50 research outputs found
La Costituzione di Duccio. Il “Progetto di Costituzione confederale europea ed interna” di Duccio Galimberti e Antonino Rèpaci a settant’anni dalla prima pubblicazione (1946-2016) (Versione estesa)
No full textITA
In questo saggio l’Autrice, ricostruita la vicenda biografica di Duccio Galimberti, eroe della Resistenza piemontese, si impegna nello studio - a settant’anni dalla prima pubblicazione – del Progetto di Costituzione confederale europea ed interna, redatto da Duccio Galimberti insieme all’amico Antonino Rèpaci tra l’autunno del 1942 e l’8 settembre del 1943. Il Progetto di Costituzione, accanto a previsioni che colpiscono per la lungimiranza e a utopie che meritano ancora di essere perseguite, presenta anche distopie e contraddizioni non ignorabili, a partire dal divieto di costituzione di partiti politici. E tuttavia merita di essere studiato come prezioso tassello di una vita spesa, sia nell’azione che nel pensiero, per la costruzione di un’Europa finalmente pacificata e unita, e un’Italia finalmente libera, democratica e repubblicana.
EN
In this essay the author reconstructs the life story of Duccio Galimberti, hero of the Resistance in Piedmont, and studies - seventy years after first publication - the Progetto di Costituzione confederale europea ed interna written by Duccio Galimberti with his friend Antonino Rèpaci between the autumn of 1942 and 8 September 1943. The Progetto di Costituzione, alongside predictions striking for their foresight and utopias that still merit to be pursued, also presents distopias and contradictions that cannot be ignored. Nevertheless it merits to be studied as a precious item of a life spent both in action and in thought, for the construction of a pacified and united Europe, and a free, democratic and republican Italy
Carrying the Red Man's Burden: Pavel Luknitskii, or Kipling in the Soviet Pamir
No full textKipling’s work in the Soviet Union was heavily criticized as an expression of imperialism; yet, it was widely read and translated – it was clearly more acceptable than that of Nikolai Gumilev, “the Kipling from Tsarskoe Selo”, a purported counter-revolutionary whose name itself was forbidden.
This explains the apparent contradictions in the image of Pavel Luknitskii – from one side, a scholar of Gumilev, from the other, an official Soviet writer. His novel Nisso (1946), based on his travels in the Pamir, is a classic of Soviet literature about the Asian republics.
The novel’s plot is built around a classic Colonial triangle, mixed with a typical Soviet collectivization story. The setting purportedly reconstructs the Shugnan region that the author described in his travelogues; many traits in the depiction, however, appear to be highly arguable and expose Luknitskii’s colonialist attitude. The border between Soviet Tajikistan and Afghanistan, carrying the novel’s fundamental symbolic weight, in particular, is nothing but the border between the respective spheres of influence the Russian and the British Empires agreed upon in 1895. The Soviet writers thus needed to construct the Shugnans as a nationality in order to find a place for them inside the Soviet family
su un problema di caratterizzazione di certe classi formule risolto tramite la nozione di interpretabilità relativa
No full textIntroduzione ad una classe di problemi di logica della interpretabilità relativa detti "problema di Guaspari" per varie teorie e "survey" dei risultati ottenuti e pubblicati dall'autore in collaborazione con i proff. De Jongh e Montagna intorno ad essi.Introduction to a class of problems of the logic of relative interpretability called "Guaspari problem" for various theories and survey of the results obtained and published by the author in collaboration with the proff. De Jongh and Montagna around them
«L’italica guerra, e la servile e la plebea raccese in una». Spartaco a teatro nel “decennio di preparazione”
No full textThe essay reconstructs the most important episodes of the dramatic
fortune of the Spartacus theme in the 1850s. Precisely in the “decennio di preparazione,”
in fact, the portrayal of the revolt of the “ultimi” led by the rebellious Thracian
takes on particular significance, as much in a national direction (the uprising,
which was supposed to unite distinct populations, also fails because of the division
of the oppressed) as in a social perspective. Of this widespread production, Carcano’s
Spartacus is perhaps the work that provoked the strongest reactions, and was
also polemically mocked in a parody by Cletto Arrighi; while the most ideologically
complex version undoubtedly appears to be the one offered by Nievo, which was
not fully completed by the author, and was published only at the beginning of the
twentieth century
Aleksandr Prochanov, o la Crimea come antidoto al postmoderno
No full textWhen Aleksandr Prokhanov’s Mr. Hexogen appeared in 2001 most critics perceived it as a postmodern novel – a totally unexpected move from this author, a long-standing Soviet writer and a leader of the Stalinist-nationalist opposition. The work shows indeed some features in common with, for instance, Babylon by Viktor Pelevin, one of the most popular Russian postmodern writers. Both novels demonstrate a phantasmagoric picture of the hidden side of Russian political life: if, however, in Pelevin’s case the intent is clearly ironic, Mr. Hexogen can be read as a book aimed to convey the view that the Moscow terrorist attacks of winter 1999 were designed in order to ensure Putin’s raise to presidency. If this view is to be taken seriously, the reading of the novel as postmodern will clearly fall apart; the possibility itself of the comparison with Pelevin, in any case, seems to derive from the extra-literary situation: after the fall of the Soviet Union and the turbulent first post-Soviet decade, Russia appeared as a nation who had lost its centre, and its inhabitants in desperate search of a new identity – both to the postmodern and to the reactionary.
A new identity for the right wing – now rallied under Putin’s flag – seems to have been found, once more, in the national mystic, as Prokhanov’s 2014 novel Crimea – where the word Crimea itself carries a symbolic power, whereas the region and the events concerning it are not even mentioned – appears to indicate
Lavoro e salute. Trenta anni dalla direttiva 89/391/CEE
No full textThe year 2019 marked the thirtieth anniversary of the directive 89/391/EEC concerning the introduction of measures to encourage improvements in the safety and health of workers at work. This ebook proposes a discussion on the effects of the directive and the adoption of its provisions, also in light of the new challenges associated with the evolution of human work. Are the principles laid down by directive 89/391 still relevant, 30 years later? Moreover, how to evaluate the national regulations that have been brought into force basing on the principles laid down by the directive? Has the current regulation on health and safety at work achieved a level of sophistication and consistency adequate to effectively pursue its objectives
Salute, organizzazione e giustizia
No full textThe year 2019 marked the thirtieth anniversary of the directive 89/391/EEC concerning the introduction of measures to encourage improvements in the safety and health of workers at work. This ebook proposes a discussion on the effects of the directive and the adoption of its provisions, also in light of the new challenges associated with the evolution of human work. Are the principles laid down by directive 89/391 still relevant, 30 years later? Moreover, how to evaluate the national regulations that have been brought into force basing on the principles laid down by the directive? Has the current regulation on health and safety at work achieved a level of sophistication and consistency adequate to effectively pursue its objectives
La fattualità del male: La Nonfiction Novel e le sue versioni sovietiche
No full textTwo books which appeared almost simultaneously on both sides of the Iron Curtain share similar, analytical and unusual, indications as to their genre: Truman Capote’s In Cold Blood: “The true account of a Multiple Murder and Its Consequences” (the author would usually refer to his text as “Non-fiction Novel”) and Lev Ginzburg’s The Abyss “A Narrative Based on Documents”.
A similarity can be traced on the thematic plan as well: In Cold Blood is centered on the murders’ story, while The Abyss is based on the records of a trial to collaborationists serving in the SS during the war and taking part in the mass murders of Soviet civilians, reporting for the first time in the Soviet Union about their personal histories: both authors undertake an inquiry on the nature of Evil – they are both, probably, written under the impression of Eichmann’s trial and possibly of Arendt’s book – and, in order to undertake this task, they both challenge traditional literary categories.
Is there a necessary connection between the thematic and the generic plans? A definitive answer can hardly be reached. A parallel reading of the American debate on Capote and the Soviet one – not on Ginzburg in particular, but about the blooming genre that at the time was beginning to be called “documentary literature” - can help shed some light.
Both Capote and Ginzburg aim at a narrative of reality clearly detached from novelist traditions, however different those were in their respective countries. In the United States, this meant setting oneself apart from a modernist tradition that had renounced to any pretense to depict society; in the Soviet Union, to set oneself free from the Socialist Realist canon, doubting of its capacity to give a meaningful depiction of the horrors of the Twentieth Century (a tradition which will develop up to Svetlana Aleksievich). In both cases, anyway, a criticism of the conventions of Realism was implied, clearly resounding, at a glance from today, the late avant-garde. In the Soviet debate of the Sixties, however, any reminding of it was significantly missing – the only mention of Sergei Tretyakov and the “literature of fact” are in quotations from an American review of Capote. The disappearing of Tretyakov from the Soviet debate has yet to be explained: was censorship the reading, or was his name totally unknown to the younger writers?
A renewed interest in the avant-garde can, anyway, be observed in the Soviet Union in the Sixties, clearly connected with the atmosphere of destalinization. A resurgence of avant-gard experimentation is characteristic for the Western world in the same era. Both Capote’s and Ginzburg’s texts are conceived in this atmosphere, and after the Eichmann trial, which is considered a milestone in the development of a new attitude towards the Shoah and its witnesses. On both sides of the divide, it seems – and as several further instances show - it was the attempt to “write poetry after Auschwitz” that caused to question novelistic conventions
Andrej Belyj v Sicilii: imaginativnaja geografija i orientalizirujuscij vzgljad - kogo i na cto?
No full textAndrei Belyi did not see Sicily (many factual mistakes can be pointed at): it was shielded by constantly open books. The author appears, in his travelogue, as a typical Orientalist. Characteristically enough, besides, he sought the Orient in a place a thousand kilometers west of Moscow.
It would be pointless to criticize him from the point of view of a “native in an English hat”; what is interesting is that his Orientalist gaze at Sicily is astonishingly similar to the Orientalist gaze at Russia itself typical of Russian intellectuals.
Alexander Etkind wrote about the “Internal Colonization” of Russia; in Italy a debate has begun about the “Internal Orientalism” of Northern Italians concerning the Southern part of the country – and as well that of Southern-born intellectuals writing about the South for the Northern public; for instance, the case of Giovanni Verga, finding the Orient in his native land, is enlightening.
In his mature work Verga overcomes the Orientalist gaze by moving the focus inside the Sicilian lower classes; we can trace a similar process in Belyi's writings on Russia, but not on Sicily
Wizard Grafico. Una guida alla visualizzazione dei dati numerici
No full textLa sempre maggiore disponibilità di dati numerici in tutti i contesti (marketing, ricerca, divulgazione, ecc.) comporta necessariamente l’impiego di grafici che riescano a spiegare al meglio i risultati delle proprie elaborazioni. Gli strumenti devono quindi essere facili da usare, essere intuitivi, e soprattutto fornire un’ampia gamma di soluzioni di rappresentazione per il medesimo risultato numerico-quantitativo. Allo stesso tempo all’utilizzatore è richiesto di compiere lo sforzo di comprendere cosa desidera ottenere, sulla base dei propri dati, e soprattutto come. Questo favorisce l’evoluzione degli strumenti di visualizzazione web-based, ma anche la nascita di nuovi metodi di rappresentazione, attraverso il contributo conoscitivo di tutti gli utilizzatori. Il Wizard Grafico, ispirato a un'idea di Amit Agarwal, rappresenta una sintesi degli strumenti attualmente disponibili e una guida alla loro utilizzazione. L'auspicio è che questi suggerimenti possano stimolare l'inventiva degli analisti e dei ricercatori fino ad indurli ad immaginare quali e quanti altri modi non ancora esistenti vi siano per descrivere i propri dati. La versione dinamica del volume è stato realizzata con iBooks Author ed è scaricabile gratuitamente da iBookstore al seguente indirizzo: https://itunes.apple.com/us/book/wizard-grafico/id888331825?ls=1&mt=11. Per la visualizzazione è necessario iPad con iBooks 3.0 o versione più recente e iOS 5.1 o versione più recente, oppure Mac con iBooks 1.0 o versione più recente e OS X 10.9 o versione più recente
