19 research outputs found
Tokyo città aperta, capitale del XXI secolo. Ritratto di una città-racconto
No full textNé storicamente premoderna né propriamente moderna, ma ormai “transmoderna”, come l’ha definita Berque, la città giapponese, e Tokyo su ogni altra, ha già prefigurato negli scorsi decenni l’evoluzione che sta rendendo ovunque obsolete alcune millenarie categorie dell’urbanistica occidentale: la gerarchia tra centro e periferia, l’articolazione dello spazio urbano in zone funzionali distinte e specializzate, il paradigma della “città ideale” sottratta all’accidentalità del tempo e dello spazio. Tokyo, la città “al cui centro c’è il vuoto” (Barthes), intorno al quale, fin dai tempi di Edo, si è strutturata una multi-città policentrica e reticolare, può essere già classificata come una “metapolis”, inclusa a sua volta in una “Ecumenopolis” globale, dove, sul modello delle reti neurali ed informatiche, si sono infrante tutte le discontinuità che separavano i confini e le identità territoriali. Un processo consapevolmente teorizzato dai “metabolisti” di Kenzō Tange negli anni ’60 del secolo scorso, ma che affonda le sue radici nelle categorie più profonde della sensibilità spaziale giapponese. Ne possiamo cogliere ulteriori riflessi attraverso l’opera letteraria di Nagai Kafū, dove si rivela fino in fondo la “logica del luogo” che fa di Tokyo stessa un racconto, una trama di continue transizioni, una città delle situazioni irriducibile a qualunque forzata unità prospettica
Roma oyobi Kyoto no shinwa to rekishi no aida (Rome and Kyoto between myth and history)
No full textAncient Rome was born of myth (Aeneas in Latium, Evander and the Golden Age of Saturn, Romulus and Remus) and declined in myth. Even after its fall, it continued, like a black hole, to exercise a powerful force of attraction throughout the West, a force accumulated over the course of its history: the Medieval emperors were crowned among the ruins of the ancient city, dreaming of a renovatio imperii that would never come to pass, except perhaps in myth. It was a myth that found its image - imago urbis but also imago orbis et mundi - in the ideal city designed by Michelangelo on the Capitoline Hill. Whence did this force derive? Virgil would have replied The Fates; we moderns instead respond History. In either case, a city - and not only an exceptional city like Rome - is much more than an architectural-urban conglomeration. It is above all the sediment of an infinite interplay between humankind and the vague forces of the future. Kyoto, lying at the geographic antipodes from Rome, offers another eloquent model, though one equally opposite in type. It is the city of an invisible and symbolic emperor and lay closed for a millennium within the enchanted enclosure of a palace garden: unique in the world, it is the archetype of an ideal city, like a mandala, that has been immune from the chaos of history
Dalla città celeste al labirinto metropolitano. Per una mitistoria comparata degli archetipi urbani
No full textPer buona parte del secolo scorso, e oltre, le avanguardie artistiche, la filosofia, le scienze umane e storiche hanno inseguito il filo di Arianna che va dal grattacielo alla capanna, e oggi dalla cosmopoli planetaria a quella delle origini, nella speranza di intravedere l’Origine perduta della nostra storia. L’“Idea di città” ne conserva delle tracce ancora visibili nei punti apicali della storia urbana: a Roma come a Kyoto, a Parigi come a New York; ed è nei due sensi opposti della parola “cosmopoli” che possiamo misurare la distanza tra la città cosmografica delle origini, e quella attuale, la postmetropoli globale e indifferenziata, rizoma frattale e autosimilare esteso su tutto il pianeta. La città nasce e muore come labirinto, ma il labirinto, come l’axis mundi, la Roma quadrata o i quattro angoli del mondo, erano symboloi in senso letteralmente inteso, punti di congiunzione tra Cielo Terra e Uomo, e oggi per noi anche tra Occidente ed Estremo Oriente, come si scopre mettendo a confronto le rispettive capitali imperiali. Tornare sulle tracce di questi archetipi nell’epoca della postmetropoli territoriale non significa cercare un rifugio nostalgico nelle origini mitiche o nel mito dell’Origine, ma provare a riflettere sulla necessità insopprimibile della civitas anche dopo “la fine della città”
The evolution of crime in post-war Italy in the works of Carlo Lizzani and Giorgio Scerbanenco
No full textThis study discusses the evolution of crime in Italy during the period from 1944 to the late 1960s, as represented in the works of film director Carlo Lizzani and author Giorgio Scerbanenco. This study pays particular attention to the viewer's or reader's engagement with the scenarios and the fictional characters portrayed. The introduction outlines the implications of the emerging forms of criminality, which were so closely linked to Italy's post-war economic, political and social transformation, as a context for the discussion that follows. Part One focuses on three key films. In // gobbo (1960), the director gives a description of the chaotic period 1944-46 during which criminals such as Giuseppe Albano ('II Gobbo del Quarticciolo') established a form of dominion over whole areas of Italian cities. Through the filter of comedy, La Celestina P.. R.. (1965) highlights criminal activities during the years of the economic miracle and its aftermath, such as prostitution and bribery, as a rapid means to success. Banditi a Milano (1968), gives a portrayal of the infamous Cavallero gang, their initial political frustration and the influence of capitalist values in turning proletarian rebels into 'managers' of violent criminal organizations. Part Two discusses the way in which Italian literature, and in particular detective fiction, depicted the evolution of crime in the 1960s, focusing in particular on Scerbanenco's representation of criminal environments in his Duca Lamberti series (1966-69). Two innovative aspects characterising 1960s Italian detective fiction will be analysed: Scerbanenco's portrayal of the urban space and its oppressive and alienating influence on characters, and the author's representation of violence and its cognitive and emotional impact on the reader. The conclusion highlights the parallels and contrasts between the way in which Lizzani and Scerbanenco portrayed the evolution of the crime and the influence of criminality upon society in the post-war period
Different efficacy of alcohol education tools among trainee nurses
No full textBackground/aims: The evaluation of the efficacy of two different forms of scientific information concerning alcohol-related problems (ARP), among Italian trainee nurses.
Methodology: A specific questionnaire, investigating the awareness of ARP, was distributed to 193 trainee nurses, 158 enrolled in the Italian Red Cross School for Professional Nurses at S. Orsola-Malpighi Hospital in Bologna and 35 enrolled in the Professional Nursing School at the Social Security Institute in the Republic of San Marino, who had attended a scientific meeting on ARP in the last year. Eighty-one nurses (62 belonging to the Red Cross School of Bologna and 19 to the Professional Nursing School of San Marino), had previously been given an information package on ARP (Group A). One hundred twelve subjects (96 belonging to the Red Cross School of Bologna and 16 to the Professional Nursing School of San Marino) did not read the specialized material (Group B).
Results: The results showed a statistically significant difference in the percentage of correct answers between Group A (25.98%) and Group B (21.80%). The percentage of correct answers among the Bologna trainee nurses were always significantly lower than that of the San Marino nurses.
Conclusions: These results suggest a scant awareness and interest in ARP among trainee nurses and show that courses and lectures are more effective than scientific printed material
Il coraggio della cinefilia. Scrittura e impegno nell'opera di Callisto Cosulich
No full textSaggi di: E. Grando, M. Spanu, R. Menarini, L. Gandini, A. Pezzotta, S. G. Germani, R. Costantini, L. Pellizzari, C. Bisoni, S. Crechici, R. Calabretto.
Testimonianze di: C. Lizzani, R. Rossellini, A. M. Lona, A. Crespi, F. Giraldi.
L'incontro: Cosulich si racconta.
Soggetto inedito: "Dio gioca a dadi". Bibliografia. Indice dei film
Marco Ferreri: The task of cinema and the end of the world
No full textThis is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2013 Intellect Books.This article identifies Marco Ferreri's original contribution to cinema as a gesture aimed at exposing the 'end of the world'. This expression should be understood - aside from millenarian connotations - as a reopening of sense in excess of acquired significations. Ferreri supports this gesture through images that deliberately defy conceptual validation, so that his films often move from the meticulous description of ordinary situations to the collapse of meaningful references. In order to contextualize the framework described above, the argument traces Ferreri's trajectory back to neo-realism, highlighting elements of continuity and moments of rupture. In particular, the article highlights how Ferreri delivers the humanism expressed by neo-realism to a world without thought
Narrativa e cinema
No full textIl capitolo contiene un'analisi del principio narrativo del "come andrà a finire?" di ogni storia narrata, inteso non soltanto come espediente per intrattenere il pubblico ma anche e soprattutto come riflesso della dinamica dell'esistere: il mistero, cioè il non sapere e il desiderio di sapere cosa accadrà, come parte della sostanza stessa della vita, anzi sua costante
Clinical and endoscopic presentation of primary gastric lymphoma: a multicentre study
No full textAlthough the stomach is the most frequent site of intestinal lymphomas, few data are available on both clinical endoscopic presentation of gastric lymphoma and possible differences between low-grade and high-grade lymphomas
