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A qualcuno (non) piace caldo. Il caso KlimaSeniorinnen c. Svizzera avanti alla Corte europea dei diritti dell’uomo (per non tacer degli altri)
No full textThe KlimaSeniorinnen v. Switzerland case (on climate change) was recently heard before the Grand Chamber of the European Court of Human Rights. This case sees an association of elderly women claiming the violation of their right to life and health by the Swiss State, which has failed to reduce CO2 emissions that cause global warming and the rise of temperatures, thus exposing elderly people to a greater risk of death. This case is certainly not an isolated one. The European Court, which up to now has been rather cautious in assessing environmental cases, is now faced with several important questions that could change its role in the European context. This paper, starting from the KlimaSeniorinnen case, aims to offer an overview of the climate litigation before the ECtHR, highlighting the main problematic issues.Il caso KlimaSeniorinnen c. Svizzera (in materia di climate change) è stato di recente discusso avanti alla Grande Camera della Corte Edu. Tale caso, in estrema sintesi, vede una associazione di donne anziane lamentare la violazione del diritto alla vita e alla salute da parte dello Stato svizzero, inadempiente nel ridurre le emissioni di CO2 che causano l’innalzamento delle temperature, esponendo così a maggiori rischi di morte le persone anziane. Quello appena descritto però, benché particolarmente interessante, non è certo un caso isolato. La Corte europea, fin qui abbastanza cauta, si trova a dover dare una risposta ad una serie di questioni importanti che potrebbero cambiare il suo ruolo in ambito europeo. Il presente contributo, partendo proprio dal caso KlimaSeniorinnen si propone di offrire una overview del contenzioso climatico avanti alla Corte edu, evidenziandone i principali nodi problematici
Le migrazioni ambientali. Considerazioni critiche su una definizione giuridica ambigua
No full textEnvironmental migrations are at the center of a doctrinal debate that is divided over two main issues: the configuration of the criteria for the relevance of the ‘environmental factor’ and, from this, the possibility of making this hypothesis an autonomous case within the framework of international protection systems. In the folds of this discussion, theoretical and systemic profiles emerge. The former suggest dwelling on the ambiguous overlap between nature and environment hinged on the definition of environmental migration. The others point to the possibility of measuring, through the lens of the relationship between migration and environment, some of the aporias that run through the contemporary system of migration law.Le migrazioni ambientali sono al centro di un dibattito dottrinale che si divide su due principali questioni: la configurazione dei criteri di rilevanza del “fattore ambientale” e, da ciò, la possibilità di ricondurre a fattispecie autonoma questa ipotesi nel quadro dei sistemi di protezione internazionali. Nelle pieghe di questa discussione, emergono profili teorici e di sistema. I primi suggeriscono di soffermarsi sull’ambigua sovrapposizione tra natura e ambiente incardinata nella definizione delle migrazioni ambientali. Gli altri indicano la possibilità di misurare, attraverso la lente del rapporto tra migrazione e ambiente, alcune delle aporie che percorrono il sistema contemporaneo del diritto migratorio
Metti Shakespeare a una festa: Saggio di traduzione da Notes on the Sonnets di Luke Kennard
No full textIn the fall of 2021, Luke Kennard (Kingston Upon Thames, UK, 1981) won the Forward Poetry Prize with the book Notes on the Sonnets. The book counts nine sections for 154 poems establishing undefinable relationships with Shakespeare’s sonnets referred to in the book title. The poems appear to be prose not properly “poetic”: the influences of the New York School, of Language Poetry, of Prose en prose are evident, but Kennard detaches himself from these movements to find his own way to contemporary prose poetry through a strong use of irony and surreal. After the foreword, Carlo Londero\u27s essay gives with the Italian translation of the first section of Notes on the Sonnets, followed by the schematic and precise translation notes giving back readers the translator’s choices and the necessary or stylistic divergences from the original poems, as well as the textual samplings from Shakespeare\u27s Sonnets dissected in Kennard\u27s Notes.Nell’autunno del 2021, Luke Kennard (Kingston Upon Thames, UK, 1981) vince il Forward Poetry Prize con il libro Notes on the Sonnets. Il libro conta nove sezioni per un totale di 154 poesie, che instaurano un rapporto non sempre netto con i sonetti di Shakespeare richiamati nel titolo. Le poesie risultano essere prosa, e non propriamente “poetica”: sono evidenti gli influssi della New York School, della Language Poetry, della Prose en prose, ma da questi movimenti Kennard si distacca per tentare una propria via alla poesia in prosa contemporanea, una via che fa del forte uso dell’ironia e del surreale la propria cifra stilistica. Dopo l’introduzione, il saggio di Carlo Londero offre la traduzione in italiano della prima sezione di Notes on the Sonnets, cui seguono le note di traduzione schematiche e puntuali nel restituire al lettore le scelte traduttorie e le divergenze (necessarie o stilistiche) dal testo di partenza, nonché i lacerti/campionature testuali prelevati dai sonetti di Shakespeare disseminati nei Notes di Kennard
Fra immanenza e trascendenza: una contraddizione? Il rapporto pensiero-realtà nella metafisica di F. H. Bradley
No full textF. H. Bradley’s philosophy originates from the debate on the relativity of knowledge that engaged leading British philosophers during the 19th century. This debate dealt with the relationship between thought and reality, and developed into three main stances: agnosticism, empiricism and idealism. In his metaphysics, Bradley seeks to overcome the shortcomings of those stances, while preserving the truth of each one. Against agnosticism, he holds that it is possible to know unquestionable truths about reality, thus endorsing the rationalism of the idealists: reality is immanent to thought as a known object. However, thought is relation, and the relational form is self-contradictory: reality, which is subjected to the principle of non-contradiction, cannot therefore be relational; its form is closer to immediate experience (feeling), in which the unity of differences does not appear as a relation between terms. Reality is, then, also transcendent to thought: Bradley makes the case for a moderate agnosticism and a radical empiricism – non-atomistic, unlike classical empiricism – against idealism, whose reduction of reality to a system of ideas he does not share. The problematic cohabitation of intellectualism and anti-intellectualism in Bradley’s philosophy was attacked by, among others, J. Dewey, who denounced its inconsistency. The goal of this essay is to defend Bradley against such charges by investigating both the structure of the thought-reality relationship (Chapter XV of Appearance and Reality) and the logico-metaphysical status of contradiction.In Appearance and Reality (1893), F. H. Bradley held that reality is both immanent to thought (as a known object) and transcendent to it (as non-relational in structure). This cohabitation of intellectualism and anti-intellectualism in his metaphysics was relevantly attacked by J. Dewey (1907) as being self-contradictory. The goal of my essay is to defend Bradley against this charge by elucidating the structure of the thought-reality relationship and the proper status of contradiction
Il mistero del sorriso neonatale: interpretazioni pedagogiche, filosofiche e psicologiche
No full textThis article discusses the theme of the smile, starting from the analysis proposed by Antonio Rosmini in the work entitled Del principio supremo della Metodica e di alcune sue applicazioni in servigio dell’umana educazione, composed between 1839 and 1840 and left unfinished. In fact, drawing inspiration from the pages that Rosmini dedicates to this question, it was possible to weave a fruitful comparison with other pedagogical-philosophical and psychological reflections, touching on disciplines such as ontogeny and ethology.This paper discusses the topic of smile moving from the analysis proposed by Antonio Rosmini in his unfinished work Del principio supremo della Metodica e di alcune sue applicazioni in servigio dell’umana educazione (composed between 1839 and 1840 ). Starting from Rosmini\u27s pages, the paper explores some fruitful comparisons with other pedagogical-philosophical and psychological reflections, touching on disciplines such as ethology and biology (for instance, on the problem of ontogenesis)
Cuando los arquitectos dibujaban…
No full textInterest in freehand drawing in architecture schools is dying without recent study plans being aware of the problem. The overrated computer applications developed for architecture absorb the energies of students who no longer consider it to be such an important tool that they dedicate time to their learning that they do not have. The addictive attraction to social networks and the infinite audiovisual material for consumption absorb time that was previously dedicated to reading and drawing. For a dozen years we have surveyed our students (351) from various architecture courses about their relationship to freehand drawing. The survey topics were few but illustrative: 1. Frequency (usual practice), 2. Usefulness (devise, think, represent, etc.), 3. Capacity (personal self-assessment), and 4. Necessity (drawing in the career and in the profession of architect). Some answers are significant although quite contradictory: 55% of the students draw only to develop a project; 7% never draw or draw as little as possible; 25% do it only to represent their finished projects; 2% consider themselves capable of solving any challenge with the drawing, but 2% consider themselves denied; 75% would like to draw better; For 90%, the drawing of thought should be promoted, while 46% consider it essential for an architect. Trends are therefore confirmed, summarized in a resounding statement: architecture students do not usually draw. It is not easy to change this trend and difficult to change their mentality about the importance of drawing for the architect. Beyond reflecting on the causes of the situation, the article suggests that graphic digital tablets, used as a new freehand drawing technique, could facilitate their learning due to their ease of use, unlimited editing, attractive technology, etc. avoiding the daunting horror vacui of traditional techniques.El interés por el dibujo a mano alzada en las escuelas de arquitectura agoniza sin que los recientes planes de estudios sean conscientes del problema. Las sobrevaloradas aplicaciones informáticas de arquitectura absorben las energías de unos estudiantes que ya no consideran que sea una herramienta tan importante como para dedicar a su aprendizaje un tiempo del que no disponen. La atracción adictiva hacia las redes sociales y el infinito material audiovisual de consumo absorben un tiempo que antes dedicado a leer y dibujar. Durante una docena de años hemos encuestado a nuestros alumnos (351) de varios cursos sobre su relación con el dibujo a mano alzada. Los temas de la encuesta fueron pocos pero ilustrativos: 1. Frecuencia (práctica habitual), 2. Utilidad (idear, pensar, representar, etc.), 3. Capacidad (autovaloración personal), y 4. Necesidad (dibujo en la carrera y en la profesión de arquitecto). Algunas respuestas son significativas aunque bastante contradictorias: un 55% de los alumnos dibuja sólo para desarrollar un proyecto; un 7% no dibuja nunca o lo menos posible; un 25% lo hace solamente para sus proyectos terminados; un 2% se reconoce capaz de resolver cualquier reto con el dibujo, pero un 2%, se considera negado; a un 75% le gustaría dibujar mejor; para un 90% debería potenciarse el dibujo de pensamiento, mientras que un 46% lo considera imprescindible para un arquitecto. Se confirman por tanto tendencias resumidas en una afirmación rotunda: los estudiantes de arquitectura no dibujan habitualmente. No es fácil modificar esta tendencia y difícil cambiar su mentalidad sobre la importancia que el dibujo tiene para el arquitecto. Más allá de reflexionar sobre las causas de la situación, el artículo plantea que las tabletas gráficas digitales, utilizadas como nueva técnica de dibujo a mano alzada podrían facilitar su aprendizaje por la facilidad de uso, edición ilimitada, tecnología atractiva, etc. evitando el desalentador horror vacui de técnicas tradicionales
La megalografia nella Villa dei Misteri a Pompei
No full textThe room of the triclinium in the Villa of the Mysteries in Pompeii distinguishes itself as an enigmatic representation in an ideal architectural setting. The plinth with a black background, with geometric ornamentation, is the result of a restoration that took place at the time of the III style, while the upper part of the walls shows the original decoration datable in II style. The pictorial cycle focuses on the evident centrality of the couple Dionysus and Arianna; the reference to Dionysus is present for the initiation into the Dionysian rites, and Arianna highlights the pre-eminence of the female figure. It is singular that many centuries later, a treatise writer of the 16th century, Filarete, wrote that there must be a couple to create good architecture or a city: a father, an enlightened orince, and a mother, the architect, who generates the ideas of the prince. The research on the Villa of the Mysteries has offered the chance to reflect on technologies as prostheses of thought and logos that generate the drawing of the existing or the drawing of what has not been realized yet. The age we live in is characterized by the use of advanced digital technologies in the training and research activity of architects and designers: the experience conducted in Pompeii reaffirms the authoritativeness of thought that cannot break the essential link that binds the person who draws with the object, thus answering our questions if it is possible to establish a new paradigm that links the observer to the object, often oriented only by iconic libraries of software programmes. As we know, artefacts or landscapes are silent: they ‘speak’ through the observer, transferring to the hand the responsibility to express what the mind generates.La stanza del triclinio nella Villa dei Misteri in Pompei si caratterizza come un’enigmatica rappresentazione in un’ideale cornice architettonica. Nel ciclo pittorico, lo zoccolo a fondo nero, con ornamentazione geometrica, è il frutto di un restauro avvenuto all’epoca del III stile, mentre la parte alta delle pareti mostra l’originaria decorazione databile al II stile. Il ciclo pittorico è imperniato sull’evidente centralità della coppia Dioniso e Arianna; il riferimento a Dioniso è presente per l’iniziazione ai riti dionisiaci e Arianna è posta per evidenziare la preminenza della figura femminile. È singolare che molti secoli dopo, un trattatista del Cinquecento, Filarete, scriva che per realizzare una buona architettura o una città è necessario che ci sia una coppia: un padre, un principe illuminato, e una madre, l’architetto, che genera le idee del principe. La ricerca condotta presso la Villa dei Misteri è stata l’occasione per riflettere sul ruolo delle tecnologie che sono solo protesi del pensiero e del logos, generatrici del disegno dell’esistente o il disegno di ciò che non è stato ancora realizzato. Chiedersi nell’epoca che viviamo, connotata dall’utilizzo di tecnologie digitali avanzate nella formazione e nell’attività di ricerca degli architetti, dei designer, se sia possibile instaurare un nuovo paradigma che leghi l’osservatore all’oggetto, spesso orientato solo dalle librerie iconiche dei software, trova nell’esperienza condotta sulla Stanza dei Misteri, la riconferma dell’autorevolezza del pensiero che non può spezzare il legame imprescindibile che lega colui che disegna con l’oggetto. Come sappiamo i manufatti o il paesaggio sono muti: parlano attraverso chi osserva trasferendo alla mano la responsabilità di esprimere ciò che la mente genera
Pluralità e pluralismo nello scritto romaniano sulla natura dei regolamenti parlamentari
No full textThe article stems from a critical reading of the essay dedicated by Santi Romano to the investigation into the nature of Parliamentary Rules of Procedure. According to the Author, the essay still retains its considerable relevance for Constitutional studies and for reflections on the crisis of the system of the sources of law. Nevertheless, the breach opened by the essay in the dogmas of state sovereignty is not able to produce an accomplished reflection on the pluralism of the sources of law. This last, precisely, presupposes the recognition of the most varied forms of institutional, territorial, and social autonomy, which will only come about with the entry of the Constitution of the Italian Republic (1948).The article stems from a critical reading of the essay dedicated by Santi Romano to the investigation into the nature of Parliamentary Rules of Procedure. According to the Author, the essay still retains its considerable relevance for Constitutional studies and for reflections on the crisis of the system of the sources of law. Nevertheless, the breach opened by the essay in the dogmas of state sovereignty is not able to produce an accomplished reflection on the pluralism of the sources of law. This last, precisely, presupposes the recognition of the most varied forms of institutional, territorial, and social autonomy, which will only come about with the entry of the Constitution of the Italian Republic (1948)