1,721,006 research outputs found
The ambiguous renaissance of Rome
No full textOver the last decade, many Italian cities witnessed how the introduction of direct election for the Mayor (enacted by national law n° 81/1993) contributed to a radical switch in the municipal management. The new “leadership-sensitive” management of towns often tended to amplify the risks of joining an international model of “Urban Renaissance” centred on the neoliberal competition struggle among world cities. This mainstream, in many Italian historical centres, was led by the increase in real estate values and the incredible pressure of commercial/tourist activities which determined a widespread tendency to make the city into a living museum, allow unruly, mass commercialization and expel the ‘mixité sociale’, in this way threatening the identity of those characteristics which guarantee the survival of some attractive activities themselves. The city of Rome offers a brilliant example of this double-effect mechanism. It is also an interesting place where another ambiguity of this new institutional framework becomes clear: being that the ‘decisionism’ suggested by the one-man-centred electoral system matched with a gradual opening of social dialogue. Under this perspective, the so-called “Modello Roma” (Rome Model) is not more than a self-description which the present ruling group created to resume (and doing marketing on) their goals: those of giving shape to a paradoxical/ambitious horizon of a “competitive city of solidarity”. The recent book “The Rome Model. The ambiguous modernity” (AA.VV., 2007), whilst honestly recognising many positive aspects of several Renaissance policies implemented in the Italian Capital along the last 6 years, introduces some doubts on their long term effects. While wondering why the “Rome model” is gaining the status of national reference to be emulated by local authorities all over the country, the book prefers to redefine it as a successful “managing style” going towards a cementified city warmly welcoming the international mass-tourism and participating in the neoliberal competition struggle among world cities, rather then accepting its self-definition as a “progressive model” for coping with the urban problems. If regarded from the city historic heart, the definition which better fits for the “Rome Model” is probably that of an “urban oxymoron made out of a joint venture between a strong enrooted history of labour and grassroots’ bottom-up battles for conquering the right-to-the-city and a sort of terrain vague open to developers’ pillage strategies” (Allegretti, 2007). Within a similar context, the interests of the Rome local government in the gradual increase of spaces of social dialogue and participation practices, may denote ongoing cultural change or simply a ‘nodal tactic’ for answering to the growth of urban conflicts, avoiding heavy clashes and diluting them into thousands of tiny deliberative arenas. But it indeed reveals an approach in transition from a policy attentive above all to transformation in the urbs (i.e. the physical city) to policies which pay attention to changes in the civitas (the established community), with its effects linked to inhabitants’ heightened sense of belonging and civil commitment. Taken as a whole, all these reasons explain the perspective from which the present essay intends to throw a glance on the ambiguous urban Renaissance of Rome over the last 6 years. It will mainly “tell a story”, that of the dynamic asset of an urban movement which took shape in the very core of historical centre, leading to some practical results which affected urban public policies. The latter could be considered “symbolic” of the future possibilities that urban movements could open – with their struggle - to gain a more ‘incisive’ position in addressing or re-shaping urban policies. The chosen narrative style aims at simplifying comprehension to those readers who are not in deep familiarity with the peculiar roman complexity
Moda e Patrimonio. Fashion show per la valorizzazione di una reciproca bellezza.
No full textModa e patrimonio culturale costituiscono l’espressione di un genio artistico che si trasmette nel tempo attraverso l’esplicitazione di valori simbolici e formali. La costruzione di un dialogo tra queste due identità ha dato vita, nel corso del tempo, a diverse modalità di scambio di codici estetici grazie al comune riferimento a un linguaggio incentrato sulla comunicazione della bellezza. Se da un lato le maison trovano nel riferimento al patrimonio la definizione di un’identità legata alle manifestazioni della grande bellezza sul territorio, dall’altro l’intervento dei brand fornisce le risorse economiche necessarie per operazioni di conservazione e gestione dei luoghi.
Tra le forme di esplicitazione di tale scambio, il mecenatismo gioca un ruolo fondamentale; il brand di moda interviene finanziariamente in progetti di restauro o valorizzazione dei luoghi, anche celebrandoli in situ attraverso eventi di forte impatto mediatico che hanno l’obiettivo di costruire una relazione tra i valori della maison e quelli del patrimonio. Negli ultimi decenni sono stati progettati grandi fashion show come eventi di massima esaltazione della bellezza, in cui il connubio tra moda e patrimonio è suggellato da allestimenti fortemente scenografici, ma anche effimeri e totalmente reversibili. Grandi installazioni fatte di passerelle, luci, ricostruzioni architettoniche o scenari naturali, insieme alle tecnologie del suono e dell’immagine, costituiscono il codice mediale che permette l’unione tra il patrimonio e le performance di modelli e artisti. Ogni show è site specific e direttori creativi, scenografi, progettisti e soprintendenze condividono le proprie visioni e idee. L’obiettivo perseguito è la massima valorizzazione di ciascuna delle parti coinvolte, attraverso la creazione di uno scenario in cui moda e patrimonio culturale collaborano attraverso il progetto dell’effimero per la realizzazione di eventi di grande bellezza, dei luoghi e del costume.Fashion and cultural heritage constitute the expression of an artistic genius that is transmitted over time through the explication of symbolic and formal values. The construction of a dialogue between these two identities has generated different exchanging aesthetic codes thanks to the common reference to a language focused on the communication of beauty. While on the one hand the maisons find, in the heritage reference, the definition of an identity linked to the manifestations of great beauty on the territory, on the other hand the intervention of brands provides the economic resources necessary for conservation and management operations.
Among the institutional forms of this exchange, patronage plays a fundamental role; the fashion brand intervenes financially in restoration or enhancement projects, often celebrating them in situ through events with a strong media impact, aimed at building a relationship between the values of the maison and those of the heritage. In recent decades, large fashion shows have been designed as events of utmost exaltation of beauty, in which the union between fashion and heritage is sealed by highly scenographic, but also ephemeral and totally reversible set-ups. Large installations made of catwalks, lights, architectural reconstructions or natural scenery, together with sound and image technologies, constitute the medium code that allows the union between heritage and the performances of models and artists. Each show is site specific and creative directors, set designers, architects and superintendents share their visions and ideas. The pursued goal is the maximum enhancement of each of the involved parties, through the creation of a scenario in which fashion and cultural heritage collaborate through the ephemeral project for the realization of events of great beauty
Il mito generatore. In conclusione
No full textLe aree archeologiche a nord dell'Acropoli si configurano come "recinti archeologici", immersi nel tessuto urbano. Ne emerge la necessità di interconnettere i "temenos" archeologi per dare vita a una sequenza di luoghi che costruisca una narrazione che giunge fino alla città contemporanea. Da qui la scelta di verificare come l'antica via Panatenaica, definita come mito generatore, possa agire come un tracciato capace di supportare la contemporaneità.The archaeological areas in the northern part of the Acropolis are configured as "archaeological enclosures," immersed in the urban fabric but at the same time isolated. Hence the need to interconnect these archaeological "temenos" to create a sequence of places that construct a more articulated and less fragmented path of knowledge of the city's history and make these enclaves once again dialoguing with the contemporary city. Hence the choice to verify how the ancient Panathenaic Way, defined as a generative myth, can reconfigure itself as a path capable of supporting contemporaneity
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
La démocratie participative à Rome : un horizon inachevé
No full textIl contributo illustra ampiamente le caratteristiche di un'importante stagione di partecipazione che si è avuta a Roma ed, in particolare, approfondisce i caratteri profondi della situazione romana in rapporto alla genealogia delle dinamiche partecipative. Il contributo focalizza l'attenzione poi su alcune specifiche esperienze partecipative.The contribution amply illustrates the characteristics of an important season of participation that has taken place in Rome and, in particular, explores the profound character of the situation in Rome in relation to the genealogy of participatory dynamics. The contribution focuses on some specific and participatory experiences
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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