out for its auteur’s clear tendency to use film language and aesthetics and for his evident inspiration from pop culture and the American cinematic tradition. Moreover, the series is rich in quotations meant to pay tribute to cinema and communicate with movie-cultured players intertextually. With regard to the process of localization, auteurist references to film culture represent a constraint for translators rendering Kojima’s game into different languages for a Metal Gear Solid-educated audience. This paper presents a comparative analysis of some film quotations in their English into Italian and Spanish localizations of Kojima’s Metal Gear Solid series in order to demonstrate the importance of loyalty to the game experience as a whole within a translational-cultural approach to localization.

Organized creationism is not widespread in Italy. It is a rather limited resource politicians and columnists draw upon when wishing to stir up a “debate”. Judging by its results, Italian creationism is old-fashioned, still comparing Darwin’s theories with the Bible, hoping to find the wreckage of Noah’s Ark, holding conferences on the origin of apes, questioning fossil dating and distorting science debates with out-of-context quotations from disparate sources. It is not a lobby that could obtain considerable electoral support, win favour or drag scientists to court.

AbstractUmberto Eco’s novel The Name of the Rose as a postmodern literary work is extensively based on transtextuality. There are series of quotations from the Bible, Petrus Abelardus, St. Bernard, Petrarch, Conan Doyle, Agatha Christie, Jorge L. Borges, Nietzsche, and other classic authors interwoven into the novel’s narrative. The text is a result of multiple translations, a truly intercultural adventure: Adso, a 14th-century German monk from the Melk monastery provides a Northern Italian travel experience in Latin language, this memoir is translated by the publishing narrator into the Italian language of the 20th century. The characters of the story come from different areas of Europe, as there are monks from England, Spain, Norway, Germany, and other countries. This paper sheds light on the problems that occurred during the novel’s translation.

Abstract The article aims to illustrate how Azerbaijan appeared in the eyes of an Italian who, in the first half of the nineteenth century, had the opportunity to visit it during a trip to Constantinople. Between 1841 and 1842, Felice De Vecchi, a wealthy Milanese passionate about painting and travel, embarked on a journey, together with his naturalist friend Gaetano Osculati, to Constantinople and then, through Persia, visited India. He kept a diary of that journey, only recently found in its almost totality, dedicating an entire chapter to Azerbaijan, the “land of fires”. From his account, rich in anthropological and pictorial notations, emerges a very well-defined sketch that does not hide the wonder of those who meet housing situations and customs far from their country of origin. In order not to lose the most emotional component contained in De Vecchi’s writing, the frequent quotations of passages from the diary are presented in the English translation, followed by the original text in nineteenth-century Italian.

This study examines the likelihood that the contrapuntal voices of fifteenth-century Masses quoted or alluded to chansons unrelated to the chanson cited in the tenor. Often these melodic quotations or allusions in turn alluded to the unsung chanson text, in order to offer modern interpretive commentary on the sung Mass text or an elaboration of the textual idea expressed in the tenor. Examples come from works of Dufay, Ockeghem, Busnois, Caron, and others. The relationship of this technique to the rhetorical practices of the time is examined. A comparison to earlier musical and rhetorical techniques suggests that northern composers were aware of the rhetorical theories and practices of Italian humanists.

Objectives. This paper is concerned with the creativity of contemporary Italian composer S. Sciarrino, who is primarily famous as the author of numerous operas. Among the variety of issues, which deal with the studying of this topic, one of the most important is the interaction of the author’s text and quotations from the compositions, which was created during previous eras. A similar creative approach connected with citation is the distinctive feature of S. Sciarrino’s composer style. The goal of this paper is to reveal the specifics of S. Sciarrino’s quotation method. Methods. Research methodology is based on the unity of style, genre, intonation and system types of analysis. Furthermore, to reveal the specifics of Sciarrino’s quotations method, we involved the concept of «deconstruction», which means understanding the musical text through destruction of stereotype or inclusion it in a new context. Results. Оne of the most vivid examples of S. Sciarrino’s quotations method is the opera “Luci mie traditrici” (“My Treacherous Eyes”), which is dedicated to the tragic life story of the Italian Renaissance composer Carlo Gesualdo di Venoza, the author of famous chromatic madrigals. Nowadays the story of Gesualdo’s life is well known as a fascinating legend of beautiful, but tragic passion, adultery, betrayal and revenge. Avoiding the quotation of the C. Gesualdo’s madrigal, S. Sсiarrino does not refuse of the idea of including the example of Renaissance music to the text of the opera at all. Composer chooses Elegy “Qu’est devenu ce bel oeil” (“What has become of those lovely eyes”), created for three voices by C. Le Jeune, French composer of XVI century. In Sciarrino’s opera the Elegy is perceived as a symbol of lost love, and, at the same time, as an identifier of the historical epoch shown in the opera. In the S. Sciarrino’s opera “Luci mie traditrici” C. Le Jeune’s Elegy appears in the Prologue and in three instrumental Intermezzo, four times in total, gaining new qualities for each time. The fragments of the ancient chromatic tetrachord, on which the Elegy is based, are the basis of the intonation vocabulary of all vocal parts of the opera. In Prologue, the Elegy is represented only by the single monodic upper voice, which is performed by non-personalized soprano behind the forestage. In the First intermezzo, following the scene of declaration of love between the main characters, the Duke and the Duchess, the Elegy sounds already in the original three-voice texture, but in instrumental transcription. The Second intermezzo, following the scene of repentance of the Duchess, the Elegy is perceived as a projection of the reflective consciousness of the Duke, who is tragically undergoing the betrayal of his beloved wife. The structure of the stanzas of the elegy gradually begins to disintegrate. The sound is constantly interrupted by pauses in all voices that can be interpreted as the embodiment of the painfully excited consciousness of the Duke. In the Third Intermezzo, preceding the final scene of the Catastrophe, the melodic lines of C. Le Jeune’s Elegy are completely preserved, but the recognition of this theme is reduced to a minimum. The melody is dispersed among the parties of various instruments and consists of separate «isolated sounds», which, by the definition of M. Cesari, is the smallest structural element of the musical vocabulary of S. Sciarrino. Overall conclusions. C. Le Jeune’s Elegy in S. Scarrino’s opera “Luci mie traditrici” is an example of a consistent “deconstruction” of someone else’s text, which leads to its new understanding, its inclusion in the new context, the expansion of new semantic and intonation space. By using the series of “dispersed variations” the composer models the dramatic line of the work with the multidimensionality of meanings and their projections, which is characteristic of post-avanguard art. As a result, the musical text of the Renaissance ceases to be a representative of the “Renaissance myth” and is perceived by the modern listener as the personification of the eternal human tragedy embodied in S. Sciarrino’s opera.

Luigi Nono's Voci destroying muros for female voices and small orchestra was performed for the first and only time at the Holland Festival in 1970. A setting of texts by female prisoners and factory workers, it marks a sharp stylistic departure from Nono's political music of the 1960s by virtue of its audible quotations of revolutionary songs, its readily intelligible text setting, and especially its retention of the diatonic structure of the song on which the piece is based, the communist “Internationale.” Nono's decision, following the premiere, to withdraw the work from his catalogue suggests that he came to regard it as transgressing an important boundary in his engagement with “current reality.” I examine the work and its withdrawal in the context of discourses within the Italian left in the 1960s that accused the intellectuals of the Partito Comunista Italiano of unhelpfully mediating the class struggle. Nono's contentious reading of Antonio Gramsci, offered as justification for his avant-garde compositional style, certainly provided fuel for this critique. But Voci destroying muros suggests receptivity on the part of the composer—albeit only momentary—to achieving a more direct representation of the voices of the dispossessed.

Abstract The present article examines the broad function of attention-getting embodied by parenthetical look in Chinese, Dutch, English and Italian. It analyzes a sample of the marker’s occurrences in corpora of spontaneous conversations and of interviews and discussions in terms of a systematic typology of parameters of interactional behavior and adopts a range of statistical methods to uncover patterns of (dis)similarity. The results include, inter alia, a cross-linguistic preference for clause-initial and turn-initial/medial position, a strong association across languages with assertive and expressive speech acts and an attraction to the onset of quotations. Variation in and exceptions to these tendencies are observed too. The findings are explained with reference to phenomena such as persistence and entrenchment and contribute to a better understanding not only of attention-getting in different languages but also of intersubjectivity, constructed dialogue, and illocutional concurrences.

Abstract This paper aims to substantiate the relation of an Apulian vase-painting to a fourth-century revival of Euripides' Dictys. The obverse shows Perseus returning to Seriphos with the Gorgon's head, with Danae and Dictys as suppliants at Poseidon's altar, and king Polydectes. Its dramatic inspiration is suggested by the depiction of characters in stage-costumes, the ‘speaking’ gesture used by Dictys, the conventional aedicula-pattern, and the Dionysiac scene on the reverse. The lack of evidence for Aeschylus' Polydectes implies its reduced popularity, and makes it unlikely to have inspired this vase-painting, as against the reasonable number of quotations from the Dictys and the wide popularity of Euripidean drama in South-Italian pottery. This altar scene confirms that the accounts of Ps. Apollodorus and Theon reflect the plot of the Dictys, and offers evidence for the basic reconstruction of the play.

The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Greek Opera in its paradigmatic model of the artifice, and of the luxury of a selfish aristocracy, far from the feeling of the Volk. As a philologist and a promoter of a revival of the Greek world in Germany, Nietzsche had in the Italian Renaissance a necessary model of comparison. After an initial hostility followed a freer and more open evaluation that can be read in his posthumous documents, regardig the complexity of its experimental movement. The influence of Burckhardt in particular shows a progressive turning point, considerable for bringing a new definition of his relationship with the musician. The essay pauses on Nietzsche’s notes to the lessons dedicated to The Discovery of the Antiquity among the Italians, which turned out to be a mosaic of quotations from The Civilization of the Renaissance in Italy. It is certainly the most important document, largely ignored throughout history, of the close relationship between Nietzsche and Burckhardt. On the search for complexity and plurality that characterizes the superior culture, Nietzsche discovers and enhances the value of the Latin Renaissance in direct opposition to the German Renaissance impressed by Wagner’s illusion. With Burckhardt, he discovers the individual man and the poet-philologist, a prototype of the free spirit, putting into practice the detachment from the German myth of the Volk and opening the way to the culture of Romanticism.

The commission of the Megatrend Review, formed to investigate issue, based on comparison of two scientific papers: A) Da Rottmann a Tjebbes e.a.: riflessioni sulla giurisprudenza della Corte di giustizia in materia di cittadinanza europea, ISSN 2284-3531, published at the Ordine internazionale e diritti umani, (2019), pp. 997-1014., http://www.rivistaoidu.net/sites/default/files/8_Orzan.pdf; and B) Critics and Aspects of the European Citizenship According to the CJEU: From Rottmann to Tjebbes and Others, doi:10.5937/MegRev2001001L, published at the Megatrend Review Vol. 17, № 1, 2020: 1-26, http://megatrend.edu.rs/wp-content/uploads/2020/04/Megatrend_revija_ Vol_17_No_1_2020_WEB.pdf concluded on October 13th 2020 that some parts of the original paper (A) in Italian language have been used without proper quotations in the paper (B) in the English language. Following this conclusion, the Commission proposed to the Editorial Board to officially withdraw paper (B) electronically published in Megatrend Review №. 1 in 2020. Notification of the withdrawal will be issued in Megatrend Review №. 3 in December 2020. The Editorial Board has accepted the proposal related to the above-mentioned text.

Letters by Zofia Stryjeńska (1891–1976) to Zofia and Zdzisław Jachimecki in the Collection of the Library of the PAAS and the PAS in Cracow The edition of letters written by Zofia Stryjeńska (1891–1976), an outstanding artist of the interwar period, to Zofia and Zdzisław Jachimecki includes several letters from the years 1917, 1931 and 1935. Zofia Jachimecka (1886–1973), a translator from Italian and German and her husband Zdzisław (1882–1953), a musicologist, ran an artistic & social salon in their apartment at ul. Grodzka 47 in Cracow. Kept in the Special Collection of the Scientific Library of the PAAS and the PAS, the short and concise correspondence recalls the times of the cultural elite of the interwar period. The paper presents the life and artistic achievements of Stryjeńska and Zofia and Zdzisław Jachimecki. Their mutual interest in music and theatre and a similar way of perceiving art are visible in their artistic output. The paper contains many quotations from persons connected with intellectual Cracow, which testifies to the significant status of Stryjeńska and Jachimecki. The content of letters created an opportunity to recall the names of outstanding persons who have been connected with the culture and science of Cracow.

Abstract This article discusses some methodological and conceptual issues arising from the analysis of advanced-level spoken language corpora. This discussion is based on GeWiss, a corpus of spoken academic discourse comprising L1 and L2 data of German collected in academic settings in Poland, the UK, Bulgaria, and Germany, as well as L1 data of Polish, English, and Italian. The data were collected using an ethnographic comparative approach; a range of speech events with comparable institutional and functional features in the philologies (student presentations, research papers, and oral examinations) were identified, recorded, transcribed, and tagged. In addition to POS tagging and lemmatisation, in selected sub-corpora some pragmatic features were also annotated. These include metadiscursive actions as well as references and quotations. The corpus therefore comprises ‘natural data’, derived from various contexts, of speakers with varying degrees of academic socialisation and competence in academic German. The paper discusses the various factors that have to be taken into account when analysing and evaluating the GeWiss L2 data with regard to style and register of metadiscourse as well as references and quotations in L2 student presentations. It is argued that any attempt to assess these data needs to reflect upon the concepts of ‘norm’, ‘appropriateness of usage’, (stage and context of) academic socialisation, and the context of the speech event. This also applies to the evaluation of the L1 data, which is why they cannot be used as a simple reference point for the purpose of a (mainly quantitative) ‘contrastive interlanguage analysis’ (Granger 2015). A qualitative approach needs to be used at least initially to identify and assess specific features of L2 data. This is shown using examples of metadiscursive and referencing speech actions. While there seem to be some stylistic and register features that can be regarded as inappropriate irrespective of the context of the speech events, others seem to be more context-sensitive. The paper argues that in addition to linguistic analysis and the intuitions of the L1 researcher, some kind of rating procedure would help to establish better concepts of ‘norm’ and ‘appropriateness’ of such natural corpus data originating in different academic contexts and traditions.

This research on press communication uses a synchronic perspective concerning eighteen ministers, balanced by gender, in the Renzi government (in 2014), as well as a diachronic perspective concerning women ministers from five governments (from 2006-2014). The governments in 2014 and of 2013 were predominantly center-left, with the participation of center and center-right parties, whereas the previous governments had technical-professional rather than political ministers (in 2011), center-right (in 2008), and center-left (in 2006) ministers. In the synchronic analysis we explored the different ways in which the ministers are named, the relative presence of sexist/non-sexist, agentive/non-agentive, and abstract/concrete language in which they were presented. The first analysis comprised 332 headlines and the second comprised 1,356 headlines; we conducted a numerical and lexicographical analysis on the headlines. The results showed: more coverage for men than for women; gender biases in naming ministers involving a greater number of citations of women with both first and last name, whereas there were a greater number of citations of men with their first name only; the prevalence of sexist language that uses the generic masculine rather than the specific feminine (that is, the grammatical feminization of a typically masculine form) in representing women; an increment of the specific feminine in representing women in the last three governments over the previous two; no gender differences in the use of “I” and “We” as markers of agency; more quotations of direct discourse for women than for men; language slightly more abstract than concrete, for both men and women; more positive adjectives for women, and more negative adjectives for men. The results are discussed in relation to the international literature and to the Italian cultural-political context.

Preheating is often required to prevent hydrate formation during the pressure reduction process in a natural gas distribution network’s pressure reduction station. This paper examines an energy recovery method to avoid the cost and energy consumption of this preheating. The primary aim is to assess the techno-economic feasibility of an energy recovery system based on the Ranque–Hilsch vortex tube coupled to a heat exchanger for large-scale application to the gas grid. To this end, a techno-economic model of the entire energy recovery system was included in an optimisation procedure. The resulting design minimises the payback period (PP) when the system is applied to the pressure reduction stations belonging to a particular gas grid. The pressure reduction stations always operate at an outlet pressure above atmospheric pressure. However, available performance models for the Ranque–Hilsch vortex tube do not permit prediction at backpressure operation. Therefore, a novel empirical model of the device is proposed, and a cost function derived from several manufacturer quotations is introduced for the first time, to evaluate the price of the Ranque–Hilsch vortex tubes. Finally, a nearly complete set of pressure reduction stations belonging to the Italian natural gas grid was chosen as a case study using actual operating parameters collected by each station’s grid manager. The results indicate that the environmental temperature strongly affects the technical and economic feasibility of the proposed energy recovery system. In general, pressure reduction stations operating at an ambient temperature above 0 °C are economically desirable candidates. In addition, the higher the energy recovery system convenience, the higher the flow rate and pressure drop managed by the station. In the Italian case study, 95% of preheating costs could be eliminated with a PP of fewer than 20 years. A 40% preheating cost saving is still possible if the maximum PP is limited to 10 years, and a small but non-negligible 3% of preheating costs could be eliminated with a PP of fewer than 4.5 years.

AbstractThe standard English translation of Origen's De principiis, translated by G.W. Butterworth and published in 1936, is based upon the earlier critical edition of Paul Koetschau. Origen's text survives through the Latin translation of Rufinus, a version that Koetschau fundamentally distrusted: Rufinus had admittedly expurgated Origen's text and could not, accordingly, be trusted. Hence the job of the editor and translator was judged to be the reestablishment—as far as was possible—of Origen's original text. Such suspicion of the text led to, among other problems, the awkward printing of parallel Greek and Latin passages in columns in Butterworth's English edition. Greek fragments and Origenistic material—that is to say, passages that were not direct quotations of De principiis, nor even directly Origen's—were inserted into Koetschau's text based upon presumed doctrinal parallels between those fragments and Origen's 'authentic' thought.We cannot reconstruct the Greek text; what we have inherited for better or worse is Rufinus's Latin translation of Peri archôn, a text that the more recent scholarship of G. Bardy and others have significantly rehabilitated confidence in. With the notable exception of English, translations of De principiis have been made in French, Italian and German, based upon more recent and more balanced critical editions. The author proposes a new English translation of Rufinus's Latin text based upon the critical edition of Henri Crouzel and Manlio Simonetti, published in the Sources Chrétiennes series.

Before the creation of the European Economic Community in 1957 the Italian legal system did not know the notion of consumer in its legal meaning: “consumer” was a sociological and economic concept. Buyt for a quotation of this term in the Report made in 1942 by the Minister of Justice to the King concerning the presentation of the new Civil Code no statute had any reference to it. Only with the enactement of EC directives in different fields and only with the development of products liability the notion of consumer began to be a solid concept with important legal aspects. Today consumers occupy a relevent place in themarket, in contract law, in tort law, and also in competition law, and concumers associations are strong counterparties of entrepreneurs.

‘First performed in 1840 and praised by Liszt for its orchestration and workman-ship, the score does not deny Meyerbeerian influence. The present recording, which sounds as if it has been taken from a live performance in the theatre, has a first-class cast and is altogether fascinating.’ The object of this encomium is La vestale by the Italian composer Saverio Mercadante (1795–1870), the first commercial recording of which was issued on CD in 1989. The quotation, taken from a leading record magazine, seems representative of the response that recordings of Mercadante's works can currently expect: scarcely a single review fails to mention Meyerbeer's positive influence on Mercadante. But how far is one in fact justified in linking these two composers?

"I consider Leopardi's poetry and pessimism to be the best expression of what a scientist's credo should be". This quotation is from Bertrand Russell, no less. With these very emblematic words, the greatest man of letters, the supreme icon of the Italian Parnasse, the author of such collections of poems as Canti (Poems) and Operette Morali (The Moral Essays) and philosophical thoughts as Zibaldone (Miscellany) has been associated to the world of science. This relationship, very intense and to a certain extent new, was greatly emphasised on the occasion of the poet's birth bicentenary. During the celebration in 1996, an exhibition with the name of Giacomo and Science was organized in his birthplace to underline the close connection between the poet and the scientific culture of his epoch. This point has also been stressed recently.

By 1600 many, perhaps most, English people knew the story of Francesco Spiera, whom they usually called ‘Francis Spira’. Spiera, an Italian lawyer, recanted his Protestant beliefs in 1548, then he despaired and died, convinced of his own damnation. For Protestants during the mid sixteenth-century persecutions, the moral of the tale was urgent and could not have been clearer: recant and you will meet with God’s retribution – in agony, like Spiera.Spiera’s story was part of the ‘anti-Nicodemite’ propaganda campaign aimed at faint hearts who would not stand up and be counted. Contemporaries called them ‘Nicodemites’ after Nicodemus in the Gospels, who came to Christ by night. This theme was begun by Protestants in the 1540s and 1550s, but was later taken up by Catholics, when they too faced persecution. One particular quotation from Scripture was hammered home relentlessly: ‘The one who disowns me … I will disown’. Recantation was that sin against the Holy Ghost for which there was no forgiveness. In this European polemic, Spiera acquired a totemic significance.

Abstract “The free church in the free state” is a quotation from the Italian politician Cavour that the Austrian Minister of Culture Drimmel took up when he ushered in a new era of Austrian religious policy in 1954. The situation was complicated because the validity of the Concordat with Rome of 1934 was disputed. It was not until the State Treaty of 1955 that its continued validity under international law was confirmed; its domestic enactment by a rump parliament in 1935 (without Social Democratic deputies) was challenged by the Socialist coalition partner. It was not until 1957 that a solution to the concordat issue could be tackled. This was done by renegotiating partial concordats. At the same time, the Protestant Law was drafted, of which the aforementioned minister could say that it realized best his ideas on religious law. He regretted that it could not be implemented in the form of a church treaty. Constitutional concerns stood in the way because the Protestant Church does not have subjectivity under international law. The article discusses the prehistory of the Protestant Law and analyzes individual provisions of it.

Abstract.No bibliographical information has survived regarding the anonymous treatise Capitulum de vocibus applicatis verbis, the only treatise of the Trecento that provides a description of the musical genres of Italian secular music. The problem of dating the Capitulum is the more challenging for scholars, given the absence of unequivocal points of reference of known date (the presently accepted dating, since Debenedetti’s first description of the source in 1906, is ‘between the years 1313–1332’). The Capitulum and Antonio da Tempo’s Summa artis rithmici vulgaris dictaminis (1332), are connected by the phrase ‘nova sunt pulchritudine decorata’, which appears in the final section of the Capitulum and at the very beginning of da Tempo’s Summa. The original source of this phrase, which does not appear in any other medieval source, is the Constitutio Omnem, a letter written by the Byzantine emperor Justinian I (527–65) on 16 December 533. Antonio da Tempo, who was a judge in Padua, was evidently the first to extract this quotation (with a slight change in the word order) from Justinian’s Constitutio for use in his treatise on poetic forms. For his part, the author of the Capitulum, apparently a simple teacher of grammar and music, took the statement ‘nova sunt’ not directly from Justinian’s Constitutio, but verbatim from da Tempo’s Summa, a source that was closer to his field of professional activity. Therefore, it can be concluded that the Capitulum was compiled not at the beginning of the Trecento but after 1332, the year in which da Tempo completed his Summa.

STANLEY JAKI: Science and Faith in a Realist Perspective by Alessandro Giostra. Rome, Italy: IF Press, 2019. 144 pages. Paperback; $24.24. ISBN: 9788867881857. *The subject of this short introduction--Father Stanley L. Jaki (1924–2009), a giant in the world of science and religion--is more important than this book's contents, a collection of conference papers and articles published between 2015 and 2019. *Readers of this journal should recognize Jaki, a Benedictine priest with doctorates in theology and physics, 1975–1976 Gifford lecturer, 1987 Templeton Prize winner, and professor at Seton Hall University, for his prolific, valuable work in the history of the relations between theology and science. He sharply contrasted Christian and non-Christian/scientific cosmologies and unfortunately, often slipped into polemics and apologetics. The title of Stacy Trasanco's 2014 examination of his work, Science Was Born of Christianity, captures Jaki's key thesis. Science in non-Christian cultures was, in Jaki's (in)famous and frequent characterizations, "stillborn" and a "failure" (e.g., see Giostra, pp. 99, 113). Incidentally, Giostra seems unaware that various Protestant scholars shared Jaki's key thesis and arguments. *The Introduction begins with a quotation from Jaki that so-called conflicts between science and religion "must be seen against objective reality, which alone has the power to unmask illusions." Jaki continued, "There may be clashes between science and religion, or rather between some religionists and some scientists, but no irresolvable fundamental conflict" (p. 15). *This raises two other crucial aspects of Jaki's approach: his realist epistemology and his claim that, properly understood, science and Christian theology cannot be in conflict. Why? Because what Jaki opposed was not science itself--which he saw as specific knowledge of the physical world that was quantifiable and mathematically expressible--but ideologies that were attached to science in the eighteenth and nineteenth centuries, that is, materialism, naturalism, reductionism, positivism, pantheism, and atheism. *For Jaki, the real problem for Christian approaches to the natural world was the scientism which dismissed theology, especially Catholicism, as superstition, dogmatism, and delusion. Jaki followed the groundbreaking work of Pierre Duhem in arguing that the impetus theory of the fourteenth-century philosopher John Buridan was the first sign of the principle of inertia, the first law of Newtonian physics. One of the foundational shifts in the birth of a new "revolutionary" science in the Christian West was a post-Aristotelian understanding of bodies in motion (both uniform and uniformly accelerating: see chapter three for more details). *The first chapter is a bio- and bibliographical essay by an admiring Antonio Colombo that traces and situates Jaki the historian as a man of both science and faith. Chapter two lays out Jaki's critical realism and theses about the history of science and theology, in contrast to scientisms past and present that claim scientific reason as the sole trustworthy route to legitimate knowledge. The roles played by the doctrine of creation ex nihilo and the Christology of the pre-existent Logos in Jaki's cosmological thinking are also outlined. *Many readers will be most interested in the third chapter which surveys Jaki's writing about the notorious case of Galileo, condemned by the church in 1633 for defending Copernicus. Jaki detected scientific and theological errors in the positions of both Galileo and the church. For instance, Galileo did not provide proof of the motion of the earth around the sun. Nor did the church understand errors in Aristotelian science. Galileo was right, however, in arguing that the Bible's purpose was not to convey scientific knowledge; while the church's rejection of heliocentric cosmology was correct, given the dearth of convincing evidence for it. *Chapter four is of wider interest than its title, "The Errors of Hegelian Idealism," might suggest. Jaki's belief that only Christian theology could give birth to the exact sciences is reviewed, along with his rejection of conflict and concord models of faith and science. His critiques of Hegelian and Marxist views of the world are thoughtfully discussed. *Jaki was unrelentingly hostile to all types of pantheism, and Plato was the most influential purveyor of that erroneous philosophy. Chapter five outlines Jaki's objections to Platonism, as well as to Plotinus's view of the universe as an emanation from an utterly transcendent One, and to Giordano Bruno's neo-Platonic animism and Hermeticism. *Jaki's interpretation of medieval Islamic cosmologists is the subject of the fifth chapter, in which the Qur'an, Averroes, and Avicenna are examined and found wanting. Monotheism by itself could not lead to science. Incorrect theology blinded those without an understanding of the world as God's creation or of Christ as Word and Savior from seeing scientific truth. This chapter is curious in several respects. On page 98, Giostra equates Christ as the only begotten Son with Jesus as the only "emanation from the Father." Emanationism is a Gnostic, Manichaean, and neo-Platonic concept; it is not, to my knowledge, part of orthodox Catholic Trinitarian discourse. On pages 101–2, the presence of astrology in the Qur'an disqualifies it as an ancestor of modern science. But astrology then was not yet divorced from astronomy. Astrological/astronomical imagery and terminology were integral to ancient cosmologies and apocalypses, including Jewish, Christian, and Muslim ones. Lastly, pages 104–5 feature quotations in untranslated Latin. *Chapter seven is a review of the 2016 edition of Jaki's Science and Creation; this is one more example of content repeated elsewhere in the book. "Benedict XVI and the limits of scientific learning" is the eighth and final chapter. The former pope is presented as a Jaki-like thinker in his views of science and faith. Strangely, Benedict does not cite Jaki; this absense weakens Giostra's case somewhat. *Jaki--whose faith was shaped by the eminent French theologian and historian of medieval thought, Etienne Gilson--was a diehard Roman Catholic, wary of Protestant thought, defender of priestly celibacy and of the ineligibility of women for ordination. On the other hand, his study of both Duhem and Gilson probably sensitized Jaki to ideological claims made by scientists. *As a historian of science, Jaki was meticulous and comprehensive in his research with primary documents. His interpretations of historical texts were as confident and swaggering as his critiques of scientists and scientism were withering. Among Jaki's more interesting and helpful contributions to scholarship are his translations and annotations of such important primary texts as Johann Heinrich Lambert's Cosmological Letters (1976), Immanuel Kant's Universal Natural History and Theory of the Heavens (1981), and Bruno's The Ash Wednesday Supper (1984). *Personally, I have found much of value in Jaki's The Relevance of Physics (1966); Brain, Mind and Computers (1969); The Paradox of Olbers' Paradox (1969); The Milky Way (1972); Planets and Planetarians (1978); The Road of Science and the Ways to God (1978); Cosmos and Creator (1980); Genesis 1 through the Ages (1998); The Savior of Science (2000); Giordano Bruno: A Martyr of Science? (2000); Galileo Lessons (2001); Questions on Science and Religion (2004); The Mirage of Conflict between Science and Religion (2009); and the second enlarged edition of his 1974 book, Science and Creation: From Eternal Cycles to an Oscillating Universe (2016). *Jaki also published studies of figures whose life and work most impressed him personally. These include three books (1984, 1988, 1991) on the Catholic physicist and historian of cosmology, Pierre Duhem, author of the ten-volume Système du Monde, and studies of English converts to Catholicism, John Henry, Cardinal Newman (2001, 2004, 2007) and G. K. Chesterton (1986, new ed., 2001). *Among Jaki's books not mentioned by Giostra but of interest to readers of this journal are The Origin of Science and the Science of its Origin (1979), Angels, Apes, and Men (1988), and Miracles and Physics (2004). For a complete Jaki bibliography, see http://www.sljaki.com/. *No translator is identified in the book under review; my guess is that Giostra, an Italian, was writing in English. Although generally clear and correct, the book contains enough small errors and infelicities to suggest that the services of a professional translator were not used. Not counting blank, title, and contents pages, this book has but 128 pages, including lots of block quotations. *For those unfamiliar with Jaki's work and not too interested in detailed studies in the history and philosophy of science and religion, this introduction is a decent start--and perhaps an end point as well. I strongly encourage curious readers to consult Jaki's own books, including his intellectual autobiography A Mind's Matter (2002). For other scholarly English-language perspectives on his work, see Paul Haffner, Creation and Scientific Creativity: A Study in the Thought of S. L. Jaki (2nd ed., 2009); Science and Orthodoxy [special issue of the Saint Austin Review on Jaki], vol. 14, no. 3 (2014); and Paul Carr and Paul Arveson, eds., Stanley Jaki Foundation International Congress 2015 (2020). *Reviewed by Paul Fayter, a retired pastor and historian of Victorian science and theology, who lives in Hamilton, Ontario.

Thomas Kyd's The Householder's Philosophy (1588) is a translation of Torquato Tasso's Il padre di famiglia (1582). While translating Tasso's text, Kyd made some sizeable additions to it, which would appear to spell out his stance on a series of issues. In particular, Kyd significantly expands Tasso's discussion on usury. Kyd's take on usury can be divided into two sections: first, a fiery invective followed by a quotation from Dante; second, a less heated denunciation based on a rational argument summarizing Aristotle's take on the matter. While the former seems to be Kyd's own invention, as scholars have previously suggested, no one has ever pointed out that the latter is in fact plagiarized from another Italian text, namely Cristoforo Landino's Comento sopra la Comedia di Dante (1481). Among other reasons, this discovery seems especially interesting because it adds another piece to the patchy mosaic of Kyd's intellectual life. As it happens, Kyd's decision to insert elements from such an encyclopedically comprehensive humanist text of literary criticism as Landino's Comento into a philosophical tract imbued with humanist notions concerning society, the family, astrology, philosophy, and cosmography seems further to connect Kyd with the continental intellectual milieu. The latter thus appears to have caught Kyd's interest even beyond his well-known penchant for neo-Senecan drama and French Renaissance literature.

Abstract Giuseppe Sarti's opera Fra i due litiganti, premiered in Milan in 1782, was the first great success of the reconstituted Italian opera company in Vienna in 1783. The opera sustained its enormous Viennese popularity for years, while also being performed in over one hundred other European cities by 1800. Mozart's quotation of the work in Don Giovanni testifies to its continuing appeal. But the version of the opera that was so successful in many parts of Europe differed substantially from the Milanese original. The surviving manuscript scores and printed librettos reveal that a standardized Viennese version of Fra i due litiganti, in which more than a third of the original arias were replaced, became the basis for productions across much of Europe. This unexpected standardization may reflect the prestige of Vienna and its role as a distribution point for opera scores, especially since many of the manuscripts were produced by Wenzel Sukowaty, the copyist for the Viennese court theaters. The Viennese changes surprisingly include arias for Nancy Storace and Francesco Benucci—later Mozart's Susanna and Figaro—who had themselves created the same roles in Milan. (Normally arias would be substituted to suit the preferences of new singers.) These alterations not only changed the profiles of the characters, but allowed Storace and Benucci to define themselves for the Viennese public, establishing the musical and dramatic personae that quickly made them the beloved favorites of Viennese audiences.

"Every ultimate fact is but the first of a new series and every general law only a particular fact of some more general law presently to disclose itself. Ralph Waldo Emerson was not a scientist but he wrote many wise things about human ways and notions. The words of this quotation condense with brevity the whole history of the studies relative to that branch of oceanography devoted to sea behaviour about our shores. Within the last half century there has been a great deal of research on the subject although with different ends in view; some were concerned with marine life and fisheries, some with variation of gravity, others with hydrography and others with the movement of the mobile material on the sea bed, currents and tides. Another type of research of no less importance was the delving into relevant historical records of centuries past of Dutch, French and Italian sea-going map makers. In this connection it was a well known Italian engineer who brought to light the works of a great English chart maker of the Mediterranean, Admiral Henry Smyth (1810) who for twenty years sailed that sea. It is only within recent years that there has been a dissemination of the data collated by these specialist compartmental researches through such Associations as this and it is all to the good of man. The difficulties of hydrodynamic studies are too well-known to require emphasis here excepting to underline the fact that most of the popular quantitative formulae are of a semi-empirical nature. It is therefore easy to appreciate the divergences of opinions of what is essential to a clear understanding and evaluation of the factors that must weigh in the diagnosis of beach behaviour subjected to the complex sea action. It is the purpose of this paper to examine briefly those things recorded from authoritative observations of the phenomena and the reasons and the remedies more usually proposed, or executed for the given conditions in various countries. The author has already suggested elsewhere that the personal approach to these problems should be definitely linked to a sea-sense, in other words a keen interest in and contact with the sea in all its moods.

This article argues that a full understanding of Ermanno Olmi’s feature films will require a deep engagement with the sponsored cinema he made as director of the Sezione Cinema Edisonvolta. It begins by spelling out some of the stakes and challenges of a ‘sponsored turn’ in Italian cinema studies, which during the past decade has inaugurated the long archival and critical process of revaluing the corporate roots of auteurs like Michelangelo Antonioni, Bernardo Bertolucci and, to a certain extent, Ermanno Olmi. It then elaborates on the relation between Olmi’s sponsored cinema (1953‐61) and feature filmmaking (1961‐2014) by analysing two films that mark the director’s transition from the small to big screen: Michelino 1a B (1956) and Il posto (1961). The central contention is that these films tell two different versions of the same coming-of-age story: a young boy from the provinces finds work in a downtown office building, where he must come to terms with the fact that he will remain there all his life. The distance between the two films is a measure of Olmi’s own coming-of-age as an intellectual: from a resolved promoter of the guiding role of business in modern life to a sceptical interrogator of white-collar mundanity. After a comparative reading that reveals general similarities of structure and specific scenes of quotation, the article concludes with some remarks about education, a concept through which Olmi’s feature films show themselves to be aware of ‐ even commenting on ‐ sponsored cinema.

The paper introduces available databases of new borrowings into Lithuanian and research into their main features and usage in public written texts, including the Internet, in 1991–2013. The research has shown that new borrowings of the Lithuanian language and the process of borrowing follow the same universal and general patterns noticed in other speech communities. Overall, about 1 500 different new borrowings and borrowed derivatives that have entered the Lithuanian language since early 90ies have been included into the databases. Due to the normative tradition of standard written Lithuanian, in more formal domains there is a tendency to graphically highlight borrowings either by inserting the quotation marks or by writing the borrowings in italics. However, in informal Internet texts (chats, commentaries, etc.) the borrowings are usually not highlighted. The morphological adaptation of most borrowings and orthographical adaptation of a large part of them give a clue to the integration potential of the Lithuanian structural paradigms. The distribution of the new borrowings across the word classes follows the patterns identified in other research: most borrowings are nouns, a much lower number of them are adjectives and verbs and a rather insignificant number are adverbs. Most new borrowings in the studied period include borrowings from English (approx. 70 per cent). Borrowings from other languages are much less numerous: depending on a text type, neo-Latinisms make up 5–8 per cent, words of French origin—3–7 per cent, words of Italian origin—4–5 per cent and Greek borrowings—2–3 per cent. The domains that include most new borrowings are technology and engineering, food, economics and business, also music. As already mentioned, borrowings from English clearly dominate in most domains. However, the semantic field of food seems to be the most diverse in terms of the origin of borrowings: most borrowings are of Italian origin, others come from of English, French, Spanish, Japanese and other languages. French and neoclassical borrowings make up more than 70 per cent of all borrowed law terms and almost 40 per cent of the terms of economics and business. The research of new borrowings into Lithuanian reveals fundamental changes in the socio-cultural development of the society and highlights the potential of the Lithuanian language to adapt to the needs of the speakers and to preserve the marks of ongoing cultural changes.

AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.

Estas notas se basan en la revisión crítica de las observaciones de autores acreditados y en el análisis del libro “La science des negocians et teneurs de livres o Instruction Generale pour ce qui se pratique dans les Comptoirs des Negocians, tant pour les affaires de Banque, que pour les Marchandises &amp; Chez les Financiers pour les Comptes”. La primera edición francesa de este libro data de 1704 y fue reimpreso y reeditado hasta después de 1800. El objetivo es esclarecer la contribución de Mathieu de la Porte en el perfeccionamiento y divulgación de la partida doble y especialmente rastrear la aparente utilización del texto “por preguntas y respuestas” por parte del autor anónimo del “Tratado sobre as Partidas dobradas” editado en portugués en Turín en 1764. La influencia de este autor en España, Francia e Italia es reconocida, respectivamente por Hernández Esteve (1996: 548), por Anne Fortin (1998: 259) y Vlaemminck (1956: 131 a 132). En la literatura contable en lenguas no latinas no es tan fuerte el reconocimento de la influencia de Mattheu de la Porte, aunque se reconoce, por ejemplo, en Alemania por Dieter Schneider (1998: 278). La edición en Portugal de la obra “Guia de Negociantes ou Novo Tratado sobre os Livros de Contas em Partidas Dobradas” en 1794, que a su vez es traducción de otro libro de “Mr. De la Porte” con primera edición en 1685; la mención de “mons. De la Porte”, como referencia para justificar la autorización de publicación de la obra “Mercador Exacto” de João Baptista Bonavie, editado en 1741; o el hecho de que muchos párrafos del “Tratado sobre as Partidas Dobradas”, editado en Turín en 1764 sin indicación de autor, sean una traducción casi literal de algunos párrafos de “La Science des Negocians” son la evidencia de la especial influencia de Mathieu de la Porte sobre la contabilidad por partida doble en el ámbito portugués.<br />Las apreciaciones de autores acreditados, destacan, entre otras cosas, la prolongada serie de ediciones de este libro, la claridad y esquematización de su exposición, la presentación de libros de contabilidad o la clarificación de los procedimientos para el cierre y la reapertura de cuentas y, en particular su contribución a la clasificación y a la ordenación de las cuentas.<br /><br /><br />These notes are based on the survey of the observations of accredited authors and on the analysis of the book “LA SCIENCE DES NEGOCIANS ET TENEURS DE LIVRES, ou Instruction GENERALE pour ce qui se pratique dans les Comptoirs des Negocians, tant pour les affaires de Banque, que pour les Marchandises; &amp; chez les Financiers pour les Comptes”. The first edition of this book in French was in 1704, and then it had reprints and reeditions until after 1800. The defined task is to explain the contribution of Mathieu de la Porte for the improvement and spread of the doubled entries and, especially, to register the influence in Portugal, and the borrowing of several pages in “Tratado sobre as Partidas Dobradas”, in Portuguese, edited in Turim, 1764. The influence of this author in Spain, France, and in the Italian Peninsula, is recognized respectively by Hernández Esteve (1996:548) by Anne Fortin (1998:259) and Vlaemminck (1956:131 to 132). In the accounting literature, in not Latin languages, it is not so emphatic the recognition of the influence of Matthieu de la Porte, though it is recognized, for example, in Germany by Dieter Schneider (1998: 278). The publication, in Portugal, of the “Guia de Negociantes ou Novo Tratado sobre os Livros de Contas em Partidas Dobradas”, in 1794, which is a translation of a previous book of “Mr. De la Porte” with the first publication in 1685; the quotation, a reference to justify the authorization of publication of the “Mercador Exacto” of João Baptista Bonavie, of an edition, in 1741, of “Mr. De la Porte”; the fact that many paragraphs of the “Tratado sobre as Partidas Dobradas”, published in Turim, without author's identification, in 1764, are almost a literal translation of paragraphs from “LA SCIENCE DES NEGOCIANS ...”; these facts produce evidence of the special influence of Mathieu de la Porte in the knowledge about double entry bookkeeping in Portuguese.<br />The appreciations for accredited authors detach, among others subjects, the prolonged series of publications of this book, the clarity and squamatisation of his presentation, the inclusion of auxiliary books, the description of the procedures for closing and reopening accounts and, in special, his contribution for the improving of the list of accounts.<br />

Modern knowledge of the grammarian Consentius’ De barbarismis et metaplasmis, a work valuable for the study of the Latin language, dates back to a relatively recent past: it was only in 1817 that its editio princeps was published by Ph.C. Buttmann, just a few years after the legal scholar A.W. Cramer came across a mention of the then unknown treatise in a ninth-century MS in the Bayerische Staatsbibliothek of Munich, numbered Clm 14666. Based on this solitary manuscript, H. Keil published the short treatise in the fifth volume of his Grammatici Latini. With no little enthusiasm did W.M. Lindsay announce his unearthing of what, in his own words, had ‘long been a “desideratum”, a second authority’ for this text, in the MS F 15 III d at the Universitätsbibliothek Basel; this was followed by E.O. Winstedt's complete collation and M. Niedermann's critical edition. After about a century now there comes to light a third authority, surprisingly enough in a codex which has enjoyed such fame in the past decades that one might wonder how Consentius could have gone unnoticed in it for so long: this is the eleventh-century MS of Venice, Biblioteca Nazionale Marciana Lat. Z. 497 (= 1811), in which the De barbarismis et metaplasmis is contained on fols. 84vb 39 - 90va 39; moreover, a so-far-unnoticed quotation from it (32.9-14), together with one from Consentius’ De nomine et uerbo (Consent. gramm. V 353.6-7), is found on fol. 41vb 16–21 of the same manuscript in a famous grammatical florilegium. The codex, written in Romanesque minuscule and probably originating in Rome, is regarded as a handbook of liberal arts designed by Lawrence Archbishop of Amalfi, formerly a monk at Montecassino, thereafter a teacher in Florence and Rome, where he died in about 1049. Based on palaeographical evidence, F.L. Newton rightfully assumed as an exemplar for this codex a MS in Beneventan script, as some features can be detected that betray the scribal imitation of that typical South Italian script, namely the use of the distinctive abbreviation for eius as ‘ei in ligature with stroke through the descender of the i’, the Beneventan ti ligature for the assibilated sound, and the 2-shaped Beneventan interrogation sign, to which I would add the typical abbreviation for in as a long i cut by a horizontal stroke and the confusion of a and t. Interestingly enough, none of these features is found on fols. 66–95, those containing the new Consentius: from a codicological point of view, this is an autonomous section, written by a different scribe from the rest of the MS and preserving some grammatical texts generally attributed to insular authors, such as Smaragdus’ Liber in partibus Donati (fols. 66–81vb) and part of the compilation entitled Pauca de barbarismo (fols. 81vb - 84vb), which precedes the De barbarismis et metaplasmis; not surprisingly, the new text of Consentius displays numerous features of the Insular script, such as the symbols for enim, autem, eius, est, nihil and et. On this basis it is most likely that this whole section was never included in the Beneventan exemplar, but was added at the time and place of copying of our MS in order to enrich the grammatical content.

Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano technique is inherent in the nature of the genre. Quick tempo, passages, shifting of the sounds from one extreme register to another – all these virtuoso techniques of playing are characteristic of the piano Scherzo. Almost the entire arsenal of virtuoso techniques could be found in L. Shukailo’s “Scherzo”. The piece has a traditional, historically-formed, threepart recurring structure, where the contrast is not on the verge of the parts but in the very process of music development. The great potential of the instrument unfolds itself in the Scherzo. Almost the whole diapason of the piano is covered. The composer uses melodious interweaving as well as the “bell” of chords. The instrument reveals both hammering and singing nature of its sound. L. Shukailo employs rather chamber and playful type of Scherzo, characteristic of Chopin, than concert and symphonic one, typical of Liszt. Although the name of L. Shukailo’s piece is of a genre-generalizing character, the Scherzo has a striking imagery. On creating this music, the author might have been referring to some concrete content or image, but it seems she rather gave the audience complete freedom to interpret the music. The Toccata genre tightly relates to the Scherzo genre. Both genres are based on the principles of the Etude, that is, on the same vigorous movement. It is combined with hammering key-touch in Toccata. The unique feature of the “Toccata-Campana” is that, in addition to all conventional traits of the genre such as hammering key-touch, the way of the unfolding of musical material, and virtuosity, the imitation of the bell takes place here. The name of the piece itself tells us about it. The Italian word “Campana” stands for “the bell”. In its turn, it reminds the listeners of “Campanella”, the piece where the sound of the bells is imitated. The idea of the piano as of a percussion is realized in the piece in a very interesting way. It alludes to the percussion of another kind – the sound of the bell. Naturally the sound of the piano and that of the bells are different, but the piano here not only imitates the timbre of another instrument but it expresses those strong emotions the sound of bells usually evokes. Unlike the previous two genres, the Rhapsody genre is associated not with vigorous movement, typical for the Etude, but with folk music and singing. As a rule, quotations of folk music or its stylization have been used in Rhapsody. It usually consists of several contrasting episodes. Rhapsody, with its narrative character, is a detailed story, told by the singerrhapsod. We can see that the idea of instrumental mastery, virtuosity is also characteristic of this genre. Rhapsody is based on the folk songs. L. Shukayilo’s “Rhapsody” has folk components, too, but its genre affiliation can be defined rather as that of a dance. Characteristic repetitions of the same sound are associated with the percussion instrument that accompanies oriental dance. These three concert pieces for piano were created especially for V. Krainev contest. On the one hand, L. Shukailo continues the traditions of piano music, and on the other – creates its own, recognizable piano style, characterized by deep insight into the specificity of the instrument. Obviously, this explains in a great measure the repeated appeals of the organizers of the music contests to the composer for writing the pieces especially for the contests. Conclusions.The analysis of the three L. Shukailo&#700;s piano works, made in the article, enables us to do the following conclusions: – the pieces analyzed entirely correspond to their genre specificity that has been marked by the composer in the titles; – each of the genres has been interpreted in specific way that tells us of the author’s ingenious view of the genre; thus, in the “Scherzo” the idea of playing is embodied as a symbol of virtuosity; imitation of bell sound has been used in the “Toccata-Campana” with the purpose of emphasizing of the strike effect; and the “Rhapsody” has absorbed a lot of oriental folk dance style; – creating the sound image of piano, the composer in the same time also creates the sound image of genre in all the pieces analyzed.

Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-Andr&#233; Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works &#8210; miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».

The article outlines the intertextual field parameters in the novel "Andrii Lahovskyi" by Ahatanhel Krymskyi. In the process of research the active use of quotations and allusions by the writer was found out. Quotations are organically embedded in the speech of all characters, it is especially true of the main character (71 example found). The novel is dominated by quotations with partial attribution - indicating the author of the prototext (37 quotations) or the whole work (4 quotations). There are 6 quotations with full attribution, 4 quotations with “allusive” attribution and 10 quotations with unspecified attribution. Unattributed quotes are most taken from the reading-books. Ukrainian, Old Slavic, Russian, Ancient Greek, Latin, German, French, English, Italian, and Turkish languages appear in these intertextual inclusions. Allusions to works of Ukrainian and foreign authors, the Bible, myths, numerous historical and philosophical reminiscences (Ptolemy, Strabo, Xenophon, Plato, Max Stirner) are actively used in the novel. Other types and forms of intertextual relations in the novel include: 1) paratextuality (the title of the third part of the novel "Following St. Ephrem the Syrian" emphasizes the prototext, which played an important role in the spiritual evolution of the main character); 2) hyperintertextuality — paraphrases used to establish a dialogue with other literary works in terms of saving text space; 3) metatextuality (Lahovskyi's reflections on Ivan Franko's "Parable of Beauty", Volodymyr Shmidt's discourse of Heine's poetry "Der Asra"); 4) autointertextuality (citing the other poetic works of Ahatanhel Krymskyi in the novel). The novel also reveals examples of apocryphal intertextuality (a fictional "quote" from the biblical book of Jesus Sirach) and intermediality (references to the opera "Faust", "Siciliana" from "Cavalleria Rusticana", Rubinstein's music to Heine's "Der Asra", Ophelia's song, a Japanese song about a goldfish, Wagner’s operas). The list of key prototexts of the analysed novel includes: 1) the Bible; 2) ancient literature and mythology; 3) Ukrainian literature; 4) Russian literature; 5) German literature. Episodic references to English, French, Italian literature, Eastern poetry and folklore appear in the novel. Taking into account the variety of types and forms of intertextuality in the novel and the significant fleshing out of the intertextual field with textual inclusions from the works of Ukrainian and foreign writers, we can consider the novel "Andrii Lahovskyi" to be one of the first examples of an intellectual novel in Ukrainian literature.

The concepts ‘classical antiquity’ and ‘heavy metal music’ may appear to be worlds apart. Not only are they separated chronologically but each belongs to an entirely different habitus. While the classical is associated with tradition, good taste and harmony, heavy metal is, at least by some, associated with the very opposite: the breaking of tradition, bad taste and disharmony. And yet, as the present book shows, a very large number of heavy metal bands reference antiquity in various ways, including exponents of Thrash Metal, characterised by speed and aggressiveness; Death Metal, characterised by macabre subject matter and growling vocals; Black Metal with related subject matter but less polished style, and other subgenres. Bands from countries ranging from Greece and Italy to Scandinavia incorporate classical quotations in their lyrics or rewrite ancient texts and myths. Some sing in Greek or Latin, others in Italian or English. The titles of songs, such as Hymn to Apollo, Hymn to Zeus, Medusa and so on, further show the classical inspiration.

Introduction: Food insecurity, limited or uncertain access to nutritious food owing to cost, is a major impediment to dietary adherence in diabetes management. Medically tailored meal (MTM) programs, which deliver ready-to-eat meals prepared under the supervision of a dietitian tailored to specific nutritional needs, are potentially transformative interventions for food insecure diabetes patients. However, mechanisms whereby MTM might improve diabetes management are understudied. Hypothesis: We hypothesized that MTM may improve diabetes management by overcoming financial barriers to following a healthy diet and modeling healthy meals. Methods: This qualitative study included 20 participants in a randomized crossover trial of MTM for patients with suboptimally controlled type 2 diabetes (Hemoglobin A1c > 8.0%) and food insecurity (assessed using USDA Food Security Household Survey Module). The goal was to investigate mechanisms whereby MTM affects diabetes management using semi-structured interviews, until saturation was achieved. Participants were asked to give their perceptions regarding how the meals influenced diabetes management and awareness. Interviews were recorded, transcribed verbatim, and coded independently by two investigators. Using qualitative analysis following the immersion-crystallization approach, we evaluated how receiving medically tailored meals influenced diabetes management for patients who are food insecure. Results: Many participants reported that the meals helped with managing their diabetes and increased their understanding about diabetes (example quotation: “When I started my A1c level was so high. And when I started this program they had to teach me how much food I have to eat and all the protein I have to get. And then through the program my A1c went down.”). Participants also noted that the program taught them about healthier food options and portion control, with many suggesting that the meals served as a model for their diet and meal preparation after the study (example quotations: “It gave me a couple of ideas as far as using let's say barley or bulgur wheat. It also gave me an idea of the kinds of things, the range of things that were acceptable, and the portion size was helpful too.” “I used to eat a lot of Italian macaroni and sauce, and eat bread, and dunk my bread in sauce. I don't do that anymore.”). Finally, participants noted that meal delivery relieved financial barriers to eating more healthily (example quotations: “Financially, it saved me a real lot of money. I would not have been able to afford those kinds of meals myself.” “It’s actually helped me out a lot because they cut me down on food stamps, so I was actually unable at the time to be able to eat the foods I was supposed to.“). Conclusions: Medically tailored meal delivery is a promising intervention that may help vulnerable patients with diabetes overcome several barriers to improving health.

PurposeThe purpose of this article is to explore how participants with different motivations (educational or leisure), familiarity with the medium (newbies and active Twitter users), and participating instructions respond to a highly structured digital social reading (DSR) activity in terms of intensity of engagement and social interaction.Design/methodology/approachA case study involving students and teachers of 211 Italian high school classes and 242 other Twitter users, who generated a total of 18,962 tweets commenting on a literary text, was conducted. The authors performed both a quantitative analysis focusing on the number of tweets/retweets generated by participants and a network analysis exploiting the study of interactions between them. The authors also classified the tweets with respect to their originality, by using both automated text reuse detection approaches and manual categorization, to identify quotations, paraphrases and other forms of reader response.FindingsThe decoupling (both in space and time) of text read (in class) and comments (on Twitter) likely led users to mainly share text excerpts rather than original personal reactions to the story. There was almost no interaction outside the classroom, neither with other students nor with generic Twitter users, characterizing this project as a shared experience of “audiencing” a media event. The intensity of social interactions is more related to the breadth of the audience reached by the user-generated content and to a strong retweeting activity. In general, better familiarity with digital (social) media is related to an increase in the level of social interaction.Originality/valueThe authors analyzed one of the largest educational social reading projects ever realized, contributing to the still scarce empirical research about DSR. The authors employed state-of-the-art automated text reuse detection to classify reader response.

“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were reconciled through communications technology and “virtuous” transformation of ethnicity into niche markets. However, this approach to programming started to fracture and fail after a short period. The particular balance between the ethnic and the economically ecumenical mappings of the globe present in La Giostra proved to be as short lived as the ‘dual mandate’ at RAI International that underwrote its conception. Return Information The mega-events that Arbore organised came under increasing criticism from the parliamentary committees overseeing RAI’s activities as well as the RAI executive who saw them both extremely expensive to produce and of questionable value in the fulfillment of RAI’s mission as a public broadcaster (GRTV). They were sometimes described as misfatti televisivi [broadcasting misdeeds] (Arbore). The model of the televisual mega-event was increasingly targeted towards speaking to Italians abroad, dropping broader notions of the audience. This was not an overnight change, but part of a process through which the goals of the network were refocused towards ‘public service.’ Morrione, speaking before the parliamentary committee overseeing RAI’s activities, describes an evening dedicated to a celebration of the Italian flag which exemplifies this trend: The minister of Foreign Affairs asked us to prepare a Tricolore (the Italian flag) evening – that would go on air in the month of January – that we would call White, Red and Green (not the most imaginative name, but effective enough.) It would include international connections with Argentina, where there exists one of the oldest case d’italiani [Italian community centers], built shortly after the events of our Risorgimento and where they have an ancient Tricolore. We would also connect with Reggio Emilia, where the Tricolore was born and where they are celebrating the anniversary this year. Segments would also take us to the Vittoriano Museum in Rome for a series of testimonies. (Morrione, Testimony [1997]) Similar to La Giostra, the global reach of RAI International was used to create a sense of simultaneity among the dispersed communities of Italians around the world (including the population of Italy itself). The festival of the Italian flag was similarly deeply implicated in the rituals and patterns that bring together an audience and, at another level, a people. However, in the celebration of the Italian flag, the notion that such a spectacle might be of interest to those outside of a global “Italian” community has disappeared. Like La Giostra, programs of this kind are intended to be constitutive of an audience, a collectivity that would not exist were it not for the common space provided through television spectatorship. The celebration of the Italian flag is part of an attempt to produce a sense of global community organised by a shared sense of ethnic identity as expressed through the common temporality of a live broadcast. Italians around the world were part of the same Italian community not because of their shared history (even when this was the stated subject of the program as was the case with Red, White and Green), but because they co-existed by means of their experience of the mediated event. Through these events, the shared national history is produced out of the simultaneity of the common present and not, as the discourse around Italian identity presented in these programs would have it (for example, the narratives around the origin around the flag), the other way around. However, this connection between the global television event that was broadcast live and national belonging raised questions about the kind of participation they facilitated. This became a particularly salient issue with the election of the second Berlusconi government and the successful campaign to grant Italians citizens living abroad the vote, a campaign that was lead by formerly fascist (but centre-moving) Alleanza Nazionale. With the appoint of Massimo Magliaro, a longtime member of Alleanza Nazionale, to the head of the network in 2000, the concept of informazione di ritorno [return information] became increasingly prominent in descriptions of the service. The phrase was frequently used, along with tv di ritorno (Tremaglia), by the Minister for Italiani nel Mondo during the second Berlusconi administration, Mirko Tremaglia, and became a central theme in the projects envisioned for the service. (The concept had circulated previously, but it was not given the same emphasis that it would gain after Magliaro’s appointment. In an interview from 1996, Morrione is asked about his commitment to the policy of “so-called” return information. He answers the question by commenting in support of producing a ‘return image’ (immagine di ritorno), but never uses the phrase (Morrione, “Gli Italiani”). Similarly, Arbore, in an interview from 1998, is also asked about ‘so-called’ return information, but also never uses the term himself (Affatato). This suggests that its circulation was limited up until the late 1990s.) The concept of ‘return information’ – not quite a neologism in Italian, but certainly an uncommon expression – was a two-pronged, and never fully implemented, initiative. Primarily it was a policy that sought to further integrate RAI International into the system of RAI’s national television networks. This involved both improving the ability of RAI International to distribute information about Italy to communities of Italians abroad as well as developing strategies for the eventual use of programming produced by RAI International on the main national networks as a way of raising the awareness of Italians in Italy about the lives and beliefs of Italians abroad. (The programming produced by RAI International was never successfully integrated into the schedules of the other national networks. This issue remained an issue that had yet to be resolved as recently as the negotiations between the Prime Minister’s office and RAI to establish a new agreement governing RAI’s international service in 2007.) This is not to say that there was a dramatic shift in the kind of programming on the network. There had always been elements of these new goals in the programming produced exclusively for RAI International. The longest running program on the network, Sportello Italia [Information Desk Italy], provided information to Italians abroad about changes in Italian law that effected Italians abroad as well as changes in bureaucratic practice generally. It often focused on issues such as the voting rights of Italians abroad, questions about receiving pensions and similar issues. It was joined by a series of in-house productions that primarily consisted of news and information programming whose roots were in the new division in charge of radio and television broadcasts since the sixties. The primary change was the elimination of large-scale programs, aside from those relating to the Italian national soccer team and the Pope, due to budget restrictions. This was part of a larger shift in the way that the service was envisioned and its repositioning as the primary conduit between Italy and Italians abroad. Speaking in 2000, Magliaro explained this as a change in the network’s priorities from ‘entertainment’ to ‘information’: There will be a larger dose of information and less space for entertainment. Informational programming will be the privileged product in which we will invest the majority of our financial and human resources, both on radio and on television. Providing information means both telling Italians abroad about Italy and allowing public opinion in our country to find out about Italians around the world. (Morgia) Magliaro’s statement suggests that there is a direct connection between the changing way of conceiving of ‘global’ Italian television and the mandate of RAI International. The spectacles of the mid-nineties, implicitly characterised by Magliaro as ‘entertainment,’ were as much about gaining the attention of those who did not speak Italian or watch Italian television as speaking to Italians abroad. The kind of participation in the nation that these events solicited were limited in that they did not move beyond a relatively passive experience of that nation as community brought together through the diffuse and distracted experience of ‘entertainment’. The rise of informazione di ritorno was a discourse that offered a particular conception of Italians abroad who were more directly involved in the affairs of the nation. However, this was more than an increased interest in the participation of audiences. Return information as developed under Magliaro’s watch posited a different kind of viewer, a viewer whose actions were explicitly and intimately linked to their rights as citizens. It is not surprising that Magliaro prefaced his comments about the transformation of RAI’s mandate and programming priorities by acknowledging that the extension of the vote to Italians abroad demands a different kind of broadcaster. The new editorial policy of RAI International is motivated from the incontrovertible fact that Italians abroad will have the right to vote in a few months … . In terms of the product that we are developing, aimed at adequately responding to the new demands created by the vote… (Morgia) The granting of the vote to Italians abroad meant that the forms of symbolic communion that produced through the mega-events needed to be supplanted by a policy that allowed for a more direct link between the ritual aspects of global media to the institutions of the Italian state. The evolution of RAI International cannot be separated from the articulation of an increasingly ethno-centric conception of citizenship and the transformation of the Italian state over the course of the 1990s and early 2000s towards. The transition between these two approaches to global television in Italy is important for understanding the events that unfolded around RAI International’s role in the development of a global Italian citizenry. A development that should not be separated from the development of increasingly stern immigration policies whose effect is to identify and export undesirable outsiders. The electoral defeat of Berlusconi in 2006 and the ongoing political instability surrounding the centre-left government in power since then has meant that the future development of RAI International and the long-term effects of the right-wing government on the cultural and political fabric of Italy remain unclear at present. The current need for a reformed electoral system and talk about the need for greater efficiency from the new executive at RAI make the evolution of the global Italian citizenry an important context for understanding the role of media in the globalised nation-state in the years to come. References Affatato, M. “I ‘Segreti’ di RAI International.” GRTV.it, 17 Feb. 1998. Arbore, R. “‘Il mio sogno? Un Programma con gli italiani all’estero.’” GRTV.it, 18 June 1999. Foot, J. Milan since the Miracle: City, Culture, and Identity. Oxford: Berg, 2001. Garofalo, R. “Understanding Mega-Events: If We Are the World, Then How Do We Change It? In C. Penley and A. Ross, eds., Technoculture. Minneapolis, University of Minnesota Press, 1991. 247-270. Magliaro, M. “Speech to Second Annual Conference.” Comites Canada, 2002. Milana, A. RAI International: 40 anni, una storia. Rome: RAI, 2003. Morgia, G. La Rai del Duemila per gli italiani nel mondo: Intervista con Massimo Magliaro. 2001. Morrione, R. “Gli Italiani all’estero ‘azionisti di riferimento.’” Interview with Roberto Morrione. GRTV.it, 15 Nov. 1996. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 12 December 1997. Rome, 1997. 824-841. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 17 November 1998. Rome, 1998. 1307-1316. Morrione, R. “Tre anni memorabili.” RAI International: 40 anni, una storia. Rome: RAI, 2003. 129-137. Parks, L. Cultures in Orbit: Satellites and the Televisual. Durham, NC: Duke UP, 2005. Citation reference for this article MLA Style Hayward, Mark. "Two Ways of Being Italian on Global Television." M/C Journal 10.6/11.1 (2008). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0804/05-hayward.php>. APA Style Hayward, M. (Apr. 2008) "Two Ways of Being Italian on Global Television," M/C Journal, 10(6)/11(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0804/05-hayward.php>.

“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were reconciled through communications technology and “virtuous” transformation of ethnicity into niche markets. However, this approach to programming started to fracture and fail after a short period. The particular balance between the ethnic and the economically ecumenical mappings of the globe present in La Giostra proved to be as short lived as the ‘dual mandate’ at RAI International that underwrote its conception. Return Information The mega-events that Arbore organised came under increasing criticism from the parliamentary committees overseeing RAI’s activities as well as the RAI executive who saw them both extremely expensive to produce and of questionable value in the fulfillment of RAI’s mission as a public broadcaster (GRTV). They were sometimes described as misfatti televisivi [broadcasting misdeeds] (Arbore). The model of the televisual mega-event was increasingly targeted towards speaking to Italians abroad, dropping broader notions of the audience. This was not an overnight change, but part of a process through which the goals of the network were refocused towards ‘public service.’ Morrione, speaking before the parliamentary committee overseeing RAI’s activities, describes an evening dedicated to a celebration of the Italian flag which exemplifies this trend: The minister of Foreign Affairs asked us to prepare a Tricolore (the Italian flag) evening – that would go on air in the month of January – that we would call White, Red and Green (not the most imaginative name, but effective enough.) It would include international connections with Argentina, where there exists one of the oldest case d’italiani [Italian community centers], built shortly after the events of our Risorgimento and where they have an ancient Tricolore. We would also connect with Reggio Emilia, where the Tricolore was born and where they are celebrating the anniversary this year. Segments would also take us to the Vittoriano Museum in Rome for a series of testimonies. (Morrione, Testimony [1997]) Similar to La Giostra, the global reach of RAI International was used to create a sense of simultaneity among the dispersed communities of Italians around the world (including the population of Italy itself). The festival of the Italian flag was similarly deeply implicated in the rituals and patterns that bring together an audience and, at another level, a people. However, in the celebration of the Italian flag, the notion that such a spectacle might be of interest to those outside of a global “Italian” community has disappeared. Like La Giostra, programs of this kind are intended to be constitutive of an audience, a collectivity that would not exist were it not for the common space provided through television spectatorship. The celebration of the Italian flag is part of an attempt to produce a sense of global community organised by a shared sense of ethnic identity as expressed through the common temporality of a live broadcast. Italians around the world were part of the same Italian community not because of their shared history (even when this was the stated subject of the program as was the case with Red, White and Green), but because they co-existed by means of their experience of the mediated event. Through these events, the shared national history is produced out of the simultaneity of the common present and not, as the discourse around Italian identity presented in these programs would have it (for example, the narratives around the origin around the flag), the other way around. However, this connection between the global television event that was broadcast live and national belonging raised questions about the kind of participation they facilitated. This became a particularly salient issue with the election of the second Berlusconi government and the successful campaign to grant Italians citizens living abroad the vote, a campaign that was lead by formerly fascist (but centre-moving) Alleanza Nazionale. With the appoint of Massimo Magliaro, a longtime member of Alleanza Nazionale, to the head of the network in 2000, the concept of informazione di ritorno [return information] became increasingly prominent in descriptions of the service. The phrase was frequently used, along with tv di ritorno (Tremaglia), by the Minister for Italiani nel Mondo during the second Berlusconi administration, Mirko Tremaglia, and became a central theme in the projects envisioned for the service. (The concept had circulated previously, but it was not given the same emphasis that it would gain after Magliaro’s appointment. In an interview from 1996, Morrione is asked about his commitment to the policy of “so-called” return information. He answers the question by commenting in support of producing a ‘return image’ (immagine di ritorno), but never uses the phrase (Morrione, “Gli Italiani”). Similarly, Arbore, in an interview from 1998, is also asked about ‘so-called’ return information, but also never uses the term himself (Affatato). This suggests that its circulation was limited up until the late 1990s.) The concept of ‘return information’ – not quite a neologism in Italian, but certainly an uncommon expression – was a two-pronged, and never fully implemented, initiative. Primarily it was a policy that sought to further integrate RAI International into the system of RAI’s national television networks. This involved both improving the ability of RAI International to distribute information about Italy to communities of Italians abroad as well as developing strategies for the eventual use of programming produced by RAI International on the main national networks as a way of raising the awareness of Italians in Italy about the lives and beliefs of Italians abroad. (The programming produced by RAI International was never successfully integrated into the schedules of the other national networks. This issue remained an issue that had yet to be resolved as recently as the negotiations between the Prime Minister’s office and RAI to establish a new agreement governing RAI’s international service in 2007.) This is not to say that there was a dramatic shift in the kind of programming on the network. There had always been elements of these new goals in the programming produced exclusively for RAI International. The longest running program on the network, Sportello Italia [Information Desk Italy], provided information to Italians abroad about changes in Italian law that effected Italians abroad as well as changes in bureaucratic practice generally. It often focused on issues such as the voting rights of Italians abroad, questions about receiving pensions and similar issues. It was joined by a series of in-house productions that primarily consisted of news and information programming whose roots were in the new division in charge of radio and television broadcasts since the sixties. The primary change was the elimination of large-scale programs, aside from those relating to the Italian national soccer team and the Pope, due to budget restrictions. This was part of a larger shift in the way that the service was envisioned and its repositioning as the primary conduit between Italy and Italians abroad. Speaking in 2000, Magliaro explained this as a change in the network’s priorities from ‘entertainment’ to ‘information’: There will be a larger dose of information and less space for entertainment. Informational programming will be the privileged product in which we will invest the majority of our financial and human resources, both on radio and on television. Providing information means both telling Italians abroad about Italy and allowing public opinion in our country to find out about Italians around the world. (Morgia) Magliaro’s statement suggests that there is a direct connection between the changing way of conceiving of ‘global’ Italian television and the mandate of RAI International. The spectacles of the mid-nineties, implicitly characterised by Magliaro as ‘entertainment,’ were as much about gaining the attention of those who did not speak Italian or watch Italian television as speaking to Italians abroad. The kind of participation in the nation that these events solicited were limited in that they did not move beyond a relatively passive experience of that nation as community brought together through the diffuse and distracted experience of ‘entertainment’. The rise of informazione di ritorno was a discourse that offered a particular conception of Italians abroad who were more directly involved in the affairs of the nation. However, this was more than an increased interest in the participation of audiences. Return information as developed under Magliaro’s watch posited a different kind of viewer, a viewer whose actions were explicitly and intimately linked to their rights as citizens. It is not surprising that Magliaro prefaced his comments about the transformation of RAI’s mandate and programming priorities by acknowledging that the extension of the vote to Italians abroad demands a different kind of broadcaster. The new editorial policy of RAI International is motivated from the incontrovertible fact that Italians abroad will have the right to vote in a few months … . In terms of the product that we are developing, aimed at adequately responding to the new demands created by the vote… (Morgia) The granting of the vote to Italians abroad meant that the forms of symbolic communion that produced through the mega-events needed to be supplanted by a policy that allowed for a more direct link between the ritual aspects of global media to the institutions of the Italian state. The evolution of RAI International cannot be separated from the articulation of an increasingly ethno-centric conception of citizenship and the transformation of the Italian state over the course of the 1990s and early 2000s towards. The transition between these two approaches to global television in Italy is important for understanding the events that unfolded around RAI International’s role in the development of a global Italian citizenry. A development that should not be separated from the development of increasingly stern immigration policies whose effect is to identify and export undesirable outsiders. The electoral defeat of Berlusconi in 2006 and the ongoing political instability surrounding the centre-left government in power since then has meant that the future development of RAI International and the long-term effects of the right-wing government on the cultural and political fabric of Italy remain unclear at present. The current need for a reformed electoral system and talk about the need for greater efficiency from the new executive at RAI make the evolution of the global Italian citizenry an important context for understanding the role of media in the globalised nation-state in the years to come. References Affatato, M. “I ‘Segreti’ di RAI International.” GRTV.it, 17 Feb. 1998. Arbore, R. “‘Il mio sogno? Un Programma con gli italiani all’estero.’” GRTV.it, 18 June 1999. Foot, J. Milan since the Miracle: City, Culture, and Identity. Oxford: Berg, 2001. Garofalo, R. “Understanding Mega-Events: If We Are the World, Then How Do We Change It? In C. Penley and A. Ross, eds., Technoculture. Minneapolis, University of Minnesota Press, 1991. 247-270. Magliaro, M. “Speech to Second Annual Conference.” Comites Canada, 2002. Milana, A. RAI International: 40 anni, una storia. Rome: RAI, 2003. Morgia, G. La Rai del Duemila per gli italiani nel mondo: Intervista con Massimo Magliaro. 2001. Morrione, R. “Gli Italiani all’estero ‘azionisti di riferimento.’” Interview with Roberto Morrione. GRTV.it, 15 Nov. 1996. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 12 December 1997. Rome, 1997. 824-841. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 17 November 1998. Rome, 1998. 1307-1316. Morrione, R. “Tre anni memorabili.” RAI International: 40 anni, una storia. Rome: RAI, 2003. 129-137. Parks, L. Cultures in Orbit: Satellites and the Televisual. Durham, NC: Duke UP, 2005.

Very large numbers of people habitually spend time interacting in online social spaces based on the software developed by Pavel Curtis for Lambda MOO. Although chatting is part of the functionality of these spaces, it is much richer than the functionality given by basic chat rooms. In particular, members of these spaces explicitly declare a gender within the space (I will call it their 'presenting gender'), which may or may not correspond with their offline gender. As well as the traditional options of "male" and "female", it is possible to choose presenting genders such as "neutral", "royal", or "witch". Around 35% of the members of Media MOO and 22% of Lambda MOO have a presenting gender that is neither "male" nor "female" (Danet). I surveyed active citizens of another such space, Little Italy, by examining 400 characters that had accessed the space during the preceding month. Of these, 72 (18%) had a presenting gender other than "male", "female", and the default, "neutral" (assigned to Little Italians who haven't yet chosen a presenting gender). 11% had default presenting gender. I found that those who had a presenting gender 'other' than "male", "female", or the default were more likely to still be active in Little Italy a year later. This result holds at the 80% significance level -- in other words, there is a less than 1 in 5 probability that the difference observed could have arisen by chance if the distributions were in reality identical. In fact, 'other'-gendered active citizens were 23% more likely than "male" and 32% more likely than "female" active citizens to be still active a year later. This suggests that 'other'-gendered chat may be more a pleasant (or addictive) activity than male- or female-gendered chat. Amazingly, 49% of the 'other'-gendered citizens sampled were still active a year later. This intrigued me, so I sent a message to currently active Little Italians with presenting genders other than male or female, asking them why they had chosen such a presenting gender. I had 28 responses. Quotations from the responses below are by permission, and translated from the Italian. A popular idea amongst gender theorists (e.g. Stone) is that choosing a presenting gender other than "male" and "female" is a strategy for people who don't feel they fit precisely into gender stereotypes. This may include most of us to some degree. As the Kinks sang, "girls will be boys and boys will be girls, it's a mixed-up, muddled-up, shook-up world, except for Lola" -- where Lola has ambiguous presenting gender, and thus is the only non-mixed-up one. This is indeed the reason given by one respondent for choosing a presenting gender other than male or female: "despite being a man, I feel very feminine (since I was small I've always wanted to be a woman)". However, no other respondents gave this as their reason. Another idea from the literature is that of "gender masking" (Jaffe et al. 11-2, and table 1). According to this theory, people, especially women, hide their gender online in order to avoid discrimination and harassment, or gender-related assumptions. Indeed, one respondent described his/her 'masked' character as "a mind without sex or body, an entity without appearance, as insubstantial as a cloud of smoke". On the other hand, the majority of other-gendered Little Italians give some clue that they are either male or female in their character descriptions, and most give some clue when speaking socially within Little Italy. Italian is an inflected language, and has many constructions that reveal whether the speaker is male or female -- it is rare (although not unknown) for a Little Italian to avoid these constructions or to use them ambiguously, as might be expected by someone masking their gender. To consider another idea, Bruckman (also Reid ch. 3 iii) suggests that the online world can be an "identity workshop" (1), where people can emphasise particular aspects of their personality, or try out new personae, or experience what it is like to be someone completely different. Some Little Italians emphasise part of their real identity through their presenting gender, choosing for example to have a gender such as "rebel", "dutch", or "angel". One respondent suggested, "I chose 'angel' because I help everyone who asks me -- and some who don't ask -- let's say I like being a guardian angel ;) and because my name is Michelangelo". Other Little Italians choose 'other' presenting genders precisely because these genders do not have an offline equivalent. Their choice is a form of creativity or escapism. One such respondent asked, "if everything is just like reality, what's the point of logging on?" This creative aspect becomes clear in the more outré genders invented by Little Italians, such as "\V/amp!" for a vampire character, which includes a visual reference to Dracula's high collar, and "...nothing like the sun" (the ellipsis is part of the gender). One surprise was that several citizens became 'other'-gendered by accident! Offline it is difficult to have a sex-change without realising, but online a badly-designed interface can have this effect. 3% of the sample had gender "me", which is a side-effect of a particular mistake in the use of the space. Another surprise was the joke gender. If you ask the system for information about a Little Italy character, one line of the answer is of the form "Sex: <the character's presenting gender>". Around 2% of the sample had presenting genders such as "If only!", "Too much!!", and "Go ahead!!". Several other citizens told me their genders were references to in-jokes amongst their online friends. Some characters had an 'other' gender because the character portrayed was not a human being -- such as a duck with presenting gender "duck", and a character called Harley with presenting gender "H-D". Looking at the 'other' genders in the sample, I was struck by the diversity both of the genders themselves, and of the reasons for which they are chosen. There is no single motive valid for most 'other'-gendered citizens. I was also struck by their lightheartedness. Gender studies texts tend to treat the choice of presenting gender as something highly serious and important. Several writers deal with gender as performance (Butler interviewed by Osborne and Segal, 109-26) or masquerade (Danet) with playful and ironic characteristics (Haraway 149-81). These writers, however, tend to emphasise a serious purpose underlying the performance. Haraway talks of "serious play" (149) and Butler is interested in performing gender as a subversive practice that aims to undermine the dominant forms of gender. Little Italy shows that in online spaces this need not be the case. The Little Italian with presenting gender "duck" does not think of herself as a duck, she is not critiquing female stereotypes, she is not questioning the idea of femaleness, she is not hiding her offline gender to avoid harassment, she is not asserting her inner duckiness; she's just having a bit of fun. Little Italy is more of an identity playground than an identity workshop. The creation of 'other' presenting genders in Little Italy is an example of the unexpectedly creative use of public space by members (in this case the space after Sex: in the character information) that was not originally designed with this use in mind. It is perhaps even more fascinating than other examples of folk art in unexpected places, such as graffiti, crop circles, bumper stickers or carved spoon handles, because of the clarity of its relationship with the artists' (lighthearted) construction of their identities. 'Stickiness' -- the likelihood of visitors to continue visiting a Website over an extended period of time -- is a quality much sought after by e-companies. Little Italy is very 'sticky' for all its citizens, but exceptionally so for other-gendered ones. In my opinion, it is the personal creative investment of the other-gendered citizens in Little Italy that makes them especially likely to remain active citizens. 'Other' presenting genders are possible in Little Italy because Pavel Curtis's software does not limit the options to male and female. This research suggests that designers and administrators of commercial Websites who want stickiness should avoid making assumptions about how their visitors may wish to present and express themselves. Rather, they should try to leave spaces open for their visitors' creativity. Many commercial Websites try to control and limit visitors' interaction, using forms and limited-choice menus. But if I am right about the stickiness of personal creative investment, then this may be a mistake. Creative empowerment of visitors may be better for the bottom line. Acknowledgements Grazie ai cittadini e wiz di Little Italy, sopratutto a quelli citati, per loro aiuto e amichevolezza. References Bruckman, Amy. "Identity Workshop: Emergent Social and Psychological Phenomena in Text-based Virtual Reality." Masters thesis, MIT Media Laboratory. 1992. Danet, Brenda. "Text as Mask: Gender and Identity on the Internet." Conference on "Masquerade and Gendered Identity". Venice, Italy, Feb. 1996. 18 Jul. 2000 <http://atar.mscc.huji.ac.il/~msdanet/mask.php>. Haraway, Donna. "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century." Simians, Cyborgs and Women: The Reinvention of Nature. New York: Routledge, 1991. Jaffe, J. Michael, et al. "Gender, Pseudonyms, and CMC: Making Identities and Baring Souls." 45th Annual Conference of the International Communication Association. Albuquerque, USA, 1995. 18 Jul. 2000 <http://members.iworld.net/yesunny/genderps.php>. Osborne, Peter, and Lynne Segal. "Gender as Performance." Interview with Judith Butler. A Critical Sense: Interviews with Intellectuals. Ed. Peter Osborne. London and New York: Routledge, 1996. Elizabeth Reid. "Cultural Formations in Text-based Virtual Realities." Masters thesis, Dept. of English, University of Melbourne. 1994. 11 Aug. 2000 <http://www.aluluei.com>. Stone, Allucquère Rosanne. "Will the Real Body Please Stand Up? Boundary Stories about Virtual Cultures." Cyberspace: First Steps. Ed. Michael Benedikt. Cambridge, MA: MIT P, 1991. 18-118. Citation reference for this article MLA style: Miranda Mowbray. "Neither Male nor Female: Other -- Gendered Chat in Little Italy." M/C: A Journal of Media and Culture 3.4 (2000). [your date of access] <http://www.api-network.com/mc/0008/gendered.php>. Chicago style: Miranda Mowbray, "Neither Male nor Female: Other -- Gendered Chat in Little Italy," M/C: A Journal of Media and Culture 3, no. 4 (2000), <http://www.api-network.com/mc/0008/gendered.php> ([your date of access]). APA style: Miranda Mowbray. (2000) Neither male nor female: other -- gendered chat in Little Italy. M/C: A Journal of Media and Culture 3(4). <http://www.api-network.com/mc/0008/gendered.php> ([your date of access]).