Italian Renaissance Plays in the University of Toronto Library

1966 ◽  
Vol 19 (3) ◽  
pp. 219-228
Author(s):  
Beatrice Corrigan
Keyword(s):  
Seventeenth Century ◽  
The Other ◽  
Italian Renaissance ◽  
Commedia Dell'arte ◽  
Italian Translation ◽  
University Of Toronto ◽  
Dramatic Form ◽  
The University

Since 1963, when I published in Renaissance News (XVI,4, 298-307) a supplement to my Catalogue of Italian Plays, 1500-1700 in the University of Toronto Library (University of Toronto Press, 1961), the collection has been enriched by some fifty plays. Particularly interesting are the first Italian translation of Aristophanes; a group of the musical plays whose vogue grew steadily during the seventeenth century; and a couple of examples, Italian and Latin, of the other new musico-dramatic form of the period, the oratorio. Noteworthy also is Benetti's Scherno di Giove, a curious blending of mythology and commedia dell'arte which survived in the ‘classical’ burlesques of the Victorian theatre.

Italian Renaissance Plays in the University of Toronto Library: Supplement III

1974 ◽  
Vol 27 (4) ◽  
pp. 512-532
Author(s):  
Beatrice Corrigan
Keyword(s):  
Seventeenth Century ◽  
Italian Renaissance ◽  
Valuable Source ◽  
Passion Plays ◽  
University Of Toronto ◽  
The Third ◽  
Wide Range ◽  
The University

The Editorial Board of Renaissance Quarterly is most kindly continuing its tradition in Renaissance News by allowing me to publish the third supplement to the Catalogue of Italian Plays 1500-1700 in theUniversity of Toronto Library (University of Toronto Press, 1961). Previous supplements appeared in RN16 (1963), 298-307, and 19 (1966), 219-228. The plays listed below illustrate a wide range of theatrical tastes, from Latin and Italian passion plays, medieval in tradition, to the later dominant vogue for musical dramas. In editions of the latter it became customary early in the seventeenth century to record architects, costumers, and performers, so that the printed plays are a valuable source for stage history. Scenery for four of these dramas was designed by Ferdinando and Francesco Galli di Bibbiena, then at the outset of their careers.

scholarly journals Night Call in a Teaching Hospital: 1979 and 2019

2019 ◽  
Vol 14 (12) ◽  
pp. 782-784
Author(s):  
Shaurya Taran ◽  
Benjamin Chin-Yee ◽  
Allan S Detsky
Keyword(s):  
General Hospital ◽  
Teaching Hospital ◽  
Massachusetts General Hospital ◽  
The Other ◽  
University Of Toronto ◽  
Night Call ◽  
The University

No matter the era, few aspects of residency are more defining or memorable than overnight call. Nights can be a time of growth and learning but also of fear and uncertainty, as residents take on the responsibility of managing sick patients on their own. One of us (ASD) started his residency in 1978 at the Massachusetts General Hospital in Boston; the other two (ST and BCY) started theirs in 2016 and 2017, respectively, at the University of Toronto. In this essay, we reflect on our experiences of night call separated by 40 years, highlighting what has changed and what has stayed the same.

Dissimulation in the Commedia dell’Arte Scenarios of Flaminio Scala, 1611

2015 ◽  
Vol 31 (4) ◽  
pp. 312-328
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Commedia Dell'arte ◽  
John Cage ◽  
Early Modern Europe ◽  
Considerable Part ◽  
The Unconscious ◽  
University Of Illinois ◽  
Ways Of Coping ◽  
University Of Toronto

Commedia dell’arte was the most influential and widespread theatre movement in sixteenth- and early seventeenth-century Europe. A considerable part of its popularity can be accounted for by its comic representations of stressful occurrences within everyday life in early modern Europe, including its representations of the period’s widespread dissimulation. Among other things, the theatricality of commedia dell’arte provided a way for the audience briefly to dissociate itself from and to fantasize about ways of coping with dissimulation. A number of characteristics of commedia dell’arte, including disguise, lying,tricks, spying and gossip, and portrayals of honour, previously seen as separate, cohere in the concept of dissimulation. Natalie Crohn Schmitt is Professor of Theatre and of English, Emerita, University of Illinois at Chicago. She recently published Befriending the Commedia dell’Arte of Flaminio Scala: the Comic Scenarios (Toronto: University of Toronto Press, 2014). In New Theatre Quarterly she has published ‘Stanislavski, Creativity, and the Unconscious’ (Vol. II, No. 8); ‘Theorizing about Performance: Why Now’ (Vol. VI, No. 23);‘ “So Many Things Can Go Together”: the Theatricality of John Cage’ (Vol. XI, No. 41); and ‘The Style of Commedia dell’Arte Acting’ (Vol. XXVIII, No. 4).

Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body

2010 ◽  
Vol 63 (1) ◽  
pp. 1-43 ◽  
Author(s):  
Emily Wilbourne
Keyword(s):  
Seventeenth Century ◽  
Popular Music ◽  
Black Male ◽  
Ethnic Difference ◽  
The Body ◽  
The Other ◽  
Commedia Dell'arte ◽  
The Relationship

This article examines at the relationship between epistemologies of sound, repertoires of popular music, and markers of ethnic difference in early seventeenth-century Italy. The analysis concentrates on two scenes from the 1612 commedia dell'arte play Lo Schiavetto (“The Little Slave”). In one, an Italian nobleman disguises himself as a mute Jew, in the other, a young Italian noblewoman sings while cross-dressed as a black, male slave. Questions of embodiment are considered, as are the specific historical circumstances of the work's original performers, Virginia Ramponi Andreini, detta Florinda, and her husband, Giovan Battista Andreini, detto Lelio. Musical discussion focuses on the genre of the madrigal comedy (with particular attention to Orazio Vecchi's L'Amfiparnaso) and Giulio Caccini's Le nuove musiche e nuova maniera di scriverle (1614).

scholarly journals One Hundred Years of Insulin

2021 ◽  
Vol 43 (4) ◽  
pp. 37-37
Keyword(s):  
Diabetes Mellitus ◽  
Medical Student ◽  
World War I ◽  
Nobel Prize ◽  
The Other ◽  
Metabolic Effects ◽  
World War ◽  
University Of Toronto ◽  
Canadian Physician ◽  
The University

Abstract The 1923 Nobel Prize in Physiology or Medicine was awarded jointly to Canadian physician Frederick Grant Banting (1891-1941) and Scottish biochemist and physiologist John James Macleod (1876-1935) “for the discovery of insulin”. It was a remarkable finding since diabetes mellitus was an untreatable and often lethal disease until then. Much has been written about Banting and Macleod’s breakthrough research conducted at the University of Toronto starting in November 1920, including the key roles played by their trustworthy assistants, medical student Charles Best and biochemist James Collip. On the other hand, much less has been written about the pioneering research of Romanian physiologist Nicolae Paulescu (1869-1931), whose work on the metabolic effects of canine pancreatic extracts predates that of Banting and Macleod but was interrupted by World War I. Should Best, Collip, or Paulescu have also shared the Nobel Prize?

Possession

2020 ◽  
pp. 361-383
Keyword(s):  
Seventeenth Century ◽  
The Other ◽  
Public Performance ◽  
Demonic Possession ◽  
Court Records ◽  
Imperial Russia ◽  
Dramatic Form ◽  
Witchcraft Trials

This chapter addresses the appearance of demonic possession in seventeenth-century Muscovite witchcraft trials. Klikushestvo, usually translated as “shrieking” or “possession,” was a particularly dramatic form of magical affliction, one that horrified Russian communities and fascinated onlookers by its nightmarish manifestations. As recorded in both miracle tales and court records, possession was often, but not always, attributed to the malevolent acts of witches and sorcerers. Another disturbing condition in Muscovy and imperial Russia, often but not always observed alongside the other characteristics of klikushestvo and sometimes thrown into general symptomology of possession, was ikota — literally, hiccupping. With their dramatic manifestations, klikushestvo and ikota in the Russian lands and the less dramatic (but no less frightening) forms of demonic possession in the Ukrainian lands involved families and communities in shared collective performances. Performance in this sense does not connote any falsehood; rather it underscores the extent to which possession can never be a truly solitary act. It is theatrical in its essence, a public performance. Collective consensus, a shared assessment between afflicted and witnesses, completed and validated possession cases.

Grave vs. agudo in two dialects of Spanish: a study in voice register and intonation

1975 ◽  
Vol 5 (2) ◽  
pp. 84-91
Author(s):  
Carroll L. Olsen
Keyword(s):  
Mexico City ◽  
Spanish Speakers ◽  
Spanish America ◽  
The Other ◽  
Objective Data ◽  
Native Spanish Speakers ◽  
High Pitch ◽  
Northern Spain ◽  
University Of Toronto ◽  
The University

Spanish intonation has been described by several authors and linguists with a variety of subjective terms. Those adjectives which recur most frequently are GRAVE and AGUDO. Grave, which seems to mean ‘low pitch’, is assigned mainly to the dialects of northern Spain and especially to Castilian; agudo, on the other hand, seems to mean ‘high pitch’ and is frequently used to describe the dialects of Spanish America. In this article some objective data will be presented on voice register and intonation in two dialects of Spanish, those of Madrid and Mexico City, as a first step in clarifying the use of these two subjective terms. The results of research presented here are based on tape-recorded interviews with native Spanish speakers and an electronic analysis of those recordings by the Léon-Martin pitch extractor at the University of Toronto.

A COMPARISON OF MICROBIAL ACTIVITY IN AN ONTARIO FOREST SOIL UNDER PINE, HEMLOCK, AND MAPLE COVER

1954 ◽  
Vol 1 (1) ◽  
pp. 45-54 ◽  
Author(s):  
F. E. Chase ◽  
G. Baker
Keyword(s):  
Forest Soil ◽  
Microbial Activity ◽  
Soil Samples ◽  
The Other ◽  
Nitrifying Bacteria ◽  
Garden Soil ◽  
Organic Layer ◽  
Plate Method ◽  
University Of Toronto ◽  
The University

Soil samples, taken by horizons, were obtained from the University of Toronto Forest near Dorset under stands of maple, hemlock, and pine. Counts of bacteria, actinomycetes, and fungi made by the plate method indicated that in general the organic layer contained the largest population, and also that in the organic layer under conifers the fungi exceeded the combined counts of the other two groups, whereas under maple the bacteria predominated. Using the perfusion method, nitrification did not occur to any extent in these forest soil samples except when lime was added, and even then nitrification started very slowly unless a few crumbs of garden soil were added, presumably as a source of active nitrifying bacteria.

Italian Renaissance Plays

1963 ◽  
Vol 16 (4) ◽  
pp. 298-307
Author(s):  
Beatrice Corrigan
Keyword(s):  
Italian Renaissance ◽  
Renaissance Drama ◽  
University Of Toronto ◽  
History Of ◽  
The University

In 1961 I published a Catalogue of Italian Plays, 1500–1700, in the Library of the University of Toronto (University of Toronto Press). Since then the Library has acquired several more plays, some of them of major importance in the history of Renaissance drama. Of outstanding interest are the first edition of Giordano Bruno's Il Candelaio, the first edition of the prose version of Ariosto's Gli suppositi, the first edition of Ottavio Rinuccini's L'Euridice, and the 1620 edition of Prospero Bonarelli's Il Solimano with the handsome plates etched by Jacques Callot.

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