DOCSLIB.ORG

Misure Critiche Rivista Semestrale Di Letteratura

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Misure Critiche Rivista Semestrale Di Letteratura misure critiche Rivista semestrale di letteratura Nuova Serie ANNO XVI numero 1-2 2017 La Fenice CASA EDITRICE Fondatore GIOACCHINO PAPARELLI Direttore SEBASTIANO MARTELLI Comitato scientifico EPIFANIO AJELLO - ANGELO CARDILLO - IRENE CHIRICO - DOMENICA FALARDO EMILIO GIORDANO - ROSA GIULIO - ALBERTO GRANESE - EMMA GRIMALDI ANTONIA LEZZA - SEBASTIANO MARTELLI - MILENA MONTANILE - LUIGI MONTELLA LAURA PAOLINO - ANTONIO PIETROPAOLI - LUIGI REINA - GIORGIO SICA - ROSA TROIANO Redazione FEDERICA CAIAZZO - EMANUELA FERRAUTO [email protected] Segreteria di Redazione ANTONIO ELEFANTE [email protected] Direzione e Redazione Dipartimento di Studi Umanistici - Sezione Italianistica Università degli Studi di Salerno Via Giovanni Paolo II, 132 84084 Fisciano (SA) Amministrazione “La Fenice” Casa Editrice Via Porta Elina, 23 Tel. 089 226486 84121 Salerno Responsabile POMPEO ONESTI La Rivista si avvale di un Comitato di referee anonimi cui i testi vengono sottoposti per un preliminare vaglio scientifico. Questo fascicolo della rivista è pubblicato con un contributo del Dipartimento di Studi Umanistici - Sezione di Italianistica dell'Università degli Studi di Salerno Versamenti: C.C. P. 55967046 intestato a “La Fenice” di Onesti Simona Emma & C. s.a.s.; Bonifico bancario IT75P07601152000000055967046 a “La Fenice” di Onesti Simona Emma & C. s.a.s. - 84100 Salerno - Abbonamento Annuo 51,64 - estero 80,00 - Prezzo di un fascicolo 25,82 - Numeri doppi 51,64 Autorizzazione del tribunale di Salerno n. 366 del 28 - 12 - 1971 Pubblicazione semestrale, spedizione in abbonamento postale gruppo IV MISURE CRITICHE Nuova Serie ANNO XVI, n. 1-2 Gennaio – Dicembre 2017 Saggi DOMENICA FALARDO, Sulle Rime di Paolo Pacello pag. 5 MIRELLA MASIERI, I Capitoli erotici di Giovanni Francesco Bini » 30 MORENO SAVORETTI, «El morire è una favola». Il motivo della finta morte tra novella e commedia nel Cinquecento » 46 FIAMMETTA D’ANGELO, Topica e canone delle arti nel Parnaso di Giulio Cesare Cortese » 65 ROSARIO PELLEGRINO, Le Lettere «romane» di Charles de Brosses » 101 ELEONORA RIMOLO, La Lydia de «L’ultimo figlio de’ poeti eolii» nel carteggio Carducci-Piva » 118 ANNUNZIATA ACANFORA, Correzioni e aggiunte alla biografia di Vincenzo Cammarano » 137 TONI MARINO, Il paratesto e il sistema della letteratura. Il caso di Lalla Romano » 175 ARIELE D’AMBROSIO, POC. Per una prassi di Poesia Orale Secondaria Contemporanea » 195 Interventi ALEssIA JOHANNA MINGRONE, L’amica geniale di Elena Ferrante: questioni di genere » 244 FRANCO VITELLI, Ricordo di Alessandro Leogrande » 254 Note e Rassegne ALBERTO GRANESE, La Storia del romanzo italiano di Gino Tellini » 258 Recensioni: A. Babbone, F. D’Astore, E. Giordano, A. Granese, S. Martelli, E. Rimolo » 266 LIBRI RICEVUTI » 294 Saggi DOMENICA FALARDO SULLE RIME DI PAOLO PACELLO Figura di spicco nel mondo culturale napoletano della seconda metà del Cinquecento, Giulio Cortese1 compone un sonetto in occasione della morte di Paolo Pacello testimoniandone la portata e la peculiarità dell’esperienza letteraria: Questa è l’urna funebre, che raccoglie d’Apollo e di Minerva il pregio estinto cui ferno a gara trionfar avinto de le più verdi et honorate foglie. Queste son le famose e ricche spoglie di chi si scorge in mille inchiostri pinto utile e dolce e de’ suoi raggi cinto sovra ogni stella hormai splende e s’estoglie. Dà carmi al sacro cener’ e rinfiora l’obietto de gli allori, e de l’olive tu, cui fa Palla e Febo a l’arti essempio. 1 Di origine modenese o napoletana, Giulio Cortese, uomo di vasta cultura molto attivo nell’ambito delle accademie napoletane, nacque intorno al 1530 e fu un sacerdote particolarmente attento alle questioni teologiche; autore di testi in versi e in prosa, si occupò di teoria poetica. Credendo nell’uso sociale del codice poetico e rifuggendo dall’“artificio” fine a se stesso, dallo svuotamento semantico della parola e dalla vacuità letteraria, nei suoi trattati considera la poesia prevalentemente strumento scientifico di co- noscenza del reale e veicolo del «concetto» grazie alle capacità figurative dell’«elocuzione». Rime et prose […] (Napoli, Cacchi, 1592) è il titolo di un volume che raccoglie le sue opere più importanti (cfr. L. BOLZONI, Le prose letterarie di Giulio Cortese: una fonte della giovanile “Poetica” campanelliana, in «Giornale storico della letteratura italiana», 1971, CXLVIII, pp. 316-326; G. FERRONI, A. QUONDAM, La “locuzione artificiosa”. Teoria ed esperienza della lirica a Napoli nell’età del Manierismo, Roma, Bulzoni, 1973, pp. 178-197, 414-422; L. BOLZONI, Note su Giulio Cortese. Per uno studio delle Accademie napoletane di fine ’500, in «Rassegna della letteratura italiana», 1973, LVII, pp. 475-499; A. QUONDAM, La parola nel labirinto. Società e scrittura del Manierismo a Napoli, Bari, Laterza, 1975, pp. 100- 107; per ulteriori notizie biobibliografiche su Giulio Cortese cfr. ad vocem, N. PENNISI, 5 in Dizionario Biografico degli Italiani (DBI), XXIX, 1983). DOMENICA FALARDO Già ch’a Pacelli in ciel l’eccelse e dive Muse fan balli e canti, in terra honora il sasso, che dovrebbe esser un tempio2. A parte gli scarni riferimenti contenuti in qualche opera di caratte- re storico3, per una ricostruzione del profilo di Paolo Pacello, poeta e oratore meridionale, nato ad Aversa nel 1537 o nel 15384 e trasferitosi a 2 G. CORTESE, Rime et prose, cit., p. 30. Nella trascrizione dei testi a stampa antichi ho seguito criteri conservativi limitandomi a distinguere la u dalla v, a regolarizzare i segni diacritici e ad intervenire sulla punteggiatura al fine della chiarezza degli enunciati. 3 Cfr. S. MAZZELLA, Descrittione del Regno di Napoli […], Napoli, Giovan Battista Cappelli, 1586, p. 21; G. PARENTE, Origini e vicende ecclesiastiche della città di Aversa, con documenti editi e inediti, Napoli, Tipografia di Gaetano Cardamone, 1858, II, pp. 201, 625-626; P. A. SUMMONTE, Historia della città e Regno di Napoli […], Napoli, Raffaello Gessari, 1748, I, pp. 19, 43. 4 Paolo Pacello è autore di testi in versi e in prosa in massima parte inediti. Un’orazione scritta per il vescovo di Aversa Giorgio Manzuolo è l’unica opera da lui direttamente pubblicata: Oratione di Paolo Pacelli [sic!] d’Aversa, nella quale si rallegra a nome pubblico con l’Illustriss. et Reverendiss. Monsignor Conte Giorgio Manzuolo da Bologna creato Vescovo d’Aversa, In Napoli, Appresso Giovan Battista Cappelli, MDLXXXIII (cfr. N. TOPPI, Bibliotheca napoletana et apparato a gli huomini illustri in lettere di Napoli e del Regno […], Napoli, Bulifon, 1678, p. 236; G. B. TAFURI, Istoria degli scrittori nati nel Regno di Napoli, Napoli, Severini, 1753, III, p. 237). Le rime pacelliane sono tràdite dai seguenti mano- scritti vergati da mani diverse: XIII D 37, XIII D 30, XV E 48 della Biblioteca Nazionale di Napoli e Pal. 648 della Biblioteca Palatina di Parma. Il corpus del manoscritto XIII D 37, composto da 134 carte, sul dorso del quale si legge «Rime e Prose», è costituito da due membri, come si rileva dalla numerazione che dopo la c. 110v ricomincia da 1 e dalla diversa qualità della carta tra le due sezioni. Assunto come testo di base nel presente lavoro, essendo il più ricco di componimenti (alcuni dei quali non scritti da Pacello ma a lui indirizzati) e, probabilmente, il più antico, tale manoscritto, vergato presumibilmente nel XVI secolo exeunte, contiene testi in versi, una lettera e alcune orazioni non trascritte negli altri testimoni, ma non reca qualche testo riportato in questi ultimi. Inoltre, alcuni componimenti di Pacello sono presenti nei seguenti manoscritti miscellanei: XXVIII 2 19 e XXVIII 1 10 della Biblioteca Oratoriana dei Girolamini e Brancacciano II A 10 della Biblioteca Nazionale di Napoli. Tra le raccolte di rime a stampa che recano testi pacelliani: Rime di Diversi Eccellenti Autori in morte della Illustrissima Signora D. Hippolita Gonzaga (Napoli, Gio. Maria Scotto, 1564), pp. 1, 30, 87, 88; Rime et versi in lode della Illustrissima et Eccellentissima Signora Donna Giovanna Castriota Carafa […] raccolti da D. Scipione de’ Monti (Vico Equense, Cacchi, 1585), pp. 119, 120, 161, 162; Rime et prose di Giulio Cortese, cit., p. 51; Rime di Ascanio Pignatelli (Napoli, Giovan Tomaso Todino, 1593), p. 84; Raccolta di Rime di poeti napoletani non più ancora stampate e dedicate all’Illu- strissimo ed Eccellentissimo Sig. D. Paolo di Sangro […] (Napoli, Stamperia di Domenico Antonio Parrino, 1701), pp. 173-197 (le pagine 196 e 197 contengono testi indirizzati 6 a Pacello); Rime de’ più illustri poeti italiani scelte dall’abate Antonini (Parigi, Musier, 1732), Sulle Rime di Paolo Pacello Napoli dove visse da «prete letterato» ed ebbe contatti con importanti intellettuali, una fonte determinante è offerta da Angelo Borzelli il quale dichiara: «La vita di Pacello è tutta da tessere, se più fortunato ricercatore vi si vorrà provare. Io, ad altro mostrando, mi son fermato a tempo per non impiegar oltre fatica in una ricerca negativa»5. Così Angelo Borzelli si esprime sulla produzione in versi dell’autore che definisce «Giano dalla doppia sembianza»6: Le poesie del Pacello, quelle che, raccolte da altri alla men peggio, sono giunte insino a noi, o cantano d’amore, o muovono dall’ira per riprendere e rispondere ai suoi nemici, o fan la satira particolare di uomini e di fatti pubblici, le quali ultime, è ben dirlo presto, avrebbero un grandissimo valore morale se non fossero precedute o seguite da lodi date a piene mani e in palese a chi di nascosto si bollò di vile e di infame e sempre si coprì di ridicolo7. Se da un lato, infatti, sostenendone peraltro la paternità in un periodo in cui molti autori pubblicavano testi satirici in forma anonima, Pacello attacca aspramente l’incapacità, l’avidità e la corruzione di nobili, eccle- siastici e funzionari italiani e spagnoli esprimendo liberamente «il pensier suo in versi»8, talvolta dall’altro, ricevuto l’incarico di una difesa d’ufficio, in qualità di oratore pubblicamente li difende e sostiene di fronte a Filippo II.
Load more

Recommended publications
  • The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Surreal Voice in Milan's Itinerant Poetics: Delio Tessa to Franco Loi Jason Collins The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4143 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SURREALIST VOICE IN MILAN’S ITINERANT POETICS: DELIO TESSA TO FRANCO LOI by JASON M. COLLINS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 i © 2021 JASON M. COLLINS All Rights Reserved ii The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _________________ ____________Paolo Fasoli___________ Date Chair of Examining Committee _________________ ____________Giancarlo Lombardi_____ Date Executive Officer Supervisory Committee Paolo Fasoli André Aciman Hermann Haller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Surreal Voice in Milan’s Itinerant Poetics: Delio Tessa to Franco Loi by Jason M. Collins Advisor: Paolo Fasoli Over the course of Italy’s linguistic history, dialect literature has evolved a s a genre unto itself.
    [Show full text]
  • The Big Brother Television Audience
    The Corinthian Volume 4 Article 1 2002 Reality Television Goes Interactive: The Big Brother Television Audience Lisa Gandy Georgia College & State University Lisa McChristian Elon College Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the Mass Communication Commons Recommended Citation Gandy, Lisa and McChristian, Lisa (2002) "Reality Television Goes Interactive: The Big Brother Television Audience," The Corinthian: Vol. 4 , Article 1. Available at: https://kb.gcsu.edu/thecorinthian/vol4/iss1/1 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. Reality Television Goes Interactive Reality Television Goes Interactive: The Big Brother Television Audience Lisa Gandy Lisa McChristian Student Group Leader Student Group Leader Georgia College & State University Elon College Abstract Reality television was taken to a new realm in the summer of 2000. Television audiences and Internet audiences were married through a voyeuristic, interactive experience. This study attempted to better understand the audience attracted to these interactive, realistic tel­ evision shows. Utilizing previous studies on audience interactivity, a random telephone survey of Big Brother viewers was administered. Big Brother viewers that browsed the show's website before and after the show were demographically more likely to be younger, more educated, and own computers. Big Brother website visitors were significantly more likely to plan to watch the television show, eliminate distractions to that viewing and be more involved during the television show than non-Internet website users. Introduction This project attempted to learn more about the viewers and lev­ els of audience interactivity of the new, voyeuristic CBS television show Big Brother.
    [Show full text]
  • Matteo Garrone's Reality:The Big Brother Spectacle and Its Rupture
    Bucknell University Bucknell Digital Commons Faculty Journal Articles Faculty Scholarship Winter 1-1-2016 Matteo Garrone's Reality:The Big Brother Spectacle and its Rupture Anna Paparcone Bronner Bucknell University, [email protected] Follow this and additional works at: https://digitalcommons.bucknell.edu/fac_journ Part of the Composition Commons, Italian Literature Commons, Music Performance Commons, Television Commons, and the Visual Studies Commons Recommended Citation Bronner, Anna Paparcone. "Matteo Garrone's Reality:The Big Brother Spectacle and its Rupture." MLN (2016) : 270-289. This Article is brought to you for free and open access by the Faculty Scholarship at Bucknell Digital Commons. It has been accepted for inclusion in Faculty Journal Articles by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. 0DWWHR*DUURQH·V5HDOLW\7KH%LJ%URWKHU6SHFWDFOHDQG,WV5XSWXUH $QQD3DSDUFRQH 0/19ROXPH1XPEHU-DQXDU\ ,WDOLDQ,VVXH SS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,POQ )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by Cornell University (4 May 2016 02:10 GMT) Matteo Garrone’s Reality: The Big Brother Spectacle and Its Rupture ❦ Anna Paparcone In his 1967 seminal work The Society of the Spectacle, Guy Debord wrote: “In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation” (thesis 1). The opening of Debord’s book aptly describes what occurs in Matteo Garrone’s 2012 filmReality whose protagonist, an exuberant fishmonger by the name of Luciano Ciotola, becomes obsessed with his participation in the reality TV show Big Brother to the point that his entire life turns into a spectacle.
    [Show full text]
  • Hungary and the Holocaust Confrontation with the Past
    UNITED STATES HOLOCAUST MEMORIAL MUSEUM CENTER FOR ADVANCED HOLOCAUST STUDIES Hungary and the Holocaust Confrontation with the Past Symposium Proceedings W A S H I N G T O N , D. C. Hungary and the Holocaust Confrontation with the Past Symposium Proceedings CENTER FOR ADVANCED HOLOCAUST STUDIES UNITED STATES HOLOCAUST MEMORIAL MUSEUM 2001 The assertions, opinions, and conclusions in this occasional paper are those of the authors. They do not necessarily reflect those of the United States Holocaust Memorial Council or of the United States Holocaust Memorial Museum. Third printing, March 2004 Copyright © 2001 by Rabbi Laszlo Berkowits, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Randolph L. Braham, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Tim Cole, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by István Deák, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Eva Hevesi Ehrlich, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Charles Fenyvesi; Copyright © 2001 by Paul Hanebrink, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Albert Lichtmann, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by George S. Pick, assigned to the United States Holocaust Memorial Museum In Charles Fenyvesi's contribution “The World that Was Lost,” four stanzas from Czeslaw Milosz's poem “Dedication” are reprinted with the permission of the author. Contents
    [Show full text]
  • Campus ______141 Aula De Cant Coral I I II______141
    Universitat de Vic GUIA DE L’ESTUDIANT 2007-2008 FACULTATD’EMPRESA I COMUNICACIÓ LLICENCIATURA DE COMUNICACIÓ AUDIOVISUAL Primera edició:juliol de 2007 Edita:Servei de Publicacions de la Universitat de Vic Carrer de Perot Rocaguinarda,6.08500 Vic.Tel.93 889 48 77 Universitat de Vic.Carrer de la Sagrada Família,7.08500 Vic.Tel.93 886 12 22.Fax 93 889 10 63 Impressió:Artyplan ÍNDEX Presentació __________________________________________________________________________________________________________________________________________________ 7 Facultat d’Empresa i Comunicació _______________________________________________________________________________________________________ 9 Estructura __________________________________________________________________________________________________________________________________________________ 9 Òrgans de Govern_______________________________________________________________________________________________________________________________________ 9 Departaments,Professorat i Professionals dels Serveis _____________________________________________________________________ 11 Calendari Acadèmic ___________________________________________________________________________________________________________________________________ 15 Organització dels Ensenyaments ______________________________________________________________________________________________________________________ 17 Pla d’Estudis _______________________________________________________________________________________________________________________________________________________________
    [Show full text]
  • Glass Architecture to Big Brother Lost Dimension, Trans
    published in Russian until 1954, and even then was no way of shutting it off completely’. Nineteen not in Russia. Despite the closeness of the subject Eighty-Four, Clarendon Press, Oxford, 1984, p. 157. matter to Eisenstein’s ‘Glass House’ idea, it is 37. Orwell, p. 158. uncertain if he ever read it. He doesn’t mention it 38. Orwell, p. 161. in his autobiography. 39. This contrast between the modern city and an 26. Yevgeny Zamyatin, We, trans. M. Ginsburg, New ancient dwelling or room which contains memory York, the Viking Press, 1972, p. 19. traces, not only of another society but an atavistic 27. Walter Benjamin, ‘Paris: Capital of the Ninenteenth identity, is common to both We and Nineteen Century’ (Exposé of 1935), The Arcades Project, Eighty-Four. It is also a device used in another trans. H. Eiland and K. McLaughlin, Cambridge, classic futuristic novel of the period, Thea von Mass., Belknap Press, 1999, p. 6. My interpolation Harbou’s Metropolis, which formed the basis for her in brackets. husband Fritz Lang’s influential 1926 film. 28. See Forrest Wilson, ‘Covering Holes in the Wall’, 40. It remains curious that Orwell didn’t see the Architecture, vol. 77, no. 8, 1988, p. 96. ubiquity of the telescreen extending ‘downward’ 29. ‘The Third Window’ in C. Schneider and B. Wallis to the proles. However, this allows him to indulge (eds), Global Television, New York, Wedge Press a certain nostalgia for working class solidarity, from and Cambridge, MA, MIT Press, 1988, pp. 185– while foregrounding the role of propaganda 97.
    [Show full text]
  • Viewership of Big Brother Africa Reality Tv Show and Its Influence on the Moral Conduct of Undergraduate Students in Ebonyi State University, Abakaliki, Nigeria
    Global Journal of Arts Humanities and Social Sciences Vol.3, No.5, pp.1- 15, May 2015 Published by European Centre for Research Training and Development UK (www.eajournals.org) VIEWERSHIP OF BIG BROTHER AFRICA REALITY TV SHOW AND ITS INFLUENCE ON THE MORAL CONDUCT OF UNDERGRADUATE STUDENTS IN EBONYI STATE UNIVERSITY, ABAKALIKI, NIGERIA Kenneth Adibe Nwafor (Ph.D) Lecturer, Department of Mass Communication, Ebonyi State University, Abakaliki, Nigeria. Ezike, Michael Onyekachi Department of Mass Communication, Ebonyi State University, Abakaliki, Nigeria. ABSTRACT: ‘Big Brother Africa’ is a reality television show in which a group of persons are brought together in secluded large house, isolated from the outside world, and made to live together while being continuously watched by television cameras. According to Chikafa (2012), the concept was borrowed from George Orwell’s novel of 1984 titled ‘fictional dystopia of Oceania’ in which he described a world of never-ending surveillance. In the novel, the dictator who watched over the citizens of Oceania was called Big Brother; his terrifying slogan was ‘Big Brother is watching you’. In the Big Brother television show, contestants confined in the house compete to escape eviction in order to win the prize money. The reality TV show debuted on the African continent in 2003 and has remained an annual event till date. This study investigated the viewership of the programme and its influence on the moral conducts of undergraduate students of Ebonyi state university, Abakaliki, Nigeria. The study adopted both qualitative and quantitative research designs, using a triangulation of data collected with survey questionnaire and oral interviews.
    [Show full text]
  • THE TRUTH ABOUT JADE Jade Goody Died As She Lived — in the Media Spotlight
    Cover Story Jade Goody THE TRUTH ABOUT JADE Jade Goody died as she lived — in the media spotlight. But did its glare obscure the fact that she could have survived? Investigation: David James Smith n her own account, Jade Goody’s “la-la” was examined at the Princess Alexandra hospital in Harlow just before she went to India at the beginning of August last year. The hospital gave Goody the okay to travel to Mumbai, where she had been signed up to appear in the local version of the reality-television show Big Brother — known in India as Bigg Boss. Almost as an afterthought, in Goody’s version of events, the hospital invited her to have a cervical smear before she went on her way. Goody submitted to the test, but was still unhappy at the intense pains down her leg and the excessive vaginal bleeding she was suffering: on their own, either could be a warning of the cancer; taken together they ought to have been a red alert. At the age of 27, Jade’s entire existence was based on the fame her chippy cockney persona had earned her. She would say she had been “nothing” before she became famous as a Big Brother contestant in 2002. Big Brother had created Jade, and Big Brother had destroyed Jade — Jade Goody on her exposing her to public hatred and ridicule after she was wedding day, February 22, accused of racism during Celebrity Big Brother in 2007. She 2009. One month later had lost everything, was still only just clawing her way back she died in her sleep 20 two years later, and now here she was in a hospital.
    [Show full text]
  • Big Impacts 1
    BIG BROTHERS BIG SISTERS OF HALTON AND HAMILTON SPRING 2019 BIG IMPACTS 1. FEATURE STORY 3. PARTNER’S CIRCLE 5. PROGRAM SPOTLIGHT 2. SANDRA’S PICK 4. MARIANNE’S MENTION 6. BIG MOMENTS 2. BULLETIN BOARD 4. LIFE AT OUR TIM HORTONS 7. ANNOUNCEMENTS MENTORSHIP BUILT ON ICE “He’s the absolute perfect match. He checks off every box of Each week curling is followed by hot chocolate and conversa- what an ideal match is,” says Blair about his Little Brother. tion. Sometimes they talk about problems or issues, says Jack. Ten-year-old Jack is equally enthusiastic. He calls his Big Brother Blair says the most noticeable change in Jack through the Big his “fun friend,” saying, “He’s a great fit.” Brother program is that he has come out of his shell and now Matched for 18 months, the two clicked immediately. Both openly engages with others. Over the course of their match, Blair thrive on being active and enjoy that they share this in common. says Jack’s confidence has improved. He attributes this Each week, Blair and Jack have two outings. Blair is teaching Jack confidence boost in part to curling and equally to the time they how to skate one evening a week, and they spend their other spend together. “We have a lot of talking time as well as on-ice outing curling, which has become one of their favourite shared time,” says Blair. activities. Blair says time spent with Jack is one of his weekly “One of the big things I noticed when we were first matched highlights.
    [Show full text]
  • Welcome to Hungary!
    WELCOME TO HUNGARY! We are happy that you have chosen Hungary as the place of your AFS year and that you are interested in our country, its people, history, culture and the way we think and live. We are looking forward to meeting you soon! In order to help your orientation and preparation for the coming AFS school year, AFS Hungary prepared this booklet for your information. You will find sections, which give you a brief introduction to our country, its people, and a basic vocabulary of our language and some facts that help you during your daily life. Please read this booklet carefully. We hope you will find it helpful. Have a good preparation for this coming experience and see you soon here in Hungary! AFS Hungary Visit us at www.afs.hu ! Table of contents Geography & Climate 3 Population and Religion 3 History 4 Language 5 Public Holidays 5 Telephone 6 Hungarian Money 6 Education & Schools 7 Social life 8 Family 9 Special Events 9 What to bring 10 Hygiene 11 AFS Hungary offers 11 Events 11 Counselling 12 Reimbursement 12 AFS rules 13 Basic Hungarian 15 AFS office 24 2 GEOGRAPHY AND CLIMATE Hungary is in the geometrical centre of Europe, so Hungarians prefer to think of it as being in the heart of Europe, rather than Eastern Europe. The country is located in the Carpathian Basin surrounded by mountains. Hungary shares its borders with Austria in the west, Slovakia in the north, the Ukraine in the north-east, Romania in the south-east and the former Yugoslavian countries in the south.
    [Show full text]
  • Editshare Captures the Reality of Big Brother Spain CUSTOMER STORY
    CUSTOMER STORY Editshare Captures The Reality Of Big Brother Spain Gran Hermano (Big Brother Spain) and Gran and, of course, the weekly show itself,” comments Hermano VIP, are a phenomenon and an Zeppelin’s Technical Director, Jose Luis Gacal. institution in Spain with over 22 seasons created “The sheer volume combined with the tempo and aired on the nationwide channel, Telecinco. of the daily video packages means we have to All the Gran Hermano series are produced by have several people viewing and developing the Madrid-based Zeppelin TV – an EndemolShine storyline at all times. We have staff working on owned company. Big Brother Spain has now just multiple projects around the clock to sift through finished its 17th season, making it the longest content, create a theme and output a must- running Big Brother series across the franchise. watch program.” Following the George Orwell all-seeing “1984” In addition to outputting video packages daily, concept, Big Brother Spain groups together Zeppelin TV is responsible for ensuring the individuals from all walks of life and isolates them production is made live via the web. Jose Luis in a fully furnished compound that tracks their explains, “This type of production schedule every move and every opinion live, 24 hours a day, requires us to manage different types of seven days a week. Like most reality shows, there programs on a daily basis: the daily videos, the are competitions, villains, drama and weekly weekly series, the commercials and trailers, eliminations, leaving a big prize for the last and the broadcasts on the web.
    [Show full text]
  • MATHEMATICS TEACHING for the FUTURE Editors: Margita Pavleković, Zdenka Kolar-Begović, Ružica Kolar-Šuper
    MATHEMATICS TEACHING FOR THE FUTURE MATHEMATICS Editors: Margita Pavleković, Zdenka Kolar-Begović, Ružica Kolar-Šuper MATHEMATICS TEACHING FOR THE FUTURE Editors: Margita Pavleković Zdenka Kolar-Begović Ružica Kolar-Šuper ISBN 978-953-197-583-4 Josip Juraj Strossmayer University of Osijek Faculty of Teacher Education and Department of Mathematics Sveuciliˇ steˇ Josipa Jurja Strossmayera u Osijeku Uciteljskiˇ fakultet i Odjel za matematiku MATHEMATICS TEACHING FOR THE FUTURE POUCAVANJEˇ MATEMATIKE ZA BUDUCNOST´ monography / monografija Editors / Urednice: Margita Pavlekovic´ Zdenka Kolar-Begovic´ Ruzicaˇ Kolar-Superˇ Zagreb, 2013 Josip Juraj Strossmayer University of Osijek / Sveuciliˇ steˇ Josipa Jurja Strossmayera u Osijeku Mirta Bensiˇ c´ Radoslav Galic´ Zdenka Kolar-Begovic´ Ruzicaˇ Kolar-Superˇ Ivan Matic´ Margita Pavlekovic´ Rudolf Scitovski Nenad Suvakˇ Simeˇ Ungar Marijana Zekic-Su´ sacˇ University of Zagreb / Sveuciliˇ steˇ u Zagrebu Blazenkaˇ Divjak Sibe Mardesiˇ c,´ academician Zeljkaˇ Milin Sipuˇ sˇ Mirko Polonijo Vladimir Volenec Foreign universities / Sveuciliˇ staˇ izvan Hrvatske Sefketˇ Arslanagic´ (Bosnia and Herzegovina / Bosna i Hercegovina) Mara Coticˇ (Slovenia / Slovenija) Darjo Felda (Slovenia/Slovenija) Eva´ Kopasz (Hungary/Madarska) Emil Molnar´ (Hungary/Madarska) Marta Takacˇ (Serbia/Srbija) Monograph referees / Recenzenti monografije: Sibe Mardesiˇ c,´ academician (Croatia / Hrvatska) Simeˇ Ungar (Croatia / Hrvatska) Eva´ Kopasz (Hungary / Madarska) Mara Coticˇ (Slovenia / Slovenija) A Word from the Editors The overall social turmoil of the present times, especially in the area of econ- omy and finance, is reflected in science, education and culture. The leadership of many countries is seeking the way out of the global crisis by stimulating the development of science and education. It is expected of scientists and teams of educationists to create new solutions by means of which to tackle the problems of shaken existence within the layers of contemporary social reality.
    [Show full text]