320 research outputs found
Carmelo Bene, a Stuttering War Machine
No full textThis article presents one of the topics raised by the research in progress on the work of the Italian artist Carmelo Bene. The author resumes a relation already made at the beginning of the research between the Benean actorial machine and the Deleuzean-Guattarian war machine, adding elements from an approach of stuttering in Gilles Deleuze, as well as from materials and experiences collected in the field research developed in Italy and France along the last three years. The initial goal of the research was to study the concepts that Carmelo Bene created in scene, seeking a closeness to what was original in his work. From the observation of the multiplicity of Bene’s theoretical and artistic alliances, it became necessary to interrogate and contaminate the research and writing modes themselves, establishing a production by means of fragments and closeness, being this text one of them.Cet article presente l’un des sujets soulevés par la recherche de l’oeuvre de l’artiste italien Carmelo Bene, toujours en cours. L’auteur reprend une relation qu’elle avait faite au début de sa recherche entre la machine actorielle bénéenne et la machine de guerre deleuze-guattarienne, en les ajoutant un abordage du bégayage chez Deleuze et par le biais de matériels et d’expériences recueillis lors de recherches de terrain menées en Italie et en France depuis 2014. La recherche avait comme objectif initial une étude des concepts que Carmelo Bene avait créés sur la scene, en cherchant ce qui était original dans son travail. La connaissance de la multiplicité des aliances théoriques et artistiques de Bene imposait la necessite d’interroger et de contaminer les propres modes de recherche et d’écrite, établissant une production par fragments et approximations dont le présent texte en est une tentative.This article presents one of the topics raised by the research in progress on the work of the Italian artist Carmelo Bene. The author resumes a relation already made at the beginning of the research between the Benean actorial machine and the Deleuzean-Guattarian war machine, adding elements from an approach of stuttering in Gilles Deleuze, as well as from materials and experiences collected in the field research developed in Italy and France along the last three years. The initial goal of the research was to study the concepts that Carmelo Bene created in scene, seeking a closeness to what was original in his work. From the observation of the multiplicity of Bene’s theoretical and artistic alliances, it became necessary to interrogate and contaminate the research and writing modes themselves, establishing a production by means of fragments and closeness, being this text one of them
A Command Governor Approach to Plasma Shape Control
No full textThe paper deals with the application of the socalled Command Governor (CG) approach to the shape control of plasmas in thermonuclear fusion reactors. A primal internal loop controlling the plasma-wall gaps is designed first and a CG device is then tuned to modify, whenever necessary, the reference to the primal loop, taking into account constraints due to voltages saturations on the converters, currents limitations in the active coils, force limits on the mechanical structures, minimum clearance between the plasma and the vacuum chamber wall, maximum induced forces on coils. The reference signal modification is accomplished through an online optimization procedure which embodies plasma model forecasts computed along a finite time virtual receding horizon as usual in model predictive paradigms. The ITER (International Thermonuclear Experimental Reactor) tokamak is assumed as a case study. Numerical simulations are carried out on a numerical nonlinear model taking into account almost a hundred of constraints
LE MASCHERE E I NEMICI DELLE APPARENZE. JEAN STAROBINSKI INTERPRETE DEL TOTALITARISMO
No full textThis paper analyses the motives and the contents of the research carried out
by Jean Starobinski in the Forties on the theme of mask and simulation. After reconstructing
the historical context and the theoretical intention of Starobinski’s essay Interrogatoire du
masque (1946, republished 2015), the author examines the definition of the mask as an
essential element of interaction between nature and culture. He then discusses the interpretation
of modern culture as a project of demystification of appearances and search for true reality
beyond the masks. Finally, the author shows that the investigation of problems of simulation
and dissimulation is linked to the desire to understand the reasons for the success of totalitarianism.
According to Starobinski, in the Twentieth century dictatorial regimes have used the
rhetoric of authenticity to credit the mythical images of a human existence and a social order
finally free of any simulation, or any artifice of appearances
Carmelo Bene, uma Máquina de Guerra Gaguejante
No full textThis article presents one of the topics raised by the research in progress on the work of the Italian artist Carmelo Bene. The author resumes a relation already made at the beginning of the research between the Benean actorial machine and the Deleuzean-Guattarian war machine, adding elements from an approach of stuttering in Gilles Deleuze, as well as from materials and experiences collected in the field research developed in Italy and France along the last three years. The initial goal of the research was to study the concepts that Carmelo Bene created in scene, seeking a closeness to what was original in his work. From the observation of the multiplicity of Bene’s theoretical and artistic alliances, it became necessary to interrogate and contaminate the research and writing modes themselves, establishing a production by means of fragments and closeness, being this text one of them.Cet article presente l’un des sujets soulevés par la recherche de l’oeuvre de l’artiste italien Carmelo Bene, toujours en cours. L’auteur reprend une relation qu’elle avait faite au début de sa recherche entre la machine actorielle bénéenne et la machine de guerre deleuze-guattarienne, en les ajoutant un abordage du bégayage chez Deleuze et par le biais de matériels et d’expériences recueillis lors de recherches de terrain menées en Italie et en France depuis 2014. La recherche avait comme objectif initial une étude des concepts que Carmelo Bene avait créés sur la scene, en cherchant ce qui était original dans son travail. La connaissance de la multiplicité des aliances théoriques et artistiques de Bene imposait la necessite d’interroger et de contaminer les propres modes de recherche et d’écrite, établissant une production par fragments et approximations dont le présent texte en est une tentative.O artigo apresenta uma das temáticas suscitadas pela pesquisa, ainda em andamento, da obra do artista italiano Carmelo Bene. A autora retoma uma relação que já havia feito, no início da pesquisa, entre o conceito beneano de máquina atorial e o conceito deleuze-guattariano de máquina de guerra, acrescentando-lhe elementos de uma abordagem da gagueira em Gilles Deleuze e de materiais e experiências colhidos em pesquisas de campo na Itália e na França nos últimos três anos. A pesquisa teve por objetivo inicial um estudo dos conceitos que Carmelo Bene criou em cena, buscando uma aproximação ao que havia de original em sua obra. A partir do conhecimento da multiplicidade de alianças teóricas e artísticas de Bene, impôs-se a necessidade de interrogar e contaminar os próprios modos de pesquisa e escrita, estabelecendo-se uma produção por fragmentos e aproximações, dentre os quais o presente texto é uma tentativa
Carmelo Bene, une machine de guerre bégayante
No full textO artigo apresenta uma das temáticas suscitadas pela pesquisa, ainda em andamento, da obra do artista italiano Carmelo Bene. A autora retoma uma relação que já havia feito, no início da pesquisa, entre o conceito beneano de máquina atorial e o conceito deleuzeguattariano de máquina de guerra, acrescentando-lhe elementos de uma abordagem da gagueira em Gilles Deleuze e de materiais e experiências colhidos em pesquisas de campo na Itália e na França nos últimos três anos. A pesquisa teve por objetivo inicial um estudo dos conceitos que Carmelo Bene criou em cena, buscando uma aproximação ao que havia de original em sua obra. A partir do conhecimento da multiplicidade de alianças teóricas e artísticas de Bene, impôs-se a necessidade de interrogar e contaminar os próprios modos de pesquisa e escrita, estabelecendo-se uma produção por fragmentos e aproximações, dentre os quais o presente texto é uma tentativaThis article presents one of the topics raised by the research in progress on the work of the Italian artist Carmelo Bene. The author resumes a relation already made at the beginning of the research between the Benean actorial machine and the Deleuzean-Guattarian war machine, adding elements from an approach of stuttering in Gilles Deleuze, as well as from materials and experiences collected in the field research developed in Italy and France along the last three years. The initial goal of the research was to study the concepts that Carmelo Bene created in scene, seeking a closeness to what was original in his work. From the observation of the multiplicity of Bene’s theoretical and artistic alliances, it became necessary to interrogate and contaminate the research and writing modes themselves, establishing a production by means of fragments and closeness, being this text one of them.Cet article presente l’un des sujets soulevés par la recherche de l’oeuvre de l’artiste italien Carmelo Bene, toujours en cours. L’auteur reprend une relation qu’elle avait faite au début de sa recherche entre la machine actorielle bénéenne et la machine de guerre deleuze-guattarienne, en les ajoutant un abordage du bégayage chez Deleuze et par le biais de matériels et d’expériences recueillis lors de recherches de terrain menées en Italie et en France depuis 2014. La recherche avait comme objectif initial une étude des concepts que Carmelo Bene avait créés sur la scene, en cherchant ce qui était original dans son travail. La connaissance de la multiplicité des aliances théoriques et artistiques de Bene imposait la necessite d’interroger et de contaminer les propres modes de recherche et d’écrite, établissant une production par fragments et approximations dont le présent texte en est une tentative
Hallowed ground: Dante's Commedia in the new millennium
No full textDante’s influence or appropriation into popular culture is not new to either the twentieth or twenty-first centuries. Research on the reception of Dante demonstrates how the Commedia has been appropriated into different mediums ever since its completion. Amilcare A. Iannucci’s work on Dante’s influence in cinema and television has been groundbreaking. It has presented readers and scholars with newer ways of reading and interpreting Dante by focusing on the poet’s impact on other mediums; extending it to the world of cinema and television throughout the twentieth century. While Iannucci focused on Dante’s influence in the history of cinema and television culture, I expand upon his work by demonstrating how today, Dante’s poem, because of its moralistic character, is a catalyst for discussing society’s current moral and political issues, such as the “War on Terror” and its results. Hallowed Ground: Dante’s Commedia in the New Millennium, centers on Dante’s posthumous fame, specifically his reception in the twenty-first century in both Italy and the United States. In my study, I not only analyze works of popular culture that have adapted the Commedia, but I demonstrate how the tragic events of September 11, 2001 have given rise to a new, contemporary Dante. Focusing on the Commedia’s adaptation in theatre, television, and the technological arts (such as interactive media and video games), I argue that the new hypertexts transform, modify, and extend the hypotext, creating original and newer texts, while showcasing different modes of reading and thinking about literature.Ph. D.Includes bibliographical referencesIncludes vitaby Carmelo Antonio Galat
Per un'analisi del costo della vita nella Verona del Settecento
No full textFocusing on the urban context of Verona (a major city in the Venice Republic) during the XVIII century, the paper aim to clarify if, and in which measure, the cost of living of the employed population changed along the century.
Instead of simply analyzing salaries and prices, the Author built a data analysis able to clarify if those salaries and prices allowed workers to survive and how the purchasing power modified from the beginning to the end of the XVIII century
Responsabilità e democrazia. Winnicott interprete del dispositvo elettorale
No full textWinnicott's "Some Thoughts on the Meaning of the Word Democracy" is a problematic, layered work, which analyzes the importance of unconscious emotional factors in the election and removal of leaders. According to Winnicott, a true democracy exists only if a certain number of individuals, thanks to the secrecy of the vote, are capable of producing a psychic field in which the public sphere is brought back to interiority, so as to produce a specific individual responsibility. Voting is considered an intermediate zone of experience, to which both internal and external life contribute. The author shows the relationship that this interpretation of the democratic electoral system has with the concept of "transitional area"
Requisitos epistemológicos: A trajetória de Carmelo Lisón Tolosana
No full textThe author investigates the innovative aspects of the work of Carmelo Lisón Tolosana, trained in the British structural-functionalist school, but with a historicist perspective, which connects with certain French anthropology, although we have no evidence of direct mutual influences. Among other points in common between these anthropologies and those of CLT, we have, the «microscopic scales», the speaker's point of view, attention to words and forms of expression, the contextuality of the information, and ultimately the process hermeneutic of knowledge.El autor indaga en los aspectos innovadores de la obra de Carmelo Lisón Tolosana, formado en el escuela estructural-funcionalista británica, pero con una perspectiva historicista, que engarza con ciertas antropología francesas, aunque no tengamos constancia de directas influencias mutuas. Entre otros puntos en común entre esas antropologías y las de CLT, tenemos, las «escalas microscópicas», el punto de vista del hablante, la atención a las palabras y las formas de expresión, la contextualidad de las informaciones, y en definitiva el proceso hermenéutico de conocimiento.O autor indaga nos aspectos inovadores da obra de Carmelo Lisón Tolosana, formado na escola estrutural-funcionalista britânica, porém com uma perspectiva histórica, que se vincula com certas antropologias francesas, ainda que não tenhamos constância de diretas influências mutuas. Entre outros pontos em comum destas antropologias e as de CLT, temos, as escalas microscópicas», o ponto de vista do falante, a atenção e as palavras e as formas de expressão, a contextualidade das informações e em definitivo o processo hermenêutico de conhecimento
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