A wealth of psycholinguistic evidence has shown that words, before being visually recognized, decompose into smaller orthographic units which may seem to correspond to, but aren’t necessarily, morphemes. Such a procedure of morphological decomposition is commonly assumed to solely rely on islands of regularity – namely, statistical orthographic regularities, with no regard to the words’ meaning. Building on these results, the present investigation assesses the sensitivity of decomposition to non-semantic (i.e., phonological, lexical, and morpho-syntactic) properties, as a way to probe the time-course of visual word processing. In showing that decomposition may also be affected by whole-word lexicality and whole-word frequency, this book proposes a novel model of lexical access, in which decomposition encompasses a multi-step mechanism that first generates multiple possible morpho-orthographic decomposition patterns of the visual stimulus, and then evaluates them in parallel in order to choose the optimal candidate for activation.
A wealth of psycholinguistic evidence has shown that words, before being visually recognized, decompose into smaller orthographic units which may seem to correspond to, but aren’t necessarily, morphemes. Such a procedure of morphological decomposition is commonly assumed to solely rely on islands of regularity – namely, statistical orthographic regularities, with no regard to the words’ meaning. Building on these results, the present investigation assesses the sensitivity of decomposition to non-semantic (i.e., phonological, lexical, and morpho-syntactic) properties, as a way to probe the time-course of visual word processing. In showing that decomposition may also be affected by whole-word lexicality and whole-word frequency, this book proposes a novel model of lexical access, in which decomposition encompasses a multi-step mechanism that first generates multiple possible morpho-orthographic decomposition patterns of the visual stimulus, and then evaluates them in parallel in order to choose the optimal candidate for activation.
What is it about Tony Soprano that makes him so amiable? For that matter, how is it that many of us secretly want Scarface to succeed or see Michael Corleone as, ultimately, a hero? What draws us into the otherwise horrifically violent world of the mafia? In The Mafia, Roberto M. Dainotto explores the irresistible appeal of this particular brand of organized crime, its history, and the mythology we have developed around it. Dainotto traces the development of the mafia from its rural beginnings in Western Sicily to its growth into a global crime organization alongside a parallel examination of its evolution in music, print, and on the big screen. He probes the tension between the real mafia—its violent, often brutal reality—and how we imagine it to be: a mythical potpourri of codes of honor, family values, and chivalry. But rather than dismiss our collective imagining of the mafia as a complete fiction, Dainotto instead sets out to understand what needs and desires or material and psychic longing our fantasies about the mafia—the best kind of the bad life—are meant to satisfy. Exploring the rich array of films, books, television programs, music, and even video games portraying and inspired by the mafia, this book offers not only a social, economic, and political history of one of the most iconic underground cultures, but a new way of understanding our enduring fascination with the complex society that lurks behind the sinister Omertà of the family business.
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
This volume contains selected papers from WIRN VIETRI-96, the 8th Italian Workshop on Neural Nets, held Vietri sul Mare, Salerno, Italy, from 23-25 May 1996. The papers cover a variety of topics related to neural networks, including pattern recognition, signal processing, theoretical models, applications in science and industry, virtual reality, fuzzy systems, and software algorithms. By providing the reader with a comprehensive overview of recent research work in this area, the volume makes an invaluable contribution to the Perspectives in Neural Computing Series. Neural Nets - WIRN VIETRI-96 will provide invaluable reading material for anyone who needs to keep up to date with the latest developments in neural networks and related areas. It will be of particular interest to academic and industrial researchers, and postgraduate and graduate students.
The year 1996 in Italian politics was a year rich in novelty. After the "stalled transition" of 1995, the political atmosphere had begun to change. Most obvious was the end of Dini's unelected government of technocrats, supported by a heterogeneous group in Parliament, and its replacement with Romano Prodi's government, a coalition of the parties that had won the general election on April 21, 1996. But an even more important change and one more likely to be remembered was a new climate of dialogue amongst the main political forces that emerged from this period of transition between two republics. In 1996, despite the general elections, cooperation again became part of the political game.
Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories--even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim, giallo is a fluid and dynamic genre that has evolved throughout the decades. This book examines the many facets of the giallo genre --narrative, style, themes, and influences. It explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, discussing their impact on society, culture and mores.
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