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1
Vacante, Natàlia Masiello Vitilio. "L'estremo realismo di Verga : un percorso genetico bloccato /". [Bari] : B.A. Graphis, 2000. http://catalogue.bnf.fr/ark:/12148/cb391996296.
Testo completo
2
Verri, Andrea <1979>. "Manzoni, Belli e Verga secondo Leonardo Sciascia". Doctoral thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/8301.
Testo completoAbstract (sommario):
Si indaga in questo lavoro il rapporto dello scrittore siciliano con tre autori ottocenteschi: Manzoni, Belli e Verga. Sono tre autori diversi tra loro e con i quali il racalmutese instaura rapporti differenti per natura, forme, temi e conseguenti presenze nelle sue opere. Per questo, le vie percorse attraverso i testi dello scrittore novecentesco in cerca dei tre maestri sono state diverse. La ricerca svolta presenta una sua coerente unitarietà di impostazione dovuta al prevalere dell'interesse di Sciascia per il dato morale nel fare letteratura. Se infatti il problema centrale della giustizia e di una vita umana e civile è sicuramente dei primi due autori, rappresenta anche il punto di vista imprescindibile dal quale lo scrittore novecentesco guarda a Verga.
3
Arnod, Jeanclaude. "Luchino Visconti entre Giovanni Verga et Gabriele d’Annunzio". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100164/document.
Testo completoAbstract (sommario):
Luchino Visconti, né en 1906 et mort en 1976, a été un metteur en scène de cinéma, de théâtre, d’opéra et toute sa carrière a été placée sous le signe de l’amour pour les arts, avec une prédilection particulière pour la littérature de la fin du dix-neuvième siècle et du début du vingtième. L’objectif de notre étude est d’analyser la filmographie de Luchino Visconti, en nous arrêtant plus particulièrement sur quatre films, La terra trema, Rocco e i suoi fratelli, Vaghe stelle dell’Orsa… et L’innocente, où les rapports avec l’œuvre de Giovanni Verga et de Gabriele d’Annunzio sont les plus évidents. Plus spécifiquement le but est de démontrer que, contrairement aux stéréotypes qui marquent le discours critique sur l’œuvre du cinéaste, l’influence d’écrivains tels que Thomas Mann et Marcel Proust, tout en étant indéniable, a été surévaluée au détriment de celle des deux écrivains italiens, dont l’ascendant parcourt toute la filmographie viscontienneLuchino Visconti (1906-1976), was a movie, theatre and opera director. He dedicated all his career to the love of art, with a particular focus on the literature from the end of the 19th and beginning of the 20th centuryThe goal of our study is to analyse the filmography of Luchino Visconti, more specifically the following four films: La terra trema, Rocco e i suoi fratelli, Vaghe stelle dell’Orsa and L’innocente where the references to the works of Giovanni Verga and Gabriele d’Annunzio are most explicit. More specifically, we want to demonstrate that the undeniable influence of writers such as Thomas Mann and Marcel Proust on Visconti has been overvalued, at the expense of the two Italian authors, Verga and d’Annunzio, who have heavily influenced Visconti’s entire filmography
4
Italia, Sebastiano. "Per l'edizione critica di "In portineria" di Giovanni Verga. I manoscritti conservati presso il Fondo Verga dea Biblioteca Regionale Universitaria di Catania". Doctoral thesis, Università di Catania, 2017. http://hdl.handle.net/10761/3923.
Testo completoAbstract (sommario):
In merito al tema della valorizzazione del patrimonio culturale presente negli Archivi e nelle Fondazioni del territorio siciliano, questo progetto studia i manoscritti teatrali di Giovanni Verga inerenti al dramma In portineria, acquisiti dalla Regione Siciliana e conservati in originale presso la Biblioteca Regionale Universitaria di Catania e in copia presso la Fondazione G. Verga , istituita nel 1978. Considerato pertanto il Teatro quale bene culturale immateriale , il punto naturale di arrivo di una rivalutazione complessiva di questo materiale è l edizione critica delle opere per il teatro, edizione che ambisce a confluire nel più ampio progetto dell Edizione Nazionale delle opere di Verga, promossa dalla Fondazione G. Verga .
Il dramma In portineria è uno dei testi più ricco di testimoni manoscritti, sebbene pervenutici in uno stato di disordine. La Biblioteca Regionale Universitaria di Catania possiede sei manoscritti autografi ma non integrali e tre copie di altra mano con correzioni d autore; tutti testimoni attendibili . La ricerca si è concentrata sull archivio dei documenti presenti presso la Biblioteca Regionale Universitaria di Catania e, in copia, presso la Fondazione G. Verga . Condizione preliminare è stata la conoscenza della tradizione di ogni singolo testo oggetto della ricerca al fine di individuare nell immediato i termini concreti delle problematiche relative ai manoscritti da esaminare e di tracciare un piano specifico per poterle affrontare. Seguendo questa metodologia è possibile stabilire il numero e le caratteristiche dei differenti stati redazionali, la loro rappresentanza nella tradizione superstite, il loro valore di testimoni in direzione e della restituzione del testo e di una storia dell elaborazione testuale sub specie philologica.
5
De, Francisci E. "Women in Verga and Pirandello : from page to stage". Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1447137/.
Testo completoAbstract (sommario):
This thesis considers the transposition from short story into play, in the work of Verga and Pirandello, concentrating on a comparison between their methods of presenting the female characters in the two genres, and assessing what occurs when the voice of the narrator is replaced by the exchanges of the characters on stage. The main tenet is to challenge the critical view that women in the authors’ work represent the weaker vessel. The close reading of the selected pairs of texts illustrates how, although the female characters take a subsidiary position in the triangular relationship in which they are involved, they nonetheless remain the catalysts of the action by precipitating the main events. Even though (off stage) women at the time were being denied a political voice, it is argued here that once the characters rely on dialogue in the passage from short story to play, they gain a voice of their own on stage. Their ability for articulation thus reveals the characters as women capable of discussing their thoughts and feelings for themselves, which ultimately enables them to break away from their traditional identification with nature and emotion – making an examination of this sort particularly relevant to the topic of women. Part of the investigation briefly discusses how contemporary (male) theatre critics responded to these leading roles, and takes into consideration the women who are instrumental in providing the link from the narrative genre to the theatrical: the role of the actress, particularly Eleonora Duse who had a significant influence on early interpretations of Verga’s women and on Pirandello’s developing notions of the merging of art and reality. In conclusion, the relationship between the techniques of the two authors in adapting their works from page to stage sheds new light on why the narrative genre is particularly suited to Verga’s preoccupations, and why the dramatic form is more effective in exploring Pirandello’s umorismo. Even though the diachronic overview of their theatre shows how Verga’s approach veers towards the direction later taken by Pirandello, it also exemplifies how Pirandello exploits the means of the theatre to make significant innovations, spanning the transition from Realism to Modernism – a divergence from his predecessor which is emphasized through his treatment of the female voice on stage.
6
Longo, Giorgio. "L'écrivain, ses traducteurs et ses critiques : divulgation et fortune de l'oeuvre de Verga en France". Paris 8, 1996. http://www.theses.fr/1996PA08A002.
Testo completo
7
Döge, Frank Ulrich. "Pro- und antifaschistischer Neorealismus Internationale Rezeptionsgeschichte, literarische Bezüge und Produktionsgeschichte von La nave bianca und Roma aperta, die frühen Filme von Roberto Rossellini und Francesco De Robertis /". [S.l.] : [s.n.], 2004. http://www.diss.fu-berlin.de/2004/283/index.html.
Testo completo
8
Penzo, Alice <1988>. "Giovanni Verga e Carlo Goldoni: I Malavoglia e Le baruffe chiozzotte". Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3115.
Testo completo
9
Rizzo, Alessandra. "Realism in transition : a comparative study of cultural translations - Bennet, Lawrence, Verga". Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400981.
Testo completo
10
BALDAN, PERROT JOCELYNE. "Les différents visages du désir dans l'œuvre de Maupassant et de Verga". Dijon, 1991. http://www.theses.fr/1991DIJOL005.
Testo completoAbstract (sommario):
Cette thèse est essentiellement consacrée à l'aspect intimiste de l'œuvre de Maupassant et de Verga; elle s'efforce de montrer qu'au réalisme de certains récits se superpose un langage plus mystérieux et plus profond, relié à la vie intérieure et imaginaire de l'esprit. Elle cherche ainsi à découvrir la signification des images et des symboles poétiques contenus dans le texte, à travers l'étude comparée de six nouvelles, réunies par de grandes similitudes au niveau thématique : Une partie de campagne et Di la del mare, regret et la coda del diavolo, Miss Harriet et ii canarino del numero quindici. Le désir est un des fils conducteurs qui unit l'univers fictif de Maupassant et celui de Verga; ce mot désir ne doit pas être compris dans un sens restrictif qui le limiterait à son aspect charnel et superficiel. Energie vitale d'où peut naitre l'amour, ou puissance bloquée qui peut conduire à une angoisse mortelle, il soulève des questions qui passent, grâce à la psychanalyse, par les profondeurs les plus secrètes de l'inconscient, et s'élèvent jusqu'aux plus hauts niveaux de la conscience; se trouvent ainsi poses les grands problèmes éthiques, psychologiques, et spirituels qui concernent la science du cœur humainThis thesis is essentially consecrated to the intimism aspect of the work of Maupassant and Verga; it tries to show that a deeper and more mysterious language is linked with the inward and imaginary life of the spirit, and superimposed to the realism of certain narratives. It attempts to discover the signification of the images and of the poetical symbols of the text, through the comparative study of six short stories: une partie de campagne and Di la del mare, regret and la coda del diavolo, mMss Harriet and ii canarino del numero quindici. Desire is the clue which connects the fictitious universe of Maupassant and Verga; this word desire is not to be understood in a restrictive sense which should limit it to a carnal and shallow aspect. Vital energy from which love can born, or blocked force force which can lead to a mortal anguish, it raises questions which, thanks to the psychoanalysis pass by the darkest profundities of the conscience; so are laid down the great ethical, psychological and spiritual problems concerning the science of the human heart
11
McRae, Ellen. "Translation of the Sicilianità in the Fictional Languages of Giovanni Verga and Andrea Camilleri". Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/6974.
Testo completoAbstract (sommario):
This thesis aims to demonstrate how the translation of regional writing can provide insights into 'other' cultures. It suggests that when the foreignness of the text is highlighted, clarified and creatively rendered, it can serve as a valuable instrument of intercultural understanding. This premise is tested through an analysis of the translations into English of selected texts by two Sicilian writers, Giovanni Verga and Andrea Camilleri, which have a strong regional emphasis, with an abundance of 'untranslatable' cultural elements running through them. Verga, the founding father of literary sicilianità, or Sicilianness, created a literary language composed of Italian vocabulary and dialectal syntax, while Camilleri has created a linguistic blend that, in an almost complete inversion, is suffused with dialect vocabulary but retains an Italian syntactic and grammatical system. My research draws on several translation theories: Lawrence Venuti's championing of the visible translator, the links between translating and travel writing as discussed by Michael Cronin and Susan Bassnett, and the recent 'creative turn', as proposed by Loffredo and Perteghella, which foregrounds the creativity and subjectivity of the translator. My analysis considers the translators' treatment of the four specific regional elements of dialect, idiom, metaphor and culturally specific items, and tests their accordance with these theories and with the translations' effectiveness in rendering the sicilianità in the texts. The findings suggest that the translators who were most successful at providing their readers with insight into the source culture and language were those who had a strong paratextual presence, clearly articulated their strategies and the challenges of the text, interpreted and clarified the regionally specific elements for the reader, and retained and creatively rendered the original imagery and the linguistic and cultural peculiarities of the text.
12
Mantegna, Elisabetta. "Syntaxe descriptive dans mastro-don gesualdo. Espaces urbains, ruraux et de travail entre réalités et "Fantasticheria"". Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1039/document.
Testo completoAbstract (sommario):
Notre analyse se concentre sur la représentation narrative des lieux et des paysages dans les deux versions du Mastro-don Gesualdo de Giovanni Verga (1888 et 1889) en ajoutant à l'approche littéraire traditionnelle celle des études stylistiques et de la typologie textuelle. Partant du principe historico-critique selon lequel l'espace est l'élément clé dans la relation entre syntaxe, lexique d'auteur, thèmes et contenus dans le roman moderne, nous avons élaboré et analysé un corpus contenant une centaine de passages descriptifs. Nous avons confronté tout d'abord les solutions textuelles adoptées par l'auteur dans les deux éditions du roman, et nous avons ensuite essayé de caractériser, sur la base de ces données objectives, les dynamiques de textualisation et de structuration des facteurs spatiaux et paysagers dans le Mastro-don Gesualdo. En comparant les rares énonciations théoriques de Verga avec des extraits du texte narratif, nous avons pu remarquer que dans la représentation de la réalité du Mastro-don Gesualdo, l'auteur a bien présent à l'esprit l'idée de Zola de faire participer les descriptions de l’environnement d’un personnage à sa caractérisation, mais qu'il ne renonce pas pour autant à un descriptivisme littéraire et imprégné de lyrisme. La présence des stratégies syntaxiques, stylistiques et élocutoires - au niveau des allitérations et des onomatopées jusqu'à celui des anaphores, des comparaisons, des antithèses et des métonymies - confirme le lien constant entre grammaire et rhétorique en tant que caractéristique stylistique des chefs-d’œuvre véristesOur analysis concentrates on the narrative representation of places and landscapes in both versions of Giovanni Verga's Mastro-don Gesualdo (on 1888 and 1889) by adding to the traditional literary approach that of the stylistic studies and the textual typology. Runner of the principle historico-criticizes according to which one(which) the space is the key element in the relation between syntax, author's lexicon, themes and contained in the modern novel, we developed and analyzed a corpus containing hundred descriptive passages. We confronted first of all the textual solutions adopted by the author in both publishing(editions) of the novel, and we then tried to characterize, on the basis of these objective data, the dynamics of textualisation and of structuring of the spatial factors
L’analisi condotta in questa tesi di dottorato si incentra sulla rappresentazione narrativa di luoghi e paesaggi nelle due stesure del Mastro-don Gesualdo di Giovanni Verga (1888 e 1889), e integra al tradizionale approccio letterario un’osservazione linguistico-stilistica e tipologico-testuale. A partire dal presupposto storico-critico che nel romanzo moderno lo spazio è il cardine della relazione tra sintassi, lessico d’autore, temi e contenuti, si è costruito e indagato un corpus di un centinaio di inserti descrittivi. Si sono raffrontate innanzitutto le soluzioni testuali adottate dall’autore nelle due edizioni del romanzo, e si è poi tentato di caratterizzare, in base a dati attendibili e oggettivi, le dinamiche di testualizzazione e di strutturazione dei fattori spaziali e paesistici nel Mastro-don Gesualdo. Confrontando le rare enunciazioni teoriche verghiane con il testo narrativo, si è potuto appurare come nella rappresentazione della realtà gesualdesca l’autore abbia ben presente il mandato zoliano di attagliare realisticamente le descrizioni alla caratterizzazione ambientale del personaggio, ma non rinunci a un descrittivismo liricheggiante e letterario. L’articolata gamma di strategie sintattico-stilistiche ed elocutive - dal livello minimo di allitterazioni e onomatopee al livello più elevato di anafore, similitudini, antitesi, metonimie - conferma il costante connubio tra grammatica e retorica come cifra stilistica dei capolavori veristi
13
Longo, Giorgio. "L'ecrivain, ses traducteurs et ses critiques - divulgation et fortune de l'oeuvre de verga en france". Paris 8, 1996. http://www.theses.fr/1996PA081148.
Testo completoAbstract (sommario):
Deux groupes consistants de lettres inedites (annotees et presentees en annexe) de verga avec ses traducteurs ont permis : - de retracer l'histoire editoriale de l'oeuvre de verga en france - d'eclairer les rapports entre verga et zola - de reconstruire l'histoire de la premiere representation de cavalleria rusticana et de retrouver la version francaise inedite d'une nouvelle de verga. La seconde partie de la these examine la fortune critique proprement dite de verga. Une bibliographie complete de verga en france (1874-1994) clot la theseTwo substantial groups of verga's unpublished letters to his translators (annotated and presented in the appendix) have allowed : - to draw the editorial history of verga's work in france - to clear up the relationship between verga and zola - to reconstruct the history of the first performance of cavalleria rusticana and to recover the french unpublished version of a tale of verga. The second part of the thesis examines verga's success among his critics. A complete bibliography (1874-1994) of verga in france ends the thesis
14
Andrade, Ana Paula Freitas de. "Os Malavoglia: o narrador e sua criação". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-21052007-142848/.
Testo completoAbstract (sommario):
Este ensaio propõe a obra Os Malavoglia (1881), de Giovanni Verga, como um romance-tese do Verismo, a partir do estudo de suas instâncias narrativas e da análise de seus principais procedimentos compositivos, à luz das teorias de Mikhail Bakhtin, Iúri Tyniánov, Erich Auerbach, Eleazar Meletínski e outros.This essay proposes Os Malavoglia (1881), of Giovanni Verga, as roman à thèse of the Verismo, from the study of his narrative´s instances and the analysis of his main compositive´s proceedings, according to the teories of Mikhail Bakhtin, Iúri Tyniánov, Erich Auerbach, Eleazar Meletínski and others.
15
Roda, Regiane Rafaela [UNESP]. "Visconti e Scimeca visitam Verga: a atualização da narrativa literária e as raízes das adaptações cinematográficas de I Malavoglia". Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150296.
Testo completoAbstract (sommario):
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O romance I Malavoglia (1881), de Giovanni Verga, foi adaptado duas vezes para o cinema: a primeira, pelo milanês Luchino Visconti, em 1948, La terra trema: episodio del mare, importante obra do neorrealismo italiano; e a segunda, pelo siciliano Pasquale Scimeca, em 2010, Malavoglia. Em ambas as adaptações, o momento de produção foi extremamente importante para a reescritura do romance realista do século XIX e instaurou uma profunda e significativa relação entre história e sociedade para a compreensão das obras como realizações artísticas autônomas. A partir do conceito de adaptação de Hutcheon (2013) e dos estudos de Stam (2008) e (2013), este trabalho pautou-se pela compreensão do processo adaptativo que teve como suporte a atualização, ou seja, o transporte da narrativa literária para um novo contexto histórico; por exemplo, os anos seguintes à Segunda Guerra Mundial e o primeiro decênio do Terceiro Milênio, para analisar a forma como os filmes dialogaram com o texto adaptado e ampliaram seu próprio raio de ação ao atualizar a narrativa, ancorando-se nesta, mas projetando-se para engendrar novos sentidos e significações. Segundo a análise desse deslocamento temporal, no qual são inseridas questões de relevância para a atualidade, propiciando a identificação de elementos do presente histórico e da realidade por seu público alvo, foi possível concluir que a atualização proporcionou uma íntima conexão entre o momento de produção das obras cinematográficas e o transporte de elementos da realidade para a trama ficcional que alteraram profundamente os percursos interpretativos e determinaram as bases crítico-ideológicas das releituras produzidas, a finalidade das transformações dos textos e as estratégias de reconstrução dos sentidos para a construção de obras cinematográficas que se revelaram retratos de uma época e de uma sociedade para compor, ao lado do romance, um documento humano.
The novel I Malavoglia (1881), by Giovanni Verga, has been adapted twice to film: the first one, by the Milanese Luchino Visconti, in 1948, La terra trema: episodio del mare, important masterpiece of Italian Neorealism; and the second one by the Sicilian Pasquale Scimeca, in 2010, Malavoglia. For both adaptations, the moment of production was extremely important for the rewriting of a realistic novel from the XIXth century and instituted a deep and significant relationship between history and society to understand those works as autonomous artistic realizations. From Hutcheon’s concept of adaptation (2013) and Stam’s studies (2008 and 2013), this work was based on understanding the adaptation process supported by updating, i.e., the literary narrative transported to a brand new historical context, e. g, the years after World War II and the first years of the Third Millennium, to analyze the dialogues between the films and the adapted text and how they extended their own meanings when they brought the narrative up to date, holding on the novel but enlarging its overall signification. The analysis of that temporal dislodgement, in which it’s possible to find social questions relevant to the their moments of production, indicating and identifying historical and real elements to the audience, led us to conclude that the updating allowed an intimate connection between the moment of production of those cinematographic works and the transport of elements of reality to the fictional story that deeply changed the ways of interpretation and determined the critical and ideological bases of those rewritings, the final goal of those texts’ transformations and the strategies for reconstruction of the meanings to create films that revealed themselves to be portraits of the time and society, composing, side by side with the novel, a human document.
CNPq: 140717/2013-7
16
Riemer, Nathanael. "Salomon Ibn Verga, Schevet Jehuda, ein Buch über das Leiden des jüdischen Volkes im Exil / [rezensiert von] Nathanael Riemer". Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2239/.
Testo completoAbstract (sommario):
Rezensiertes Werk:
Ibn Verga, Salomo: Schevet Jehuda : ein Buch über das Leiden des jüdischen Volkes im Exil / Salomo Ibn Verga. In der Übers. von Me'ir Wiener. Hrsg., eingeleitet und mit einem Nachw. zur Geschichtsdeutung Salomo Ibn Vergas vers. von Sina Rauschenbach. - 1. Aufl. - Berlin : Parerga, 2006. - 266 S. - (Jüdische Geistesgeschichte ; 6)
ISBN 3-937262-34-2
17
Roda, Regiane Rafaela. "Visconti e Scimeca visitam Verga : a atualização da narrativa literária e as raízes das adaptações cinematográficas de I Malavoglia /". São José do Rio Preto, 2017. http://hdl.handle.net/11449/150296.
Testo completoAbstract (sommario):
Orientador: Álvaro Luiz HattnherBanca: Cátia Inês Negrão Berlini de Andrade
Banca: Adriana Lins Precioso
Banca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Maria Celeste Tommasello Ramos
Resumo: O romance I Malavoglia (1881), de Giovanni Verga, foi adaptado duas vezes para o cinema: a primeira, pelo milanês Luchino Visconti, em 1948, La terra trema: episodio del mare, importante obra do neorrealismo italiano; e a segunda, pelo siciliano Pasquale Scimeca, em 2010, Malavoglia. Em ambas as adaptações, o momento de produção foi extremamente importante para a reescritura do romance realista do século XIX e instaurou uma profunda e significativa relação entre história e sociedade para a compreensão das obras como realizações artísticas autônomas. A partir do conceito de adaptação de Hutcheon (2013) e dos estudos de Stam (2008) e (2013), este trabalho pautou-se pela compreensão do processo adaptativo que teve como suporte a atualização, ou seja, o transporte da narrativa literária para um novo contexto histórico; por exemplo, os anos seguintes à Segunda Guerra Mundial e o primeiro decênio do Terceiro Milênio, para analisar a forma como os filmes dialogaram com o texto adaptado e ampliaram seu próprio raio de ação ao atualizar a narrativa, ancorando-se nesta, mas projetando-se para engendrar novos sentidos e significações. Segundo a análise desse deslocamento temporal, no qual são inseridas questões de relevância para a atualidade, propiciando a identificação de elementos do presente histórico e da realidade por seu público alvo, foi possível concluir que a atualização proporcionou uma íntima conexão entre o momento de produção das obras cinematográficas e o transporte de...
Abstract: The novel I Malavoglia (1881), by Giovanni Verga, has been adapted twice to film: the first one, by the Milanese Luchino Visconti, in 1948, La terra trema: episodio del mare, important masterpiece of Italian Neorealism; and the second one by the Sicilian Pasquale Scimeca, in 2010, Malavoglia. For both adaptations, the moment of production was extremely important for the rewriting of a realistic novel from the XIXth century and instituted a deep and significant relationship between history and society to understand those works as autonomous artistic realizations. From Hutcheon's concept of adaptation (2013) and Stam's studies (2008 and 2013), this work was based on understanding the adaptation process supported by updating, i.e., the literary narrative transported to a brand new historical context, e. g, the years after World War II and the first years of the Third Millennium, to analyze the dialogues between the films and the adapted text and how they extended their own meanings when they brought the narrative up to date, holding on the novel but enlarging its overall signification. The analysis of that temporal dislodgement, in which it's possible to find social questions relevant to the their moments of production, indicating and identifying historical and real elements to the audience, led us to conclude that the updating allowed an intimate connection between the moment of production of those cinematographic works and the transport of elements of reality to the fictional story that deeply changed the ways of interpretation and determined the critical and ideological bases of those rewritings, the final goal of those texts' transformations and the strategies for reconstruction of the meanings to create films that revealed themselves to be portraits of the time and society, composing, side by side with the novel, a human document
Riassunto: Il romanzo I Malavoglia (1881) di Giovanni Verga è stato adattato due volte per il Cinema: la prima volta, dal milanese Luchino Visconti, nel 1948, La terra trema: episodio del mare, un importante capolavoro del neorealismo italiano; la seconda, dal siciliano Pasquale Scimeca, nel 2010, Malavoglia. In entrambi i casi, il momento della produzione è stato veramente importante per la riscrittura del romanzo realista del XIX secolo e ha instaurato un profondo e significativo rapporto fra storia e società per la comprensione delle opere come realizzazioni artistiche autonome. Avendo come base il concetto di adattamento di Hutcheon (2013) e gli studi di Stam (2008) e (2013), il presente lavoro ha come obiettivo la comprensione del processo di adattamento, il cui fulcro è stato la trasposizione della narrazione in un nuovo contesto storico - gli anni successivi alla Seconda Guerra Mondiale e il primo decennio del terzo millennio-. Si analizza perciò il modo in cui i film hanno dialogato con il testo adattato e hanno esteso il proprio campo di azione per il fatto di aver inserito la narrazione in un altro momento storico e di limitarsi a questo, creando però nuovi sensi e significati. L'approfondimento di questo spostamento temporale, in cui sono inserite questioni importanti per l'attualità, permette allo spettatore di individuare elementi del proprio presente storico e della propria realtà. È stato possibile concludere che lo spostamento temporale/l'attualizzazione ha creato un intimo legame tra il momento della produzione delle opere cinematografiche e la trasposizione di elementi della realtà nel tessuto narrativo, che hanno cambiato profondamente i percorsi interpretativi e hanno tracciato le basi critico-ideologiche delle riletture suscitate e stabilito la finalità delle trasformazioni dei testi e le strategie di ricostruzione dei significati, destinate alla ...
Doutor
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Rioton, Coralie. "L'image de la femme maléfique dans "The Scarlet Letter", "Madame Bovary" et "Drammi intimi" chez Hawthorne, Flaubert et Verga". Nice, 2001. http://www.theses.fr/2001NICE2010.
Testo completoAbstract (sommario):
Le discours médical, idéologique et bourgeois du XIXe siècle répand l'idée d'une féminité ancrée dans un destin biologique. La femme est présentée uniquement comme un instrument de reproduction. "Féminité" est synonyme d'inexistence, de silence, d'effacement et de nullité. Etudions l'antithèse, le contre-modèle, l'image de la femme maléfique. Elle bouleverse le schémas habituel imposé par les hommes, dérange et franchit les limites interdites. Fille de Satan, femme d'ombre, elle incarne le mal. Elle s'offre comme une créature impudique, un élément perturbateur, un être démoniaque : elle véhicule le mahleur universel. Instrument de damnation, vagin castrateur, gouffre infernal, elle terrifie l'homme. Elle engendre le désastre et la destruction. L'optique masculine témoigne. Dans cette société patriarcale, elle représente le mâle manqué ; atteinte du complexe de virilité, elle exagère son attitude virile; Elle se sent enchaînée ; elle conteste sa position, se révolte et revendique des droits nouveaux : naissance d'une femme nouvelle.
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Goyet, Florence. "La nouvelle au tournant du siècle en France, Italie, Japon, Russie et pays anglo-saxons : Maupassant, Verga, Mori Ogai, Akutagawa Ryonosuke, Tcheckhov et James". Paris 4, 1990. http://www.theses.fr/1990PA040004.
Testo completoAbstract (sommario):
L'étude de nouvelles extrêmement différentes montre une conception identique de la structure, des conditions matérielles de publication, et du rapport lecteur-personnage. I-structure : personnages exemplaires, rendus presque abstraits par un traitement qui en fait des prodiges dans leur catégorie (ch. 1), et les oppose violemment dans une structure antithétique (ch. 2). La "pointe" est la traduction dynamique de cette antithèse (ch. 4). Pour permettre l'adhésion immédiate du lecteur, la nouvelle s'appuie sur des représentations préexistantes (ch. 3). Nouvelles longues et non-narratives échappent parfois à ce type d'approche (ch. 5). II-rôle de la presse : l'analyse d'une quarantaine de périodiques montre que les personnages ne peuvent jamais appartenir au monde des lecteurs : la nouvelle est "exotique". III-le regard exotique : c'est que tous les moyens rhétoriques sont utilisés dans le texte court pour mettre le personnage à distance. Tous les procédés classiques de l'ironie (ch. 2 & 3), mais aussi le discours rapporté et le "patois" (ch. 4), les narrateurs et les "récepteurs" (ch. 5 & 6) sont utilisés pour rejeter le personnage dans une "autre planète" (Maupassant), et, le plus souvent, le disqualifier. La nouvelle est le genre monologique par excellence, ne permettant pas la confrontation de deux "voix" (Bakhtine) de même statut (ch. 7)The study of a very wide range of very different stories shows that they share a common approach of structure, publishing conditions, and conception of their subject. Part I (structure): making of every element a paragon in its category (ch. 1), the short story uses them in an antithetic structure (ch. 2), which importance supersedes that of the characterization. "whip-ends" may dramatize such a tension (ch. 4). What allows the story to be short is that it relies heavily on readymade materials (ch. 3). Long stories and non-narrative stories may, however, escape such "laws" (ch. 5). Part II (publishing conditions) shows on forty-odd periodicals that the characters in the story could never belong to the readers' own world. "exotism" is the rule, even for realist or "naturalist" texts. Part III (the estranging look) shows this as being the result of conceiving the subject as "exotic". Close analysis of all rhetoric devices (with special discussion of the "free indirect speech" and "patois", plus the use of narrators and "reflectors" -ch4, 5 & 6) shows how they estrange the reader from the characters. The short story is a monological text: it never allows the confrontation of two equally valid "voices" (Bakhtine: ch. 7)
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Laarman, Mathieu. "Fictions du naufrage, Naufragés de la fiction : poétiques du roman de l’échec : (Mary Shelley, Giovanni Verga, Thomas Hardy, Alain-Fournier, Louis Guilloux, Vitaliano Brancati)". Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100155/document.
Testo completoAbstract (sommario):
La présente étude s’appuie sur la confrontation de six œuvres françaises, anglaises et italiennes des XIXe et XXe siècles pour amorcer une réflexion sur la mise en scène de l’échec dans la fiction romanesque. Elle montre en premier lieu que les représentations de l’échec sont façonnées à la fois par le cheminement individuel de leurs auteurs et par les tensions sociales et politiques agitant leurs époques (l’Angleterre au lendemain de la Révolution Française puis à l’apogée de l’Ère industrielle et de la société victorienne ; la Sicile au sortir du Risorgimento puis l’Italie mussolinienne ; la France de la Belle Époque ou de l’entre-deux-guerres).La deuxième partie de cette thèse entend mettre en évidence trois aspects essentiels de la poétique des « romans de l’échec ». Elle s’attache tout d’abord à la distribution du temps, qui oscille entre linéarité et cyclicité, évoquant l’image du flux et reflux marin. Elle s’intéresse ensuite à la profusion de personnages velléitaires, déchiffrant leur rapport au monde à travers le prisme de leurs illusions livresques, à l’instar des protagonistes de Flaubert ou Dostoïevski. Elle met en lumière, enfin, la singulière dynamique qui conduit personnages et objets de fiction à échanger leurs attributs et fonctions : tandis que les premiers se trouvent ravalés au rang d’objets inutiles ou délaissés, les seconds conquièrent une existence autonome.Cet essai se conclut par un questionnement sur la charge subversive des romans de l’échec. La forme romanesque se révèle en effet douée d’une exceptionnelle faculté de résistance aux discours idéologiques et à l’esprit de système, dont elle déjoue insidieusement les aspirations néfastesThis study focuses upon a comparison of six works in French, English and Italian from the 19th and 20th centuries, in order to reflect upon the staging of failure in the novel form. Firstly, the study demonstrates how representations of failure are shaped both by the individual development of their authors, and by the social and political tensions of the period through which they lived (England after the French Revolution, and later at the height of the industrial revolution in the Victorian age; Sicily after the Risorgimento, and under Mussolini’s regime; France during the belle époque or the interwar years.)The second part of this thesis aims to highlight three principal aspects of the poetics of the ‘novel of failure’. This section focuses initially on the distribution of time – a temporality which oscillates between the linear and the cyclical, invoking the image of tidal ebbs and flows. Subsequently, the section emphasises the preponderance of weak-willed characters, who aim to decode their relationships to the world through the prism of their naïve and bookish illusions, in the manner of a Dostoyevskian or Flaubertian protagonist. Finally, this section seeks to illuminate the peculiar process that leads characters and objects of fiction to exchange their attributes and functions: while the former find themselves reduced to the level of useless or abandoned objects, the latter achieve an almost autonomous existence.The thesis concludes by engaging with the question of the subversive charge of the ‘novel of failure’. The novel form reveals itself to be endowed with an exceptional capacity for resistance to ideological discourses and mechanisms of socio-cultural control, whose detrimental aspirations it insidiously frustrates
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Park, Yeo Sun. "Modernity and the politics of place-experience in D.H. Lawrence's novels with parallel readings of Arnold Bennett, Giovanni Verga, Patrick White and Gregario Lopez y Fuentes". Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.566694.
Testo completoAbstract (sommario):
D.H. Lawrence's literary imagination is inherently linked to diverse places and his writings are responses to the spirit of places where he travelled and lived. In opposition to the universalising spirit of modernity based on space, Lawrence turns towards a concrete and place-based consciousness and brings a new dimension of thought to the critical category of modem criticism: place. The thesis argues that Lawrence locates the question of place as the central problem of modernity predominated by space, and develops a place-based imagination in his oeuvre as a measure against the all-destroying dominance of space. In Lawrence's works, a 'place-consciousness' informed by place-specificity is, in return, to be projected on to space manifested in the domain of capital and modernity. In this regard, Lawrence is in accord witb the Anglo-Arnerican cultural geographers of the last few decades who have been trying to bring about a transformation of the pervasive space-experience of modernity. However, the way Lawrence's works relate to the dyad of space and place is different from tbat of cultural geograpbers. In their efforts to re-structure and re-evaluate the relationship between space and place, geographers tend to tumble into a snare oftheir own making: space-place binaries. The thesis argues that Lawrence, in contrast, persists with regard the fundamental primacy of place. The thesis parallels multiple dimensions of place expounded by Edward Casey in his philosophical topoanalysis based on phenomenology with Lawrence's literary topoanalysis as rendered in his novels relating to different places: England, Italy, Australia and Mexico. Lawrence's writings are in turn compared to topoanalyses by writers native to the places in which he travels and resides to produce his regional writings. These authors are Arnold Bennett, Giovanni Yerga, Patrick White and Gregorio Lopez y Fuentes.
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Borrelli, Marco. "Le développement de la nouvelle dans le cadre des journaux et des revues italiens : le cas de la Rassegna Settimanale (1878-1882)". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN012.
Testo completoAbstract (sommario):
À la suite d’une recherche préliminaire vouée à l’identification des principaux journaux qui, après l’unification de l’Italie, ont ouvert leurs colonnes aux écrivains de nouvelles, la thèse porte sur le cas de la Rassegna Settimanale. Cet hebdomadaire, fondé en janvier 1878 à Florence par Leopoldo Franchetti et par Sidney Sonnino, marque un tournant dans l’histoire de la prose narrative nationale et notamment dans l’histoire de la nouvelle. Dans la première partie de la thèse on analyse en profondeur le contexte socioculturel du Risorgimento pour mieux faire ressortir le dépassement de certaines questions artistiques connexes à une conception idéaliste et oligarchique de la société, où les besoins des masses populaires restent sans réponse. La réflexion stimulée par Franchetti et Sonnino pénètre au cœur du débat sur les relations entre le pouvoir et la paysannerie, entre le Nord et le Sud, en culminant dans la proposition d’un nouveau rôle pour l’État dans la vie économique du Pays. Ce nouveau regard sur les masses et sur la pauvreté devient le point d’appui pour l’essor du vérisme et de la nouvelle. Cette dernière est caractérisée comme un genre typique de la modernité (short story) qui entend se rapprocher du peuple en s’enrichissant de la perspective idéologique suggérée par les directeurs, et en s’adaptant aux contraintes formelles fixées par la revue. La dernière partie de la thèse consiste à relire, à la lumière des conditions fondamentales créées par les directeurs de la Rassegna Settimanale, les nouvelles publiées par les écrivains les plus renommés de la revue, tels que Giovanni Verga, Mario Pratesi, Renato Fucini, Matilde Serao et Emilio De MarchiThis research was originally based on the objective to individuate the newspapers and the periodicals that, in the early post-unity era, hosted the novellas of the most important writers of the time. However, even if we took into account some interesting publishing examples and the evolution of press in the 19th century, we decided to focus on the case of “Rassegna Settimanale”, since we believe that this hebdomadal, founded by Leopoldo Franchetti and Sidney Sonnino in 1878 in Florence, played an essential role in the evolution of modern novella. Therefore, in order to give the reader the opportunity to gather the innovations produced by the Florentine periodical, the first chapter illustrates the historical, political and socio-cultural context of the journal. While during Risorgimento the idealistic and oligarchic concept of society was prevailing, starting from the ‘70s Franchetti and Sonnino’s thought introduced new subjects into the debate about the relationship between elites and farming masses, between the North and the South. In their thought there is a new idea of State, seen as a super partes welfarist authority, called to intervene in the economic life of the Country to fight mistreatments and social disequilibrium. The new perspective about masses and poverty is the foothold for the rise of verism and novella, which becomes the typical genre of modernity when novelists dismiss omniscient narration and opt for a type of narrator supporting a less stylized idea of the working class. That is, novella turns into short story when it assumes the ideological perspective suggested by the directors of “Rassegna Settimanale”. Taking into consideration the theories of novella composition advocated by Edgar Allan Poe, the contraintes established by the journal (especially standard length and organic connection with the social themes dear to the two directors) turn out to be essential to the future acknowledgment of the genre. For these reasons, the last part of this research consists of a reinterpretation of novellas of the journal’s most renowned writers, such as Giovanni Verga, Mario Pratesi, Matilde Serao, Renato Fucini, Emilio De Marchi, in light of the new publishing conditions fostered by Sonnino and Franchetti
Il presente lavoro muove da una ricerca preliminare volta all’individuazione dei quotidiani e dei periodici che nei primi decenni postunitari hanno ospitato sulle proprie colonne le novelle dei più importanti scrittori dell’epoca. Tuttavia, sebbene si tenga conto di alcune interessanti proposte editoriali (con un focus sulle seguenti aree geografiche: Milano, Torino, Firenze, Roma) e, in linea generale, dell’evoluzione conosciuta dal mondo della stampa nel XIX secolo, si è deciso di affrontare il caso specifico della “Rassegna Settimanale” perché si è convinti che a questo particolare ebdomadario, fondato nel 1878 a Firenze da Leopoldo Franchetti e Sidney Sonnino, sia legato un momento di svolta del giornalismo nonché della narrativa nazionale e, soprattutto, lo sviluppo della novella moderna. Così, affinché il lettore possa cogliere nella loro entità le rivoluzionarie novità apportate dalla rivista fiorentina, nel primo capitolo della tesi si è illustrato il contesto storico, politico e socioculturale nel quale il periodico va ad inserirsi. Se durante il Risorgimento predomina una concezione idealista e oligarchica della società e i bisogni del popolo restano essenzialmente inascoltati, a partire dai primi anni ’70 la riflessione stimolata da Franchetti e Sonnino introduce nuovi argomenti nel dibattito riguardante le relazioni tra potere e masse contadine, tra Nord e Sud. Nel loro pensiero politico trova posto una nuova idea di Stato, definibile a tutti gli effetti assistenzialista, dal momento che, in quanto ente super partes, è chiamato ad intervenire nella vita economica del Paese per far fronte a fenomeni di sfruttamento e al disequilibrio sociale. Il nuovo sguardo sulle masse e sulla povertà diventa il punto d’appoggio per l’ascesa del verismo e della novella: quest’ultima comincia a delinearsi come genere tipico della modernità quando gli scrittori adottano, nella finzione narrativa, non più la prospettiva di un narratore onnisciente bensì la voce di un narratore che si fa portavoce di una concezione diversa del mondo popolare, meno stilizzato; la novella, cioè, diventa short story quando si impreziosisce della prospettiva ideologica suggerita dai direttori della “Rassegna Settimanale”. Dal punto di vista formale, con uno sguardo rivolto alle teorie sulla composizione della novella avanzate da Edgar Allan Poe, le contraintes fissate dalla rivista – due su tutte: la lunghezza standard e il rapporto organico con le tematiche sociali care ai due direttori – si rivelano necessarie per la futura canonizzazione del genere. L’ultima parte del presente lavoro, pertanto, verte su una rilettura delle novelle pubblicate dagli scrittori più rinomati della rivista, quali Giovanni Verga, Mario Pratesi, Matilde Serao, Renato Fucini, Emilio De Marchi, alla luce delle condizioni editoriali favorite da Sonnino e Franchetti
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Lilliu, Annalisa. "The regional novel in Italy and Great Britain in the late nineteenth and early twentieth centuries : a comparative study of selected works by Giovanni Verga, Grazia Deledda, Thomas Hardy, and David Herbert Lawrence". Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/24839.
Testo completoAbstract (sommario):
This thesis focuses on the works of four authors: the Italian writers Grazia Deledda and Giovanni Verga; and the English authors Thomas Hardy and David Herbert Lawrence. My hypothesis is that, in spite of chronological differences in the literary developments in these two countries, it is nevertheless possible to identify common trends and conventions between the Italian and British regional novels, and thus to confirm the existence of the sub-genre. The novels selected are: Verga’s I Malavoglia (1881), and Mastro-don Gesualdo (1889); Deledda’s Elias Portolu (1903) and Canne al vento (1913); Hardy’s The Return of the Native (1878) and The Mayor of Casterbridge (1886); Lawrence’s The White Peacock (1911) and Sons and Lovers (1913). The first chapter presents a brief introduction to genre theory. The four following chapters provide a comparative analysis of the selected novels, which also includes a discussion of the preservation of, or the deviation from, the generic conventions of the regional novel, and any possible interference from other novelistic sub-genres. The analysis focuses on the following themes: the historical, social, and economic background of the novels; the geographical setting of the novel and the author’s relation to it; the representation of local culture in terms of folklore, customs, and ethnicity; the characters, their role within the local community, and their relation to the setting; the language and style of the novels, in particular the employment of dialectal items and proverbs. The chapter on D. H. Lawrence also includes a paragraph on Lawrence as critic of Hardy, Deledda and Verga.
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Collins, Jessica A. "Verge". ScholarWorks@UNO, 2016. https://scholarworks.uno.edu/td/2249.
Testo completoAbstract (sommario):
This poetry thesis explores the relationship of the Buddhist concept of nonduality to polar mood disorders by employing motifs of bomb testing, war crimes, spiders, and seascapes. A critical preface credits Sylvia Plath, Emily Dickinson, and Mary Ruefle as influences. The manuscript favors free-verse poetry and field composition, though also includes a lyric essay and two formal poems.
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Çoban, Rabia Armağan Ramazan. "Türk vergi sisteminde kurumlar vergisinin vergi hasılatına etkisi /". Isparta : SDÜ Sosyal Bilimler Enstitüsü, 2008. http://tez.sdu.edu.tr/Tezler/TS00664.pdf.
Testo completo
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Azcune, Valentín. "Dos comedias atribuidas a Lope de Vega (estudio y edición crítica) /". Madrid : Fundación Universitaria Española, 2007. http://catalog.hathitrust.org/api/volumes/oclc/226167553.html.
Testo completo
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Cit, Simone do Rocio. "Rua Jorge Veiga". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/107474.
Testo completoAbstract (sommario):
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação de Literatura, Florianópolis, 2013Made available in DSpace on 2013-12-06T00:13:09Z (GMT). No. of bitstreams: 1 319863.pdf: 2235109 bytes, checksum: c45ba710d95a55629b6bb28f47920953 (MD5) Previous issue date: 2013
Esse trabalho é um estudo sobre a canção popular brasileira, situado nocampo da teoria literária; trata-se de um percurso cujo destino é umareflexão sobre vozes malandras em fonogramas de samba. Sabe-se que naIdade Média, antes do advento da imprensa, a canção possuía um statusde literatura que, na atualidade, está sendo resgatado paulatinamente,com o apoio teórico da Literatura Comparada e dos Estudos Culturais.Procuro demonstrar, no entanto, que entre a canção medieval e a cançãoda contemporaneidade existe uma diferenciação essencial, a questão daspossibilidades técnicas de registro e difusão dos sons, ocorrida a partirda criação do fonógrafo, no final do século XIX. Essa diferençademanda referencial teórico que contemple as características do novoobjeto, potencializando as condições de trabalho proporcionadas pelofonograma. Procuro entender a canção popular brasileira como gênerode discurso, de acordo com o referencial bakhtiniano, localizando os seuspontos de estabilidade e instabilidade, geradas no fluxo das atividadesque o constitui. No âmbito desse gênero, faço emergir o samba malandroe seus intérpretes. Percorro a história da malandragem no Brasil e dopensamento sobre o malandro, no sentido de acumular referencias parauma reflexão sobre o diálogo entre a cultura do malandro e a estéticavocal de quatro cantores malandros emblemáticos. São eles LuizBarbosa, Dilermando Pinheiro, Cyro Monteiro e, com maior ênfase,Jorge Veiga. Antes de proceder a essa reflexão, que será denominadaescuta, procuro esclarecer o leitor sobre esse conceito, baseando-me empressupostos do Círculo de Bakhtin e de Augusto Ponzio.
Abstract: This work is a study about the brazilian popular song, situated in thefield of literary theory; it is about a passage whose destiny is a reflectionabout rogue voices on samba phonograms. It is known that in theMiddle Ages, before the arrival of the press, the song had a literarystatus which, currently, is being slowly rescued, with the technicalsupport of the Compared Literature and of the Cultural Studies. I seek todemonstrate, however, that between the medieval song and thecontemporaneity song there is a essential differentiation, the question ofthe technical possibilities of the sounds' register and diffusion, whichocurred after the creation of the phonograph, in the end of the 19thcentury. This difference demands theoric referentials who contemplatesthe characteristics of the new object, potentizing the work conditionsproportionated by the phonogram. I seek to understand the brazilianpopular song as a genre of speech, accordingly with the bakhtinianreferential, locating its stability and instability points, generated in theflow of activities that constitutes it. In the ambit of this genre, i makeemerge the rogue samba and its performers. I run through the history ofroguery in Brazil and of the thoughts about the rogue people, in thesense of accumulate references for a reflection about the dialoguebetween the rogue culture and the vocal esthetics of four emblematicrogue singers. They are Luiz Barbosa, Dilermando Pinheiro, Cyro Monteiroand, with bigger emphasis, Jorge Veiga. Before proceeding to thisreflection, which will be denominated listening, i seek to clear the readerabout this concept, basing it in the Bakhtin's Circle and Augusto Ponzio's pretexts.
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Gémes, Márton Tamás. ""Wenn kleine Welten zerbrechen": José J. Veigas Cíclo Sombrio Erkenntnis, Perspektive, Macht und Phantastik". Hamburg Kovač, 2008. http://d-nb.info/990447022/04.
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King, Errol L. "Resurrecting Lope's autos /". Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1587.pdf.
Testo completo
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Dixon, Jonathan Peter. "Some Results Concerning Verma Modules". Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499187.
Testo completo
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Carbonera, Ildo. "Trajetórias da narrativa ítalo-brasileira : 'dove è la cuccagna?'". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15306.
Testo completoAbstract (sommario):
Marcado por fortes tendências para o gênero ensaístico, num intercâmbio constante e instável entre Ficção, História e Experiência Pessoal, o presente estudo tem por base os romances Os Malavoglia (Giovanni Verga), Pai patrão (Gavino Ledda), Vita e Stória de Nanetto Pipetta (Aquiles Bernardi), O quatrilho, A cocanha e A babilônia (José Clemente Pozenato), Juliano Pavolini e A suavidade do vento (Cristovão Tezza), Mamma, son tanto felice, O mundo inimigo e Vista parcial da noite (Luiz Ruffato). O corte epistemológico pode ser representado por duas trajetórias: a) da Itália para a América – Brasil; b) das pequenas comunidades do interior para a cidade grande. No mundo de descendência italiana imigrante, as simulações e as ilusões elaboradas pela Ficção estão mais próximas da Realidade que aquelas proporcionadas por institutos e associações, em seus argumentos e artimanhas para “resgatar as raízes” e “cultivar as tradições”, representadas por eventos como noites italianas, jantares típicos, encontros de famílias e programas radiofônicos. Nos romances, a ausência desses “eventos” é absoluta; não há brindes, nem missas de encomendação e sepultamento. Ao fim e ao cabo, o homem do campo, pós-moderno, descendente dos antigos imigrantes italianos, tornou-se um ser globalizado sem sair de casa.This study in the manner of an essay reflects a constant but unstable interchange between Fiction, History and Personal Experience. It is based on the following novels: Os Malavoglia (Giovanni Verga), Pai patrão (Gavino Ledda), Vita e Stória de Nanetto Pipetta (Aquiles Bernardi), O quatrilho, A cocanha and A babilônia (José Clemente Pozenato), Juliano Pavolini and A suavidade do vento (Cristovão Tezza), Mamma, son tanto felice, O mundo inimigo and Vista parcial da noite (Luiz Ruffato). Two epistemological paths have a point of departure and a point of arrival: a) from Italy to Brazil / America; b) from small backcountry communities to the big city. Among the descendants of italian immigrants the simulations and illusions processed by fiction are closer to reality than those offered by institutions and associations in their argueing and tricking for "retrieval of the roots" and "reclaiming traditions", embodied by events like italian evenings, typical dinners, family encounters, and radio programs. In the novels, there is an absolute absence of such "events", no glasses are raised in honor of anything, no requiem and inhumation masses are held. Post-modern countryside people of Italian descent in Brazil have become globalized without even leaving home.
32
Hein, Valeria Angeli. "O momento Vera Cruz". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284882.
Testo completoAbstract (sommario):
Orientador: Adilson José RuizDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-03T15:26:57Z (GMT). No. of bitstreams: 1 Hein_ValeriaAngeli_M.pdf: 603073 bytes, checksum: 809304b62c4b25dece62b1f38855f3c0 (MD5) Previous issue date: 2003
Mestrado
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Raynié, Florence. "Lope de Vega prosateur". Toulouse 2, 2005. http://www.theses.fr/2005TOU20096.
Testo completoAbstract (sommario):
Dans cette thèse, consacrée à l'œuvre narrative de fiction de Lope de Vega — c'est-à-dire un roman pastoral, La Arcadia (1598), un roman byzantin, El peregrino en su patria (1604), un roman pastoral " a lo divino ", Pastores de Belén (1612) et un recueil de nouvelles, Las Novelas a Marcia Leonarda (1621 et 1624) — nous mettons en lumière le fonctionnement de l'écriture en prose de l'auteur, au-delà des spécificités génériques. Dans la première partie, nous montrons comment le récit lopesque est constamment soumis à des perturbations qui relèvent de deux ordres : les modalités de composition et l'inclusion de discours que nous avons qualifiés d'" hétérogènes ". Dans la deuxième partie, nous étudions ces discours hétérogènes de l'intérieur et soulignons leurs fonctions dans les œuvres avant de remettre en question, dans le dernier chapitre, la notion de " digression ", souvent employée, à tort selon nous, par les critiques qui se sont intéressés à l'œuvre de LopeIn this thesis concerned with Lope de Vega's narrative prose fiction —or to be precise, a pastoral novel, La Arcadia (1598), a Byzantine novel, El peregrino en su patria (1604), a pastoral novel “a lo divino”, Pastores de Belén (1612) and a collection of short novels, Las Novelas a Marcia Leonarda (1621 and 1624)— we endeavour to bring to the fore the functionning of the author's prose writings beyond generic considerations. The first part of the thesis aims to show how Lopean narrative is constantly confronted with perturbations arising from two concerns: the modes of composition and the inclusion of types of discourse that we have described as “heterogeneous”. In the second part we study these heterogeneous discourses from the inside, highlighting their function in the works, before questioning, in the last chapter, the notion of “digression” that has been often used, and misused, by those critics that have studied Lope's works
34
Edson, Rebecca M. (Rebecca Monroe). "The verge : transforming an insufficient edge". Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38604.
Testo completoAbstract (sommario):
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 114-115).
This thesis considers a new edge strategy for an Insufficient waterfront. The shore of Bass Harbor poses a problem significant to the whole Maine coast, as the access and Infrastructure imperative to the fishing industries is unable to compete with the economic power of the private second home industry. Thus, expecting that neither real estate, nor tourism, nor industry will be sacrificed, a re-calibration of the existing coastal structure is necessary in order to accommodate all who want and need the coast of Maine. I am proposing that a focus on the existing systems of the site can determine an edge strategy that will organize and expand the lobster trade's presence within the growing realm of the private and recreational interests. The shortage of space and access will be addressed through designing a new means of occupying the edge, expanding the public and private program within the parameters of the site in order to accommodate a new multiplicity and density of program, space and infrastructure. Proposed as a blurring of disciplines and a breakdown of boundaries and scale, the access point will compose a coherent resolution between the plurality of zones, programs and boundaries as it extends outward as a threshold to the trade The access point will compose the edge as a coherent singular surface. The edge, as a finite space, will be embedded with multiple functions.
by Rebecca M. Edson
M.Arch.
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Feitosa, Luís Guilherme Pereira. "Caracterização dos alcaloides de Erythrina verna". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/60/60138/tde-23052014-093901/.
Testo completoAbstract (sommario):
Erythrina verna, conhecida popularmente como mulungu, é uma espécie nativa da flora brasileira e de maior ocorrência no sudeste do país. As cascas de E. verna são utilizadas na medicina popular como calmante e para outras desordens do sistema nervoso central, como insônia e depressão.Também é importante matéria-prima na indústria farmacêutica para produção de fitoterápicos ansiolíticos com grande participação no mercado de medicamentos fitoterápicos. Os marcadores químicos do gênero Erytrhina são os alcaloides eritrínicos, aos quais se atribui a atividade ansiolítica. No presente trabalho, extratos alcaloídicos das cascas da espécie nativa de E. verna e dos produtores comerciais A e B foram analisados por CG-EM e IES-EM em alta resolução para caracterização dos alcaloides eritrínicos presentes nas amostras. Verificou-se que o perfil de alcaloides encontrado nas cascas de B apresentou maior similaridade com o perfil de E. verna nativa. Observou-se também diferença de perfis alcaloídicos entre extratos de mulungu dos diferentes produtores comerciais, sendo que nas cascas de A os alcaloides majoritários são eritralina e erisovina, enquanto nas cascas de B o majoritário é a eritratidinona. Além disso, notou-se discrepância nos rendimentos em massa das frações alcaloídicas entre produtores comercias e entre estes e a espécie nativa. Essa possível variação dos teores de alcaloides eritrínicos nos materiais vegetais analisados pode ser decorrente da influência de fatores ambientais ou sazonalidade sobre o conteúdo de metabólitos secundários, ou da comercialização de espécies distintas do gênero Erythrina como E. verna. Não houve diferença qualitativa no perfil de alcaloides obtidos por extração ácido-base e partição L/L, o que sugere que estes marcadores não são degradados no baixo pH empregado na extração ácido-base. Realizou-se também o isolamento dos alcaloides eritralina, 8-oxo-eritralina, eritrinina e erisovina a partir das cascas de A e eritratidinona a partir das cascas de B. Esses alcaloides foram identificados por associação de dados de IE-EM e IES-EM em alta resolução e suas estruturas foram determinadas por RMN.Os dados obtidos neste trabalho constituem o primeiro relato de alcaloides eritrínicos presentes nas cascas de E. verna e pode ser um alerta aos usuários de preparações medicinais e fitoterápicos baseados em mulungu em relação a possíveis riscos quanto a ineficácia terapêutica e/ou toxicidade decorrentes de variações de perfil e teor dos marcadores químicos na espécie.Erythrina verna, popularly known as mulungu, is a native species from Brazil and occurs in brazilian southeast. The stem bark of E. verna are used in folk medicine to calm agitation and another disorders from nervous system, as insomnia and depression.It is also important raw material in pharmaceutical industry for the production of herbal anxiolytics with great interest in herbal medicines market. Chemical markers of the genus Erytrhina are erythrinian alkaloids, which have demonstrated anxiolytic activity. In this work, we have analyzed alkaloid extracts from stem barks of E. verna native species and from commercial producers A and B by GC-MS and ESI-MS in high resolution tocharacterize erythrinian alkaloids. Alkaloid profile of barks extracts from B showed greater similaritywith native E. verna profile. We also observed difference between alkaloid profiles of different extracts from commercial producers.Majority alkaloids found in A extract areerythraline and erysovine, while the major constituent of B extract is erythratidinone. Furthermore, it was noted discrepancy in yields between the alkaloid fractions from commercial producers and between commercial producers and native species.These possible changes in the levels of erythrinian alkaloids may be due to the influence of environmental factors or seasonality on the content of secondary metabolites, or also due to the marketing of distinct species from genus Erythrina as E. verna. It was also observed that there was no qualitative difference in the alkaloid profile between extracts obtained by acid-base extraction and liquid/liquid extraction, suggesting that these markers are not degraded in the low pH used in the acid-base extraction. We have also performed the isolation of erythraline, 8-oxo-erithraline, erythrinin and erysovine from A and erytratidinone from B. These alkaloids were identified by EI-MS data combined with ESI-MS in high resolution data. Alkaloid structures were determined by NMR. The data obtained in this study represent the first report of erythrinian alkaloids in E. verna barks and can alertusers of users of mulungu based medicinal preparations about potential risks, therapeutic ineffectiveness and/or toxicity resulting from variations in profile and chemical markers contents in the species.
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Coelho, Lucas Rodrigues. "JOSÉ J. VEIGA: NARRATIVAS DE FRONTEIRAS". Pontifícia Universidade Católica de Goiás, 2015. http://tede2.pucgoias.edu.br:8080/handle/tede/3564.
Testo completoAbstract (sommario):
Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:54:05Z
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LUCAS RODRIGUES COELHO.pdf: 792518 bytes, checksum: b83c3b74ded9744558548239c84e64ea (MD5)Made available in DSpace on 2016-12-12T17:54:05Z (GMT). No. of bitstreams: 1 LUCAS RODRIGUES COELHO.pdf: 792518 bytes, checksum: b83c3b74ded9744558548239c84e64ea (MD5) Previous issue date: 2015-12-18
The object of this study is Os pecados da tribo, by Jose J. Veiga. The reflection on the artist's fictional work, with its elements of fantastic literature and wonderful Latin American realism, led us to analyze the procedures of artistic creation that were not intuitive in the first readings, and a more accurate analysis of the resources And the stylistic language in literary art. The universe of the characters made the research more attractive to be imbricated with theories that denote the meanings of terms like real, reality, natural, supernatural, among others. To that end, we refer to the following authors: Tzvetan Todorov (1982), William Spindler (1993), François Laplantine (1996), Alejo Carpentier (1987), Irlemar Chiampi (1980), among others. From there, we choose to observe in the objectives the questions of unusual, magical realism, the fantastic and the marvelous, considering them as outstanding characteristics of the discourse, as well as demonstrating how the play of words occurs that affects the relations of the languages of Frontiers, with inferences in the artistic-literary allegory. The construction of strangeness, the fantastic and the marvelous aligns in this asymmetrical space, to generate the effect of the fiction of the narrative, in an imaginary world that is established by its senses
O objeto deste estudo é Os pecados da tribo, de José J. Veiga. A reflexão sobre a obra ficcional do artista, com seus elementos da literatura fantástica e do realismo maravilhoso latino-americano, levou-nos a analisar os procedimentos da criação artística, que não se mostrou intuitiva nas primeiras leituras, sendo necessária uma análise mais acurada dos recursos e da estilística da linguagem na arte literária. O universo dos personagens tornou a pesquisa mais atraente ao ser imbricado com teorias que denotam as significações de termos como real, realidade, natural, sobrenatural, entre outros. Para tanto, recorremos aos seguintes autores: Tzvetan Todorov (1982), William Spindler (1993), François Laplantine (1996), Alejo Carpentier (1987), Irlemar Chiampi (1980), entre outros. A partir daí, optamos por observar nos objetivos as questões do insólito, do realismo mágico, do fantástico e do maravilhoso, considerando-as como características marcantes do discurso, bem como demonstrar como se dá o jogo de palavras que incide nas relações das linguagens de fronteiras, com inferências na alegoria artístico-literária. A construção do estranhamento, do fantástico e do maravilhoso se alinha nesse espaço assimétrico, para gerar o efeito da ficção da narrativa, num mundo imaginário que se estabelece pelos seus sentidos.
37
Varcan, Nezih. "Türkiyeʼde vergi politikalarının oluşumu Cumhuriyet dönemi /". Eskişehir [Turkey] : Anadolu Üniversitesi Basımevi, 1987. http://books.google.com/books?id=h2UwAAAAMAAJ.
Testo completo
38
Enström, Ingegerd. "Klara verba : andraspråksinlärares verbanvändning i svenskan /". Göteborg : Acta Universitatis Gothoburgensis, 1996. http://catalogue.bnf.fr/ark:/12148/cb36691776h.
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Martola, Yngvill. "Verba testamenti i nordisk luthersk liturgitradition /". Åbo : Åbo akademis forl, 1989. http://catalogue.bnf.fr/ark:/12148/cb410545229.
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Martins, Renato Alessandro. "Estruturas de Vertex em teoria de representações de álgebras de Lie". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/45/45131/tde-07092012-173756/.
Testo completoAbstract (sommario):
Motivados pelos resultados do artigo [BBFK11], nosso trabalho começa analisando, no caso da álgebra de Lie afim sl(n;C), a possibilidade de se obter módulos de Verma J-imaginários, via representações análogas às feitas por Cox em [Cox05]. Inicialmente consideramos, por simplicidade, n = 2 e, só então, analisamos o caso geral. Depois, de modo análogo, estudamos os artigos [CF04] e [CF05] com o intuito de obter módulos J-intermediários de Wakimoto. Finalmente imbutimos, no caso n = 2, uma ação de álgebra de Virasoro nos módulos imaginários de Wakimoto, utilizando-nos do resultado exposto em [EFK98], em que tal problema é abordado para o caso dos módulos de Verma. Desta forma, obtemos equações análogas às de Knizhnik-Zamolodchikov (equações KZ) para os módulos imaginários de Wakimoto.Following the results of [BBFK11], our work starts analyzing (for bsl(n;C)) if we can obtain J-imaginary Verma modules using similar representations used by Cox in [Cox05]. We did it for n = 2 and after, for the general case. The next step was the study of J-intermediate Wakimoto modules, following the ideas of [CF04] and [CF05]. To finish, for affine sl(2;C), we defined an action of Virasoro algebra on the imaginary Wakimoto modules following [EFK98] and we obtained an analogue of the KZ-equations for imaginary Wakimoto modules.
41
Rathke, Annemarie. "Doris Lessing, Yvonne Vera: comparative views of Zimbabwe /". Heidelberg : Winter, 2008. http://d-nb.info/99103273X/04.
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Singh, Ravinder Sher. "Journey to another world in the works of Nirmal Verma /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11097.
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Ancochea, Serra Agueda. "Reproducibilidad de los criterios de la OMS en el diagnóstico de la policitemia vera". Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/460883.
Testo completoAbstract (sommario):
Los criterios diagnósticos de la Policitemia Vera (PV) se han ido modificando a lo largo de los años paralelamente a los nuevos descubrimientos científicos. Sin embargo, algunos aspectos de los criterios para establecer el diagnóstico de esta entidad siguen siendo controvertidos. En este contexto, realizamos tres trabajos. El primer trabajo tenía como objetivo identificar que parámetro, hemoglobina (Hb) o hematocrito (Hto), era mejor marcador indirecto de aumento de la masa eritrocitaria, así como identificar el valor de corte de Hb o Hto que indicaría la necesidad de realizar el estudio de la masa eritrocitaria por métodos isotópicos en pacientes con sospecha diagnóstica de PV o trombocitemia esencial. El Hto mostró mejor exactitud diagnóstica que la Hb. El valor de Hto para recomendar el estudio de la masa eritrocitaria estaba entre 0.48 L/L y 0.52 L/L. En el segundo trabajo, se evaluó la exactitud diagnóstica de la Eritropoyetina sérica y de la carga alélica de JAK2V617F como marcadores diagnósticos de PV. Se observó que aunque ambos son buenos marcadores de PV, su adición a los criterios diagnósticos mejora discretamente la exactitud diagnóstica. Además en este segundo trabajo se analizó la sensibilidad y la especificidad de diferentes combinaciones de criterios diagnósticos, observando que los del BCSH (British Committee for Standards in Haematology) constituyen una forma sencilla y fiable para establecer el diagnóstico de PV. El tercer trabajo tenía como objetivo evaluar la exactitud diagnóstica de la biopsia de médula ósea y valorar la correlación de los hallazgos histológicos con la presencia de mutaciones y con la evolución clínica. Observamos que los criterios histológicos de la OMS tienen una baja sensibilidad como consecuencia de una importante variación inter-observador dando lugar a una escasa exactitud diagnóstica.Diagnostic criteria of Polycythemia Vera (PV) have been modified over the years in parallel with the new scientific discoveries. However, some aspects remain controversial. In this context, we do three studies. The first of them was aimed to identify which parameter, hemoglobin (Hb) or hematocrit (Ht), was the best indirect marker of increased red cell mass, as well as to identify the cut-off value for Hb or Ht that would indicate the need to perform a Red Cell Mass study in patients with suspected diagnosis of PV or essential thrombocythemia. Ht showed greater diagnostic accuracy than Hb. The Ht value to recommend the Red Cell Mass study was between 0.48 L/L and 0.52 L/L. In the second study, the objective was to evaluate the diagnostic accuracy of serum Erythropoietin and JAK2V617F allele burden as markers of PV. Although both were good markers of PV, their addition to the diagnostic criteria improved only slightly the diagnostic accuracy. In addition, this second study analyzed the sensitivity and specificity of different combinations of diagnostic criteria, observing that BSCH (British Committee for Standards in Haematology) are a simple and reliable way to establish the diagnosis of PV. The third study aimed to evaluate the diagnostic accuracy of the bone marrow biopsy and to assess its correlation with presence of mutations and clinical outcomes showed that WHO histological criteria have a low sensitivity as a consequence of an important inter-observer variation resulting in a low diagnostic accuracy.
44
Themis, Revista. "Entrevista a Miguel Vega Alvear". THĒMIS-Revista de Derecho, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/109946.
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Vega, Centeno Imelda. "Comentario de Imelda Vega-Centeno". Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/115145.
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Gumucio, Araya Rafael. "González Vera, utopista y humorista". Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/108589.
Testo completoAbstract (sommario):
De pronto José Santos González Vera se hizo echar del colegio. Habría sido fácil volver a incorporarse a clases, pero testarudamente rechazó siquiera la idea. Esa negativa (cuenta él mismo en Cuando era Muchacho, sus memorias de juventud) fue el acontecimiento fundamental de su vida intelectual. Lejos de la escuela, González Vera aprendería a leer y a escribir literatura en zapaterías, peluquerías y comisarías. Paradojalmente terminaría sus días como funcionario de la Universidad de Chile, administrando las conferencias de las visitas extranjeras y nacionales. Ocasión que le permitió escribir un ensayo paródico “El conferenciante”, en que se burla con acidez de la pedantería, vanidad y pomposidad de todo lenguaje académico. Con estos antecedentes sería, poco menos, una inmoralidad aplicar a la lectura de José Santos González Vera los rigores de la jerga científica. Sería nada menos que una traición aplicar a un autor -que rechaza toda suerte de rigidez, de pedantería, de culturalismo- un marco teórico trufado de términos sociológicos, sicológicos o lingüísticos, en los que la obra (a la imagen de lo que Barthes hizo con Sarrasine de Balzac) es sólo un pretexto. Un texto previo al verdadero texto que es su desmontaje.
47
Jungkind, Vera [Verfasser]. "Verwaltungsakte zwischen Hoheitsträgern. / Vera Jungkind". Berlin : Duncker & Humblot, 2008. http://d-nb.info/1238359957/34.
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Filho, João Vilnei de Oliveira. "Alices : encontros na Vera-Cruz". Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/1210.
Testo completoAbstract (sommario):
Mestrado em Criação Artística ContemporâneaO presente trabalho apresenta a reflexão surgida do projecto “Alices: Encontros na Vera-Cruz”, que pretende desenvolver uma reflexão teórica e prática sobre jogo e cidade a partir da criação de intervenções e planos de acção que tenham relação com os encontros que vive a personagem Alice no livro “Alice dos Outro Lado do Espelho”, de Lewis Carroll. Todas as acções acontecem, impreterivelmente, dentro dos limites da Freguesia da Vera-Cruz, em Aveiro. Este trabalho também pode ser utilizado como ferramenta auxiliar na criação e proposição de novas acções envolvidas com o projecto. ABSTRACT: This paper presents a discussion arose from the project “Alices: Encontros na Vera-Cruz”, which aims to develop a theoretical and practical reflexion about the concepts of “game” and “city” by designing interventions and developing action plans that can be related with the encounters of Alice with other characters from the book “Alice in the Looking-Glass” by Lewis Carrol. All the actions take place within the limits of Vera-Cruz, in Aveiro. This work can also be used as an auxiliary tool to create and propose new actions involved with the project.
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Lasso, de la Vega Gabriel Pullés-Linares Nidia. "De Cortés valeroso, y Mexicana /". Frankfurt am Main : Madrid : Vervuert ; Iberoamericana, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014577580&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Weiyang, C., A. Viljoen, J. Hammana e z. Lu. "Intestinal Drug Transport Enhancement by Aloe vera". Planta Medica, 2009. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001728.
Testo completoAbstract (sommario):
Abstract
The effect of Aloe vera (L.) Burm. f. (Aloe barbadensis
Miller) gel and whole leaf extract on the permeability
of Caco-2 cell monolayers was determined.
Solutions of gel and the whole leaf extract
were applied to the cell monolayers, and the
transepithelial electrical resistance was monitored
for 2 hours, which was then continued for
another 2 hours after removal of the test solutions
to measure reversibility of the effect. The transport
of insulin in the presence and absence of the
A. vera gel and whole leaf extract solutionswas also
investigated. Both the A. vera gel and whole leaf
extract were able to significantly reduce the
transepithelial electrical resistance of the Caco-2
cell monolayers at concentrations above 0.5% w/
v and thereby showed the ability to open tight
junctions between adjacent cells. This effect was
fully reversible, as the electrical resistance of the
cell monolayers returned to the original value
upon removal of the test solutions. The A. vera
gel and whole leaf extract solutions significantly
enhanced the transport of insulin across the Caco-
2 cell monolayers compared with the control.
The results suggest that these plant products have
a high potential to be used as absorption enhancers
in novel dosage forms for drugs with poor
bioavailabilities when administered orally. On the
other hand, an uncontrolled increase in the bioavailability
of drugs that are taken simultaneously
with A. vera gel and whole leaf extract products
may result in adverse effects, and the potential
exists that toxic blood plasma levels may be
reached.