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Journal articles on the topic 'Tarantism'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Bynum, Bill. "Tarantism." Lancet 358, no. 9294 (2001): 1736. http://dx.doi.org/10.1016/s0140-6736(01)06731-9.

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2

Zappatore, Daniele. "Tarantism: The Italian Pizzica from Music Therapy to New Formsof Performance." International Journal of Creative and Arts Studies 4, no. 2 (2018): 1–7. http://dx.doi.org/10.24821/ijcas.v4i2.1962.

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Far from being a mere historical reconstruction of the complex and culturally conditioned zymology of tarantism, the aim of this paper is to highlight its dynamic diachronically. Originally came from Italy, tarantism and its dynamics couldn’t be disjoined from its ancient concepts: cults, ritual possession, choral-music exorcism, that can be understood as a music therapy. In ethnomusicology standpoints, the particular significance would join the analysis of its from and its cultural aspect to elaborate the preservation of its choral nature or even its original ritual use in some maintained tar

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3

Tita, Michele. "Healing Songs and Music in Southern Italy: the Case of Tarantism." Tautosakos darbai 59 (June 2, 2020): 134–46. http://dx.doi.org/10.51554/td.2020.28371.

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Humans have always expressed themselves through songs and it is possible to witness practices of traditional singing almost everywhere and every time. The case that I am presenting in this article refers to the context of Southern Eastern Italy until the 1960s and the practice of singing and playing instruments as a form of healing towards people affected by tarantism, a peculiar culture-bound syndrome of that geographical area nowadays extinct. Tarantism takes its name from the spider called tarantula, which was said to sting mostly women around the end of June. Music and songs belonging to t

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4

David Gentilcore. " The Land of Remorse: A Study of Southern Italian Tarantism, and: Storia biomedica del tarantismo nel XVIII secolo (review)." Bulletin of the History of Medicine 82, no. 2 (2008): 447–50. http://dx.doi.org/10.1353/bhm.0.0054.

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5

Siporin, Steve, Ernesto De Martino, and Dorothy Louise Zinn. "The Land of Remorse: A Study of Southern Italian Tarantism." Journal of American Folklore 122, no. 483 (2009): 104. http://dx.doi.org/10.2307/20487659.

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6

Cupolo, Marco. "The Land of Remorse: A Study of Southern Italian Tarantism (review)." Italian Culture 23, no. 1 (2005): 181–83. http://dx.doi.org/10.1353/itc.2006.0007.

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7

Fransen, Sietske. "Ritual, Rapture and Remorse: A Study of Tarantism and Pizzica in Salento." Folklore 123, no. 2 (2012): 241–42. http://dx.doi.org/10.1080/0015587x.2012.683586.

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8

Richardson-Boedler, C. "The widow spider Latrodectus tredecimguttatus: source of the remedy Tarentula hispanica?" British Homeopathic Journal 90, no. 01 (2001): 44–49. http://dx.doi.org/10.1054/homp.1999.0456.

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AbstractThe European wolf spider, Lycosa tarentula, said to have caused the historical phenomenon of ‘tarantism’, is the official medicinal source of the homeopathic remedy Tarentula hispanica. Yet, scientific evidence links the spider's venomous effects with mild necrotic and minor systemic effects that contrast with the proving symptoms of Tarentula hispanica which show a cerebral and neural component. A comparative investigation by use of toxicological, clinical findings, supported by modern and antique biological texts, as well as homeopathic materia medica, traces the source of the remedy

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9

Charuty, Giordana. "Ernesto De Martino, The Land of Remorse. A Study of Southern Italian Tarantism." L'Homme, no. 187-188 (October 3, 2008): 489–91. http://dx.doi.org/10.4000/lhomme.20672.

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10

Steve Siporin. "The Land of Remorse: A Study of Southern Italian Tarantism (review)." Journal of American Folklore 122, no. 1 (2008): 104–6. http://dx.doi.org/10.1353/jaf.0.0059.

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11

Bartholomew, Robert E. "Tarantism, dancing mania and demonopathy: the anthro-political aspects of ‘mass psychogenic illness’." Psychological Medicine 24, no. 2 (1994): 281–306. http://dx.doi.org/10.1017/s0033291700027288.

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SynopsisThis study questions the widely held assumption that the phenomenon known as mass psychogenic illness (MPI) existsper sein nature as a psychiatric disorder. Most MPI studies are problematical, being descriptive, retrospective investigations of specific incidents which conform to a set of pre-existing symptom criteria that are used to determine the presence of collective psychosomatic illness. Diagnoses are based upon subjective, ambiguous categories that reflect stereotypes of female normality which assume the presence of a transcultural disease or disorder entity, underemphasizing or

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12

Hom, Stephanie Malia. "Daboo, Jerri: Ritual, Rapture, and Remorse. A Study of Tarantism and Pizzica in Salento." Anthropos 106, no. 1 (2011): 235–36. http://dx.doi.org/10.5771/0257-9774-2011-1-235.

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13

Torsello, Davide. "The Land of Remorse: A Study of Southern Italian Tarantism, by Ernesto De Martino." Journal of the Society for the Anthropology of Europe 8, no. 1 (2008): 35–36. http://dx.doi.org/10.1111/j.1556-5823.2008.00006.x.

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14

Bevilacqua, Salvatore. "Le tarentisme et ses fictions ethnographiques: épistémologie d’une maladie de l’Autre." Gesnerus 65, no. 3-4 (2008): 225–48. http://dx.doi.org/10.1163/22977953-0650304004.

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Tarantism is a cultural syndrome caused by a symbolic spider bite that was treated in Southern Italy by means of a musical and religious ritual. At the frontiers of theories of insanity this “disease” is the source of a rich and centuries-old scientific literature. This article proposes an epistemological analysis of the medical paradigms that have built the scientific representations of this phenomenon and that make it an anthropological mediation of cultural alterity of the Apulian territory and Southern Italy in general. Geographical or social determinism, popular irrationality, simulation

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15

Caputi, Celia R. "A US Feminist in “the Land of Remorse”: Re-considering the Southern Italian Cult of Tarantism." Italian Americana XXXVIII, no. 2 (2020): 123–38. http://dx.doi.org/10.5406/2327753x.38.2.06.

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16

Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.

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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the

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17

Fernández de la Peña, Miguel. "Tarantino." Revista Internacional de Pensamiento Político 18 (December 22, 2023): 305–26. http://dx.doi.org/10.46661/rev.int.pensampolit..8531.

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El cine de Tarantino recurre constantemente a la violencia, pero lo hace tomando en cuenta ciertos elementos que la justifican a ojos del espectador. Aunque sus protagonistas hacen uso de ella, asumen que deben limitarla según recomienda la legítima defensa o la merecida venganza, diferenciándose de su uso indiscriminado por parte de los antagonistas. Puesto que la realidad resulta desagradable, Tarantino reescribe la historia como el Dios vengador que impone su justicia sobre el mundo. Para que esto sea posible, la violencia aparece como un instrumento que construye una nueva realidad que red

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18

Lee, C. Nicholas, Sollogub Vladimir, and W. E. Brown. "The Tarantas." Slavic and East European Journal 34, no. 4 (1990): 529. http://dx.doi.org/10.2307/308205.

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19

Pallant, Chris. "Tarantino the Cartoonist." Animation 2, no. 2 (2007): 171–86. http://dx.doi.org/10.1177/1746847707074699.

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20

Giudice, Luisa Del, and Luigi Chiriatti. "Morso d'amore: Viaggio nel tarantismo salentino." Journal of American Folklore 112, no. 443 (1999): 96. http://dx.doi.org/10.2307/541410.

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21

Dei, Fabio. "Giovanni Pizza, <em>Il tarantismo oggi. Antropologia, politica, cultura</em>, Roma, Carocci, 2015, pp. 270." Anuac 4, no. 2 (2016): 270–73. http://dx.doi.org/10.7340/anuac2239-625x-1993.

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22

Mascarello, Fernando. "Tarantino, Deleuze, Baudrillard, tomates." Revista FAMECOS 3, no. 5 (2008): 91. http://dx.doi.org/10.15448/1980-3729.1996.5.2952.

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23

Fadda, Sebastiana. "O teatro segundo Tarantino." Sinais de cena, no. 7 (June 2007): 110–12. http://dx.doi.org/10.51427/cet.sdc.2007.0029.

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24

Sáez-González, Jesús Miguel. "Malditos bastardos (Quentin Tarantino)." Vivat Academia, no. 109 (December 15, 2009): 81. http://dx.doi.org/10.15178/va.2009.109.81-82.

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25

Signorelli, Amalia. "La ricerca sul tarantismo. Materiali dell'archivio de Martino." La Ricerca Folklorica, no. 13 (April 1986): 109. http://dx.doi.org/10.2307/1479678.

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26

Murray, Terri M. "Quentin Tarantino: Sadist or Sage?" Journal of Social Philosophy 29, no. 2 (1998): 109–25. http://dx.doi.org/10.1111/j.1467-9833.1998.tb00111.x.

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27

McCaw, Megan May. "The Ultraviolent, Interrelated Tarantino Universe." Film Matters 8, no. 1 (2017): 95–97. http://dx.doi.org/10.1386/fm.8.1.95_1.

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28

Salluh, Jorge Ibrain de Figueira. "In memoriam - Affonso Berardinelli Tarantino." Jornal Brasileiro de Pneumologia 40, no. 5 (2014): 453–54. http://dx.doi.org/10.1590/s1806-37132014000500001.

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29

Patrick O'Donnell. "Childhood Living: James and Tarantino." CR: The New Centennial Review 9, no. 2 (2009): 1–20. http://dx.doi.org/10.1353/ncr.0.0069.

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30

Dimoulis, Dimitri, and Soraya Gasparetto Lunardi. "Críticas do direito e dos direitos de liberdade nos filmes de Quentin Tarantino." Revista de Direitos Humanos e Desenvolvimentos Social 1 (December 22, 2020): 1. http://dx.doi.org/10.24220/2675-9160v1e2020a5213.

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O presente artigo analisa as críticas do direito e dos direitos de liberdade que podem ser encontradas nos filmes de Quentin Tarantino, em particular no filme Hateful Eight. Nas narrativas de Tarantino reflete-se constantemente sobre o direito de portar armas, previsto na 2ª. Emenda da Constituição dos Estados Unidos, e o significado dos direitos de liberdade, incluindo o “direito” de vingança. O texto questiona as funções do direito e do Estado, mostrando suas contradições, especialmente a (impossível) delimitação entre violência legítima e ilegítima. Reflete-se também sobre o papel do direit

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31

Figueiró, Belisa. "Django Livre e o Western: Uma aproximação com a teoria de André Bazin." Sessões do Imaginário 22, no. 37 (2017): 41. http://dx.doi.org/10.15448/1980-3710.2017.1.22614.

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Este trabalho apresenta a teoria do autor francês André Bazin sobre o western e suas diversas ramificações e alterações ao longo das últimas décadas, com especial aplicação na análise do filme Django Livre (Django Unchained, Quentin Tarantino, 2012), do diretor norte-americano Quentin Tarantino. Após tantas transformações e readaptações dos filmes ao gênero, será que Bazin legitimaria esta obra cinematográfica dentro dos cânones de pureza propostos por ele?

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32

Raychawdhuri, Anita. "Los Tarantos : Negotiations of Romani Catalan Identity Through Shakespeare." Shakespeare Bulletin 41, no. 3 (2023): 373–401. http://dx.doi.org/10.1353/shb.2023.a916465.

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Abstract: This article analyzes Francisco Rovira Beleta’s film Los Tarantos (1963), a Spanish-language adaptation of William Shakespeare’s Romeo and Juliet , arguing that the film’s representation of Catalan Roma subtly advances a critique of Franquista nationalism. The film is set in Barcelona, the capital of Catalonia, and is remembered for its preservation in film of the Somorrostro neighborhood, an area of Barcelona’s beachfront that was inhabited by poor Romani people but torn down in 1966, as well as for starring flamenco legend, Carmen Amaya, as Angustias (Lady Montague). Los Tarantos r

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33

Rasmussen, Douglas. "Rewriting Sharon Tate's History in Once Upon A Time in … Hollywood." Popular Culture Review 35, no. 1 (2024): 47–76. http://dx.doi.org/10.1002/j.2831-865x.2024.tb00809.x.

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ABSTRACTAn examination of how director Quentin Tarantino rewrites the history of the Tate‐Labianca murders in the film Once Upon A Time in… Hollywood. By revising history and creating an alternate timeline where actress Sharon Tate is not murdered by Manson Family cultists, Tarantino is, in effect, also offering up a commentary on Hollywood itself. My essay will look at the artistic ramifications of these changes and how it affects viewer interpretations.

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34

Aubron, Hervé. "Les répliques d’une explosion (carambolages et remake de soi dans Death Proof de Quentin Tarantino)." Cinémas 25, no. 2-3 (2016): 55–74. http://dx.doi.org/10.7202/1035772ar.

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Quentin Tarantino est souvent abordé à travers les prismes de l’érudition cinéphile et du jeu citationnel : la notion de « remakesecret » représente un moyen de l’envisager par-delà sa seule virtuosité. Son filmDeath Proof(Boulevard de la mort / À l’épreuve de la mort, 2007) est particulièrement riche en jalons référentiels, l’un des plus nets étantVanishing Point(Point limite zéro, 1971), de Richard Sarafian. Cette illustre production de série B partageait bien des figures avecZabriskie Point, de Michelangelo Antonioni, sorti un an auparavant. Sarafian pourrait-il être un intercesseur entre A

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35

Van Zandt, Samantha. "The Triumph of Trauma: Tarantino Style." Film Matters 12, no. 2 (2021): 111–17. http://dx.doi.org/10.1386/fm_00158_7.

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In Kill Bill Vol. 1 and 2, Quentin Tarantino uses thematic symbolism to demonstrate the evolution of the film’s characters by assigning them code names. Each character’s code name is a different species of snake or is related to snakes: Black Mamba, Copperhead, Cottonmouth, Sidewinder, California Kingsnake, and Snake Charmer. Their aliases are a few examples of Easter eggs concealed in the films. The code names portray aspects of their character and the story of their growth as individuals. The protagonist, Beatrix Kiddo undergoes numerous aliases and evolves throughout the film through her re

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36

Watson, David. "Django Unchained: Directed by Quentin Tarantino." British Journal of General Practice 63, no. 608 (2013): 153.2–153. http://dx.doi.org/10.3399/bjgp13x664379.

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37

Stallings, Gregory Charles. "SABOTAJES CINEMATOGRÁFICOS: HITCHCOCK, TARANTINO Y ALMODÓVAR." Astrolabio, no. 15 (December 28, 2015): 217–38. http://dx.doi.org/10.55441/1668.7515.n15.12476.

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Este ensayo considera el tema de sabotaje en Hitchcock, en especial su película británica Sabotaje, en términos de la teoría silogística de Manuel Asensi. También analiza temas subversivos semejantes en dos obras contemporáneas, Malditos bastardos de Quentin Tarantino y Volver de Pedro Almodóvar. Los sabotajes literales en la película de Hitchcock (la colocación de bombas en relación con el cine) se combinan con la matanza de un esposo (tratándole como un pedazo de carne) para figurar un cine radical no solo como un arte anti-aurético (en el sentido del arte mecánicamente reproducido de Walter

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38

Sousa queiroz, Filipe Artur. "Semiótica: a narratividade como dimensão orgânica do cinema." ACENO - Revista de Antropologia do Centro-Oeste 9, no. 21 (2022): 261–74. http://dx.doi.org/10.48074/aceno.v9i21.11691.

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O objetivo central deste trabalho é delinear a dimensão da narratividade na atividade fílmica. Para tanto, trabalha-se, com a análise fílmica da obra de Quentin Tarantino em uma estratégia de localizá-lo na teorização do filósofo brasileiro André Parente. A partir do procedimento de significação e de compreensão do cinema como produtor de signos, sua localização dentro da semiótica deleuziana faz-se como legítima e a narratividade no cinematográfico surge, então, como algo orgânico, o que acaba por viabilizar futuras aproximações entre história e cinema. Palavras-chave: narratividade; Ta

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39

Vera García, Rodolfo. "Tarantino y la sutil violencia de la ideología." Ética y Cine Journal 14, no. 2 (2024): 61–71. http://dx.doi.org/10.31056/2250.5415.v14.n2.45760.

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En este trabajo se exploran distintas relaciones entre el cine de Quentin Tarantino, la violencia y la ideología desde una perspectiva histórico-crítica. Se confrontan diversas aproximaciones del concepto de ideología, particularmente las de Althusser, Williams y Therborn para pensar el cine de Tarantino y el debate sobre la violencia a lo largo de treinta años. Se ofrece también una propuesta de lectura de esa relación a partir de los procesos de emergencia, residualidad y dominio (Williams) que experimentan las ideologías en el tiempo y cómo interactúan unas con otras a propósito del cine.

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40

Martins Ladeira, João. "Era uma Vez em... Hollywood, de Tarantino." ALCEU 21, no. 45 (2021): 32–50. http://dx.doi.org/10.46391/alceu.v21.ed45.2021.62.

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O artigo interpreta Era uma Vez em... Hollywood, de Tarantino, através de uma postura que, inspirada na crítica imanente de Benjamin, discute a estética numa sociedade industrializada, em busca de critérios que permitam sua interpretação. Busca-se indicar de que modo Tarantino se concentra em traços de certos gêneros usualmente menosprezados, construindo seu cinema a partir desses restos. O texto aponta problemáticas comuns entre tal gesto e a Arte Pop. Sem indicar qualquer adesão entre o diretor a essa vertente artística, o texto indica que ambas convergem num projeto homólogo, lidando com im

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41

Briggs, Ryan David. "Pulp Fiction in the Press: 1990s Film Culture Writing and the Creation of Influence." South Central Review 41, no. 2 (2024): 16–31. http://dx.doi.org/10.1353/scr.2024.a932706.

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Abstract: This paper argues that the enormous amount of 1990s in-print press coverage of Quentin Tarantino and Pulp Fiction (1994) was a crucial factor in establishing the film's early legacy. Trade journalists, film reviewers, and cultural commentators all built a sense that Pulp Fiction was the defining indie film of the 1990s, aligning it with the financial and cultural expansion of the indie film sector throughout the rest of the decade. Through the privileged positions these writers held in film culture, they circulated opinions and knowledge about Tarantino and Pulp Fiction , all the whi

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42

Bertelsen, Eve. "“Serious Gourmet Shit”: Quentin Tarantino’ sPulp Fiction." Journal of Literary Studies 15, no. 1-2 (1999): 8–32. http://dx.doi.org/10.1080/02564719908530214.

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43

Drügh, Heinz. "TENDERING TARANTINO: ÄSTHETIK UND KULTURPOETIK (EINE PARTY)." POP 9, no. 1 (2020): 146–76. http://dx.doi.org/10.14361/pop-2020-090121.

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44

Sammells, Neil. "Pulp fictions: Oscar Wilde and Quentin Tarantino." Irish Studies Review 3, no. 11 (1995): 39–46. http://dx.doi.org/10.1080/09670889508455492.

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45

Rennett, Michael. "Quentin Tarantino and the Director as DJ." Journal of Popular Culture 45, no. 2 (2012): 391–409. http://dx.doi.org/10.1111/j.1540-5931.2011.00918.x.

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46

Santos, Francisco Renato Da Silva, and Charles Albuquerque Ponte. "A Segunda Guerra Mundial de Tarantino: pastiche em Bastardos Inglórios." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (2021): 642–55. http://dx.doi.org/10.12957/palimpsesto.2021.56947.

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Esse artigo apresenta uma análise do filme Bastardos Inglórios, de Quentin Tarantino, apontando os aspectos que o caracterizam como um pastiche dos filmes de guerra. Com base em Jameson (2016a), que instituiu o conceito de pastiche para se referir a um tipo de diálogo pós-moderno com outras obras, pretende-se demonstrar, através de um estudo comparativo, como ocorre o pastiche no filme de Tarantino, avaliando elementos como esquizofrenia e nostalgia que são característicos da arte contemporânea. A análise mostrará que Bastardos Inglórios se diferencia de outros filmes de guerra, em especial do

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47

Youngblood, Felicia K. "On un-silencing voices: tarantismo and the gendered heritage of Apulia." Folk Life 57, no. 1 (2019): 42–55. http://dx.doi.org/10.1080/04308778.2019.1586093.

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48

Corral Corral, Iñigo, and Carlos Corral Corral. "El tarantismo en España en el siglo XVIII: latrodectismo y sugestión." Revista de Neurología 63, no. 08 (2016): 370. http://dx.doi.org/10.33588/rn.6308.2016005.

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49

de Melis, Francesco. "Il tarantismo e la musica negli occhi (Sul restauro della Meloterapia)." La Ricerca Folklorica, no. 36 (October 1997): 149. http://dx.doi.org/10.2307/1480120.

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50

Marf Mohammed, Samal. "The Rise of Decolonial Image: Postcolonial Reading to Django Unchained Movie by Quentin Tarantino." Journal of University of Raparin 11, no. 3 (2024): 724–36. http://dx.doi.org/10.26750/vol(11).no(3).paper29.

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This paper provides postcolonial analysis of Django Unchained movie which is written and directed by American Film writer Quentin Tarantino in 2012. More specifically, the analysis focused on three primary components: firstly, Quentin Tarantino’s critique for slavery of blacks and racial discrimination, secondly, Orientalized Oriental discourse via postcolonial lens, and thirdly, decolonization discourse which is represented by Django, the protagonist of the movie. Throughout the movie, the viewers can see many scenes of slavery and racial intolerance which reflects many historical facts in th

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