87 research outputs found

    Shaping the Living Body: paradigms of soma and authority in Thomas Hanna's writings

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    Abstract: This article outlines some features of the discursive strategies adopted by Thomas Hanna in order to legitimate Somatics - as well as his own method - in the eyes of the scientific community. The notion of soma and the representations of its functions will be recognized at the core of this issue. In order to stress the enduring risk of dogmatism of the scientific rhetoric to our days, as well as their influence on the configuration of somatic discourses, I will be mainly referring to Isabelle Ginot's radical epistemology and Martha Eddy's critical perspective

    Presenze competenti. Approcci somatici al gesto e dispositivi partecipativi nelle creazioni di Frédéric Gies e di Virgilio Sieni

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    Dance (Praticable) (2005-2008) by Frédéric Gies and Pinocchio - leggermente diverso (2013-2015) by Virgilio Sieni are contemporary dance projects relying on methods of transmission and composition based on, or influenced by, somatic practices. Such practices are defined as those aiming at enhancing bodily and gestural awareness by focusing on the movers’ subjective and inter-subjective experience. Through these two case studies it is considered how these compositional processes can express potentially anti-conventional instances concerning the quality of the performer’s presence as well as the final structure of the piece. Having such intentions in mind, the artists induced what we call an intuitive adherence between their gesture and thought (Cveijć in Gies 2008b), and subsequently turned their works into participatory dispositives. It is thus possible to disempower some categories opposing “professionism”, “non-professionism” or “amateurism”, “ability”, and “disability” by considering each participant from the perspective of their competences; besides, such choreographic practices are not exempt from the possibility of endorsing normative approaches or applications.Dance (Praticable) (2005-2008) di Frédéric Gies e Pinocchio - leggermente diverso (2013-2015) di Virgilio Sieni si basano su metodi di trasmissione e di composizione mutuati o influenzati dalle pratiche somatiche, volte all’educazione alla consapevolezza corporea e al movimento ponendo attenzione all’esperienza soggettiva e inter-soggettiva degli stessi. Un’analisi delle due pièce permette di valutare come questi processi di composizione esprimano potenziali anti-convenzionali per quanto riguarda la qualità della presenza del performer e le strutture finali delle opere, in specie promuovendo una aderenza intuitiva tra gesto e pensiero (Cveijć in Gies 2008b) e trasformandole in dispositivi partecipativi. Se, da un lato, è qui possibile depotenziare le categorie che oppongono “professionismo” e “amatorialità”, abilità e disabilità, permettendo una lettura di tutti i partecipanti dal punto di vista delle competenze, si vedrà come queste pratiche non siano esenti da possibili normalizzazioni

    Figurations of Presence. Corporeal Aesthetics, Gestural practices, and Ecologies of Affects in the Performative Contemporary Scene

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    Dès les années 2000 à aujourd’hui, la présence est au cœur d’un nouvel intérêt théorique. Cette thèse porte sur les recherches en arts vivants et sur des créations récentes à la lumière des enjeux corporels, perceptifs et théoriques résonnant avec ce concept. Les définitions courantes sont relues et intégrées, dans une approche phénoménologique, par l’analyse du geste dansé, l’épistémologie des pratiques somatiques, l’écologie des pratiques (Stengers 2005) et une pensée politique sur les affects (Massumi 1995 ; 2015). Dans la première partie on articule cette approche en fonction d’un regard critique sur les discours théoriques, qu’on met en dialogue avec notre corpus d’œuvres théâtrales et chorégraphiques. Ici on considère, parmi d’autres pièces, Il principe Amleto du metteur en scène et comédien italien Danio Manfredini. La seconde partie rassemble les analyses d’Ouverture Alcina, monologue de la Compagnie italienne Teatro delle Albe ; de récentes créations chorégraphiques de Virgilio Sieni ; de la pièce Déperdition, crée par Myriam Gourfink et d’une reprise de Self Unfinished de Xavier Le Roy dans le cadre du projet « Rétrospective ». Chaque analyse porte sur le travail physique et perceptif de l’interprète, en considérant les processus de création et d’apprentissage, et sur le rapport entre œuvre et milieu de production et de circulation. Ainsi, l’expérience personnelle de spectatrice-chercheuse et la centralité du regard se mettent en avant. Il en résulte une perspective épistémologique sur les pratiques de la présence, entendues comme pratiques performatives, et sur les figurations de la présence, à savoir les effets perceptifs et affectifs de la performance.Dagli anni Duemila a oggi, la presenza è una nozione al centro di un rinnovato interesse teorico. Questo studio affronta tali ricerche e alcune creazioni recenti alla luce degli aspetti corporei, percettivi e teorici risonanti con essa. Le attuali definizioni sono rilette e integrate, in una cornice fenomenologica, con strumenti quali l’analisi del gesto danzato, l’epistemologia delle pratiche somatiche, l’ecologia delle pratiche (Stengers 2005) e un pensiero politico sugli affetti (Massumi 1995; 2015). Nella prima parte tale impianto viene definito in funzione di uno sguardo critico sui discorsi teorici, messi in dialogo il nostro corpus di opere teatrali e coreografiche, in cui troviamo Il Principe Amleto del regista e attore italiano Danio Manfredini. Nella seconda parte si sviluppano le analisi di Ouverture Alcina, monologo della compagnia italiana Teatro delle Albe; della recente produzione coreografica di Virgilio Sieni; della pièce Déperdition della coreografa e danzatrice Myriam Gourfink e della ripresa della performance Self Unfinished di Xavier Le Roy nell’ambito del progetto « Rétrospective ». L’analisi mette in luce il lavoro fisico e di percezione dell’interprete, valutando i processi di composizione o di trasmissione, e si sofferma sul rapporto dell’opera con il suo contesto di produzione e circolazione. In tale prospettiva emergono l’esperienza personale nel ruolo di spettatrice-teorica e in particolare la centralità dello sguardo. Ne risulta uno studio epistemologico sulle pratiche della presenza, intese come pratiche performative, e sulle figurazioni della presenza, ovvero gli effetti percettivi e affettivi della performance.Since the early 2000s, the concept of presence is at the core of a renewed interest in the performing arts field. This dissertation reviews recent theoretical debates and explores theatrical and choreographic works resonating with the corporeal and aesthetic qualities associated with this notion. Within a phenomenological framework, current definitions are reconsidered through the lenses of dance gesture analysis, expanding on the epistemology of somatic practices, the ecology of practices (Stengers 2005), and political focus on affects (Massumi 1995; 2015). The academic discourses are also examined through a brief outlook of the works, including Il Principe Amleto – a piece by Italian actor and stage director Danio Manfredini. The pieces considered in the second part of the dissertation include Ouverture Alcina, a monologue by the Italian theatre company Teatro delle Albe; recent projects by Italian choreographer Virgilio Sieni; a dance performance entitled Déperdition, by French artist Myriam Gourfink; and a recent rerun of Xavier Le Roy’s Self Unfinished within his project « Rétrospective ». Each analysis emphasizes the physical and perceptive work of the performers and considers the artist’s creative process, as well as the relation between the pieces and their broader staging context. In addition, the personal experience of the scholar/spectator is given prominence, as well as of her gaze. The resulting investigation is thus fundamentally epistemological, focusing at once on practices of presence – understood as performative in nature –, and on figurations of presence, the perceptive and affective implications of performance

    A Novel HPLC Method for the Concurrent Analysis and Quantitation of Seven Water-Soluble Vitamins in Biological Fluids (Plasma and Urine): A Validation Study and Application

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    An HPLC method was developed and validated for the concurrent detection and quantitation of seven water-soluble vitamins (C, B1, B2, B5, B6, B9, B12) in biological matrices (plasma and urine). Separation was achieved at 30°C on a reversed-phase C18-A column using combined isocratic and linear gradient elution with a mobile phase consisting of 0.01% TFA aqueous and 100% methanol. Total run time was 35 minutes. Detection was performed with diode array set at 280 nm. Each vitamin was quantitatively determined at its maximum wavelength. Spectral comparison was used for peak identification in real samples (24 plasma and urine samples from abstinent alcohol-dependent males). Interday and intraday precision were <4% and <7%, respectively, for all vitamins. Recovery percentages ranged from 93% to 100%

    Sars-CoV-2 Infection Prompts IL-1β-Mediated Inflammation and Reduces IFN-λ Expression in Human Lung Tissue

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    Two years after its spreading, the severe acute respiratory syndrome coronavirus 2 (SARSCoV-2) is still responsible for more than 2000 deaths per day worldwide, despite vaccines and monoclonal antibody countermeasures. Therefore, there is a need to understand the immune–inflammatory pathways that prompt the manifestation of the disease to identify a novel potential target for pharmacological intervention. In this context, the characterization of the main players in the SARS-CoV-2-induced cytokine storm is mandatory. To date, the most characterized have been IL-6 and the class I and II interferons, while less is known about the proinflammatory cytokine IL-1β and class III interferons. Here, we report a preliminary study aimed at the characterization of the lung inflammatory context in COVID-19 patients, with a special focus on IFN-λ and IL-1β. By investigating IFN and inflammatory cytokine patterns by IHC in 10 deceased patients due to COVID-19 infection, compared to 10 control subjects, we reveal that while IFN-β production was increased in COVID-19 patients, IFN-λ was almost abolished. At the same time, the levels of IL-1β were dramatically improved, while IL-6 lung levels seem to be unaffected by the infection. Our findings highlight a central role of IL-1β in prompting lung inflammation after SARS-CoV-2 infection. Together, we show that IFN-λ is negatively affected by viral infection, supporting the idea that IFN-λ administration together with the pharmaceutical blockage of IL-1β represents a promising approach to revert the COVID-19-induced cytokine storm
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