Possible influence of natural events on heavy metals exposure from shellfish consumption: A case study in the north-east of Italy

open8noopenLosasso, Carmen; Bille, Laura; Patuzzi, Ilaria; Lorenzetto, Monica; Binato, Giovanni; Pozza, Manuela Dalla; Ferrè, Nicola; Ricci, AntoniaLosasso, Carmen; Bille, Laura; Patuzzi, Ilaria; Lorenzetto, Monica; Binato, Giovanni; Pozza, Manuela Dalla; Ferrè, Nicola; Ricci, Antoni

Minimum Information about a Neuroscience Investigation (MINI) Electrophysiology

This module represents the formalized opinion of the authors and the CARMEN consortium, which identifies the minimum information required to report the use of electrophysiology in a neuroscience study, for submission to the CARMEN system (www.carmen.org.uk).
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The New Economy- Knowledge Based Economy

The aim of this paper is to emphasize the importance of knowledge based economy, in this time characterized by fast changes and sometimes radical changes, it is impossible to resist without adapting, both people and the organizations too. The matter of the paper develops knowledge based economy concept: elements, definitions of the knowledge based economy, stages and the main knowledge codification. In the end of the paper, the author presents the importance of economy knowledge, in Romanian organizations.knowledge based economy, knowledge society, knowledge based organization, longlife learning, learning organization

La tragédie de Carmen, the Fringe Festival 2003

This is the concert program of the La Tragédie de Carmen, The Fringe Festival 2003 performances on Friday, October 17, 2003 at 8:00 p.m., to Sunday, October 26, 2003 at 8:00 p.m., at the Boston University Theater, Studio 210, 264 Huntington Avenue, Boston, Massachusetts. The work performed was La Tragédie de Carmen by Georges Bizet. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Book Review: Mejor Dicho

Review of Garcia, Carmen and Emily Spinelli. Mejor Dicho. Lexington, MA: D.C. Heath and Company, 1995, ISBN 066928906X (pbk). 307 pp

Fire in the Soul of Zurga: Bizet\u27s The Pearl Fishers and Male Sati

In lieu of an abstract, below is the essay\u27s first paragraph. Although in recent years Georges Bizet’s “other” opera, Les Pêcheurs de perles (The Pearl Fishers), has been performed on occasion, scant attention has been paid to it, compared to his world-renowned masterpiece Carmen. Even those who are not avowed opera goers have at least heard of the Habañera (L’amour est un oiseau rebelle) and more so, the ever-popular Toreador Song. Bizet penned The Pearl Fishers at age 25, and enthusiasts of this early work praise the “freshness of inspiration” which contributes to its “perennial success.” (9). The Pearl Fishers takes place on a “wild, arid beach on the island of Ceylon [modern-day Sri Lanka]” (10), where bold divers brave death every year (18). It is a French Orientalist opera, as is Carmen, although there is not yet the mezzo-soprano to embody the “exotic” seductress (in the case of Carmen, the Andalusian Gypsy). We only have the pure coloratura soprano, the opposite end of the narrow spectrum allotted to female characters who do not come from “our” world. The late Dr. Edward Said bases his main argument on the distinction between “our” world and the inaccessible “Orient”: “Indeed, my real argument is that Orientalism is – and does not merely represent – a considerable dimension of modern political-intellectual culture, and as such has less to do with the Orient than it does with ‘our’ world” (12)

Review of "This Time is Different: Eight Centuries of Financial Folly"

Reinhart, Carmen M. and Rogoff, Kenneth (2009) This Time is Different: Eight Centuries of Financial Folly. Princeton University Press

Metafictional mise en abyme in Saura\u27s Carmen

In the 1983 film Carmen, Carlos Saura creatively refashions Mérimée\u27s novella and Bizet\u27s opera into an exciting new rendering of the Carmen myth. The foundation of this film rests on Mérimée\u27s narrative, which Saura admires for having the ability to convey a passionate love that still seems as fresh and expressive as it was in its own day (52). Since Saura views the plot modification introduced in Bizet\u27s opera as being a betrayal of Mérimée\u27s novella (55), he ignores the opera\u27s story line and concentrates instead on its music, which he describes as being very beautiful, truly inspired, and having moments that are both extraordinary and unforgettable (56). This double heritage of Mérimée\u27s plot and Bizet\u27s music provides the context within which Saura is able to introduce yet another art form -- dance -- through the brilliant choreography of Antonio Gades

The mirror’s narrative technique in Carmen de Icaza (1899-1979) and in Carmen Martín Gaite (1925-2000)

El texto muestra algunas coincidencias entre las técnicas narrativas de la olvidada novelista Carmen de Icaza (1899-1979) y Carmen Martín Gaite (1925-2000). Analizamos en La fuente enterrada (1947) y en Yo, la reina (1950) de Carmen de Icaza el uso del espejo como una técnica narrativa para describir la apariencia física de los personajes y sus sentimientos interiores. Luego, estudiamos cómo estos dos aspectos han sido tomados por Carmen Martín Gaite y desarrollados en un modo más amplio e imaginativo.The text shows some coincidences in narrative techniques between the forgotten novelist Carmen de Icaza (1899-1979) and Carmen Martín Gaite (1925-2000). We analyze in La Fuente Enterrada (1947) and in Yo, la Reina (1950) by Carmen de Icaza the use of mirror as a narrative technique intended to describe the characters’ appearance and their inner feelings. Then we study how this aspect has been taken by Carmen Martin Gaite and developed in a broader and more imaginative way