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Literatura académica sobre el tema "Fabio (1957-....)"

Autor: Grafiati

Publicado: 7 de diciembre de 2024

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Artículos de revistas sobre el tema "Fabio (1957-....)"

Stagner, Ross. "Fabio Metelli (1907–1987)." American Psychologist 44, n.º 4 (1989): 733. http://dx.doi.org/10.1037/h0092069.

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Entornos, Revista. "Reseñas". Entornos 26, n.º 2 (30 de septiembre de 2013): 401–17. http://dx.doi.org/10.25054/01247905.503.

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Este libro de fotografías diseñado por Fabio Eliseo Hurtado nos presenta en 159 páginas, una historia de las estatuas del pueblo escultor comparando su estado en tres momentos: 1937, 1966 y 2013. Al contemplar el libro de Fabio Eliseo se percibe, a través de la comparación de las fotografías tomadas por José Pérez de Barradas (1937), Francisco Hidalgo (1966) y Fabio Eliseo (2013), el estado actual de los monumentos. Pero la historia y la dinámica de las esculturas no se limitan a la fotografía individual sino que hacen explícito al tiempo, el contexto en el que fueron halladas y posteriormente ubicadas

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Garnier, José Fabio. "Literatura patria". LETRAS, n.º 45 (30 de enero de 2009): 223–66. http://dx.doi.org/10.15359/rl.1-45.10.

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En este número de LETRAS se reproduce un interesante conjunto de comentarios críticos de José Fabio Garnier (1884-1956), notable dramaturgo y crítico literario costarricense. Fueron, al principio notas y reseñas escritas a propósito de la publicación de obras de escritores nacionales de la época. Su autor los reunió, bajo el título general de LITERATURA PATRIA, que se publicó en Anales del Ateneo de Costa Rica (año II, n.o 4, de 1913). Se trata, por la época en que se publica, de uno de los primeros trabajos de historia y crítica sobre las letras costarricenses; además, son una especie de antecedente de la «Carta literaria» de Justo A. Facio que LETRAS había incluido en su n.o 41, valioso documento sobre la trayectoria de la todavía joven literatura costarricense. Ambos trabajos demuestran que desde principios del siglo XX existía una voluntad por estudiar y conocer la literatura nacional, no tanto desde una perspectiva doctrinal sino analítica e interpretativa. Por la relativa extensión del documento, en este número de LETRAS se ofrece una primera sección; la segunda parte se publicará en el próximo número. LA EDITORA

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Tauro, Alberto. "Testimonio para la biografía de Luis Fabio Xammar". FENIX, n.º 5 (30 de diciembre de 2020): 3–11. http://dx.doi.org/10.51433/fenix-bnp.1947.n5.p3-11.

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Hägerstrand, Torsten. "A propagação de ondas de inovação". Boletim Campineiro de Geografia 3, n.º 2 (31 de agosto de 2013): 348–68. http://dx.doi.org/10.54446/bcg.v3i2.131.

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Texto originalmente intitulado “The propagation of innovation waves”. Tradução baseada na versão publicada no livro “Readings in Cultural Geography”, organizado por Philip L. Wagner e Marvin W. Mikesell (Chicago: University of Chicago, 1962). A versão original do artigo encontra-se no periódico Lund Studies in Geography: Series B, Human Geography, 4, 1952.Tradução: Melissa Steda (IG/Unicamp) e Wagner Nabarro (FFLCH/USP). Agradecimentos: Prof. Dr. Fabio Betioli Contel (FFLCH/USP).

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Xammar, Luis Fabio. "Páginas escogidas". FENIX, n.º 5 (30 de diciembre de 2020): 12–78. http://dx.doi.org/10.51433/fenix-bnp.1947.n5.p12-78.

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Como homenaje a la memoria de Luis Fabio Xammar, que desempeñara la Secretaria General de la Biblioteca Nacional en los comienzos de su actual reconstitución, Fenix ofrece estas “paginas escogidas” en las cuales alienta lo vivo de su obra. La selección estuvo a cargo de Amadeo Delgado Pastor.

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Fernandez Adechedera, Fabiola. "Lugares de la memoria, lugares de la ausencia en la poesía de Fabio Morábito". Caracol, n.º 10 (10 de diciembre de 2015): 178. http://dx.doi.org/10.11606/issn.2317-9651.v0i10p178-207.

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Este artículo propone un análisis de la poesía de Fabio Morábito (1955 - ) a partir de ciertos aspectos autobiográficos en ella presentes. La biografía del autor lo sitúa en medio de una dislocación geográfica y lingüística entre Egipto, Italia y México. De esa forma, analizo algunos de los poemas donde es posible identificar la presencia de una memoria personal que alude a pasajes específicos de la infancia en Milán y la mudanza a la Ciudad de México. Los mismos asientan los rasgos de una identidad discursiva signada por el desarraigo, la mudanza y la pérdida, temas fundamentales de su poesía.

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Andrei, Paolo, C. Richard Baker y Massimo Sargiacomo. "Public Sector Accounting in Italy at the Beginning of the 20th Century: The Contributions of Fabio Besta". Accounting Historians Journal 44, n.º 1 (1 de junio de 2017): 35–50. http://dx.doi.org/10.2308/aahj-10521.

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ABSTRACT The 19th century and the first decades of the 20th century were particularly important for the development of accounting theory. Various accounting historians have emphasized the key role of Italian scholars during this period (Amaduzzi 2001; Bariola 1897; Ceccherelli 1915; Luchini 1898; Melis 1950). One of the most important of these scholars was Fabio Besta. This paper presents both a biography of Fabio Besta and a discussion of his contributions to accounting thought. There are two primary motivations for this paper; namely (1) to contribute to the biographical strand of accounting history research, and (2) to develop a better understanding of the history of public sector/state accounting. Besta is acknowledged as one of the most important Italian scholars of the accounting discipline. His work, focusing on public administration, is remarkable for its clarity and depth, and it is of particular interest today for researchers of business and management, especially with regard to those aspects that differentiate private sector from public administration. Over a century after his death, Besta's work continues to be of great interest. In fact, the debate concerning accounting methods in the public sector has not yet been completely resolved, with the process of change from cash-based to accrual-based accounting still taking place in many countries.

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Assael, Davide. "Il neotrascendentalismo di Giovanni Emanuele Barié". RIVISTA DI STORIA DELLA FILOSOFIA, n.º 4 (diciembre de 2009): 731–58. http://dx.doi.org/10.3280/sf2009-004003.

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- Giovanni Emanuele Barié, appointed Professor of Theoretical Philosophy at Milan University in 1937, is one of the most neglected figures in Italian philosophy of the last century. An exponent of late Italian idealism, it could be argued that only through his work, alongside that of others like Bernardino Varisco, Pantaleo Carabellese and Vito Fazio Allmayer, was Italian idealism able to reach full theoretical maturity. Born in Milan in 1894, before going to university, Barié displayed great courage on the battlefield during the first world war. On his return, he first studied Law and then took a second degree in Philosophy under Piero Martinetti. In 1933, his La spiritualitŕ dell'essere e Leibniz enabled him to obtain a university teaching post, first in Genoa, later in Rome and, finally, in Milan in the chair previously occupied by his mentor. The first period of Barié's work is characterized by a re-evaluation of the Kantian a priori against the reductionist perspective of contemporary thought. Books like La posizione gnoseologica della matematica (1925) and Oltre la Critica (1929) belong to this stage in his life. From 1933, Barié started on an interpretation of Hegel with the intention of toning down the transcendental aspects of Kant's and Martinetti's thought. His most important writings from this period are L'io trascendentale (1948) and his last work Il concetto trascendentale (1957), which came out in the same year the philosopher committed suicide.

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Adamson, Walter. "Benedetto Croce and the birth of the Italian Republic 1943–1952, by Fabio Fernando Rizi". Journal of Modern Italian Studies 24, n.º 4 (8 de agosto de 2019): 628–30. http://dx.doi.org/10.1080/1354571x.2019.1646057.

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Tesis sobre el tema "Fabio (1957-....)"

Pavan, Emma. "Après le paysage ? : Le paysage dans la poésie de la seconde moitié du XXe siècle". Electronic Thesis or Diss., Université Grenoble Alpes, 2024. http://www.theses.fr/2024GRALL010.

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Le projet vise à étudier les formes et les fonctions du paysage dans la poésie italienne de la seconde moitié du XXe siècle et du tout début des années 2000. L'objectif de la recherche est également de proposer une hypothèse de méthodologie pour l'étude d'un objet par définition transdisciplinaire dans l'horizon littéraire italien. Avec ces intentions, le projet vise à placer le paysage, compris comme une unité particulière activement construite par un sujet-observateur, au centre d'une investigation visant à montrer comment le regard contribue à la construction du texte poétique. Compte tenu de la nature historique, subjective et artificielle du paysage, l'étude vise à identifier ses caractéristiques particulières dans un horizon culturellement circonscrit d'un point de vue formel, temporel et spatial, en examinant un corpus d'œuvres significatives appartenant à la production poétique italienne de la seconde moitié du XXe siècle. En particulier, le corpus comprend les textes de Giorgio Orelli et Andrea Zanzotto - poètes nés dans les années 1920 - et ceux d'Antonella Anedda et Fabio Pusterla, nés dans les années 1950 du XXe siècle
This work aims to study the forms and functions of landscape in Italian poetry of the second half of the twentieth century and the early 2000s. The aim of the research is also to propose a methodological hypothesis for the study of a transdisciplinary object in the Italian literary horizon. With these intentions, the project seeks to place the landscape, understood as a particular unit actively constructed by a subject-observer, at the centre of an investigation designed to show how the gaze contributes to the construction of the poetic text. Given the historical, subjective and artificial nature of landscape, the study aims to identify its particular characteristics within a culturally circumscribed horizon from a formal, temporal and spatial point of view, by examining a corpus of significant works belonging to the Italian poetic production of the second half of the twentieth century. In particular, the corpus includes texts by Giorgio Orelli and Andrea Zanzotto - poets born in the 1920s - and those by Antonella Anedda and Fabio Pusterla, born in the 1950s

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Codinhoto, Diego Jesus Rosa [UNESP]. "A experiência do choque na poesia de Fabio Weintraub". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94164.

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Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-23Bitstream added on 2014-06-13T19:34:51Z : No. of bitstreams: 1 codinhoto_djr_me_sjrp.pdf: 306018 bytes, checksum: d9328777870c242c01bb2d883e00703a (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
É proposto nesta dissertação o levantamento de alguns aspectos da obra poética do poeta contemporâneo Fabio Weintraub (composta por Sistema de erros, de 1996, Novo endereço, de 2004 e Baque, de 2007, com ênfase da pesquisa para este último), aspectos estes como a incorporação da voz e/ou a descrição narrativa de outro que não o eu – lírico em seus poemas (geralmente o excluído, o marginalizado pela sociedade, como o bêbado, a prostituta, o mendigo, a moradora de rua, o louco, o aleijado, o idoso, o doente), sob a perspectiva de dois conceitos elaborados pelo crítico literário e filósofo alemão Walter Benjamin (1989, 1994), a saber: “experiência” e “choque”. Assim, partindo da hipótese de que nos poemas de Weintraub (1996; 2004; 2007) o baque, ou melhor, o choque se estabelece como norma, procura-se sistematizar como se configura essa experiência do choque nos poemas
It is proposed in this study a survey of some aspects of contemporary poet Fabio Weintraub’s work, which is composed by Sistema de erros (1996), Novo endereço (2004) and Baque (2007), and this research is focused especially in the last one. The main investigated aspects were the voice incorporation and/or the description narrative of urban subjects, usually the metropolitan’s pariahs, in Weintraub’s poems, such the drunk, the prostitute, the beggar, the homeless, the demented, the handicap, the elders, the invalid. These aspects were investigated from the perspective of two concepts by the Germany’s philosopher Walter Benjamin (1985, 1989), “experience” (erfahrung) and “shock” (schock). Therefore, assuming that the Weintraub’s poems (1996; 2004; 2007) the shock (baque, in Portuguese, is a concept similar to shock) is established as the rule, this work aims at systematize the shock experience in his poems

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Pineda, Domínguez Octavio. "Extraterritorialidad, poesía migratoria, Jorge Boccanera, Fabio Morábito y Eduardo Chirinos". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20111.

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Les œuvres des “poètes migratoires” génèrent un certain nombre de questions. La poésie, est-elle le genre littéraire adapté pour exhiber l’éloignement ? Et dans ce cas, est-il possible de déceler les marques expressives qui caractérisent la poésie des expatriés ? Notre recherche s’intéresse à la relation entre l’écriture poétique et l’étrangéité, à partir de l’analyse des œuvres de trois poètes latino-américains expatriés. Jorge Bocanera (1952), Argentin exilé au Mexique et installé des années plus tard au Costa Rica ; Fabio Morabito (1955) Italo-mexicain qui écrit en espagnol, langue qu’il adopte après son arrivée au Mexique ; et le Péruvien Eduardo Chirinos (1960-2016), “exilé” circonstanciel aux USA pour des raisons professionnelles. La poésie de ces migrants approfondit la visión d’un éparpillement existentiel, qui se ressent dans une identification désorientée, au-delà même de l’identité nationale. Leur “poésie migratoire” est habitée par cette “expatriation”, faisant du mot un foyer en mouvement, un rejet voire une intégration. Grace à des marques spatio-temporelles, à des références thématiques au bestiaire et à l’enfance, en plus des reflets de la rhétorique, le texte poétique est capable d’évoquer le voyage et de devenir voyage lui-même
Building on the poetic works of the migrant poet questions arise. Is poetry the appropriate genre to exhibit displacement? In which case, is it possible to identify the expressive traits to define the poetry of displaced poets? Our research is focusing on the relation between the poetic writing and foreignness, through the analysis of the works of three Latin American displaced poets: Jorge Boccanera (1952), Argentine exiled in Mexico and abroad, and years later in Costa Rica; Fabio Morábito (1955), Italo-Mexican who writes in Spanish, a language which was adopted after settling in Mexico; and the Peruvian Eduardo Chirinos (1960-2016), circumstantial exiled in the United States, where he moved due to academic and professional reasons. The poetry of these migrants deepens into an existential dispersion, which has impacts on a disorientated identification, beyond national identity. Their «migratory poetry» transits through foreignness, turning the word into a moving home, into rejection, or even into integration. By means of temporary space traits, thematic references to the bestiary and to childhood, and reflections of the rhetoric, the poetic text is able to evoke the travel and also able to be a travel itself
A partir de la obra del poeta migrante surgen distintas preguntas. ¿Es la poesía el género adecuado para exhibir el distanciamiento? En cuyo caso, ¿se pueden detectar marcas expresivas que definan la poesía de los desplazados? Nuestra investigación se interesa por la relación entre la escritura poética y la extranjería, a través del análisis de la obra de tres poetas latinoamericanos desplazados: Jorge Boccanera (1952), argentino exiliado en México y extranjero, años después, en Costa Rica; Fabio Morábito (1955), italomexicano que escribe en español, una lengua adoptada tras su arribo a México; y el peruano Eduardo Chirinos (1960-2016), exiliado circunstancial en EEUU, donde se traslada por motivos académicos y laborales. La poesía de estos migrantes profundiza en una dispersión existencial, que repercute en una identificación desubicada, más allá de la identidad nacional. Su «poesía migratoria» transita la extranjería, convirtiendo la palabra en hogar en movimiento, en rechazo, o incluso en integración. Por medio de marcas espaciotemporales, referencias temáticas al bestiario y a la infancia, y reflejos de la retórica, el texto poético es capaz de evocar el viaje y ser viaje

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Guidali, Fabio [Verfasser]. "Uomini di cultura e associazioni intellettuali nel dopoguerra tra Francia, Italia e Germania occidentale (1945-1956) / Fabio Guidali". Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1048327361/34.

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Mejia, Gonzales Alejandro. "Pratiques d’espaces et écritures migrantes dans la littérature mexicaine : Sergio Pitol, Esther Seligson et Fabio Morábito". Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30038.

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Le motif du voyage repose au sein de la littérature mexicaine comme l’un des principes constitutifs d’une diversité de générations et de pratiques littéraires dans le pays. Il est certain que la littérature mexicaine témoigne, à travers de divers optiques et discours, du sens de la nation et de l’identité mexicaines tout en montrant les basculements qui les conforment. Le motif en question s’y prononce de manière aussi bien directe qu’indirecte, et fait l’objet d’une transformation existentiel et littéraire qui obéi tout un éventail de changements esthétiques. Sous l’écorce vaste du motif viatique il y a une relation étroite entre la mémoire, les espaces vécus et toutes sortes de déplacements. Celle-ci est perceptible dans une multiplicité de manifestations littéraires au Mexique, notamment à partir du XXe siècle grâce au déploiement de techniques et d’explorations littéraires. Cette investigation analyse les dialogues et les correspondances parmi trois écrivains mexicains du XXe siècle : Sergio Pitol, Esther Seligson et Fabio Morábito. Bien qu’ils appartiennent à des différentes générations littéraires, cette étude se focalise sur un corpus sélectionné vis-à-vis le partage de certains mécanismes d’intersection entre la littérature et l’expérience du voyage, c’est-à-dire, de ce que nous appelons « écritures migrantes et pratiques d’espaces », idée que nous empruntons de Michel de Certeau, Robert Tally et Astrid Erll. Ainsi, nous montrerons les manières dont la thématique du voyage articule l’identité, la mémoire et l’écriture à l’aune d’une hétérogénéité d’espaces, de migrations et de géographies existantes au cœur de trois propositions littéraires représentatives à ce sujet
Travel is a subject that remains in Mexican Literature as a constituent element over different generations and literary practices in the country. It is certain that Mexican Literature testifies, through many discourses and viewpoints, about Mexican nation and identity sense by displaying issues around it. Travel queries about it as direct as indirect form and is the object of an existential and literary transformation according to esthetic changes. Inside the huge appearance of travel subject there is a relation between memory, life spaces et all types of displacement. This relation is perceptible over multiple literary manifestations in Mexico, especially in twentieth century because of literary techniques and explorations deployment. This work aims to analyse dialogues and similarities in three Mexican writers of twentieth century: Sergio Pitol, Esther Seligson et Fabio Morábito. If they become from different generations, that is not an obstacle to focus in a selection of literary works regarding some mechanisms where literature and travel experience converge, in other words, that we call “migrant writing and practice of spaces”, ideas that we took from Michel de Certeau, Robert Tally et Astrid Erll. Thus, we will discuss forms of which travel subject organise identity, memory and writing in the light of a heterogeneity of spaces, migrations and geographies in all three representatives literary works

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Rebello, Wilson. "Em busca da Curitiba perdida : da introdução da tecnoestrutura no planejamento urbano e sua luta com a política partidária -1962 - 1975 / Wilson Rebello ; orientador, Fabio Duarte ; coorientador, Erivan Karvat". reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2010. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1999.

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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010
Bibliografia: f.122-129
A inserção de uma nova mentalidade de planejamento no Brasil, cujas origens estão na década de 1930 nas reformas de Getulio Vargas, influenciou fortemente o planejamento urbano de Curitiba. O planejamento urbano de Curitiba na década de 1960 teve suas raí
The insertion of a new mentality of planning in Brazil, whose origins are in the 1930 reforms of President Getulio Vargas, strongly influenced the urban planning of Curitiba. In the 1960s the urban planning of Curitiba had its roots in the strategic visio

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Libros sobre el tema "Fabio (1957-....)"

Mauri, Fabio. Fabio Mauri: Opere e azioni 1954-1994. Roma: Carte segrete, 1994.

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Urgell-Fazio & Asociados Arquitectos., ed. Urgell-Fazio-Penedo-Urgell arquitectos: 1956-1995. [Buenos Aires, Argentina]: Urgell-Fazio, 1995.

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Sonora (Mexico : State). Governor (1991-1997 : Beltrones R.). Mensaje del C. gobernador Lic. Manlio Fabio Beltrones Rivera a la sociedad sonorense: Sexto informe de gobierno, 1 de agosto 1997. Hermosillo?]: Gobierno del Estado de Sonora, 1997.

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Cusin, Fabio. Gli scritti politici di Fabio Cusin nel Corriere di Trieste: Gli anni dell'opposizione ragionata (1949-1951) : integrati con la ristampa de La liberazione di Trieste dello stesso autore. Udine: Del Bianco, 1994.

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Ruralism in Central Italian writers: 1927-1997 : from Strapaese landscapes to the gendering of nature : Fabio Tombari, Paolo Volponi, Carlo Cassola, Romana Petri. Ancona, Italy: Ancona University Press, 2010.

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Coutu, Albert Cecile. Hispanism In France From Morel-Fatio To The Present: Circa 1875-1950. Kessinger Publishing, LLC, 2007.

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Coutu, Albert Cecile. Hispanism In France From Morel-Fatio To The Present: Circa 1875-1950. Kessinger Publishing, LLC, 2006.

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Hispanism in France from Morel-Fatio to the Present: Circa 1875-1950. Kessinger Publishing, 2010.

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Capítulos de libros sobre el tema "Fabio (1957-....)"

Lugaresi, Maria Giulia. "Fabio Conforto (1909–1954): His Scientific and Academic Career at the University of Rome". En Algebraic Geometry between Tradition and Future, 75–93. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-8281-1_4.

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Dean, Austin. "Conclusion". En China and the End of Global Silver, 1873-1937, 180–88. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752407.003.0009.

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This chapter refers to the Beiping wuzhanshi, which chronicled the last-ditch attempts by the Nationalist government to rein in inflation and solidify its rule in the late 1940s. It describes the buying power of the fabi that continuously eroded and grew more worthless by the day, taking note of its failure than its success and early stability that dominated popular memory of the currency. It also analyses the brief debate in the late 1940s about whether the Nationalist government could extricate itself from the currency crisis by returning to a monetary system based on the metal. The chapter discusses the centralization of foreign exchange sales by the Nationalist government, which offered foreign exchange for fabi but only for legitimate and essential transactions. It recounts the establishment of a stabilization fund in 1939 by the Chinese government and British banks to help support the fabi.

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Dean, Austin. "The Fabi and the End of the Global Silver Era, 1933–1937". En China and the End of Global Silver, 1873-1937, 147–79. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752407.003.0008.

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This chapter recounts the Nationalist government's announcement that it was going off the silver standard and onto a managed currency called the fabi in November 1935. It mentions how the government nationalized silver stocks, limited the note issued to several banks, and promised to buy and sell fabi without limit at certain exchange rates against the U.S. dollar and British pound. It also talks about members of the Silver Bloc in the United States who believed the falling price of silver in the late 1920s and early 1930s caused the Great Depression by taking away the purchasing power of Chinese consumers and contracting U.S. exports. The chapter analyses the Silver Purchase Act, which according to economist Milton Friedman harmed the U.S. silver producers as it destroyed what had been a major market for their output. It tackles the central question in China on how to change the monetary system and how to defend fabi as a new currency.

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Hunter, Avalyn. "Highs and Lows". En The Kentucky Oaks, 163–70. University Press of Kentucky, 2024. http://dx.doi.org/10.5810/kentucky/9781985900370.003.0028.

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During the period of 1992-1997, the Kentucky Oaks enjoyed ever-increasing attendance and interest while going through a roller-coaster ride that saw several major upsets. While several champions failed to deliver on expectations in the Oaks, there were several triumphs that brought joy to small racing outfits, but there were also the tragedies of Oaks heroines Sardula and Blushing K. D., both of whom had to be euthanized following lengthy battles to overcome injuries. The Oaks races of the mid-1990s also saw human highs and lows ranging from the fall of Fabio Arguello Jr., who rode Luv Me Luv Me Not to victory in 1992, to the rise of future Hall of Fame jockey Julie Krone, who became the first female jockey to ride in the Oaks in 1993.

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Koprivica Lelićanin, Marija. "MOĆ REČI I FILM: SORENTINOVA „BOŽJA RUKA”". En JEZIK, KNJIŽEVNOST, MOĆ/LANGUAGE, LITERATURE, POWER, 263–77. Filozofski fakultet u Nišu, 2023. http://dx.doi.org/10.46630/jkm.2023.16.

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The word is a rather neglected semiotic resource in film interpretation. The production principle of “Show, don’t tell!” (McKee, 1997) induces us to give precedence to visual resources (Markovic, 2017) in movie analyses as well. However, verbal interaction can sometimes be the key to understanding. This is exactly the case with Sorrentino’s film “The Hand of God” (2021) and with the phrase “Don’t disunite, Fabio!” which quickly found its place beyond the “filmic reality”. Therefore, the main objective of this analysis is to interpret the most important meanings of this cinematic dialogue. The contrasting relationship between student and teacher, between the protagonist Fabietto and director Capuano, is initially presented with the semiotic square of Greimas (Greimas in Volli, 2008). Then, the turn-taking organisation, the structure of the interaction and its most important linguistic characteristics are examined. It has been observed that this dialogue has almost all the elements of an oral story (Labov & Waletzky, 1967; Labov, 1972), but that the asymmetrical distribution of power has been realized only by some linguistic means of underlining power while others are entirely absent. These observations shed light on the nature of film dialogue, highlight the similarities and differences between screenplay, film dialogue and everyday conversation, and confirm that the full meaning of a film is revealed only in a multimodal reading of the intersemiotic relationship of all cinematographic modalities, among which the word has its indispensable place.

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Hatch, Craig. "The Horror of Progressive rock: Goblin and Horror Soundtracks". En Italian Horror Cinema, 175–90. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0012.

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Audio is perhaps the most vital component in the construction of horror films; from the child’s lullaby in Profondo rosso/Deep Red (Dario Argento, 1975), Bernard Herrmann’s use of stingers in Psycho (Alfred Hitchcock, 1960), to the musique concrète of The Texas Chainsaw Massacre (Tobe Hooper, 1974), the canon of great horror films are inextricably tied and indebted to their soundtracks. And yet despite the importance of this audio-visual synchronicity, Italian horror soundtracks in particular have endured not only as part of the films they were made to complement, but also independently of them. With Goblin embarking on their first US tour as a band as late as 2013, to being sampled by contemporary electronic and hip hop acts such as Justice and Madlib, the work of Goblin and other composers such as Fabio Frizzi has received a continued level of interest both with and without the context of their accompanying images.

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"7. The Fabi and the End of the Global Silver Era, 1933–1937". En China and the End of Global Silver, 1873–1937, 147–79. Cornell University Press, 2020. http://dx.doi.org/10.1515/9781501752421-011.

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