Kidney Pain Sleeping On Side

"Il sindacato dei sensibili"

Frederick Sollazzo (p.sollazzo @ inwind.it)

Annalisa Margarine, The union of sensitive , reflection, Cagliari 2010

(From the back cover)

A garage and a gate with a large colorful writing: REVIEW OF SENSITIVE. E 'is the beginning the realization of the dream of Catherine and the first impact with the world of feeling in the life of Agnes, the day when, coincidentally, is located across Via Cellini.
A piano lenses, hearing aids, experience of feeling as the day dedicated to the education of the senses, opening the eyes of Agnes a whole new experiential world.
Within REVIEW OF SENSITIVE, the dream of Catherine when she was a child, you learn to hear with his heart, and we understand that life is precious feeling of each and which do not exist in reality, people insensitive, but sensitive in the trenches. Catrina accompanies all those who come into this place is almost magical and symbolic to listen and listen to life.
This short story will introduce each player to experience the feeling itself, the existence and the other, the starting point for the life of each.

This work is published under a Creative Commons License .

Soul Silver Rom For Desmume Mac

La parola poetica in "Il vecchio e il mare" di Ernest Hemingway

Erwin de Greef (erwindegreef@libero.it)

In recent years there have been many initiatives that helped feed the legend of Ernest Hemingway, from the wise Scott Donaldson, with translation of Raffaella Belletti, Hemingway against Fitzgerald (1) (and / or 2004) to the photo book The Beat Goes On (2) (Mondadori, 2004) , Fernanda Pivano, edited by Guido Harari, the translation of some of his stories (still unpublished in Italy) by Roberto Miraglia (3) . He had also spoken of three films about his life: Pope Adrian Noble, with Anthony Hopkins and two other, less defined, with a screenplay by Barbara Turner, the other with director Abel Ferrara and advice Fernanda Pivano.
As written by Mario Baudino, "the characters are alive, and the writer is alive, like the mythic figure that does not lose, over time, a sliver of its energy" (4) . Explosive energy that comes a massive use of alcohol drunk on the morning for breakfast in the form of a glass of champagne «[...] milkshake " (5) . Collapses alcohol, notes Juan Bas (6) , which are narrated in a workmanlike manner in Islands in the Stream (1970). Energy, they said, that - says Donaldson - was the man and author, "[...] a person more competitive on the face of the earth, in every field, from bike rides to drinking contests, Hemingway did his best to win. And where was his artistic reputation at stake and if possible even more committed " (7) .

Original text

He Was an old man who fished alone in a skiff in the Gulf Stream and he HAD gone eighty-four days now without taking a fish. In the first forty days a boy Had Been With Him. But after forty days without a fish the boy's parents HAD HIM Told That Was the old man now definitely and finally salao , Which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish in the first week. It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat (8) .

Traduzione

Era un vecchio che pescava da solo su una barchetta nella corrente del Golfo e ormai erano ottantaquattro giorni che non prendeva un pesce. Nei primi quaranta un ragazzo era stato con lui. Ma dopo quaranta giorni senza aver pescato un solo pesce i genitori del ragazzo gli dissero che ora il vecchio era chiaramente e definitivamente salao , che è la peggiore forma di sfortuna, e il ragazzo era andato per loro ordine su un’altra barca che aveva catturato tre bei pesci nella prima settimana. Per il ragazzo era triste vedere il vecchio rientrare ogni giorno con la barca vuota e sempre scendeva ad aiutarlo a portare le lenze addugliate o il rampone e l’arpione e la vela che era serrata intorno all’albero. La vela era rattoppata con sacchi di farina e, serrata, sembrava la bandiera della perenne sconfitta (9) .

Nota alla traduzione

Nella tarda estate del 1952 la rivista "Life" pubblicò in un numero unico Il vecchio e il mare . Fu un successo da 5.318.650 copie. Pubblicare Hemingway, ad ogni modo, non fu una scelta editoriale facile perché il precedente Di là dal fiume e tra gli alberi (1950) si era rivelato un libro banale e di poche vendite.
Per pubblicizzare l’evento, i responsabili della rivista scelsero quale opinion maker James A. Michener – nel 1953, sempre per "Life", pubblicherà I ponti di Toko-ri – che ricorda così la prima lettura del manoscritto: «[...] aprii il pacchetto e mi started reading the story of an old fisherman who was trying to catch a big fish and he struggled to ward off sharks who wanted to steal his prey " (10) .
The Old Man and the Sea - Hemingway's last novel published in Life, written in eight weeks and inspired Gregorio Fuentes (11) - opens with an antecedent in which the omniscient narrator states that the old fisherman and is just unlucky. Indeed, it is described as a man of physique emaciated, full of wrinkles and scars, skin stained and scorched by the sun. It is the symbol of defeat and misfortune, but his occhi hanno il colore del mare e sono allegri e indomiti. Solo il giovane Manolin lo ha accompagnato nei primi quaranta giorni delle sfortunate battute di caccia ed è lui che lo aiuta a sbarcare il lunario.
L’avventura comincia, sullo sfondo dell’isola di Cuba, all’alba dell’ottantacinquesimo giorno di non pesca, quando Santiago salpa per la Corrente del Golfo. Da questo momento, attraverso la sua vista malferma, il vecchio marinaio ci fa vivere lo straordinario paesaggio dell’oceano popolato di animali, colori, sogni, miti, speranza ma anche tanta disperazione.
Pescatore esperto, Santiago cattura un gigantesco merlin. La fortuna sembra dalla sua, ma gli squali mangiano la preda. Alla fine dell’avventura, il vecchio ritorna a casa, dove si abbandona a un sonno profondo e innaturale. Gli altri pescatori e qualche turista accorrono al molo per ammirare la carcassa del merlin, mentre Manolin piange la sua sfortuna senza vergogna.
Il vecchio e il mare , come gli altri scritti di Hemingway, è un racconto che s’innesta nella migliore tradizione americana, da Herman Melville a Mark Twain a Sherwood Anderson, e assimila l’esperienza europea di Stendhal, Gustave Flaubert e del simbolismo del primo Novecento. Come ha scritto Agostino Lombardo: «[…] la parola, mentre è protesa a raggiungere quella verità and simplicity that has all the modern opera, with varying fortune, sought, also aims to build an edifice that is more harmonious and balanced as the world is shocked and dramatic expression of which is " (12) .
Like Flaubert, the master said, Hemingway look for the mot juste for obedience and aesthetic inclination - away from the machismo (13) and primitivism (14) - claim an ideal of truth and necessity. The Old Man and the Sea tells the man to defeat a prose often opera, as the author himself wrote in Green Hills of Africa (1933), shall be: '[...] without tricks or deceit " (15) .
The author describes the action of an epic character overcome by a violent world, deprived of that faith and love which seeks to find in his ocean, no different from the hills of Africa or the baseball fields shrines which evoked his personal beliefs in life.
The moral landscape, intimate and newly hatched, the ocean and the sky turns blue, but the narrative leads us, with impalpable violence, in a way that describes the fall of man through the re-evocation and re-write of the perennial struggle between good and evil. The fisherman, Christological symbol of this division, is a modern Job in the cyclical nature of the sleepless nights that come on the last day of the auroral light fishing for re-precipitated in the sleep of oblivion of physical exhaustion and defeat. Santiago struggle against the sharks, the dark, cold and thirst in the desert ocean - reminiscent The Waste Land TS Eliot (16) - but eventually surrenders to his fate.

The poetic word Hemingway

The poetic word in The Old Man and the Sea involves the reader from the first paragraph, where we read: 'He Was an old man who fished alone in a skiff in the Gulf Stream and he HAD gone eighty-four days now without taking a fish " (17) .
The pronoun subject he awakens the reader, in this first paragraph of the antecedent, its three themes of the story (isolation, poverty and bad luck) set in a lyrical language structure, within a certain time and space: The old man is a fisherman, lives alone and is unfortunate because not fishing eighty-four days.
The fact that Hemingway's story opens with the subject pronoun he - identified in the fourth paragraph with the fisherman Santiago - related articles by two indeterminate - an old man in a skiff and - is to coalesce into a lucid narrative strategy: attracts the attention on the protagonist - also characterized in the first three paragraphs - and suggests the reader with an indefinite subject in which to identify.
In presenting the subject, the narrator uses the imperfect tense mode de re - Was - a perspective that affirms and continues the protagonist of these with the context. In contrast, in the story of his destiny, use the past perfect - HAD gone - historical time which says a certain perspective and defined in relation to the figure of the hero of some bad luck.
The theatrical space that has limited his action - the island of Cuba is surrounded by the Gulf Stream - is, however, defined and determined by Article the . The ocean - all-encompassing universe with its depth, thickness, cardinal points, changing colors and especially flora and fauna - is la mar , a female be treated as a welcome and woman under the influence of the moon (18) .
From the first paragraph, nature is presented, on the one hand, tough, desert-like place where it is difficult to get food. Second, however, the water currents are the place where the fisherman will recover a sense of adventure, the memory of his dead wife, the young Manolin, the green hills of Africa, the baseball fields and Joe Di Maggio .
In the end, the fisherman will betray her and ocean, conscious, and confess to merlin oramai sbranato: «I am sorry that I went too far out. I ruined us both» (19) .
In questa sconfitta, accettata con dignità, è anche la consapevolezza di chi sa di avere perso per sempre il Paradiso – tema centrale nella produzione letteraria di Hemingway e di tutta la generazione perduta. Ritornato a casa, il vecchio confesserà al giovane: «‘They beat me, Manolin’ he said. ‘They truly beat me.’» (20) .
Se, dunque, il primo capoverso della protasi ci ha introdotto in maniera corposa dentro l’universo poetico e tematico author, in an even more careful and profound understanding of sentence structure and the lyricism of the language can get more information.
The fisherman is characterized as an old, old man , that phrase in the source language has a richer polysemous properties of the target language, as is common, among others, is the meaning of old both father. The protagonist, then, in addition to being old is also a father, and putative moral (the young Manolin).
This man fishing alone, alone . Compared to the ambiguity of the target language, the word alone indicates that the subject is in a lonely position - reference number - but it is not isolated - psychological and emotional reference. If it was, in the original language would have used the term lonely.
The material condition of the protagonist - we know now - is that of a poor man because his boat, the skiffs , is by definition poor and simple. But decent preview of the disastrous economic status of the fisherman who will be confirmed when the narrator describe the physical universe in which he lives Santiago.
The fisherman is a lonely man and we know it is unfortunate because the narrator characterizes the protagonist in these terms - not fishing eighty-four days - and because the first sentence of the protasis is constructed in a pattern that amplifies the lyrical description. This first sentence is, in fact, characterized by an assonance distance between words to - one and g - one - which results in a descending climax - and dall'allitterazione section on word placed in an intermediate position of the sequence: an ( m) an ( to ) on ( and ) in ( g) on ( and ) and alliteration still part of the section of speech ou in the sequence: (f ) ou ( r) (n ) ow ( with ) ou (t ). The assonance (the -) on ( and ) (g -) on ( and ) and the sequence (f ) ou ( r) (n ) ow ( with ) ou (T ) reveal many of the truths communicated to the reader, that is, the story of a lonely man, until now, gone to sea without catching fish.
Finally, the additional phrases from the antecedent and the following two paragraphs explain and enhance the sense of what is said in the first paragraph. Manolin's parents - the voice of authority - define the old as an unfortunate man, salao . The boat is represented as a symbol of misery and misfortune, and defeat the sailor is lowered compared to sailing the boat, in a process of identification introduced by looked like.
Il vecchio è caratterizzato indirettamente, nel secondo paragrafo, come un uomo distrutto, sezionato in macchie – the blotches – e profonde cicatrici – the deep-creased scars – simboli del diavolo e quindi anticipazione della cacciata dal Paradiso. Solo gli occhi, espressione simbolica dell’anima, sono chiari, vivaci e indomiti.
Dal quarto capoverso in poi comincia il racconto, introdotto da un discorso diretto tra il giovane Manolin e il pescatore, nel quale si evidenziano, attraverso l’uso dell’allitterazione fonetica said/climbed , sia il rapporto filiale sia il processo iniziatico tra i due attanti. At this point, the narrator can only tell the manner in which the defeat of Santiago you will determine.

1) S. Donaldson, Hemingway against Fitzgerald. The story of a friendship difficult, and / or, Rome 2004.
2) F. Pivano The Beat Goes On , G. Harari (ed.), Mondadori, Milano 2004.
3) See L. Sampietro One Mighty Ducks , in "Il Sole 24 Ore - Sunday, 25.04.2010, No 113, p. 29.
4) M. Baudino, The Importance of Being Ernest , in "Mirror" 27.11.2004, No 445, p. 97.
5) G. Scaraffia, The thrill of the day. Hangover famous , from Isadora Duncan to Anton Chekhov , in "Il Sole 24 Ore - Sunday, 02.01.2005, No 1, p.40.
6) See J. Bas, Treatise on the hangover. The hours of the last repentance, Castelvecchi, Rome 2004, p.68.
7) S. Donaldson, Hemingway and Fitzgerald. Goodbye friendship , in La Stampa, 09.10.2004, p. 12.
8) E. Hemingway, The Old Man and the Sea , Arrow, London 1993, p. 5.
9) Translation by the author.
10) JA Mitchner, Introduction in dangerous summer, Mondadori, Milano 1986, p. 12.
11) died January 13, 2002 at the age of 104 years.
12) A. Lombardo, Introduction in Ernest Hemingway. Nobel Prizes 1954 , UTET, Torino 1966, p. X.
13) On the subject of Hemingway machismo can be found in Anthony Burgess, Hemingway The Importance of Being , Minimum Fax, Rome 2008.
14) On the "primitivism" and "abstract thinking" in Hemingway can be found in JM Coetzee, Animal Life , Adelphi, Milano 2000, p. 65.
15) E. Hemingway, Green Hills of Africa , Mondadori, Milano 1998, p. 86.
16) C. Ossola, "The Waste Land": a title that requires an interpretation of the famous non-trivial. Desolate, but still fertile , in "Il Sole 24 Ore - Sunday, 18.07.2004, No 197, p. 31.
17) E. Hemingway, The Old Man and the Sea , cit., P. 5.
18) In this regard it is noteworthy that the difference arises between the narrator and el mar the Tues cf. E. Hemingway, The Old Man and the Sea , cit., P. 23.
19) E. Hemingway, The Old Man and the Sea , cit., P. 45.
20) E. Hemingway, The Old Man and the Sea , cit., P. 100.

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Cake Mate Icing Expiration Date

"Dialogo con Platone"

Vivian Meschesi (viviana.meschesi @ gmail.com)

Cazzato Stefano, Dialogue with Plato. How to investigate un testo filosofico , Armando, Roma 2010

La filosofia contemporanea ci ha indicato, da diverse vie, la fecondità di ogni archeologia del pensiero e dunque non stupisce che la lettera platonica possa riservarci continuamente nuovi orizzonti e nuove angolature.
Affrontare poi i dialoghi platonici minori per tentare un ripensamento ed un rinnovamento del metodo per lo studio della filosofia, quando la retorica e la dialettica sembrano argomento quanto mai anacronistico nel bagaglio culturale dello studente odierno, ma allo stesso tempo carta da sempre vincente per chi ne fa competente uso, è la sfida di Stefano Cazzato.
Dialogo con Platone è un wise, as the author warns us, does not want to speak "of" Plato, but through him, to produce a text that both of thought and hard work at the same time: an explicit objective of the analysis "is not knowledge but know-how ". The attempt to rethink the teaching of philosophy in schools, trying to propose a serious and profitable alternative to setting historicist who for years has characterized the study of philosophy, but at the same time respects the historical context of the discipline is moving towards a multidirectional developments that philosophy to issues, problems, and languages.
This challenge is proposed by Stefano Cazzato from six Platonic dialogues (Euthyphro , Critias, Minos , Epinomide , Clitofonte , Charmides), in an attempt to put the one who "seeks to know" in a position to understand the delicate passages of dialectic and rhetoric, distinguishing statements, reviews, testing and identifying the various logic devices of the machine at the base of the dialectic Platonic dialogues.
In the firm belief that reaching the heart of philosophy and compete with the very structure of reasoning means to have a real opportunity not to be uncritically the positivity of a certain way of thinking, the author propone l’obiettivo, produttivo, di insegnare un modello che, a differenza di una nozione, sia funzionale e applicabile a diverse situazioni.
E così ogni dialogo diviene l’occasione di approfondimento delle diverse tecniche dialettiche e retoriche: dalle strategie socratiche (il dubbio, l’ironia, la dissimulazione, il paragone…) analizzate nell’ Eutifrone , alle strutture dell’argomentazione (problema, tesi, corpo argomentativo, eccezioni alla regola, conclusione) nel Crizia , al ragionamento per enumerazione nell’ Epinomide , alle varie strategie argomentative nel Minosse , sino a giungere al metodo Clitofonte in the description and the cunning of reason in Charmides.
Cazzato says: "[...] the structures are fundamental: they are interpretations of thought, do not work as irreversible and rigid containers of knowledge, but have an instrumental value; produce expectations but do not deny the multiplicity of experience; simplify the approach to the real but unpretentious reductionist, are changed in relation to new research needs and knowledge, skills are perennial, recoverable when needed, unlike the individual concepts, which have the mind so disjointed, you lose and forget "(p. 58).
Jerome Bruner, a distinguished American educator, stresses the importance of knowledge structure, and therefore a textual work such as that contained in this essay, which is aimed particularly at those who have made the transmission of the philosophy of its approach, allows us to understand "thought in the making and articulation, the identification of the process of argumentation through consistency and accuracy of an epistemological status that characterized the thought deeply greek and insists deeply into the fabric of contemporary culture.

This work is published under a Creative Commons License .