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The corpus includes the transcripts of 56 TV face-to-face interviews for a total of 14 hours, taken from several broadcasts of the Italian political talk show Mezz'ora, from 24 September 2017 to 14 January 2018 aired on Rai 3 channel. The show follows a fixed format, with interviews conducted by a journalist, Lucia Annunziata, to a guest, typically a prominent figure in the political or cultural scene (such as Matteo Renzi, Luigi Di Maio, Pierluigi Bersani, Walter Veltroni, Alessandro Di Battista, Angelino Alfano, Matteo Salvini, etc.). The audio signal has been transcribed using a semi-supervised speech-to-text methodology (Google API + manual correction). Annotation has been done using XML as markup language and following the TEI standard for Speech Transcripts in terms of utterances. The linguistic resource has currently 100,870 tokens. For each interview, the following information was manually annotated and is included in the XML resource file (every file was named with the broadcast date, the description lists the names of the guests interviewed): 1. metadata: these include useful information for the quick identification of transcriptions, for example, the tools used for the transcription, a link to the interview, the owner account, the title of the talk show, the date of airing, the guests, etc. 2. pause: this tag is used to mark a pause either between or within utterances. Speakers differ very much in their rhythm and in particular in the amount of time they leave between words, so the following element is provided to mark occasions where the transcriber judges that speech has been paused, irrespective of the actual amount of silence; 3. vocal: with this tag we mark any vocalized but not necessarily lexical phenomenon, for example, non-lexical expressions (i.e. burp, click, throat, etc.) and semi-lexical expressions (i.e. ah, aha, aw, eh, ehm etc.); 4. del: phenomena of speech management include false starts, repetition, and truncated words included in the transcription, but marked - in the TEI Guidelines - as editorially deleted and therefore indicated with the tag del; 5. overlap: this phenomenon is present when the speaker conveys (in a verbal or non-verbal manner) that he/she is about to finish his/her turn and the co-locutor starts speaking so that there is a slight overlap of utterances. Only for interviews longer than 50 turns, the second level of annotation was added automatically using ANVIL software (Kipp, 2001) - inspired by the MUMIN annotation scheme (Allwood et al., 2007). These files - listed with "name surname" - provide an alignment of the transcript with the original audio-video source (accessible from the link in the metadata). Below we summarize the list of gestures annotated, as described in (Allwood et al., 2007): 1. facial displays: they refer to timed changes in eyebrow position, expressions of the mouth, movement of the head and of the eyes (Cassell and others, 2000). The coding scheme includes features describing gestures and movements of the various parts of the face, with values that are either semantic categories such as Smile or Scowl or direction indications such as Up or Down; 2. hand gesture: we follow a simplification of the scheme from the McNeill Lab (Duncan, 2004). The features, 7 in total, concern Handedness and Trajectory, so that we distinguish between single-handed and double-handed gestures, and among a number of different simple trajectories analogous to what is done for gaze movement. The value Complex is intended to capture movements where several trajectories are combined; 3. body posture: this tag comprises trajectory indications for the movement of the trunk. The categories are mutually exclusive to facilitate the annotation work.

Il sito macchineteatro.ircres.cnr.it è stato realizzato nella nuova versione 2023 in html con lo scopo di poter visualizzare online con un flipping book il libro "La Pratica di fabricare Scene e Machine ne' Teatri di Nicola Sabbattini. Uno sguardo alla lingua tecnica" a cura di Grazia Biorci. La Pratica di fabricar scene e machine ne' teatri in edizione critica solo digitale è una sperimentazione delle Digital Humanities. Solo in questa versione, infatti, è possibile la fruizione dei contenuti multimediali (animazioni) derivati dall'integrazione fra la ricerca storica e filologica tradizionale e le tecnologie grafiche per l'elaborazione dei movimenti e la riproduzione di documenti originali. Il testo ha un apparato critico con focus specifico sulla lingua settoriale tecnica utilizzata nell'opera attraverso il confronto fra le definizioni in diversi dizionari storici della lingua italiana (Vocabolario della Crusca 1612 e 1623, Il Dizionario della lingua Italiana Tommaseo-Bellini, Il Grande Dizionario della Lingua Italiana di Salvatore Battaglia). L'apparato iconografico molto diffuso nel testo originale, non per ragioni artistiche, ma per permettere la piena comprensione dei contenuti tecnici, è visibile nella pagina originale a fronte della trascrizione. Per alcuni disegni tecnici, soprattutto quelli che esemplificano movimenti complessi, si è elaborata una riproduzione digitale animata che realizza alla lettera le istruzioni fornite da Sabbattini. Agendo sulla barra di avanzamento si possono zoomare le pagine per una migliore lettura. I filmati in formato .mp4 sono avviabili, quando disponibili, cliccando su "Animazione figura xx" (il tasto appare solo in corrispondenza di contenuti multimediali nel testo). Il libro è anche scaricabile in pdf cliccando sul tasto apposito della barra di avanzamento.

The history of the archaeology of Ostia Antica is dominated by the massive, hurried excavations carried out in the years 1938-41 in anticipation of the Universal Exhibition in Rome, and by the paucity of documentation related to this period. By contrast, if we examine the Ostian archives of excavations from the first two decades of the 20th century, we can uncover documentation of exceptional quality. This period begins with Vaglieri's arrival as director of excavations and continues through Calza’s appointment to that same position. These archives consist of "the most accurate" excavation journals and fortnightly reports compiled by the soprastante Finelli, plans and sections executed by draughtsmen Gatti and Gismondi, and photographs taken by the scientific staff of the Excavation Office. Unfortunately, these archives have been overlooked by many archaeologists. The documents in question are dispersed throughout the various archives of the Archaeological Park of Ostia Antica (the Historical Archives, the Photographic Archives and the Drawing Archives), so that the scholar who studies them must reconnect the missing links between them. The archaeological and epigraphic evidence was published at the time of the excavations, but in a partial way, so that many of the discoveries and results remain unknown to this day. Although these archival materials present invaluable resources for the modern archaeologist, they cannot be studied without critical evaluation. The present contribution focuses on two key aspects of this critical approach: (a) The historical context in which the excavations and documentation were carried out. Over the course of twenty years, the quality of the documentation fluctuates with current events. Archaeologists usually believe that the passing of Dante Vaglieri in December 1913 marked a turning point in the way that the excavation was documented. The situation turns out to be more complex in light of the larger historical context. Two events were as important as Vaglieri's death in determining the course of the archaeological excavations at the mouth of the Tiber: the outbreak of World War I and the construction of Ostia Nuova (modern Lido di Ostia). By comparing the excavation journals with the correspondence preserved in various Roman archives (Central State Archives, State Archives of Rome, Capitoline Historical Archives) it appears that these other events also had real consequences on the excavation and the documentation; (b) the data delivered in excavation journals: descriptions, personal observations, publications. Despite the quality of the documentation in question, the scientific criteria of the time do not correspond at all to those of today. I will focus on the excavation journals written by Finelli, which represent an indispensable source. I will first define the distinction between descriptions and personal observations, which do not have the same value for today's archaeologist. Next, I will show the importance for him of reconstructing the links between written and visual documentation (drawings and photos). Finally, I will compare excerpts from the unpublished excavation journals with excerpts from the published notes in Notizie degli Scavi in order to highlight the existence of discrepancies between documentation and publication. To illustrate this second point, I will present a case study from my doctoral thesis, which is currently being published: the eastern section of the decumanus. This example highlights the contribution and limitations of the documentation under consideration, as well as the need to study and publish all available evidence.

L’invention d’Ostie dans la première moitié du XXe siècle. La discipline archéologique face aux enjeux politiques, économiques et culturels de son temps

JAVA Wrapping for PANACEA Freeling_it Tokenizer, Lemmatizer, PosTagger Web Service. To be used in WebLicht (https://weblicht.sfs.uni-tuebingen.de/) registry.

From 1862 to 1864 a foot regiment and an artillery battery of the French Navy Troops (circa 1500 men) were engaged at land during the beginning of the Second French Intervention in Mexico. They were used as a combat force, from the port of Veracruz to the central city of Puebla, on the road to Mexico City. They took part in the two battles of Puebla (may 1862 and march-may 1863) where they fought gallantly. Their main mission, however, was to protect the convoys, to be a garrison among the Mexican people and to pursue the guerrillas who were hostile to the French presence. From August 1863, the infantry was sent to the northern port of Tampico, in order to secure this strategic point, rich from its custom duties. They stayed here until March 1864, when they came back to France because of their exhaustion due to tropical diseases. To maintain them in good order, the ministry sent 864 reinforcements during the length of their presence.